489
Albums Rated
3.36
Average Rating
45%
Complete
600 albums remaining
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1950s
Favorite Decade
Jazz
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62
5-Star Albums
8
1-Star Albums
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You Love More Than Most
Albums you rated higher than global average
| Album | You | Global | Diff |
|---|---|---|---|
| Southern Rock Opera | 5 | 2.82 | +2.18 |
| Post Orgasmic Chill | 5 | 2.99 | +2.01 |
| Searching For The Young Soul Rebels | 5 | 3 | +2 |
| Wild Gift | 5 | 3 | +2 |
| Blood, Sweat & Tears | 5 | 3.16 | +1.84 |
| Truth | 5 | 3.16 | +1.84 |
| american dream | 5 | 3.18 | +1.82 |
| D | 5 | 3.21 | +1.79 |
| Apocalypse 91… The Enemy Strikes Black | 5 | 3.23 | +1.77 |
| Dry | 5 | 3.24 | +1.76 |
You Love Less Than Most
Albums you rated lower than global average
| Album | You | Global | Diff |
|---|---|---|---|
| I See A Darkness | 1 | 2.97 | -1.97 |
| Vulgar Display Of Power | 1 | 2.97 | -1.97 |
| A Northern Soul | 1 | 2.91 | -1.91 |
| Automatic For The People | 2 | 3.83 | -1.83 |
| Metallica | 2 | 3.79 | -1.79 |
| New Boots And Panties | 1 | 2.7 | -1.7 |
| Natty Dread | 2 | 3.58 | -1.58 |
| Boy In Da Corner | 1 | 2.57 | -1.57 |
| Stankonia | 2 | 3.55 | -1.55 |
| Paul's Boutique | 2 | 3.47 | -1.47 |
Artist Analysis
Favorite Artists
Artists with 2+ albums
| Artist | Albums | Average |
|---|---|---|
| Beatles | 4 | 5 |
| Talking Heads | 4 | 4.5 |
| Van Halen | 2 | 5 |
| Green Day | 2 | 5 |
| Stevie Wonder | 4 | 4.25 |
| The Who | 4 | 4.25 |
5-Star Albums (62)
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Popular Reviews
Earth, Wind & Fire
4/5
I used to think Earth, Wind, and Fire were a joke.
I was ignorant, influenced unfairly by my parent’s prejudice of funk and soul music. My dad in particular was in high school when they were at their peak in popularity, and he was very much in his own musical world, one that he’s never really left honestly - the hard rock of the day, blues, and some jazz (but not much). So EWF wasn’t playing in my house as a kid, and whenever they or bands like them came up, they were scoffed at as being just kind of kitschy and a joke.
On my own I have since learned how wrong this was. For one, I’ve learned that all music (and art in general) has merit even if I don’t love it or even like it. But regarding EWF and other soul bands like them, I’ve learned that not only does their music have merit but that it’s also, like, good. In a way that surprises and impresses me continually. This album is no different.
Such feel. A soft touch when necessary but man can they crank it up when they need to. Such a talented band of musicians. I have to wonder how big the band actually is given all the instruments here. The vocals? Pristine. Not a note or vocal line out of place. The falsetto on “Reasons” is absolutely incredible and makes for legit love-making music.
I really can’t say enough here. Excellent album. There’s a couple of songs I could’ve done without so it doesn’t quite hit 5 stars, but it easily, solidly earns 4.
Standout tracks: Shining Star, Happy Feelin’, Reasons, Africano,
7 likes
Kanye West
5/5
I had every reason to not like this album.
Rap and hip-hop, while I've enjoyed most of what I've heard (and even gave Biggie's debut 5 stars), a lot of it hasn't resonated with me or left me floored. This, combined with the fact that Kanye West has proven himself to be a colossal idiot in almost everything but making music, has put on full display his mental instability, and has spouted hateful, Anti-semitic language and aligned himself with a now former president who has spewed some equally condemnable rhetoric and you have an artist who, despite the quality of his art, is incredibly easy to dislike.
This review will assess the art, not the artist, and I have tried to put my personal feelings about Kanye aside here for the sake of the integrity of this project.
~~~~~~~~~~~~~~
This album completely blew me away. I mean my god. The sheer amount of creative energy that just bursts at this album's seams. The lyrics alone require an immense amount of dissection. West moves through this album at the height of his powers, delivering his messages with a personal urgency, at times, that adds to the power of this album. "Power" in particular stands out as a masterpiece in production and writing, and if I had to guess serves as the album's thesis. Bringing together sample after sample and combining them to make something both incredibly personal and yet wide-reaching and relatable.
The collaborators he brings in for this project were also excellently chosen and utilized. Jay-Z, Niki Minaj, Pusha T, and apparently Bon Iver, to name just a few. They all bring something more this album that it needed to be great.
Now for some things to criticize here. For one, I don't understand the tone of the outro to "Blame Game." It really seems like the Chris Rock cameo is supposed to be funny. But the tone of the rest of the song is sad, depressing at times, and the juxtaposition doesn't work for me. I don't know what it was supposed to do but it falls flat completely. Like it was included because they knew they could get Chris Rock and needed something for him to do. I also do find some of the lyrics to be misogynistic in nature, which while I know that can be par for the course in hip hop and always has been, I just can't really get behind or relate to. Lastly, his ego just cannot help but take its place at the forefront of this album. It's in your face and obnoxious and becomes tiresome at times. And that's annoying and a little sad. He's great and knows it, he just can't be humble about it ever, at all.
This album is undeniable. It's a masterpiece. It's a creative force. It's an achievement. I don't know what else to say. Five stars. Somewhat regrettably. But you can't deny the art.
Standout tracks: Dark Fantasy, Power, All of the Lights, Monster, Runaway, Lost in the World
5 likes
Funkadelic
4/5
“Which one’s George Clinton??”
Not quite as good as the other Funkadelic album I had earlier on. But still quite good. The concepts behind the songs are at the very least interesting and creative. I appreciate that they don’t just write songs about partying or being in love or whatever. The songs are about enemas or taking a dump or whatever the hell some of them were about. It makes it interesting and keeps you on your toes. And besides, who can deny the grooves, man? 4 stars.
For some reason this wasn’t on either major music streaming service so I found it on YouTube. Weird.
Standout tracks: One Nation Under a Groove, Who Says a Funk Band Can’t Play Rock?, Cholly
4 likes
The Notorious B.I.G.
5/5
Wow. Knowing very little, in the grand scheme of things, about rap and hip-hop, I don’t think I could tell you what makes this a standout example of its genres. But do know art when I see it, know an artist when presented with one.
The concept of this album (loose though it may be at times), is well considered. Starting with Biggie’s birth and childhood, and ending with his suicide, it explores all aspects of his life, past and present. He tackles his criminal past, love, sex, fame and wealth (which I was confused about since this is his debut album and he presumably hadn’t achieved widespread fame yet; think I’m missing something there), poverty, stress, and much more. It’s a mosaic of his life, and each track feels like it was intricately written and produced to tell a specific part of it. It’s quite engaging.
His delivery feels buttery-smooth while still conveying the emotion of each track. He’s not rushing or trying to impress the listener with how fast he can rap. He wants to be heard and understood. Where some rap can turn an uninitiated listener off with its references to other parts of the culture, fast deliveries, or just otherwise unfamiliar musical concepts, this album and Biggie himself stay rooted firmly in the moment of each song. The samples are brilliantly used to the point where I couldn’t always tell what was and wasn’t a sample.
I cannot say enough about this album. It’s long but never overstays its welcome. It’s funny, it’s serious, it’s entertaining, it’s tragic. Absolutely no doubt 5 stars. I need more.
Standout tracks: Intro (reminded me of Dark Side of the Moon’s “Speak to Me”), Things Done Changed, Machine Gun Funk, Ready to Die, One More Chance, Juicy, Everyday Struggle, Unbelievable, Suicidal Thoughts
4 likes
Gang Starr
3/5
I hate to sound like a broken record, but hip hop is something I don’t know much about and so it’s hard for me to judge these albums still. I do know good art when I see it though. And this is that - good art.
Knowing what year this came out, combined with hearing the sounds and sampling going on, it’s clear how this would’ve been influential and why it made this list. The flow is good, and none of the songs really overstay their welcome at all. It’s not as repetitive with its hooks as some other hip hop and rap albums have been. Overall this was good and I’m happy it came up. 3 stars.
Standout tracks: Execution of a Chump, Beyond Comprehension, Check the Technique, Here Today, Gone Tomorrow, As I Read My S-A, Precisely the Right Rhymes
3 likes
4-Star Albums (167)
1-Star Albums (8)
All Ratings
Talking Heads
4/5
Ironic that I start this project (one where I will discover new music) with an album I already have heard many times from a band I love. I do feel this is one of their weaker albums in terms of entertainment value. While it’s definitely progressive and shows the band at or near their peak of creativity and originality, that doesn’t mean it’s entertaining or capable of eliciting an emotional response, personal connection, or overt reaction other than “huh, that was cool.”
Portishead
4/5
Not at all what I expected! Very moody, atmospheric sound with poetic lyrics and themes, driven by understated sound. Very enjoyable and would listen to again with more intent.
Metallica
3/5
I’ve always been metal-curious but never enthusiastic enough about that curiosity to give it a try. And I don’t think listening to this has helped, really. I appreciated the lyrical themes presented throughout, especially the anti-war sentiments in “Disposable Heroes.” But musically, I honestly don’t get it. It isn’t for me.
Wilco
3/5
Interesting at times, probably more here than I could find in one casual listen. Some catchy tunes but mostly going for artsy vibes from what I could tell. Felt like a hipster indie album before those were necessarily a thing. Would listen to a few songs again but nothing is pulling me back.
Booker T. & The MG's
5/5
You’ve heard the song “Green Onions.” It’s probably all you’ve heard from Booker T. And the MG’s. But the rest of the album is just as good as that. Masterful skill on all instruments, impeccable style and attitude exudes through every song. It’s laid back and it’s intense, it’s atmospheric and it’s in your face. Everything I could have wanted out of an instrumental album and more. This is my kind of stuff.
Elton John
4/5
What an album. Not all hits (some songs haven’t aged well and some were just boring or unoriginal) but man when this album hits it HITS. As someone somewhat familiar with John’s work (the biggest hits, mainly), this was a treat. I’d heard it before years ago but remembered nothing and so essentially got to listen to it again for the first time. I knew “Benny and the Jets,” of course, as well as “Candle in the Wind,” “Goodbye Yellow Brick Road,” and “Saturday Night’s Alright for Fighting.” The rest were new and were amazing.
Linkin Park
3/5
Pleasantly surprised by this. I’ve always kind of rolled my eyes at Linkin Park. There have been enough memes and things to make me feel that way. But their music was coming out during my formative years and I’m glad this popped up. It sort of fills the hole in my understanding of that era of rock/alternative music. That being said…it wasn’t really my thing. Like with Metallica before them (a few albums ago), Linkin Park’s music has a very specific, aggressive sound that, to the naive, untrained ear, can make all the songs sound the same. So I did feel that some of the songs sounded very similar to each other. That isn’t a knock on the album, just a comment on my own unfamiliarity with the genre and the band themselves. It’s an intense sound, and you really need to meet it at its level in order to fully appreciate it. That could probably be done with further listens.
Standout tracks: One Step Closer, Crawling, Runaway, A Place for My Head, A Cure for the Itch
Orchestral Manoeuvres In The Dark
3/5
I gotta be honest, I was skeptical of this one. I really didn’t think it was going to be something I would enjoy. Appreciate, yes. Enjoy, no. But man once you get past its somewhat rough opening track, the rest falls into place as a trance-inducing, melodic, well produced album that was clearly ahead of its time. So much of that 80’s sound is present here, the sound that would become the hallmark of the era’s music. The synths. The reverb. The airiness. I don’t know if this one album had a whole lot of influence. But it sure seemed to know which way the wind was going to blow at the beginning of the decade.
Beck
4/5
It’s weird. It’s creative. It’s Beck. I loved it. Will listen again.
Fats Domino
4/5
The Cardigans
5/5
W.O.W.
I’d never heard of this album or this band. To my knowledge, I’d never heard any of their music (then “Lovefool” came on). I’m blown away. It definitely starts hot, cools off to some tracks I’m not as into but still like, then picks back up with immaculate feel and groove. What a tight band with such a well-defined sound. Plenty of bands attempt a 60’s-style sound and either go too far and sound like stereotypical music from that era, and some don’t go far enough and it doesn’t have enough of that feel. They nailed it with this album. There’s funk, jazz, rock, blues, and soul influences all over this and I could not get enough. I didn’t know who they were but I do now and I almost want to put this whole project on pause to listen to their entire discography. I just might.
Willie Colón & Rubén Blades
4/5
Without knowing the finer points of salsa music, I can only say so much. Having an appreciation for big band music from having played in a jazz band, I can say that this is a very tight band. There is technical skill, but also a passion for the music that comes through even 45+ years after its recording. I really enjoyed this album and would listen to more.
Standout tracks: Plastico, Buscando Guayaba, Pedro Navaja, Ojos
Os Mutantes
3/5
Huh. I had no idea Brazil had psychedelic bands in the 1960’s that were contemporaries of The Beatles and Pink Floyd. I heard a lot of the former’s “Sgt. Pepper” and the latter’s “Piper at the Gates of Dawn” here. There’s crowd noise at the beginning of the last track. There’s a trumpet part that reminded me a lot of “Penny Lane” (not on “Sgt. Pepper,” I know, but same era). It’s definitely a trip. Some real fun grooves here. Some of it lands, some of it doesn’t. It’s playful, it’s experimental, it pushes boundaries. It’s psychedelic, after all. I liked it, not sure I’d seek it out again. Maybe. I dunno. But it was good and I’m glad I listened.
And I didn’t understand hardly a word of it.
Standout tracks: A Minha Menina, Adeus Maria Fulô, Bat Macumba, Trem Fantasma, Ave Gengis Khan
U2
4/5
I mean, look.
It’s U2. They’re four very talented musicians. Two of them have silly names. They were cool at their peak and now are a Vegas legacy act. I tried to listen to this while forgetting that and taking this at face value. I think I did ok with that.
There’s a lot to like here. Some real creativity and artistry. A little bit of weirdness. Really well defined sound, something they’ve always been known for. Overall I enjoyed this. It’s a reminder that U2 actually did produce some great music at one point, and it makes me want to listen to “The Joshua Tree” again for the first time in a long, long time. Fun fact: I managed to squeeze it in on the same day Green Day’s “Saviors” released so that’s an accomplishment.
Standout tracks: Sunday Bloody Sunday, New Year’s Day, Drowning Man, The Refugee
Kate Bush
3/5
Common
3/5
I finally got a rap album. Without knowing too much about rap, I don’t feel like I can comment on this too much without coming off ignorant. So I’ll suffice it to say that this was a fun listen, if a bit dated. Rap and hip hop have always seemed rooted in their present. This album is no exception. The styles, some of the production choices, and lyrical themes feel old. Especially some of the lyrics. That’s to be expected with something more than 20 years old, of course.
Michael Jackson
4/5
As someone who didn’t grow up listening to Michael Jackson through their parents like many of my millennial peers did (my boomer parents generally shunned contemporary pop music in favor of older stuff from their childhoods in the 60’s and 70’s), I had never heard this album front to back before. Of course I’d heard most of it. In fact I think the only tracks I hadn’t heard before were “Baby Be Mine” and “The Lady in My Life.” I think I can be forgiven for that. But it’s for that reason, that I’ve heard most of it before, that it’s hard for me to be blown away by this album. The hits are HITS, but I know them. This album is a milestone, yes. Of course. To pack this much quality into one album is an absolute feat and creativity and captures all those involved at their peek (namely Jackson and Quincy Jones). I guess what I’m saying is I take this album for granted a little. And maybe that’s the best praise I could give it. Its songs have become so culturally ubiquitous that when I hear them all together for the first time, I just kind of look at it and go “yeah, that’s Thriller alright.”
All of that said, you can’t deny the quality here, or the impact. But I can and will deny “The Girl is Mine.” McCartney is capable of way better than that. It’s not great.
a-ha
3/5
I’m left wondering if this album is included because of “Take on Me.” Maybe that’s at least part of the reason. Who doesn’t love “Take on Me”? The rest is fine. I’ve never been a huge fan of the overly 80’s sound that is present here. Like it’s almost painfully 80’s. Which makes sense. But I like the energy on this album. I know nothing else of their discography so it’s hard to judge this against much else. But I liked it enough but don’t think I’ll be rushing back any time soon.
Standout tracks: Take on Me, Train of Thought, Love is Reason
The Waterboys
4/5
A pleasant surprise. I really wasn’t sure what to make of this based on its description. But I really enjoyed it. Definitely top heavy, with the livelier, more up-tempo numbers coming in the first half. But still a good listen throughout. Very defined sound. You can tell they’d been at it for a while as a band (despite the ever changing lineup). Overall, a good time if you want a folk album reminiscent of Dylan in his prime.
Killing Joke
4/5
The best albums I’ve heard so far in this project have been from artists I’ve never heard of before. I’d never heard of Killing Joke before but I sure have now.
I don’t know exactly what the post-punk movement was in response to (other than, well, punk), but I can tell that it drove this band to a very specific sound. It’s dire. It feels industrial in places. Its stakes are high. It’s enthralling to listen to. As with many of the albums so far, I will need to check them out further.
Standout tracks: Requiem, Bloodsport, The Wait, Primitive
Parliament
5/5
Who doesn’t love Parliament?
I was pumped when I saw this was my selection for today. I’d heard the hits but listening to an entire album was something I hadn’t done.
This album is just one hell of a fun time. It’s a party. It’s a concept album. It’s afrofuturism. I just don’t know what more I could’ve wanted out of a fun album. Such a clear vision for an album, such a defined sound and groove. The attitude, the confidence.
No one does it better than Parliament.
Doves
2/5
Honestly, largely forgettable. Sounds like Coldplay if they were less interesting. I don’t really understand why this made it into the book. It has almost no edge. No intrigue. The arrangements are nice and it’s pleasant enough to listen to I guess but it’s just…there. Can’t win them all.
Standout tracks: Firesuite, Lost Souls, Catch the Sun,
Shivkumar Sharma
4/5
Wonderfully atmospheric, pleasantly calming, and a great first foray into world music for the first time in this project. Needs repeated listens to really be appreciated. “The Prophet in the Mountain” stands out as a favorite track.
The Police
4/5
I always assumed The Police made music that was too smart for the sake of being too smart. I’ve heard the hits and they aren’t really like that. But Sting has always given off that vibe to me; a certain arrogance. But this was great. Uneven, yes. But the highs are great. Lots of moments that really rock hard. I would love to see what they do live. Do they just jam out in the middle of songs? I hope so. Because there’s some awesome grooves that get cut short here which is such a bummer. And that’s one of the knocks on this album - the good stuff is cut short at the expense of some of the tracks that bring the album down. There’s a lot to like here, I just wish there was more of those things.
Standout tracks: Message in a Bottle, Regatta de Blanc, It’s Alright For You, Deathwish, No Time This Time
Muddy Waters
5/5
I mean what is there to say? He’s THE 20th century American blues recording artist. Such an easy listen. A great showman on this live recording. It’s nice to hear him pre-British invasion, too. A lot of the invading bands (particularly The Rolling Stones) idolized him and while I don’t think that changed his sound, he probably had some feelings about it.
Anyway. This is a treasure and I’m glad it came up.
Standout tracks: I Got My Brand On You, I’m Your Hoochie Coochie Man, Tiger in Your Tank, I’ve Got My Mojo Working, pts. 1 and 2
Herbie Hancock
5/5
Man have I been lucky this week. The Police's "Reggatta De Blanc," Muddy Waters's "At Newport 1960," and now this.
What is there to say about Herbie Hancock that hasn't already been said? This feels like an album that absolutely belongs on this list not simply because it's popular, but because of its influence. This album *needed* to be on this list.
If you have any interest in funk, soul, jazz, or hip-hop (especially old school hip-hop), you will like this album not just because it's an absolute joy to listen to, but because it went on to influence all of those genres. It's only 4 tracks, but man is there so much funky soul, so much attitude, so much precision and confidence packed into them. The synth work in this is exceptional. He uses it as an instrument and not as a gimmick or something just to add layers. And rhythm section is absolutely in lockstep. He really assembled such an excellent group of musicians for this one.
This is one I would want to own a physical copy of. This is one I'll have on repeat for a while.
Standout tracks (even though there's only 4): Chameleon, Watermelon Man, Sly (though the fading heartbeat-like bass drum at the end of Vein Melter almost makes it a standout)
Pere Ubu
2/5
"So this is one of those bands where the singer can't really sing. Got it." This was my first thought when the vocals first came in on the first song. But hey, it's punk. No one ever said a punk singer needed to actually be good. There is some great stuff here. But the instrumentals are often overshadowed by the brutal and sometimes grating vocals.
I hear a lot of other bands here though, which speaks to its importance and influence. I hear Talking Heads. I heard Dead Kennedys. I hear Black Flag. I hear Roxy Music. I hear also hear more recent bands like The White Stripes and Black Keys. It's clearly an influential album. But that doesn't make listening to it enjoyable enough to give it more than 2 starts. I don't think I'll seek this one back out.
Standout tracks: Non-Alignment Pact, Laughing, Life Stinks, Over My Head
As an aside, I've assigned different meanings to each star in the rating system:
1. I HAD to hear THIS before I died?
2. I had to hear THIS before I died?
3. I had to hear this before I died?
4. I had to hear this before I died.
5. I HAD to hear this before I died.
Bon Jovi
3/5
I have always rolled my eyes at Bon Jovi and other 80’s hair metal bands. The glitz and glam of it all always struck me as inauthentic and dumb and way over the top. Maybe that’s the point and it just wasn’t for me. I don’t know.
This was a fun listen. Is it the most intelligent album ever? Not by a long shot. But there’s catchy licks and great guitar solos. And unexpected (and very welcomed) horns at a few points. I still am not crazy about “You Give Love a Bad Name.” But who can deny “Livin’ on a Prayer”?
I enjoyed this album and can see why it’s necessary to listen to.
But I cannot defend “Wanted Dead or Alive.” They’re from New Jersey. They aren’t cowboys. I know it’s an analogy (“steel horse” and such), but still. Get out.
Derek & The Dominos
3/5
I mean Clapton is amazing and I already knew this. When I read about this album I was surprised by both its release year (1970) and its initial reception. Clapton was a known commodity at this point and I was surprised this was so poorly received and sold so poorly. Was the name recognition not there?
If you love a good jam band, this is for you. Guitar solos and improvisation are abound and undertaken by legends like Clapton and Duane Allman on slide guitar.
But as good as each song is, I just found myself getting lost between tracks. They all kind of blended together at a certain point and I just didn’t know one from another.
It’s good and I’m glad I listened but given its length (1 hour and 16 minutes) and the nature of the songs (longer jam style songs), I just think it runs a little long.
Standout tracks: Bell Bottom Blues, Key to the Highway, Tell the Truth, Little Wing, Layla
Suede
2/5
The Britpop voice. Ugh. It’s so whiny to the point that it’s grating.
The music itself is great. The band is talented and writes good riffs and melodies. But I cannot get past the Britpop voice. The entire thing also seems to have a sense of self-importance about it.
This isn’t for me. I didn’t get it and I wanted the singer to stop singing the entire time.
Stan Getz
4/5
Always thrilled to have a jazz album thrown my way. So much so that I’m definitely biased toward liking them and rating them highly. But man this album is such a vibe. I can see why it became so popular and helped spread the bossa nova across the world.
Expert, precise playing from all involved. Wonderful soloing, great rhythm section, and the vocals really do well to match the style and vibe of everything else.
My one complaint? The vibes between songs are so similar that a casual listen makes it difficult to tell one song from the next. That’s not as bad on an album I enjoyed though.
Standout tracks: The Girl from Ipanema, Desafinado, So Danco Samba, Vivo Sonhando
The Smiths
4/5
Given my reaction to other British bands from this era, I was braced for something utterly intolerable.
I was pleasantly surprised and happily proven wrong.
Poppier and bouncier than I expected. Sure there’s the appropriate amount of melancholy and angst. And I’m sure there are sad, thoughtful lyrics hidden in some of the brighter sounding songs. But this was a good listen and I’m pleased it came up. I’d never heard an album by the Smiths before, nor much of Morrissey’s solo material. So I didn’t have a clear vision of what to expect.
This album rocks pretty hard in some places. Those moments are fast, punchy and punctuated with layered guitar sounds and steady bass that kept me intrigued and grooving.
Really pleased this came up and will very happily give it 4 stars.
Standout tracks: The Queen is Dead , Frankly, Mr. Shankly, Cemetry Gates, Bigmouth Strikes Again, Vicar in a Tutu
Oasis
3/5
Really solid debut from a band I only know from two songs. Definitely has a well defined sonic identity, namely heavy distortion. It’s fun. Some songs sound a little samey at times. But there’s potential here and the ones that stick out really do.
As a side note - I wouldn’t mind moving away from 90’s British bands for a while… (cue a Blur album in ten seconds when I click “vote”).
Standout tracks: Rock n Roll Star, Shakermaker, Up in the Sky, Supersonic, Bring it On Down, Cigarettes & Alcohol, …Married with Children
Radiohead
4/5
Sort of felt like a tale of two albums, really. The first half is loud, gritty, and at times more accessible than I expected any Radiohead to be. Then it sort of starts to dial back the energy near the end and it just didn’t work quite as well for me. Was going to give it 5 stars but it just ended so counter to how it started and it kind of threw me. I lost a little bit of interest. Overall it’s quite an artistic statement, especially knowing that this isn’t even their peak.
Standout tracks: The Bends, High and Dry, Fake Plastic Trees, Bones, Just
Van Halen
5/5
Honestly didn’t know their first album was from 1978. Thought they were an 80’s phenomenon. Anyway.
A common theme among a lot of the albums I’ve rated highly so far has been that I’ve been surprised by how much I liked them. They’ve either been by artists I didn’t know much of but assumed I wouldn’t like, in a genre I didn’t have much experience with, or else by artists I had a prejudice against.
This album falls into the category of artists I had prejudice against and thus assumed I wouldn’t like. But this was awesome. They honestly must’ve looked at what else was out there and thought “let’s just turn that shit up to the max.” And man did they ever. Eddie Van Halen absolutely owns this album. They knew what they had and he was let loose here to just do his thing. And it’s an absolute spectacle. I feel like the album’s thesis is revealed in the form of “Eruption.” It’s just Eddie tearing it the fuck up and it’s incredible. I can imagine being a teenager at the time of release, being into rock n roll, and hearing that and being absolutely blown away and captivated. Parts of “Atomic Punk” sound like it probably came across as alien in nature in 1978. Even on more the more generic blues rock track like “Ice Cream Man,” Eddie finds a way to leave his signature on it.
And all of this isn’t even talking about David Lee Roth. Clearly from the Plant and Gillan school of rock vocals, he finds a way to somehow match Eddie in leaving his unique mark on each song. Some of those screams are straight out of the Ian Gillan playbook. Listen to Deep Purple’s “Made in Japan” and you’ll know what I mean.
I can’t say enough about this. There are a few duds, sure. Every album, especially a debut album, is going to have those. But I really enjoyed this and am curious to see where they went from here (and how Roth’s departure affected them). Easy 5 stars.
Standout tracks: Runnin’ with the Devil, Eruption, Ain’t Talkin’ ‘Bout Love, I’m the One, Atomic Punk, On Fire
The Chemical Brothers
4/5
Knowing almost absolutely nothing about electronic or techno music, I can say I really enjoyed this. The first half is better than the second. Really fun grooves, good use of sound samples. Could easily lock in while listening and get some work done. Almost trance like at times. Can’t really say much else not being a techno person.
Standout tracks: Leave Home, In Dust We Trust, Three Little Birdies Downbeat, Fuck Up Beats, Life is Sweet
Elvis Costello & The Attractions
3/5
Fun stuff. Costello usually is. Witty lyrics, engaging melodies, and a tight band behind him.
I found the album to be consistent sonically. While each song sounded different (something I haven’t been able to say of other albums lately), they also had a certain Costello weirdness and quirkiness about them that just makes them feel like his stuff.
Standout tracks: Uncomplicated, I Hope You’re Happy Now, Tokyo Storm Warning, I Want You, Blue Chair
Lynyrd Skynyrd
3/5
Ok so, I have to admit I wasn’t expecting much from this. I’ve always viewed Lynyrd Skynyrd as a lesser version of the Allman Brothers Band. This mostly comes from my ignorance of the depth and history of both bands.
That said (and while doing my best to overlook their use of the Confederate flag for many, many years), this was a good listen. I was tempted to think that this was included in the book because of “Free Bird.” And maybe it is. But that doesn’t mean the rest is bad. It’s not. There’s excellent guitar work and a very well-defined country sound for a debut album.
They might have unintentionally peaked early though. I haven’t heard any other album of their’s so I say that with hesitation. But “Free Bird” is one of their two ultra famous songs (“Sweet Home Alabama” of course being the other). Where do they go from there in terms of energy, emotion, and impact? I don’t know. And I probably won’t ever listen to more to find out. Three stars.
Standout tracks: I Ain’t the One, Gimme Three Steps, Things Goin’ On, Poison Whiskey, Free Bird
Bad Company
2/5
Honestly…? Kinda felt like a generic 70’s rock album. Again questioning why it’s in the book, and assuming the answer is because of the song “Bad Company” (which I wouldn’t even hold among as the album’s best songs). Is it bad? No. There’s stuff to like here. It just doesn’t feel all that original. Reading that this was an early release on Zeppelin’s Swan Song label really added up. There are small flashes of Zeppelin here, whether it’s brief parts of vocal lines or the tone of the guitar. But it just doesn’t strike me as vital listening, honestly. Would be curious to see where they went after this.
This honestly should’ve been something I would normally eat up and ask for seconds. But it just didn’t do it for me. 2 stars.
Standout tracks: Rock Steady, Don’t Let Me Down, Movin’ On, Seagull
Arctic Monkeys
3/5
I’ve been surprised by the number of debut albums that have made it into this book. It makes me wonder a few things. Did the authors think that these artists peaked immediately? Are they so good that their debut AND at least one other album made it? Why pick debuts when there’s probably an album that better encapsulates the artist in their more mature, refined stage of their career? I just find it strange.
That being said, this was a great listen. High energy on every track. Frantic, manic, bursting at the seams. It felt like a Raconteurs album crossed with the Fratellis’ debut album “Costello Music.” But man, a lot of the songs sound the same. Yes, the riffs are different. Yes, the melodies are different. But the frantic vocals, the lyrics about stories of being out late with friends and getting into shenanigans and getting drunk, the guitar distortion. It’s all consistent throughout most of the album.
And that’s why I wish that a different album from Arctic Monkeys made it here. Because I have to believe that they took this raw energy and talent and refined it further into something great. Maybe I’ll find that out for myself at some point. For now, this was good but I can see them being better. Three stars.
Standout tracks: The View from the Afternoon, I Bet You Look Good on the Dance Floor, Dancing Shoes, Perhaps Vampire is a Bit Strong But…, A Certain Romance
The Byrds
4/5
Not 100% what to make of this. A cross between early-to-mid-period Beatles (Beatles for Sale/Help/Revolver/Sgt. Pepper) and early Pink Floyd but with an overall sunny outlook. It’s intriguing, really, I just don’t know what to do with it. The songs are short (mostly shorter than 2 minutes) but it’s a very well produced sound and it almost doesn’t matter that the album itself isn’t even half an hour long.
The highlights for me are “My Back Pages” (a Dylan cover), and “It Happens Each Day.” But honestly, it all went by so quickly it’s hard to tell you if there’re more gems here. I felt like I didn’t get to know any of these songs.
A couple of side notes: “Why” sounds like “Heatwave” in its chord progression; CTA - 102 is creepy and I did not like it bad touch
Overall this is a great demonstration of the songwriting and musical talent the group had, but I definitely need to hear more of this to know for sure. 3.5 stars (rounding up to 4).
Standout tracks: So You Want to be a Rock n Roll Star, Time Between, My Back Pages, It Happens Each Day
Jack White
4/5
Took a while but I finally got another album I'd heard before. I think it's only been 2 now, which is honestly amazing.
Anyway, this was better than I remembered it being, and I remembered it being very good. It really feels like a White Stripes album if their sound was bigger. Maybe that's what he was going for, maybe that's a product of it being released just a year after the band officially broke. Regardless, it's really cool to hear what he could do with a bigger production.
The sound of this album is unmistakably Jack White. Gritty, flashy, clever riffs, his signature snarl and sarcasm with a little bit of tongue in cheek humor. He's great at what he does and always has been. I do think his stuff with collaborators is ultimately better (White Stripes and The Raconteurs, namely), but he still produces quality stuff by himself. I do think it goes on a little long, though. There are some songs that could've either been saved for another album, or else cut entirely and released as B-sides. It's definitely top heavy too, with the first half being better than the second. Maybe this was a George Harrison "All Things Must Pass" situation where he dumped a lot of the stuff he'd been working on that wasn't fit for the White Stripes onto here once he had the freedom. I dunno. Anyway, 4 stars.
Standout tracks: Missing Pieces, Sixteen Saltines, Freedom at 21, Love Interruption, Hypocritical Kiss, Weep Themselves to Sleep, I'm Shakin', Trash Tongue Talker
The Notorious B.I.G.
5/5
Wow. Knowing very little, in the grand scheme of things, about rap and hip-hop, I don’t think I could tell you what makes this a standout example of its genres. But do know art when I see it, know an artist when presented with one.
The concept of this album (loose though it may be at times), is well considered. Starting with Biggie’s birth and childhood, and ending with his suicide, it explores all aspects of his life, past and present. He tackles his criminal past, love, sex, fame and wealth (which I was confused about since this is his debut album and he presumably hadn’t achieved widespread fame yet; think I’m missing something there), poverty, stress, and much more. It’s a mosaic of his life, and each track feels like it was intricately written and produced to tell a specific part of it. It’s quite engaging.
His delivery feels buttery-smooth while still conveying the emotion of each track. He’s not rushing or trying to impress the listener with how fast he can rap. He wants to be heard and understood. Where some rap can turn an uninitiated listener off with its references to other parts of the culture, fast deliveries, or just otherwise unfamiliar musical concepts, this album and Biggie himself stay rooted firmly in the moment of each song. The samples are brilliantly used to the point where I couldn’t always tell what was and wasn’t a sample.
I cannot say enough about this album. It’s long but never overstays its welcome. It’s funny, it’s serious, it’s entertaining, it’s tragic. Absolutely no doubt 5 stars. I need more.
Standout tracks: Intro (reminded me of Dark Side of the Moon’s “Speak to Me”), Things Done Changed, Machine Gun Funk, Ready to Die, One More Chance, Juicy, Everyday Struggle, Unbelievable, Suicidal Thoughts
Dirty Projectors
3/5
*Sigh*
I wanted to like this album. I really did. And while I can acknowledge its immense creativity and interesting musical choices, I honestly didn’t really enjoy it. I get its experimental. But I feel like sometimes “experimental” is code for “hipster experimental music the artists think is really clever and makes them look smart.” The song titles don’t help with that. (“Cannibal Resource”? “Useful Chamber”? “Fluorescent Half Dome”? What do these mean?) And that’s what this felt like to me. I hate to reduce an album to that. But I just couldn’t really jive with this album. There’s things to like, but I just didn’t get it overall. I don’t really know what else more I can say. It felt like Vampire Weekend’s first album if that album took like, a step further and discarded some of the common conventions of song structure and rhythm.
I will not be relistening and I will not seek more of them out unless presented with more through this project. Not bad by any means, but not worth writing home about. 3 stars.
Standout tracks: Cannibal Resource, Stillness is the Move, Useful Chamber
Sigur Rós
3/5
I had really low expectations after reading the Wikipedia article about this album. An Icelandic "post-rock" album (whatever the hell that means) sung almost entirely in Icelandic, that is over an hour, and whose tracks lean on the longer side (10+ minutes in some cases). Yeah, I really wasn't sold.
And to be honest, it didn't really do a whole lot for me. The tracks are beautiful. The melodies are easy to listen to and at times they soar higher than other tracks of heard in the same/similar genres. My trouble with it is that this is art and, I think, meant to be consumed as such. I know that sounds strange. "Isn't all music art?" Well, yes. But you know what I mean. There's art and then there's *art.* The stuff that wasn't just written to be commercially successful and sell records. It's the stuff that was put together because the people involved had a personal vision. That's what this feels like to me. Maybe that's because of the solemn nature of the sound of this album. Maybe it's because I'm right. I don't know. But my issue with this is that it simply isn't an easy listen. It's tempting to listen to this as background music but then you lose all meaning of the music. This is *art* and in order to be properly understood probably needs very intentional listeners. I just wasn't ready to do that today and so it just didn't hit the way I'm it could've/would've if I was ready to sit down for an hour, close my eyes, and just listen.
I guess what I'm saying is, there's nothing wrong this album. There's something wrong with me and the way I consumed it today. Or maybe it just wasn't for me. But I did like it. I don't know. 3 stars.
Standout tracks: Svefn-g-englar, Flugufrelsarinn, Ny batterí, Olsen Olsen
The Coral
4/5
This was awesome. Felt like a combination of The Doors, 60’s garage rock, and a sea shanty band, with a dash of psychedelia. Some of the vocal harmonies are amazing. Each song is distinct and doesn’t feel like it retreads the same ground.
I read that the lead singing has been compared to Jim Morrison. I see that, but the comparisons end pretty quickly. He is fantastic though. Good range, both vocally and emotionally. The band is tight, the riffs are hot, the organ is enchanting, and the general attitude and confidence of this debut album is engaging. I really enjoyed this and would love to see how they grow from this. I do wonder if they could top this though.
The one thing I’ll say to detract from this album is that it tapers off at the end and I stopped caring a little. 4 stars.
Standout tracks: I Remember When, Dreaming of You, Goodbye, Waiting for the Heartaches, Skeleton Key
Deerhunter
3/5
I honestly didn’t really get this album. The Wikipedia article says it got “universal acclaim.” I don’t really understand why.
This is another of those albums, like “Bitte Orca” before it in this project, that at times feels too smart for its own good to where it comes off as pretentious. Just take the name and album cover. “Halcyon Digest”? What? And a black and white photo of a praying bust wearing a wig. Please. The whole thing felt like a setup for something critics would love to devour.
The music is fine. Sometimes it’s good, but never great. Sometimes it’s downright boring (“Desire Lines” repeats the same chord progression adding almost nothing interesting for the final two minutes of the track). It’s almost always understated. Maybe there’s brilliance here but I can’t see it. I do not get it. Someone please explain it to me.
I didn’t dislike this album, I just think “universal acclaim” doesn’t really make sense and I’m either missing something or am smarter than everyone else. And I’m too modest to believe it’s the latter.
3 stars.
Standout tracks: Memory Boy, Coronado
2/5
Why
I love jazz. I have for a long time. I was in my high school jazz band (drums). I have listened to and appreciated jazz for the better part of two decades. I do not know what the hell this is or what it’s supposed to be.
My biases are obvious to me. “Free jazz” has always been the butt of a joke, not just to me but to others. I’ve also, ignorantly, rolled my eyes at “thrashcore” and other overly-intense-sounding genres. So I admit I came into this as skeptical as can be. But I also know that I have been pleasantly surprised and happily proven wrong multiple times in this project and was ready to have that happen again.
It did not. At all. This is straight up noise. I’m sorry. The first track was just noise. The second track sounded a lot like the first, which also was just noise. Whenever a track DID have some semblance of structure, it quickly went out the window and more chaos ensued. The only track that MAYBE avoided this entirely was “Broadway Blues.”
One of the most astonishing things to me is that this was an album of an artist covering SOMEONE ELSE’S MUSIC. Which means someone created music that sounds like this and someone else thought “let’s cover that, that sounds great.”
I’m sure there’s context I’m missing. I’m sure this genre and this album have homers (apologists?). I am not one of them. I could never be. The most telling thing about this album is that I had to find it on YouTube. It’s not on Spotify OR Apple Music. That’s because those platforms have music…
2 stars. Generously.
Standout track: Broadway Blues
Ella Fitzgerald
5/5
I mean, how much do I need to write? It’s Ella. It’s the Gershwin songbook. What more could you ask for out of a vocal jazz album?
This was wonderful. And especially refreshing after listening to John Zorn yesterday. She truly is one of the greats. It’s so easy to just feel immersed in her work. The emotion conveyed through her voice, the control she has over it. It’s wonderful and impressive. Just a lovely time. Really cannot recommend it enough. Five stars.
Standout tracks: I Got Rhythm, The Man I Love, Love is Here to Stay, A Foggy Day, Someone to Watch Over Me, Fascinating Rhythm, They Can’t Take That Away From Me
Side note: in reading other reviews before posting mine, I see that there’s a version of this that is 3+ hours. Yeah, will not be seeking that out, thanks. The link led me to “The Very Best of,” that’s the album cover on the website, so that’s what I listened to.
Jerry Lee Lewis
4/5
If only it were longer. Don’t tell me his set was actually 22 minutes. I guess when you put as much of yourself into a performance as he did into this, you burn out pretty quick.
Damn this was a fun listen though. Absolutely classic rock n roll and rockabilly songs performed by a legendary performer. The guitar solos sounded so ahead of their time, both in style and in tone. It’s easy to see how much of an innovator he was at his peak. Nothing beats the energy he put into these performances. 4 stars.
The Residents
2/5
This would’ve been better if I’d been high.
Art rock is generally just not my thing. This was definitely not my thing. I can handle dark. I can handle weird. I can even handle weird for the sake of weird. But throw those things together and I just don’t find it very compelling or interesting. Which is a shame because it’s clear that the people involved are talented. I just didn’t really get this in the slightest. And I didn’t find a whole lot to take from it. 2 stars.
Standout tracks: Weight-Lifting Lulu
Willie Nelson
4/5
Just a lovely collection of classic songs performed by a legend. Yeah, some are a little corny. The arrangements on some are a little much. But he sings with such emotion that it almost always works. Such a treasure of a performer.
It’s a little boring in places. But it more than makes up for that with its charm and feeling. An easy 4 stars.
Also I think this is the first time I’ve had the same song performed by a different artist in the project. Both Ella Fitzgerald a few albums ago and Nelson on this record performed “Someone to Watch Over Me.”
Standout tracks: Georgia on My Mind, Blue Skies, On the Sunny Side of the Street, Don’t Get Around Much Anymore, Someone to Watch Over Me
The The
3/5
The synth pop albums I’ve been dealt this far have been, in my opinion, largely duds. So I really wasn’t looking forward to more of the whiny British Brit-pop voice and meandering songs.
This was not that and was I pleasantly surprised.
It’s snappy, it’s fun, and it’s energetic. The singer’s voice is so smooth and easy to listen to. 3.5 stars (rounding down to 3 because I didn’t like it THAT much).
Standout tracks: I’ve Been Waitin’ for Tomorrow (All of My Life), This is the Day, Uncertain Smile
Nick Drake
4/5
This reminded me a lot of Cat Stevens, maybe with a smidge of Bob Dylan. It was honestly a very calm, beautifully played set of songs that really drew me in at the start and didn’t let me go. Unless you’re listening intently (which I was not doing the entire time) the songs can definitely blend together. But they’re so well played and written that it doesn’t matter. The melancholy of it all comes through and, while sad and dark at times, is enthralling. I would love to hear the rest of his discography. What a treat. 4 stars.
Standout tracks: Pink Moon, Place to Be, Horn, Things Behind the Sun, Know, Parasite, From the Morning
Peter Gabriel
4/5
The 80’s used to do me dirty. I used to really dislike 80’s music for a handful of superficial reasons. But this project has helped to rectify that. I’m not completely sold, but I’ve found an in and sometimes that’s all I need.
This is the best of the 80’s albums I’ve heard thus far, and I had low expectations. I expected commercial rock, some superficial and overdone.
But this was the work of an artist. The creativity of sound here. The use of different sounds, engineered and otherwise, is phenomenal. Sometimes it hits and sometimes it doesn’t, but he’s trying to be creative, to be different, to be interesting. And overall it works and I’m really pleased to have heard this. 4 stars.
Standout tracks: Intruder, No Self Control, Start, I Don’t Remember, Not One of Us
Metallica
3/5
I’ve had a Metallica album before, really early on in this project. Like the first week. Might’ve been the third one. And one of my criticisms of it was that, at least to the non-metalhead, a lot of the songs sounded the same. I kind of have the same criticism here but in a different way.
The orchestration here does add a new sonic element to the entire venture. And I do appreciate the immense amount of work that must’ve gone into composing all of the orchestral parts for all of these songs and all the rehearsing that went into it. And I do overall like this better than the first one I listened to. But I still think it suffers from all the songs sounding a little too similar to each other. Everything is high stakes, almost always. There are exceptions of course, but I dunno. After two albums I just don’t think Metallica is for me. And that’s ok.
Also this was obscenely long at 2 hours and 16 minutes. I couldn’t fit it into my normal day and now I’m behind the 8-ball trying to listen to today’s album.
Standout tracks: Fuel, Devil’s Dance, For Whom the Bell Tolls, One, Enter Sandman
Bill Callahan
4/5
While the title may be confusing, I actually found this to be pretty cool. Callahan’s singing voice almost feels like narration at times. It’s so smooth and deep, really invites you and at least for me was really intriguing. The lyrics are introspective and thoughtful, feel very honest.
The album also has a very specific feel to it, kind of a zen. Even in the more intense or darker tracks like “Eid Ma Clack Shaw” his voice still keeps the tracks grounded. Two songs could sound completely different and be about completely different subjects but his voice keeps you focused and invested.
I really loved this album. It has a lot of what I look for in a “good” album and I’d listen again and again. 4 stars.
Tina Turner
3/5
There’s definitely a lot to like here, some really great songs. They’re just dripping with that 80’s vibe that kind of turns me off. I’d love to hear these reworked with arrangements from either a prior or future era, something a little cleaner. As is, it’s very listenable and fun. The covers are exceptional. “Let’s Stay Together” is almost as good as the original. The gospel-inspired cover of “Help!” feels like an incredible inspired and original take a classic song.
The originals are good, too. Obviously “What’s Love Got to Do With It” is the headliner here despite not being the title track. That belongs to “Private Dancer,” which, while long, earns its length for its excellent instrumentals and guitar solo.
This was probably a transition album for her, moving away from Ike and changing her sound to match the times. I can respect that and know that transition often means some stumbles. But I don’t think there are many stumbles here. And for once I don’t think this is an instance where this album was included because of one hit song. This earned its spot. 3 stars.
Standout tracks: What’s Love Got to Do With It, I Can’t Stand the Rain, Private Dancer, Let’s Stay Together, Steel Claw
Funkadelic
4/5
Well I’ve had an album by Parliament already, might as well have a Funkadelic album, too. This was such a different vibe. Really felt like a rock band doing funk at times, and then a funk band doing rock. Great instrumentation throughout, and some of the lower vocals were just so nice to listen to.
Also, “Wars of Armageddon” is a political and social statement and I am 100% here for it.
Wondering now if at some point I’ll get a Parliament-Funkadelic album. Really hoping I do.
Standout tracks: Can You Get to That, Hit It and Quit It, Super Stupid, Wars of Armageddon
Screaming Trees
3/5
Felt like a pretty typical 90’s rock album. Heard a few 60’s influences here. Kinda reminded me of Oasis in that, or like that band from “Almost Famous” maybe? But just because it was typical doesn’t mean it was bad. It was very good for being typical. My main issue is that I don’t know how memorable it is long term. I can tell you my standout tracks because I just listened to it, but I don’t get the sense that I’ll be humming these or have them stuck in my head tomorrow. And I listened to it twice. 3 stars.
Standout tracks: Halo of Ashes, All I Know, Witness, Duke Western
UB40
3/5
What, no “Red, Red Wine”?
But actually, and as I’ve said a lot during this project, I was pleasantly surprised by this album. I have never enjoyed reggae. I’ve always thought it was boring and that all the songs sounded the same and that it was only for stoners. While this album didn’t completely sell me on the genre as a whole, it did show me that there is, of course, more to it than my past prejudices would have led me to believe. UB40 does a fine job, especially in their debut effort. It runs a tad long at times but I’m guessing that’s not uncommon for reggae. I don’t think I’ll be seeking them or more reggae out on my own, but I’ll be less prejudiced when another reggae album pops up again. 3 stars.
Standout tracks: Burden of Shame, I Think It’s Going to Rain Today, Food for Thought, Reefer Madness
A Tribe Called Quest
5/5
I said it with the Biggie album - I don’t necessarily know what makes for good hip-hop or rap, but I do know what makes good art. This is art.
A great album. I’d heard Tribe’s “Midnight Marauders” album before (checked it out because of “Award Tour”), so I knew at least somewhat what I was getting into - Great sampling (with some but not all being recognizable), clever and sometimes intricate rhymes, and just the smoothest of deliveries.
Tribe made a statement with this first album, both sonically and lyrically. It’s easy to see how they evolved from this to a more refined version of this sound on “Midnight Marauders.”
Unfortunately that’s really all I can say, not really knowing how to more deeply analyze this for its genre. But I really did enjoy it and was thrilled when I saw I had Tribe today. Five stars
Standout tracks: After Hours, Can I Kick It?, Mr. Muhammad, Ham ‘N’ Eggs, Description of a Fool
Coldplay
3/5
I mean, look.
I think Coldplay gets a lot of unwarranted flack. I actually find them to be one of the more creative, interesting bands of the last twenty years. Chris Martin is a good songwriter, and the band has talent at each instrument.
That being said...
Having actually already listened to their entire discography before, I was surprised at how little of this album I remembered. In fact I think I really only remembered "Shiver" and "Yellow," the two bigger songs from this album.
It's fine. A little boring, a little samey song to song. It's a debut, so I can cut them some slack, especially knowing how much better, how much more intricate they get and how they expand their sound. But as is, this is a fine if not bland debut that is just alright. Three stars.
Standout tracks: "Shiver,"Spies," " Everything is Not Lost"
Pentangle
2/5
I like music from this era. I like music like this music from this era (Dylan, Mamas and the Papas, Simon and Garfunkel, etc.). This was boring. Beautiful, but boring. Definitely see the merit of it as a folk album. But it really wasn’t at all my jam. Too bad too because I had high hopes. 2.5 stars (rounded down to 2).
Standout tracks: Hunting Song, Sally Go around the Roses
KISS
2/5
I was really surprised a KISS album made it on here.
I have always though of KISS as a joke. I didn't grow up during their peak popularity, and I have never heard a positive thing about Gene Simmons. I was inclined to not like this album. And I didn't, really.
It's a very bland 70's rock album that has some moments that really shine but for the most part is corny and not very intelligent. "Great Expectations" had better be a tongue-in-cheek type song because if not it's one of the most ego-driven songs I have ever heard. And look, I know KISS was never trying to write songs that blew their audience away with high-minded or insightful lyrics, they just wanted to blow you away their volume and theatrics. But I am not their audience, so there.
The albums peaks with its first track. That is never a good thing. But it is a good track. The entire band comes together and produces something special, at least by their standards.
2 stars.
Standout track: Detroit Rock City
Nas
3/5
As I’ve said about hip-hop and rap, I don’t yet know what makes a good album in either genre, but I know art when I see it and I know what I like when I hear it.
This just felt…ok??? I mean it was a rap album and that’s about all I can tell you. I liked the Q-Tip feature on “One Love,” even if the song itself was kinda boring. I think a lot of the time the hook in these songs is repeated a lot when the hooks themselves weren’t even that good. This was fine but I won’t be relistening. Giving the benefit of the doubt here at 3 stars but I think, really, it’s 2.
Standout tracks: N.Y. State of Mind, Memory Lane
The Adverts
4/5
An early punk album. Clearly very influential. Really enjoyed parts of this. Not everything really hit with me but there’s some great tracks here. Raw energy. Loud angst and attitude. Truly a pure punk album. Good stuff. 4 stars.
Standout tracks: One Chord Wonders, Newboys, Gary Gilmore’s Eyes, Drowning Men, Great British Mistake
Earth, Wind & Fire
4/5
I used to think Earth, Wind, and Fire were a joke.
I was ignorant, influenced unfairly by my parent’s prejudice of funk and soul music. My dad in particular was in high school when they were at their peak in popularity, and he was very much in his own musical world, one that he’s never really left honestly - the hard rock of the day, blues, and some jazz (but not much). So EWF wasn’t playing in my house as a kid, and whenever they or bands like them came up, they were scoffed at as being just kind of kitschy and a joke.
On my own I have since learned how wrong this was. For one, I’ve learned that all music (and art in general) has merit even if I don’t love it or even like it. But regarding EWF and other soul bands like them, I’ve learned that not only does their music have merit but that it’s also, like, good. In a way that surprises and impresses me continually. This album is no different.
Such feel. A soft touch when necessary but man can they crank it up when they need to. Such a talented band of musicians. I have to wonder how big the band actually is given all the instruments here. The vocals? Pristine. Not a note or vocal line out of place. The falsetto on “Reasons” is absolutely incredible and makes for legit love-making music.
I really can’t say enough here. Excellent album. There’s a couple of songs I could’ve done without so it doesn’t quite hit 5 stars, but it easily, solidly earns 4.
Standout tracks: Shining Star, Happy Feelin’, Reasons, Africano,
Caetano Veloso
3/5
I could’ve listened closer. But it’s hard because of the language barrier. Cool 60’s psychedelic album, the second one from Brazil that I’ve had so far. Nice mix of genres - some rock, some jazz. Cool stuff but I don’t know if I’m drawn to it again. 3 stars.
Standout track: Tropicália
Duke Ellington
5/5
Spectacular live jazz album. Ellington and his band at their best. Makes me miss playing in my high school jazz band.
I thought it was an odd choice to include the ramblings of the emcee. It really didn’t add much of anything to the show past his introductions at the beginning. But none of that could really hamper the fact that this is a lively, inspired performance of some absolute classic jazz songs. I didn’t listen past the actual live album, as the studio concert wasn’t part of the original live show and feels like cheating on the part of Duke and the band.
Excellent stuff. 5 stars, with the caveat that it’s a little confusing unless you read the Wiki article and know what the deal was with this one.
Standout tracks: Black and Tan Fantasy, Tea for Two, Take the A Train, Pt. III-Newport Up, Sophisticated Lady, Diminuendo in Blue, Jeep’s Blues, Skin Deep
Rush
5/5
Incredible album. I thought at first it would only be on here for “Tom Sawyer,” as so many other albums seem to have made this list for just one hit song (looking at you, Ah-ha’s “Hunting High and Low” album).
But this is genuinely a work of art produced by three immensely talented musicians. Yes, “Tom Sawyer” is amazing and deserves all the praise it gets. And you might worry that the album peaks with its first track. I’d argue it doesn’t. “YYZ,” “Limelight,” “The Camera Eye,” “Vital Signs” all shine on their own.
Rush is an incredible band. I’ve always known this. But to witness such refined talent put on display in one album was an absolute treat and I’m thrilled this popped up for me. 5 stars.
Standout tracks: Tom Sawyer, YYZ, Limelight, Vital Signs
Pulp
4/5
Had no idea what to expect from this album. I knew of Pulp by name only, not by sound. I knew “Common People” because William Shatner covered it once. But that’s about where it ended.
I thought this was great. A few words come to mind - horny, eclectic, dirty, mischievous. It twists and turns into a ton of different directions. At times I thought I heard a Bowie influence in there. It’s 90’s Brit Pop without the whiny voice and more hard rock/60’s and 70’s influence. And it’s fun.
I had a great time with this album. Easy 4 stars. Could be five if I listen to it again and really take to it.
Standout tracks: Mis-Shapes, Pencil Skirt, Common People, Disco 2000, Underwear, Bar Italia
Queen
4/5
Whoa.
I knew Queen had a different sound before “A Night at the Opera” and “Jazz,” but I didn’t know how hard they rocked. There’s a ton of different influences to be heard here. The Who jumps to mind immediately. But also some Zeppelin and Bowie, maybe a bit of the Stones.
Anyway this was a thrill. Some real artistry on display, even on their second album. I liked the separation of songs May and Taylor wrote on side 1 from songs Mercury wrote on side 2. It really gives the album two distinct feels, which was intentional.
Freddie’s vocals shine because Freddie’s vocals always shine. Brian May is unleashed in a few of the songs and it’s just a joy to listen to. You even get what I consider a precursor to “Bohemian Rhapsody” in “The March of the Black Queen.” Overall it’s a great album, though side two did start to lose me a bit as it went on. Still, 4 stars.
Standout tracks: Father to Son, Some Day One Day, The Loser in the End, Ogre Battle, The March of the Black Queen
Gang Starr
3/5
I hate to sound like a broken record, but hip hop is something I don’t know much about and so it’s hard for me to judge these albums still. I do know good art when I see it though. And this is that - good art.
Knowing what year this came out, combined with hearing the sounds and sampling going on, it’s clear how this would’ve been influential and why it made this list. The flow is good, and none of the songs really overstay their welcome at all. It’s not as repetitive with its hooks as some other hip hop and rap albums have been. Overall this was good and I’m happy it came up. 3 stars.
Standout tracks: Execution of a Chump, Beyond Comprehension, Check the Technique, Here Today, Gone Tomorrow, As I Read My S-A, Precisely the Right Rhymes
A Tribe Called Quest
4/5
“ANOTHER TRIBE ALBUM?!?!”
This is what I said, with excitement, when I saw this pop up last night. I’ve listened to their third and first albums (in that order) and was thrilled to be handed their second. Tribe is just…incredible. The whole package.
Masters of flow and vibes. Clear messages, often with social issues in mind. Smart lyrics with clever rhymes. Their demeanor or attitude just creates this feeling like you know them, like their songs feel familiar even if you’ve never heard them before. I adore Tribe. And I adored this album. I didn’t like it quite as much as their first, and so I’ll give it 4 stars. But that’s not to say it isn’t incredible in its own right because it really is.
Standout tracks: Excursions, Buggin’ Out, Butter, Show Business, Vibes and Stuff, Check the Rhime, Jazz (We’ve Got), What?
Talking Heads
5/5
A rare repeat artist. Only had a few of those so far (Metallica, A Tribe Called Quest).
This is my favorite Talking Heads studio album. Has been for a while now. The use of syncopation, the influence of African rhythms and styles, the at times enigmatic, at times incredibly insightful lyrics, and the intangible mood and attitude of this album just grab me in a way no other Talking Heads album has.
I’m a little biased, I think. “Speaking in Tongues” has what I consider inferior versions of songs that were in “Stop Making Sense,” so I just find it hard to listen to. “Fear of Music” (the first album I reviewed in this project), falls flat for me for most of the album and comes off as overly pretentious (not that “Remain in Light” isn’t, at times, pretentious). “Talking Heads 77” is my second favorite but it just comes with so much naivety and has a very specific sound of a band early in its lifespan that it can’t be my favorite. Anything after “Little Creatures” is just a band in decline. No, this is the best one if you ask me.
This was a thrill to listen to again with a purpose. I was reminded of why I loved songs like “Born Under Punches,” “Houses in Motion,” and “The Great Curve.” Deeper cuts like “Listening Wind” earned a little more favor this time around.
Overall I love this album and it’s almost cheating to hand it to me because it was an automatic five stars before I even started the first track. My one complaint about my listening experience is that the Dolby Atmos mix on Apple Music was…bad. Certain elements I felt were key to certain songs we mixed far too low and some songs almost sounded new, and not in a good way. But that’s not the album’s fault. Five stars.
Standout tracks: Born Under Punches, The Great Curve, Once in a Lifetime, Houses in Motion
Keith Jarrett
4/5
This is difficult to review. It’s completely improvised, which means the creative process involved here is not calculated and planned out with the same kind of thought and care a rehearsed album might have. There is still thought and care, clearly. But it’s so different because of its improvisational nature that to review it, as someone who does not play the piano, is difficult.
So suffice it to say that it’s a remarkable work. There are moments where it’s easy to forget it’s improvised. When Jarrett stumbles onto a hook or a melody and quickly develops it into something more full, with more moving parts on the fly, it’s nothing short of genius.
But it can be hard to follow. You really have to bear with him as he finds the ideas worth developing. I cannot hum you a melody he played here. Not because they’re forgettable, but because they’re buried under so much else.
This was a great experience and I am happy to have been along for the ride. But in terms of relistenability? It’s tough because of its length and the intimidating nature of the concept of the album as a whole. However, it’s impossible to deny the genius present here, and so 4 stars must be its score.
Standout tracks (tough to tell them apart but…): Pt. 2 - A, Pt. 2 - C
Ananda Shankar
3/5
I definitely didn’t have version of “Jumpin’ Jack Flash” and “Light My Fire” with sitars on my bingo card for this project, but here we are.
This was good. Entirely my thing? Not really. But good. It’s hard to argue with the musicianship. It goes a little off track at times (Sagar, namely), and while it’s always atmospheric, it also sometimes just lingers a little too long on a specific theme. But hey, for all I know that’s a hallmark of this genre of music. This gets three stars because, for the most part, I don’t necessarily love it but I have to admire the musicianship, effort, and creativity that went into it.
Standout tracks: Jumpin’ Jack Flash, Snow Flower, Light my Fire, Metamorphosis
Paul McCartney and Wings
5/5
I think this album represents a couple of firsts or rarities for this project so far. For one, it’s the first Beatles or Beatles-adjacent album I’ve been dealt so far. But it also is just the third album I’ve been dealt that I know well and the first one I know well not by the Talking Heads.
Now, how do I feel about the album? Well before listening to it today, I really liked it. A few songs (namely “Mrs. Vandebilt” and “Nineteen Hundred and Eighty-Five”) have at one point been in heavy rotation for me. The hits like the title track, “Jet” and “Let Me Roll It” were all mainstays in my brain. So what I was really looking forward to was listening to those tracks within the scope of this project, and listening to the ones that never struck a chord with me before.
How do I feel about this album after listening to it today? I love it. McCartney is obviously one of the kings of catchy hooks, and there are plenty of those here. Knowing that he played multiple instruments on this album, and knowing the trouble production history of it makes the final product all the more impressive.
The added instrumentals on multiple songs, specifically “Jet,” “Bluebird,” and “Nineteen Hundred and Eighty-Five” elevate each of those tracks beyond their existing excellence. But it’s McCartney’s creative force of will that brought this whole thing together. He needed a hit after a middling start to his solo career and this really elevated him and Wings.
Now, it should be said that McCartney wasn’t always the best lyricist. John Lennon often had the punchier, more insightful lyrics when he and McCartney wrote together, while Paul brought the musicality and melodic hooks to the table, most of the time. And it much of McCartney’s post-Beatles work, it’s clear that he’s missing his other half. His lyrics are sometimes non-sensical, or else just are confusing. What is “Jet” about? I don’t know, do you? But you have to know not to come to McCartney for insightful or sobering lyrics, like you might for Lennon’s music. You come for a good time and great vibes. And that’s what this album produces in spades. Even at its most intense moments it still finds a way to pull you in and see you buy in entirely. The tension is there in the title track and “Nineteen Hundred and Eighty-five,” but it’s broken up by either a complete change in tone (the former) or an actual pause to a vocal harmony section that slows things down and breaks the tension (the latter).
I love this album, more than I did this morning. It’s an adventure. It’s quirky without being cringey. It’s fun and exciting and doesn’t overstay its welcome. It’s paced well. The production is excellent. There isn’t much else to say. Five stars. Easily. McCartney’s best post-Beatles work. I don’t care what “Ram” fans say.
Standout tracks: Band on the Run, Jet, Bluebird, Mrs. Vandebilt, Mamunia, Nineteen Hundred and Eighty-Five
Stevie Wonder
4/5
I was surprised to learn that this album, having been released in 1974, was Stevie Wonder's 17th studio album release. I was clearly unaware of the fact that he had a career since the early 60's. That fact blew my mind even further when I put it together with the fact that he is still very much alive and making music. Just how old was he when he broke into the industry? How old is he now?
Anyway. This was a good time. Without having heard most of his discography, I can't say I'm sure it's his best. But I assume it isn't (this wasn't the album with "Superstition," after all). What is here, though, is a collection of great grooves, deep lyrics (in some cases), and meaningful, soulful songs from a generational talent. He even touches on religious themes in the gospel-inspired "Heaven is 10 Zillion Light Years Away." The quieter, more reflective pieces ("Too Shy to Say," "They Won't Go When I Go") are great breaks in the action and help pace the album.
This is a great album but it just didn't hit that hard for me. There are some great grooves, yes, but you can feel that he hasn't quite hit his full potential here. There are some flashes of his eventual brilliance (I swear I heard a lick that sounded a lot like "Superstition" at one point), but he just doesn't hit it yet. But hey, it's Stevie. I'm not complaining. 4 stars.
Standout tracks: Boogie On Reggae Woman, Creepin', You Haven't Done Nothin', It Ain't No Use, Bird of Beauty, Please Don't Go
Paul Simon
3/5
The 80’s sound even found Paul Simon.
Like most people my age who have heard anything from Paul Simon, I’ve most heard his stuff he did with Art Garfunkel. I’ve heard a few solo tracks of Simon’s but that’s about it.
This was good. Occasionally compelling but mostly lacking, at least to me. He certainly takes some chances here, both musically and lyrically. After knowing him mostly for the acoustic or lower-fi stuff he did in the 60’s, it’s surprising to hear such a full sound behind his voice. And I don’t know if I feel like it suits him. Maybe I just wanted this to be a Simon and Garfunkel album…
The lyrics feel pretty literal, like he’s talking directly to the listener. Which does make feel more personal. That said, I don’t think some of these songs are as clever as he thinks they are. “Cars Are Cars” felt like he was trying to be David Byrne in terms of writing about everyday things in a way that makes them sound interesting or new. But it doesn’t work.
This was fine. I do not need to listen again, and I honestly don’t really see why this is here. I have to assume he’s done better. 2.5 stars, rounded to 3 for benefit of the doubt.
Standout tracks: Allergies, Think Too Much (b), The Late Great Johnny Ace
Elastica
3/5
Having never heard of this band before, I had zero expectations going into this album. What a treat that turned out to be.
This is a great 90’s punk album. Well, I thought it was punk but Wikipedia says otherwise. Anyway.
I had a good time with this. It’s 15 songs but somehow they fit into just 38 minutes. Even the shorter ones were great. Catchy hooks and a really tight band.
Digging a little deeper into the band themselves, I found that two of the founding members and mainstays in the band were also in the band Suede. Now, I very much disliked the one Suede album I was dealt already. Good thing I didn’t know who the band members of Elastics were going in because I would’ve been biased against this album.
The one negative thing I’ll say about this album is that the mix just wasn’t very good. I could barely hear the vocals on most tracks, that was both on my car stereo and in my headphones. I don’t know if that mix choice was intentional or not but it was distracting at times having to strain to hear the lyrics. Oftentimes I didn’t hear them.
But take that away and you have a good album, especially as a debut. Three solid stars.
Standout tracks: Line Up, Smile, Hold Me Now, Blue, Waking Up, Never Have, Stutter
Ali Farka Touré
3/5
If the blues we know in the western world is an adaptation of and growth from traditional African blues, then this, at times, is influenced by the western blues. It’s like if you translate a phrase from English to a foreign phrase with Google translate, then take that translated phrase and run it back through into English. It might have some of the same words, but the meaning could be totally changed.
So that said, it’s tough to review this when much of the cultural context is lost. It was really pleasant to listen to. The melodies, both instrumental and vocal, were lovely. The guitar playing is repetitive to the point of being comforting and hypnotic at times. The rhythms were almost always complex without being overwhelming. I enjoyed this but I don’t know what else to say. Three stars.
Standout tracks: Erdi, Beto, Savane, Hanana, Gambari Didi, Banga, N’jarou
ZZ Top
4/5
Oh man a ZZ Top album.
I knew they were good, I just didn’t think they were consistently good. I’ve really only ever heard “Sharped Dressed Man,” “La Grange,” and “Cheap Sunglasses.” So as far as I knew they were a band that put out enough hits per album to stay afloat but nothing more than that. And I’ve always thought them to be kind of corny. And I still think that. But man this album moves.
This is just some uncut blues rock through and through. Are there some duds? Yeah, a couple. But they keep in line with the rest of the album, musically speaking. Better than that though, it’s just a fun listen. There isn’t anything deep to get into here other than that. Sometimes that all an album needs to be - fun. Helps that it’s well crafted. 4 stars.
Standout tracks: Waitin’ for the Bus, Jesus Just Left Chicago, Move Me on Down the Line, La Grange, Have You Heard
Robert Wyatt
3/5
I understand that Robert Wyatt was really going through a difficult time in his life when he recorded this. He had just had a horrible accident that left him partially paralyzed. The album is titled “Rock Bottom” for a reason.
It plays like an early Pink Floyd album (with Nick Mason producing, even) but with none of the humor or charm. This is a sad album. I can appreciate this as a piece of art that conveys one man’s personal and complex emotional state. But as an album? It’s a tough listen. Not just because of the sounds themselves, but the meaning behind them. It’s chaotic at times, repetitive at times, and always keeping you on edge. But not in the fun and exciting way.
Did I enjoy my time with this album? I don’t know if someone can “enjoy” someone else’s pain in the way you “enjoy” a great album. I appreciate this for what it is but I’m not going to sit here and say I enjoyed it. 3 stars.
Standout tracks (if there has to be one): A Last Straw
Bad Brains
3/5
This was…ok. Not at all what I expected, but I didn’t really know what to expect I guess…? Angry. Loud. Some nuance for sure but I think it’s easily lost at times given the general emotional state of the piece, the volume, and the vocals (which are, fitting with the genre, rough and lacking). Beeds another listen to be appreciated fully. 3 stars because I don’t know what else to give it.
Standout tracks: I against I, Secret 77, She’s Calling You, Hired Gun
John Lennon
4/5
About a year and a half ago, I did a complete Beatles solo catalog listen. I started with the first post-Beatles release by a former Beatle (Ringo’s “Sentimental Journey,” an album I’m certain I won’t come across in this project) and then the next (Paul’s “McCartney”,) then the next and so on. It was a great way to explore their solo material and see how they each developed as artists throughout their careers.
This album was the first real standout to me. I know people faun over “Plastic Ono Band” and I get why. It’s a really creative, honest album that really removes John from the Beatles image and was necessary for him to move forward. But I find some of it to be inaccessible (“Well, Well, Well,” “Mother” et al). This was his first great album if you ask me. Did I like it more maybe because it was more commercial? That’s entirely possible. But I do think there is some great material here that manages to be what John wanted while also being more accessible.
“Imagine” (the song) is obviously one of his most clear statements of what he truly envisioned for the world, what he most wanted the world to be like. It’s funny because he makes this statement in a poignant song then doesn’t really ever get back to this level of seriousness. I think it should’ve been the closer, honestly.
The rest is mostly great. “Crippled Inside” would’ve been a great opener. People like “Jealous Guy” but I dunno. It’s fine. “How Do You Sleep?” may be the industry’s first blatant diss track and is honestly great, made even better knowing that George Harrison played on it. Really adds to the intrigue of that entire era where the ex-Beatles were on mixed terms, at best.
This listen gave me a better appreciation for the songs I didn’t know as well like “Oh My Love” and “Oh Yoko!” They’re both really sweet songs that, while maybe a little corny, showcase his sensitive and sincere side in ways he didn’t always show.
Overall this is a great album. I could do without a couple tracks (namely “Jealous Guy,” “I Don’t Wanna be a Soldier Mama” and “How?”, the last of which gives me “Long and Winding Road” vibes), but it still hits and holds up today. 4 stars.
Standout tracks: “Imagine,” “Crippled Inside,” “It’s So Hard,” “Oh My Love,” “How Do You Sleep?”
The xx
3/5
I don’t get this album or the hype around it. I could barely hear the singers at times. Like mumble singing. The stripped down, quieter sound was interesting, but I mostly was just kind of…bored. I wish I liked it better but it just wasn’t for me. 2.5 stars, rounded up to 3 for benefit of the doubt.
Standout tracks: Intro, VCR, Basic Space, Stars
The Rolling Stones
3/5
It’s tempting to give the Stones a pass here. It’s my first album of their’s for this project (I’ve heard many others before), it’s got songs on it I happen to really like, and it’s the Stones.
But “Brown Sugar” is abysmally racist and sexist and cannot and should not be excused or given a pass. So that’s a star off my final rating for that alone. Everything I say hereafter will be said with the understanding that “Brown Sugar” needs to not exist and what is written next ignores this song entirely.
Moving on. This is, unsurprisingly, a really fun album. This is just before one of my favorite Stones albums “Exile on Main Street” and you can hear the origins of that sound here. If that album is a party, this one is the pregame.
It’s got everything. Wonderful, meaningful ballads like “Wild Horses” (which if you know its origin/context is even more heartbreaking), romps like “Bitch,” and straight up blues like “You Gotta Move.” There’s something for everyone here. And it’s awesome. The introduction of horns on this album is something to be celebrated, especially by someone who can never, ever turn down a horn solo in a rock song.
Jagger and Richards are on point as songwriters here, and the band came to play. This is just a fun, grooving album that I’d listen to again and again. Except that first track…3 stars (could’ve been 4 but, well, like I said above…)
The Dandy Warhols
3/5
Everything about this album made it seem like it would be just right for me. A 90’s rock band with a 60’s-inspired sound. I’ve been here before with this project.
But this ain’t it. The album has a unified sound to it, but it’s almost too unified. Many of the songs sound the same. I literally inserted a melody of the first song into the second in my head, and it worked. I wanted to like this album, but between its repetition, its uninspired lyrics, and its length (including songs that felt like instrumental filler…?), I just can’t get behind this one. It’s getting 3 stars because I can’t give 2.5. I almost always lean toward giving a well produced album that just wasn’t for me 3 stars because I give it the benefit of the doubt that it’s good, just wasn’t my taste. But this really gets 2.5 stars.
Standout tracks: Be-In, Orange, Not If You Were the Last Junkie On Earth
Roni Size
4/5
I was dreading this.
Coming off of another hour long album from the day before, and already behind my pace of actually doing an album a day, I really did not want to listen to this. But I actually ended up liking it. I think there’s a longer version of this album that puts it over the two hour mark…yeah I wasn’t seeking that out. I went with what Spotify gave me.
Drum and bass has always seemed like such a niche genre. Like I couldn’t have named you any drum and bass artists or told you the tenets of the genre outside of…well the drums and the bass. But I was surprised by how much someone could do with some tape loops, some vocals, and a synthesizer on hand. Really unique stuff. Great to have on while trying to focus. I’ll definitely add this to my study/focus mix. Good stuff. 4 stars. Too long to justify 4.5 or 5, plus I didn’t like it THAT much. But it was good.
Standout tracks: Railing, Matter of Fact, Mad Cat, Beatbox, Morse Code, Destination
Jacques Brel
4/5
Whoa.
Ok hold up.
The passion with which this man sings is absolutely unmatched. What it must’ve been like to see him in person my goodness. You can hear his energy and passion in just the music. You can feel it. This man believes with every fiber of his being what he’s singing on this album. The audience at this show must’ve gotten a hell of a show holy shit. Regardless of your opinion of the music we can at least acknowledge what must’ve been this man’s incredible showman.
Ok. Just needed to get that out of the way.
This was such an interesting listen. I had no idea what he was saying for about 99% of the songs. But it didn’t matter. The music itself conveyed the tone and emotion of each song just fine. Also let’s acknowledge that this man was up there singing these songs by himself. No backup singers. Just a band (an immaculate band, mind you) and him.
I got the feeling that this music was very French. Like this is what the people of France were listening to obsessively during its time. Like these songs, at times, sound stereotypically French. But I don’t care. This was a fun listen and I can’t say enough about the performance.
Standout tracks: Amsterdam, Tango Funebre, Les Jardins du Casino, Les Toros Avec Final
Funkadelic
4/5
“Which one’s George Clinton??”
Not quite as good as the other Funkadelic album I had earlier on. But still quite good. The concepts behind the songs are at the very least interesting and creative. I appreciate that they don’t just write songs about partying or being in love or whatever. The songs are about enemas or taking a dump or whatever the hell some of them were about. It makes it interesting and keeps you on your toes. And besides, who can deny the grooves, man? 4 stars.
For some reason this wasn’t on either major music streaming service so I found it on YouTube. Weird.
Standout tracks: One Nation Under a Groove, Who Says a Funk Band Can’t Play Rock?, Cholly
Dion
2/5
This felt like some sleepy, corny 70’s pop that was for a very specific audience that definitely wouldn’t have included me upon its release.
This felt like some guy who thought he could rock and also be emotionally vulnerable made an album but wasn’t sure who he was making it for.
This was booooorrrrrrring. And far too clean sounding to have any kind of real soul or heart in it. I know that’s probably a consequence of Phil Spector’s involvement, but still. I just really didn’t vibe with this. It was whiny at times, had jarring tone shifts song to song, and lacked any real heart or soul.
Anyway, whatever. 2 stars.
Standout track: Good Lovin’ Man
Tim Buckley
3/5
What an interesting folk album. I feel like I’ve never seen (outside of a few Dylan songs) a folk album with such long tracks. It’s a well-crafted piece though, as a whole, and I’m better off having heard it. It definitely wasn’t my favorite album I’ve ever heard but the general chill vibes and hippy sentiments make it a pleasant time capsule of an album. My only complaint was the length of some of the tracks, but that’s not too big a deal when the whole thing is only 45 minutes. 3 stars.
Standout tracks: Strange Feelin’, Buzzin’ Fly, Gypsy Woman
Led Zeppelin
5/5
File this one under “victory lap albums.” I’ve listened to this record a few times, and many of the songs on it individually many times. I know it, I love it, it’s Zeppelin. I love them. How can you not?
But there were still some ones I gained a new appreciation for through this listen. “Thank You” is a real standout for me. “If the sun refused to shine, I would still be loving you/When mountains crumble to the sea, there will still be you and me.” Hit me hard.
There isn’t much that can be said about an album like this that hasn’t already been said, so I don’t feel compelled to say much here. The four members, when brought together, simply created magic. Almost every song on this is a standout track. I’ll leave it at that. 5 stars.
Standout tracks: Whole Lotta Love, What is and What Should Never Be, Thank You, Heartbreaker, Ramble On, Bring it On Home
Cocteau Twins
2/5
This was…an album.
I really didn’t get it. Not sorry. The echo on these vocals, good lord. I honestly wasn’t sure if it was in English because I could hardly understand what they were saying. The songs were repetitive and overly long. They rarely went anywhere. This was probably really forward thinking for its time, and in some ways is probably still ahead of its time. But I did not enjoy this very much, honestly. I was bored, and I hate that any music can make me feel bored so I do actually feel a little bad. But this has to be 2 stars. I have zero desire to listen to this again.
Standout track: Lorelei
Prefab Sprout
4/5
I’m horribly biased against 80’s albums.
I just haven’t had an overly positive experience with the decade before my birth decade. Sure there are the exceptions - Michael Jackson and Talking Heads spring to mind. But on the whole, the 80’s sound, the vibe, the musical hallmarks of the decade come across to me as cringy, bordering on boring and insincere Muzak.
While this album does, admittedly, very much sound like an 80’s album to my ears, it’s one I can actually get behind. This is a fun album, with varied melodies and arrangements, and not so many synths that I wanted to plug my ears and cry. I even heard guitars! And real drums! Wow
Actually though, I did enjoy this. I’m very happy to give it 3.5 stars, rounding up to 4 because of how much it surprised me.
Standout tracks: Faron Young, Appetite, When Love Breaks Down, Goodbye Lucille #1, When the Angels
Skunk Anansie
5/5
I had no idea what this was going to be going in. I like it that way sometimes.
I was blown away by this album. It was as if Rage Against the Machine had a lesser known but just as good and captivating cousin. And the vocals - the VOCALS. Skin is absolutely incredible and has great range. Soft and angelic one moment, gritty and angry the next. Her voice alone is worth the price of admission. The band is tight and the lyrics are always interesting.
I loved this album. A rare, hard to come by 5 stars for a band and album I’d never heard of. I need more of this.
Standout tracks: Charlie Big Potato, On My Hotel TV, We Don’t Need Who You Think You Are, The Skank Heads, Lately
Snoop Dogg
3/5
Never heard a Snoop album before. Definitely had heard a few songs because, let’s face it, who hasn’t at least heard “Gin and Juice”?
There’s a lot to like here. I do think it’s front loaded with the better tracks, but a debut album is often uneven. That’s not to say anything here is bad, just that the quality starts to dip as it goes on. I wasn’t crazy about the misogynistic lyrics of “Ain’t No Fun (If the Homies Can’t Have None),” though. Some things age well, some don’t I guess.
That aside, I enjoyed this album, but not as much as I enjoyed Biggie’s debut “Ready to Die.” That still holds the top spot for rap albums I’ve heard so far in this project. You can tell he and Snoop were contemporaries just based on the backing tracks, the subject matters, and the sampling styles and features. The features were great though.
Overall this was good. But I have a gold standard for rap albums now and if I’m comparing Snoop’s debut to Biggie’s (with Biggie’s being 5 stars), Snoop comes in at 3. Curious to see if this was his peak or if he continued to grow. It’s tough when your biggest hit is on your first album…
Standout tracks: G Funk Intro, Gin and Juice, The Shiznit, Serial Killa, Who Am I (What’s My Name?), Pump Pump
Iron Maiden
3/5
Thus far, metal has just not really done anything for me. This was no different. I found it a little more accessible than the Metallica stuff I’ve heard. This was clearly a classic album given its age compared to the metal genre, and Iron Maiden is obviously a pillar of a band when it comes to metal.
But as most metal has done, this fell on largely deaf ears. There was absolutely no dynamic range throughout the entire album. It was all high stakes, all max volume, all up tempo, all the time. And that’s metal for the most part. But to the untrained ears it’s difficult to discern any significant differences between songs outside of their lyrics. So I sit here, writing this, unable to tell you much else about this record. I did like some of the tracks, but the only motivation I have to do any relistening is to see if I can better tell each song apart. 3 stars simply because it was very well made, clearly inspired, and stands today as a classic album and, I assume, a timeless example of its genre.
Standout tracks: Invaders, The Prisoner, The Number of the Beast, Run to the Hills
Doves
2/5
Ok, how many of these 90’s Britpop/Post-Britpop albums are gonna be on here? How many Oasis contemporaries/bands that sound a lot like Oasis? I get that the book this project is based on is edited by a Brit, but come on. The book is already skewed toward western, English-speaking music, at least make it so these 90’s British bands aren’t overrepresented.
But hey, for all I know this’ll be the last one of this genre I get for the remaining 899 albums. Probably not, but possibly. I’m just saying that thus far, one specific genre has gotten more play than most others.
Moving on.
This was fine, if not a little generic feeling. Reminded me of Coldplay in some parts; makes sense since they were contemporaries. But I really wasn’t exactly inspired listening to this and don’t see much of a reason to return. 2.5 stars rounded down to 2 because I’m getting a little tired of this genre.
Standout tracks: There Goes the Fear, N.Y., Pounding
Joni Mitchell
4/5
Been waiting for a Joni Mitchell album. I knew very little if anything about her music but I know how beloved she is. I can see why.
The songwriting here is absolutely top notch. I could quote multiple lines here but I’m writing this as I leave for work and don’t have the time. The music…is alright. Sometimes it borders on schmaltzy but it usually doesn’t cross the line. I loved the incorporation of jazz and orchestral elements on multiple songs, especially on “Down to You.” And some of the vocal harmonies are just excellent
Overall this was great. 4 stars because of the songwriting and in spite of the sometimes corny musical arrangements.
Standout tracks: Court and Spark, Free Man in Paris, Car on a Hill, Down to You, Raised on Robbery
The 13th Floor Elevators
3/5
I don’t often get albums from 60’s artists I’ve never heard of. So I was excited to hear this, especially with such an eccentric name and clearly psychedelic sound (just read the album cover).
This was alright. Standard psychedelic and garage rock fare for the time. Better than most anyone who tried to reproduce the sound later on. Loved the inclusion of unexpected instrumented like the harmonica. The vocalist also definitely gave me Jagger vibes at times.
Overall though, I dunno. I wasn’t taken with this one like I expected. Don’t get me wrong, there’s some great tracks (see below), but this didn’t standout against other stuff from this era for me. 3 stars for being a solid representation of the genre/period, but nothing more since I wasn’t crazy about it.
Standout tracks: You’re Gonna Miss Me, Roller Coaster, Splash 1, Fire Engine
Tricky
2/5
Holy shit I just do not care.
For one I can barely hear anything anyone is saying on this album. For another it plays more like a sound collage or some kind of techno/dance album at times more than a rap album, which is what Wikipedia calls it.
Personally I don’t know what this is and I really don’t care. It is, for the most part, boring as well. I don’t care how good the lyrics are (they actually didn’t seem bad from what I read on Spotify for some songs), but the delivery is too Lofi for its own good. I know Tricky was part of Massive Attack, and I know people fucking LOVE Massive Attack. But I just did not get this at all. Not for me. Top heavy album that fades toward the end. Another instance where I think an album made it on here because of its popularity in the UK, where the author is from, not because it’s an exceptional example of its genre. 2 stars. Boring.
Oh and it’s weirdly sexual at times that really made me cringe. Please no more. You’re not as smart and edgy as you think you are.
Standout tracks: Overcome, Black Steel, Hell is Round the Corner
Wild Beasts
2/5
The vocals on the first few tracks…whoever’s voice that was needed to stop. Absolutely obnoxious.
Whoever’s voice that was on most of the remaining tracks was awesome. This band seemed to be one of those bands that wanted to be too clever, just so we could all see how clever they were. Some of the grooves here are great, but they falter because they tried to get too cute musically, or else the lyrics were too cute.
I can see why this is on here, I guess. The author’s bias toward English bands keeps rearing its head and it’s starting to piss me off a little. Here again was some niche English band that most out of England probably haven’t heard of and it makes a list of what is, in reality, the 1,001 best albums of all time? I mean ok I guess but who was this guy’s editor?
Anyway this was fine and it gets 2 stars. Half the album was good. The other half was fine.
Standout tracks: All the King’s Men, Two Dancers (ii), This is Our Lot, Empty Nest
Bob Dylan
5/5
I mean come on.
I have always loved Bob Dylan, but I’ve known him for individual songs and not full albums. “Don’t Think Twice, It’s Alright” and “Boots of Spanish Leather” are two of my absolute favorite songs. And that’s not to mention his actual hits.
Dylan’s music is poetry set to musical arrangement. His lyrics are insightful, accessible, and can be interpreted and easily made personal by the listener. The themes he covers both here and in his other works are often universal - love, loss, and existing as a human being struggling to get by. He also sings of higher concept ideas, drawing from biblical and mythological sources for inspiration. And he does it with such a specific tone in each song, cutting and spiteful in one moment and then soft and reflective in the next. All of this creates music that has produced songs that, at least for me, fit into different, specific moments of my life. I honestly cannot say enough about Bob Dylan and his music to you, the stranger reading this review.
As for this album in particular, I loved it. I know that this album represents a controversial transition for Dylan, adding an eclectic sound to his music for the first time. Nearly 60 years later, I really have no attachment to that controversy, as I discovered both styles of tracks simultaneously and had no idea people cared that much.
This is during the peak Dylan years. “Subterranean Homesick Blues,” “Maggie’s Farm,” “Mr. Tambourine Man,” “It’s Alright Ma,” and “It’s All Over Now, Baby Blue” represent some of his absolute best lyrics.
I cannot say enough about this album. It will get more play in the future and the songs above will find a home on my Dylan playlist (the ones that weren’t already there, that is). Five stars.
Standout tracks: See above
Soul II Soul
3/5
I definitely underestimated this album. I made the mistake of looking at some of the reviews on here before listening, and found that, in general, folks didn’t like it much. I get why, but I really don’t think it was that bad. Was it the most amazing album I’ve ever heard in my life? No. Was it even one of the best club music albums I’ve ever heard in my life? Not that I’ve heard many, but no. But there’s some great grooves on here and the flute work is great on “African Dance.” The lyrics do leave something to be desired in a lot of places and some tracks do sound like Muzak for sure. But there’s enough to like here that I’m happy to have listened. 3 stars.
Standout tracks: Holdin’ On, Feeling Free, African Dance, Feel Free
Neil Young
4/5
I’d never heard a Neil Young album before. I’ve always known who he is and that he’s significant. But I’d never listened to a full album.
This was great. Definitely warrants another listen to focus more on the lyrics. But right after a Dylan album, I can see how this would scratch the same itch. I loved the vibe throughout. Some songs hit better than others (did not get “Vampire Blues,” though I assume it’s a metaphor for something…oil?), but overall I liked most of what I heard. Good job, Neil. 4 stars.
Standout tracks: Walk On, See the Sky About to Rain, Revolution Blues, For the Turnstiles, On the Beach, Ambulance Blues
The Who
5/5
I have a looooooooooooong history with this album.
My Who phase pretty much directly followed my Beatles phase (still waiting on a Beatles album…). I consumed everything of theirs I could find - the good, the bad, the great. This album is one of my favorites of theirs and of all time. Period.
I have a big, mostly nostalgic connection to Baba O’Riley. I maintain that it’s one of the best album openers of all time. I’ve listened to that song in many different periods of my life and it’s meant something different each time. I’ve been known to call it my favorite song. It’s made me smile, it’s made me laugh, it’s made me feel elated about life and it’s made me cry.
Bargain is probably the hardest rocking song on this album and it hits every time. “Love Ain’t for Keeping” is a nice palate cleanser from the intensity of the first two songs, and has always come across as a really sweet song. “My Wife” maybe hasn’t aged that well and even despite that is a low point on the album for me. Entwhistle’s songs were rarely highlights though (with apologies to “Boris the Spider” fans). “The Song is Over” is too long and little too schmaltzy but when it hits at its peak it’s amazing. “Getting in Tune” is another quieter song but it’s really well produced.
We’ve hit the final stretch of the album. “Going Mobile” is a little weird but is a great example of what the band could do as a power trio without Daltrey. Not as good but the energy from the rest of them, especially Entwhistle and Moon, carries the song.
“Behind Blue Eyes.” I mean come on. The song is in two distinct halves and they’re both equally masterpieces. When it turns to the second half, it’s like the bass dropping. My god. And the backing vocals in the first half??? What?!?!?
But we need to talk about “Won’t Get Fooled Again.” I don’t always love a song that runs eight and half minutes. But if you’re gonna have that song, it had better big, loud, and epic and you better close your album with it. The Who knew what to do. Is there a better closer than this? I cannot say enough about this song. It’s Keith Moon’s masterpiece, it’s Pete Townshend’s masterpiece, it’s Roger Daltrey’s masterpiece, and it’s one of Entwhistle’s many masterpieces.
This album makes me feel so many things. It’s a part of me and I love it. It’s unfair to give it to me in this project because I didn’t even need to listen to it. I just know it. This was the first automatic five star album of this project. It’s a masterpiece. I defy anyone to call this a bad album. I don’t see how you can do it. It’s objectively four amazingly talented musicians at the top of their game absolutely fucking killing it. Five stars. I’d give it 10 if I could.
Standout tracks: Baba O’Riley, Bargain, Getting in Tune, Going Mobile, Behind Blue Eyes, Won’t Get Fooled Again
New Order
2/5
Oh look, another 80’s British band. Great.
I had low expectations for this album. I’m becoming jaded to the fact that there are so many albums from the same era, and so many from British bands, that I just really didn’t care about this one going in. It did surprise me; it wasn’t really bad at all. But I still wasn’t crazy about it.
The use of synths and drum machines was honestly over the top. And I get it - it’s the 80’s. But still. It felt like what someone might create today if they were asked to replicate that “80’s sound” in a new song. Like a stereotype.
This was fine if not a little overdone. 2.5 stars rounded to 2 because I’m bored of this genre.
Standout tracks: All the Way, Round and Round, Mr. Disco
The Yardbirds
3/5
Like a lot of psychedelic albums of the time, at least for me, it’s mostly really creative and sometimes boundary-pushing stuff. It’s just that some of it falls flat because, like all experiments, some failed. I can appreciate this album for what it was trying to do in its time, and also for the fact that they did it with an ever changing lineup. But on the whole, I found this to be just ok. There’s some good bluesy stuff on here, and even some fun experimental stuff, but it mostly was just fine. 3 stars.
Standout tracks: Lost Women, Over, Under, Sideways, Down, The Nazz Are Blue, Jeff’s Boogie
Aerosmith
4/5
Like a lot of bands on this list, I’ve had a prejudice against Aerosmith. But like this project has done many times before, my prejudices and prior dispositions have been challenged and often proven unfair or incorrect.
I was ready to hate this album. I’ve always seen Steven Tyler as a parody of himself (not to mention the allegations against him), I’ve never much liked what the 80’s did to great 70’s bands, and I’ve never quite liked most 80’s music in general.
But this was fun. Nothing earth shattering lyrics-wise, but no one ever called Aerosmith poetic. The music though? It’s a party and we’re all invited. Hard rocking guitars, not too many layers and great vocals from Tyler. I look at this as a great representation of Aerosmith as a band, of peak 80’s hard rock, and as an example of just how wrong I can be with my prejudices sometimes.
Was this smart rock? No. Was this fun rock? Yes. And fun is fun. 4 stars.
Standout tracks: Young Lust, Going Down/Love in an Elevator, Monkey on My Back, Water Song/Janie’s Got a Gun, My Girl
Talking Heads
4/5
Here we are again.
I love the Talking Heads. Go back and look at my reviews for “Fear of Music” (the very first album I got handed in this project) and “Remain in Light” (my favorite Heads album) if you want more on that.
As for this album, for me it falls between the prior two I’ve listened to so far. While still indulgent and at times feeling different for the sake of it, the band (or perhaps just David Byrne) had yet to become fully convinced of his own excellence and was still just a fun, quirky band. There are flashes of their signature weirdness (the whole thing is littered with it, but I’m talking about previews of “Fear of Music” weirdness) in “Warning Sign,” “Found a Job,” and “I’m Not in Love.” Mostly, it works. What it adds up to is a pretty great midway point in terms of evolution and style between their debut “Talking Heads 77” and the aforementioned “Fear of Music.”
People love to focus on David Byrne when it comes to the Talking Heads, which is obviously understandable. The rest of the band, as it was at this time (before they expanded their sound with additional musicians both in studio and on stage), is incredibly solid. Chris Frantz, while not performing any crazy complicated drum parts, presents as the band’s equivalent to Ringo Starr in that his drumming is rarely anything that presents as technically complicated but always fits the song perfectly. Meg White is another comp for him in this way. Jerry Harrison is a quiet but ever present genius on these songs, providing the guitar sound that defines the album. But most of all, the true star of the rhythm section of this band is and always has been Tina Weymouth on bass. Her bass lines are simply genius. They’re melodic while also holding down the groove and keeping the feeling alive. There was at least one song where it really felt like the bass line was written first and the rest of the song followed. I’m sure it happened more than once. History doesn’t always remember bass players, but it should absolutely remember her.
I wrote a lot about this. It isn’t even my favorite Heads album. It isn’t even my second favorite Heads album (“Little Creatures,” probably). But it’s damn good and it gets 4 stars.
Standout tracks: Thank You For Sending Me an Angel, Found a Job, Artists Only, I’m Not in Love, Take Me to the River
Randy Newman
4/5
As someone born in the early 90’s, it came as quite a surprise when I realized that Randy Newman had produced a lot of music before he ever wrote the score and original songs for Toy Story and the theme song to Monk. As far as I knew, that’s just what he did and was known for.
But I’ve known for a long time now that he did have a career long before doing either of those projects. I just had never heard anything he had done besides them.
Until now. I had no expectations going into this, except that it would be piano-heavy and it would sound like Randy Newman, with his very particular sounding voice. I wasn’t disappointed. This was actually quite good. He’s such a clever lyricist, and his composing and arranging skills are excellent. His lyrics are witty, insightful, and can be quite cutting. The latter of those qualities I didn’t expect from a man I’ve always associated with a song that celebrates everlasting friendship from a kids movie about talking toys. That said, some of these songs do have some schmaltz attached, but he still somehow makes them work and I don’t cringe.
Some songs do carry that warm tone I expected but some can also dabble in satire (see: “God’s Song,” “Political Science”). And “Old Man”? Holy shit what a touching and horribly sad song. Beautiful and tragic.
This was a great surprise of a listen, and a very welcome one. We all need some Randy Newman in our lives. 4 stars.
Standout tracks: Sail Away, Lonely at the Top, Old Man, Political Science, Burn On, God’s Song (That’s Why I Love Mankind)
Astrud Gilberto
3/5
I always wondered who created that quirky, almost whimsical-sounding 60’s Latin-inspired jazz-type music. Now I know at least one of them. It’s such a specific sound, feeling very constructed, almost like a Spector-esque wall of sound type of construction. It feels very much of its own era. Nelson Riddle’s score of the 1966 “Batman” movie feels very similar in vibe.
There’s some great stuff here, but there’s some stuff that feels more experimental and…doesn’t work as well. “Parade (A Banda)” is either a novelty song or is written genuinely by someone who fucking loves parades. Either way it doesn’t work.
But the good stuff is good. Really chill vibes and worth a listen. 3 stars.
Standout tracks: Stay, Beach Samba, Nao Bate O Corocao
Lorde
3/5
Really pleasantly surprised to see such a recent album here. This may be the most event album I’ve had so far.
Like most people, I know Lorde mostly for “Royals.” That song is not on this album, so I was really going in blind.
I thought this was a really well written, expertly produced album. Very dramatic, seemingly very personal. It had all the expected elements of pop today without going over the top or feeling like a blatant cash grab (except maybe “Homemade Dynamite”…).
Overall I enjoyed this, even if I found some of it hard to relate to. Lorde is clearly an artist with a vision and a distinct sound, but it just isn’t my thing. 3 stars.
Standout tracks: Green Light, Sober, The Louvre, Hard Feelings/Loveless, Perfect Places
Hookworms
3/5
Never heard of the band, don’t think I’ve heard any of their songs. No expectations going in.
This was cool.
Each track really seems to build on itself as it progresses. There’s layer upon layer until it peaks. And that’s cool because a lot of bands get right to the hook. Not this band. They take their time. To the point where some of the longer tracks are almost too long. They teeter on the edge of overstaying their welcome, but they don’t.
The sound is also cool, combining elements of 60’s and 70’s rock with modern sensibilities and production. Space rock feels, and some psychedelia thrown in. This was a vibe for sure.
Overall I liked it but didn’t love it. Would give it a second listen and could easily see it growing on me. But for now, 3 stars.
Standout tracks: Negative Space, Static Resistance, Ullswater, Shortcomings
Roxy Music
3/5
All I knew about Roxy Music I learned from my mom. And all I learned from my mom about Roxy Music was “Mother of Pearl.”
“Mother of Pearl” is not on this, Roxy Music’s debut album. I was disappointed.
That disappointment wasn’t entirely relieved after hearing this album. This was alright. I’m a sucker for quirky 70’s rock. But this is their debut album and definitely not them at their best. It brings back an idea I’ve had throughout this project which is this - if most artists only get one album on this list, does placing an artist’s debut album on the list mean that it’s their best, that they peaked immediately? Did Roxy Music peak with their first album? Or do they have another on here? Because if they don’t have another then I do not see the hype after their debut album.
This was good but lacking direction, cohesion. There’s a lot of ideas but it suffers from the familiar rawness of a debut album. You can hear the potential here but most of it just doesn’t do it for me. There’s variety only because they didn’t know their sound or identity yet. and that’s alright; it’s their debut. But I want to hear them at their best, not at their first. 3 stars for trying but they can do better.
Standout tracks: Re-Make/Re-Model, Ladytron, If There is Something, Would You Believe?
Kelela
2/5
I respect the fact that this is a genre, like with hip-hop and rap, that I just have no connection with or deeper understanding of. R&B has never been at the top of my list in terms of genres, and while I know of its impact on the people that care about it, it has never been my thing.
That said, I can understand why this album is here. Kelela is an artist with a vision and that sound and vision are portrayed on this album well. And the production is absolutely top notch.
But I’ll admit that, after a while, the songs kind of started to overlap in my head. I couldn’t tell one from the next, and that isn’t because they sometimes transition seamlessly from one to the next. It’s because the mood and tone are so consistent, perhaps too consistent.
I’m not out here reviewing this as an expert music critic or a purveyor of R&B. Far from either. But I just didn’t connect with this hardly at all. Doesn’t mean it’s bad, just means it wasn’t made for me. And that’s fine. I give this 2 stars to represent my feeling of disconnectedness, not as a comment on the music itself.
Standout tracks: Frontline, Take Me Apart, Jupiter, Better, Altadena
David Bowie
3/5
“Heroes” has been a favorite song of mine for some years now. I’ve connected with it on a personal and emotional level a few different times. I find it to be a powerful song that sometimes goes forgotten when Bowie’s greatest songs are discussed. So I was excited to hear the album it originated from.
The rest of this album is…ok. The first one songs are kind of a hot mess, especially when considering the drastic tonal change from those to “Heroes.” “Sons of the Silent Age” and “Blackout” are more tonally consistent with “Heroes,” but still don’t quite match the emotional highs of the title track.
What follows is an instrumental suite that takes up the entirety of the album’s second side (save for the final track). These are good, and even reminded me of Pink Floyd instrumentals in some places, reminiscent of tracks from “Wish You Were Here” or “Animals” (albums I would love to be assigned…). These are beautifully done (namely “Sense of Doubt” and “Moss Garden”), but they aren’t what I come to a Bowie album for. I come for him, his voice, his poetry. Perhaps that’s just my misconception of him as being a singer-songwriter but not someone who plays instruments on his own records. (The joke was on me when I checked the personnel listings for this album; Bowie plays 5 instruments in addition to singing) Still, it wasn’t what I was looking for, so I wasn’t as invested. That doesn’t detract from the overall quality of these pieces, though.
The way I look at this, there’s three great songs on this album (see below), two really ok ones, one bad one (the final track), and some lovely instrumentals. That adds up to 3 stars for me, which sucks because after the fifth song I was ready to give it 4.
Standout tracks: “Heroes,” “Sons of the Silent Age,” “Blackout”
Beatles
5/5
It took 121 albums, but I’ve finally been handed a Beatles album.
I’m actually ok with this. The point of this project, at least for me, was to discover great music I’d never heard before. So if I’d been getting albums I know front to back (like this one), I’d be disappointed. I think I’ve only had 4, maybe 5 albums like that to this point, which is amazing.
This was never quite the formative album for me like other Beatles albums were (I.e., “Abbey Road,” “Sgt. Pepper’s,”), but it was still an album that I consumed and consumed and consumed again. It also has 7 of my favorite Beatles tracks (see below). So I know this one pretty well.
Where to begin? “Taxman” is a hell of an opener, and a unique in that it’s a George song. A rare and generous move by Lennon and McCartney. The guitar solo by McCartney is exquisite. “Eleanor Rigby” helped redefine what pop music could be and tells a story at the same time, one not about love but about darker themes. “I’m Only Sleeping” is Lennon’s first song on the album and it continues the darker themes, still disregarding love. “I’m Only Sleeping” as opposed to being dead.
“Here, There, and Everywhere” is probably the best love song the band produced short of “Something,” and it has endeared itself to me over many years. “She Said She Said” is such a fun and upbeat song for something that isn’t necessarily upbeat (‘she said I know what it’s like to be dead’), but it just grooves so well. “For No One” in so melancholic in its description of the end of a relationship and is so damn relatable that it, too, has spoken to me in different times of my life. “I Want to Tell You” has those minor chords that come out of nowhere that really change the tone and mood of the song and make it special. “Got to Get You Into My Life” just bops. The Beatles with a big band - who’d have thought?
“Tomorrow Never Knows” may be the single greatest production the band ever produced. The effects. The backwards recordings. The effects on Lennon’s voice. The drum loop. Combine all of these things with the themes of the lyrics and you have a masterpiece and maybe the best closer they ever had (besides “The End” and maybe “A Day in the Life”).
This album contains the gamut of the major themes of life. Death. Love. Loss. The unknown. The highest highs and lowest lows. Innocence. Optimism. It has it all in such a tight, well produced 35 minute package. This is such a transition album for the band, too. “Sgt. Pepper’s” would follow, and it really would pick up where “Revolver” leaves off.
I can’t say enough about this album. I think it goes overlooked by casual fans who know the bigger, later albums better. But it deserves to be in that conversation for best Beatles album. 5 stars.
Standout tracks: Taxman, Eleanor Rigby, I’m Only Sleeping, Here, There, and Everywhere, She Said She Said, For No One, Got to Get You Into My Life, Tomorrow Never Knows
Missy Elliott
2/5
Was Timbaland involved in this album? I don’t think Missy mentioned him enough…
I didn’t really get this album. The vibes were cool, but as a debut I think it’s kinda weak. There are so many features that it was hard to tell if this was her album or Timbaland’s. It didn’t feel like a statement of arrival.
Also continuing the trend of debut albums with this project. I’m going out on a limb and assuming that this is Missy Elliott’s only entry here. If so, this cannot be her best. Because this was just ok. Some of it was that self-aggrandizing that is so pervasive in both hip hop and pop nowadays. Some of it was cultural stuff I don’t connect with. Some of it was just stuff I didn’t care about. This lacked something. Some oomph. Some fire. I dunno. I hate it give it two stars but I really just didn’t care about this album.
Standout tracks: Sock it 2 Me, The Rain (Supa Dupa Fly)
Common
3/5
The intro on “The Food” really didn’t age well, did it?
I had a Common album a couple months ago. It was long and pretty forgettable from what I recall. I also questioned some of the lyrics that seemed homophobic in nature.
This is better. I didn’t hear anything that was controversial but I might’ve missed something. I did enjoy the part where he questioned how he would treat God if God was a woman. I thought that was a step up from the stuff I’d heard on the last album in terms of self awareness and open mindedness.
Some of the instrumentals here are really fantastic. Whether they were samples or original, I don’t know. But I really could groove to some of them and that’s always a plus.
I do think he gets a little self important and vain at times (he compares himself to Jesus at one point…? Or at least someone does; surprised it wasn’t Kanye honestly…).
Overall this was a good listen. He’s got a lot to say, and evidence of growth is always welcomed. Three stars.
Standout tracks: Testify, Chi-City, Real People
SZA
2/5
I have thought for a while and will still maintain that Travis Scott is an idiot.
That isn’t really relevant here, but this is my soapbox and he’s on this album, so here we are.
On to the album.
This wasn’t written or recorded for me. I made little if any connection to the themes or lyrics of this album. I instead tried to focus on the production, which was very good. SZA has an excellent voice, and it sounds great on this album, I just wish she’d use it for music that showed it off better.
Overall this album just comes off as immature to me. An entire song (“Doves in the Wind”) uses the word “pussy” 23 times by my count. That same song also talks about how Forrest Gump could’ve gotten laid but was a good guy so he didn’t. I haven’t seen that movie in a long time so maybe I’m forgetting parts of it but I don’t remember him turning down Jenny for sex. Like seriously, what?
Parts of this are just really ham fisted. I really liked the voice clips of SZA’s mom at the end of some songs, and how we don’t know it’s her mom until the end of the album. That rewards listeners who sit and listen to the whole thing, which is cool and unexpected these days where the art of the album is generally lost in popular music.
I didn’t need to hear this before I died. This felt like a pick made to just make the book more relevant, like the editors were grasping for more modern content and grabbed this to make them seem edgy. I’d be surprised if it’s in the next edition. This wasn’t for me. That doesn’t mean it’s bad, but it wasn’t for me. Two stars. Sorry, SZA.
Standout tracks: Drew Barrymore, 20 Something
Dizzee Rascal
1/5
What in the 2003?
This was unlistenable at times. The aggressiveness of this man’s accent comes through so frighteningly strong. I couldn’t understand what he was so angry about for 90% of what was said. Combined with the…interesting choices in the backing tracks and I just really didn’t connect with this album. I wanted it to end multiple times. But it was an hour long. So it felt like it was never going to.
This might be a masterpiece and I’m a fool. But I really don’t think so. I just didn’t enjoy it. 1 star.
Paul McCartney
3/5
A couple of years ago, I did a complete listen of the entire Beatles solo material. I started with Ringo’s first album, “The Sentimental Journey,” and worked my way through the entire solo catalogue in chronological release order, alternating between different Beatles as they released their albums. This album was the second one I listened to. Below is what I wrote at the time:
“It's good. Some of the songs are too short/feel unfinished. For an album Paul was desperate to release on time, it really feels like he could've put a little more time into it. "Maybe I'm Amazed" is clearly the standout track and I don't think anybody would say otherwise. The fact that he and Linda recorded this album themselves is very impressive, but overall it just mostly falls kinda flat. It mostly doesn't carry that McCartney "Granny music" feel here much, which is nice as that's what I expected. It isn't too cutesy, or obnoxious or anything. It's just ok. It feels like a lot of songs that wouldn't have made it on a Beatles album as they were and also "Maybe I'm Amazed." Looking forward to hearing what "Ram" is like, and hoping it sounds more complete and interesting. This whole thing feels more like a thought experiment - "Can I make a good album all on my own?" The answer was "almost."”
I rather like what I wrote and I’ll stand by it here. I’ve heard Beatles and McCartney fans fawn over “Junk” but I do not get it. Sure the chord progression and melody are interesting but that’s where it ends for me. This is one of Paul’s worst good albums and I am surprised it’s on here. But the author of the book clearly had an affinity for debut albums of English musicians. Overall this is fine and I liked it a little more than before but not much. Two and a half stars, rounded to 3 because Paul.
Standout tracks: That Would be Something, Oo You, Mamma Miss America, Maybe I’m Amazed
Sarah Vaughan
4/5
While some may dislike parts of this album for including mistakes and Vaughan forgetting lyrics, I actually rather liked those inclusions. It humanized her, and made the performance feel less sterile and more authentic. Live music is never perfect, and to have represented it as such would’ve been a mistake in itself.
That said, while Vaughan had a wonderful voice and was clearly very talented, and while the songs are brilliant, I didn’t find her or her performance to be strikingly or significantly different from other female jazz singers of that time. She even admits that, when she forgets the lyrics to “How High the Moon,” that she’s going to try to sing like Ella Fitzgerald. So I guess k just didn’t see that much that differentiates her from her contemporaries. Which I suppose is a pretty high compliment, comparing her to Fitzgerald and Holiday. But if she doesn’t stand out from them, why is she here? If you’d played any of these songs for me and told me it was Fitzgerald, I probably would’ve believed you.
Four stars for outstanding talent. Could’ve been five stars if she’d brought something unique to the table besides her mistakes.
Standout tracks: September in the Rain, Just One of Those Things, Be Anything But Darling Be Mine, Honeysuckle Rose
The Doors
4/5
Ah, The Doors.
I visited Jim Morrison’s grave in Paris last month. I was surprised at how they had to put a barrier in front of it because too many people wanted to see it. Either it’s tourists, of the impact of the Doors was much bigger than I expected.
Anyway, the album. I really liked this. Funky in places, funny in others, and really hard rock and driving in others still. Morrison’s voice is undeniable. The organ really makes them standout from other acts that have persisted from this era.
There’s a lot to like here. A couple of duds but that’s expected with any album. I’m trying to find more to say about this but honestly, it’s just good and deserves to be here. Four stars.
Oh but “The End” is cool but too long.
Standout tracks: Break on Through, Soul Kitchen, Twentieth Century Fox, Light My Fire, Back Door Man, Take it as it Comes
The Human League
4/5
80’s music has always been a blind spot for me, which means I’ve based my opinion of it on a very small sample size and decided based on that limited exposure that 80’s music was generally bad and that I didn’t like it.
This project has helped challenge and change that perception. This album has done the most work that any one album has to do so.
This is peak 80’s music. I don’t necessarily mean that it’s the best the decade had to offer. Rather, that this is the peak 80’s sound. The synths. The echo. The singer’s voice. The subject matter. All of it is what I imagine when I think of 80’s music.
But what did I think of it? It was good. Not just for what it was or who it was for, but in general. This is really well-constructed music, layered and even nuanced at times. Really catchy hooks that maybe wouldn’t have been as catchy or played as well if not coming from a synth.
This isn’t going to get 5 stars; it wasn’t mind blowing or a masterpiece. But I do think it was good that it’s included here and I do feel like this was a good representation of its genre and era. That, and it was just well written and constructed. I’m surprised to be saying this, but 4 stars.
Standout tracks: The Things that Dreams Are Made Of, The Sound of the Crowd, Darkness, Seconds, Love Action (I Believe in Love), Don’t You Want Me
Crosby, Stills & Nash
3/5
All I knew going in was “Teach Your Children,” that Neil Young eventually joined the group, and that when I saw the acronym with his name included I always read it as standing for “CSI: New York.”
This was cool. Amazing, Simon and Garfunkel-esque harmonies. Great songwriting. Amazing backing band and instrumentation. My one issue with it is that all the songs have generally the same tone, same vibe, same feeling that they start to blend together at a certain point. Which is unfortunate because they’re very much worth listening to.
I did not know they were considered a super group, but I’m not surprised. This was fun but nothing I’m going to be yearning to come back to. 3 stars.
Standout tracks: Suite: Judy Blue Eyes, Pre-Road Downs, Wooden Ships, Everybody’s Talkin’, Teach Your Children
The Modern Lovers
3/5
I don’t really know where to begin…?
This was a unique experience for sure. The songs are sometimes about something and sometimes about…nothing (Picasso wasn’t ever called an asshole, apparently). The singer sounded like a precursor to mumble rap. The instrumentals were generally great. I really liked a few of the songs but on the whole this was just ok. Probably pretty great if you’re into mid-70’s proto-punk or new wave. There’s definitely some Talking Heads in here (though they wouldn’t debut fully until the following year), and even some Doors (mainly the keyboard playing/riffs). The lead singer was probably also the inspiration for the Hold Steady’s lead singer, if I had to guess.
Also the song about how a woman was probably “magical as a little girl” or whatever was weird and I didn’t want it. I get that they’re the “Modern” “Lovers” but this and a couple other songs just didn’t age well. Oh and the misspelling of “girlfriend” in the lyrics was probably supposed to be funny but it…wasn’t…? Or it was the first time?
Overall this was good. Another three star album to throw onto the pile.
Standout tracks: Roadrunner, Astral Plane, She Cackled, Someone I Care About
The Band
3/5
I had to do some research to know how to feel about these guys. Their music is good, if not a little antiquated feeling (even for their era) in places. But “The Night They Drove Old Dixie Down” reeked of Confederate sympathy. I know they’re a southern rock band, and that sometimes, especially back then, that sort of came with the territory (see: Lynyrd Skynyrd). Nothing I read told me that this was the case with these guys, but still. I tread with caution.
The album is good. A great example of its genre, and crafted by a group of musicians that are all excellent at what they do. Everything feels in its proper place, like a plan was drawn up and then executed. It doesn’t feel overproduced or over engineered at all. It just is. The songs feel like they were always as they are here, that they didn’t come from nothingness and then slowly crafted into existence. It’s that ease that gives the album its charm, and gives the listener an invitation to just enjoy what’s presented here.
I enjoyed a handful of songs here (see below), but I can’t say I was blown away by anything. I even listened twice to be sure. The Band are clearly very talented (you’d better be if your name is “The Band”), but I doubt this is their best work. Three stars.
Standout tracks: Across the Great Divide, Up On Cripple Creek, Whispering Pines, Lookout Cleveland
Marty Robbins
3/5
This is the guy Pete Townshend wrote about when he wrote “God Speaks, of Marty Robbin’s”? Huh ok. Gotta look into that more…kinda looks like him, too…
I can appreciate this as a piece of history, a time capsule when the USA was obsessed with western this and cowboy that. TV shows like “Gunsmoke,” “Wagon Train,” and “Bonanza” were massive, practically dominating American television. This album, I assume, did incredibly well, as it fit into that trend of American popular culture. So if this is on this list purely for its impact, and to give Marty Robbins a place in history, I am more than ok with that.
This album is pure Americana, as we see it today. Romanticized stories of the old west, tales of adventure, love and loss, and gunfights. This is what you’d expect from an album with this cover and name.
The music? Well that’s also what you’d expect, except that it’s actually…good. For what it is, anyway. I’m not claiming this to be the best ever, but as a country western album, it’s a sterling example. Well produced, with interesting stories and a good backing band. But what shines the most is Robbins’s voice. He plays the part of lonesome cowboy so, so well. He fits into the archetype perfectly and with little effort. It feels like he’s always been this guy and will keep on being this guy, even if he didn’t live in the old west. It’s easy to admire the tone and style established here. Everything about the production backs up that tone and style. It’s a marvel to listen to.
As a whole, I liked this a surprising amount, especially given what I’d see other people rate this album when browsing other people’s pages. I assumed I’d be giving it two stars but I honestly have to give it three for its place in history, its production, Robbins’s performance (both musically and as a character), and because it’s an excellent example of its genre.
And stuff like this probably inspired “Rocky Raccoon,” so that’s cool.
Standout tracks: Big Iron, El Paso, The Master’s Call, Running Gun
Neil Young & Crazy Horse
3/5
I expected so much better.
“On the Beach” gave me hope that this would be engaging and interesting. That album was fantastic both musically and lyrically. This album…well it was alright.
The first half was boring. I’m just gonna get that out of the way. Musically, the songs all existed in the same space and sounded too much alike. I’d have to listen again for lyrics because honestly, I spaced out.
The second half, especially near the end, really kicks up the energy and grit. It gave it the lift it needed to be a three star album as opposed to a two star album. It saved it.
On the whole, this was fine but I do think it would’ve been better served if the energetic songs were mixed in with the more chill songs. Three stars.
Standout tracks: Powderfinger, Sedan Delivery, Hey, Hey, My, My (Into the Black)
The Stone Roses
5/5
Whoooooooa
I’ve always heard of the Stone Roses, even had them recommended to me once or twice. But I always confused them with Stone Temple Pilots (in name only) and never sought them out.
But this was amazing. Really chill but upbeat psychedelic vibes. Great riffs and energy. Maybe slightly repetitive but not to the point of being annoying or excessive. Gives off big 70’s feelings but updated for the late 80’s. This sounds so totally different to anything else I’ve heard from the late 80’s, actually, that I had to check the release year multiple times.
Rock was going a few different places around this time. Grunge was developing and would soon explode. Punk was doing its own thing and would develop into pop punk soon enough. Britpop was very much a thing and thriving in the UK. But this defies those trends and seems staunchly rooted in what must’ve been their influences from the prior decades. But it doesn’t feel derivative, as easy as it could’ve been to do that. It’s a fresh take on a genre that wasn’t, to my knowledge, in high demand at the time.
I could gush about the different riffs and grooves I loved here, but just listen to “I Am the Resurrection” for everything you need to know. 5 stars. Happily. Just such great songs that don’t feel repetitive, have a consistent sound, and don’t get old. You’d think that’s easy enough to do, but it honestly seems like a high bar sometimes with this list…
Standout tracks: I Wanna Be Adored, Waterfall, Don’t Stop, (Song for My) Sugar Spun Sister, Shoot You Down, I Am the Resurrection
Kanye West
5/5
I had every reason to not like this album.
Rap and hip-hop, while I've enjoyed most of what I've heard (and even gave Biggie's debut 5 stars), a lot of it hasn't resonated with me or left me floored. This, combined with the fact that Kanye West has proven himself to be a colossal idiot in almost everything but making music, has put on full display his mental instability, and has spouted hateful, Anti-semitic language and aligned himself with a now former president who has spewed some equally condemnable rhetoric and you have an artist who, despite the quality of his art, is incredibly easy to dislike.
This review will assess the art, not the artist, and I have tried to put my personal feelings about Kanye aside here for the sake of the integrity of this project.
~~~~~~~~~~~~~~
This album completely blew me away. I mean my god. The sheer amount of creative energy that just bursts at this album's seams. The lyrics alone require an immense amount of dissection. West moves through this album at the height of his powers, delivering his messages with a personal urgency, at times, that adds to the power of this album. "Power" in particular stands out as a masterpiece in production and writing, and if I had to guess serves as the album's thesis. Bringing together sample after sample and combining them to make something both incredibly personal and yet wide-reaching and relatable.
The collaborators he brings in for this project were also excellently chosen and utilized. Jay-Z, Niki Minaj, Pusha T, and apparently Bon Iver, to name just a few. They all bring something more this album that it needed to be great.
Now for some things to criticize here. For one, I don't understand the tone of the outro to "Blame Game." It really seems like the Chris Rock cameo is supposed to be funny. But the tone of the rest of the song is sad, depressing at times, and the juxtaposition doesn't work for me. I don't know what it was supposed to do but it falls flat completely. Like it was included because they knew they could get Chris Rock and needed something for him to do. I also do find some of the lyrics to be misogynistic in nature, which while I know that can be par for the course in hip hop and always has been, I just can't really get behind or relate to. Lastly, his ego just cannot help but take its place at the forefront of this album. It's in your face and obnoxious and becomes tiresome at times. And that's annoying and a little sad. He's great and knows it, he just can't be humble about it ever, at all.
This album is undeniable. It's a masterpiece. It's a creative force. It's an achievement. I don't know what else to say. Five stars. Somewhat regrettably. But you can't deny the art.
Standout tracks: Dark Fantasy, Power, All of the Lights, Monster, Runaway, Lost in the World
The Black Crowes
4/5
When the first track started, I was 100% in. Hard guitars with some bluesy influence. Vocals with attitude and confidence with a raspy tone. Music made to be played loud. What more could I want? Five stars, easy. No need to debate. This would keep the hype train rolling after last week’s amazing run.
But then, as it went on, I realized that this was too perfect. That this sound wasn’t something new. That it was a rehash, a repackaging of sounds and styles heard in the 60’s and 70’s from bands like The Rolling Stones. Then the dreaded D word came to mind. The one that can make you sound like a snobby, party pooper, Debbie downer of a music fan - derivative.
Yes, at a certain point (maybe about halfway through), I went from absolutely loving this album to realizing that these guys were wearing their influences on their sleeves a little too much. There’s a fine line between being derivative and simply being influenced. The band Jet comes to mind when I think of bands with derivative sounds. I think these guys are kind of in that same vein. They’re amazing if you haven’t heard much of 70’s blues and rock. But if you have, even just a little, this isn’t anything new. The Stone Roses did do something new and creative and interesting and that’s why they got five stars. These guys didn’t. And that’s a bummer because this was going to be an easy five stars. Instead, it gets 4. It might be derivative, but it’s a blast to listen to and I’ll look forward to the tracks listed below popping up on my playlist. Four stars.
Standout Tracks: Twice As Hard, Could I’ve Been So Blind, Seeing Things, Hard to Handle, Struttin’ Blues
Fairport Convention
2/5
Solid folk album. The more up tempo numbers were more my speed. The more ren faire-type ballads were, well, beautiful but boring.
This felt very much like a product of its time. The folk scene was probably no bigger in the US than it was around this time. I enjoyed this album for what it was, and it was very good at being what it wanted to be. But I just wasn’t all that taken with most of it. And some tracks just kind of went on and on. I dunno. I started writing this thinking I’d give it three stars but I think I’m gonna give it two. It wasn’t bad at all, just mostly not my thing. Two stars.
Standout tracks: Come All Ye, Medley: The Lark in the Morning, Tam Lin
Hawkwind
2/5
I just didn't really care.
Are the musicians talented? Undoubtedly, just listen to a track or two and you'll understand that. But man I just did not care about this album at all. Long, overly indulgent psychedelic jam band music that is probably a boomer's wet dream. And don't get me wrong - boomer music is my wheelhouse. But this...this was just difficult to listen to with any sense of attention or intention. It just meanders on and on. The bass line is the thing that stuck out the most, and it was excellent but often felt repetitive. The entire thing is an exercise in excess and lack of formal structure. I can get down with a live album. I can get down with a live album that has extended versions of songs with solos and breakdowns and other added material. I can get down with a long live album. But I could not get down with this. Meandering, obtuse, overly indulgent, and often times just strange.
It's a shame, too, because I thought I'd enjoy it more than I did. Two and a half stars, rounded down to 2 because I didn't enjoy it.
Standout track: Lord of Light
TV On The Radio
4/5
I had zero expectations going into this, which I honestly think is the best way to do it. And I’m glad because this was super interesting.
Elements of jazz, rock, world music, a capella, and more. A variety of instruments, moods and arrangements make this an eclectic album full of surprises. Dark sounding, moody slow songs, faster but still dark songs. The overall mood of this album is pensive and dark. A lot to sink your teeth into.
This really requires another dive. It clearly was an inspired project with a lot to understand and explore. I really enjoyed my listen. I need to do it again. Four stars, could see it becoming five.
Standout Tracks: The Wrong Way, Dreams, Ambulance, Don’t Love You
The White Stripes
4/5
We have arrived, once again, at another band I know very, very well.
We’ve had The Beatles, The Who, John Lennon, Paul McCartney, and Talking Heads. Now we finally can add The White Stripes to this canon.
This album is definitely front loaded. I love it, but there’s two distinct levels of quality on what I assume are the two sides of this album. The first half is phenomenal. Signature songs like “Fell In Love with a Girl” and “We’re Going to be Friends” stand out amongst other amazing tracks (see below). There’s variety, from straight up punk-inspired rock (“Fell in Love with a Girl,” “Dead Leaves and the Dirty Ground”), to almost rockabilly type stuff with “Hotel Yorba” and quiet, gentle stuff like “We’re Going to be Friends.” You even get something irreverent like “Little Room.”
But that first half ends and what we get is a collection of what feel like unfinished or underdeveloped tracks and ideas. Nothing is bad by any means, but it doesn’t inspire like the first half.
Regardless, the quality is 1,000% here and that first half is nothing short of genius. They were a force to be reckoned with and I hope they play together again one day. 4 stars.
Standout Tracks: Dead Leaves and the Dirty Ground, Hotel Yorba, I’m Finding it Harder to be a Gentleman, Fell in Love with a Girl, Little Room, The Union Forever, We’re Going to be Friends
Penguin Cafe Orchestra
3/5
Definitely kept thinking of this one as “Club Penguin Orchestra” and not its actual name…
The longer pieces really standout from the shorter ones here. The compositions are best when they have time to build and layer, to really create a feeling or mood. The shorter ones are fine, but honestly feel like filler at times, like a vehicle to release the longer tracks on a full length album. They aren’t bad, just not nearly as interesting.
What’s good here is beautiful. Really thoughtfully and genuinely put together pieces of music performed by a group of obvious talent. My only reservation is, as it has been before with debut albums, I wonder if this is the best it gets for them. I wish this book didn’t have so many debut albums because I refuse to believe so many artists peaked right away. But we’ll see. Three stars.
Standout tracks: Penguin Cafe Single, Zopf: Giles Farnaby’s Dream, The Sound of Someone You Love Going Away And It Doesn’t Matter, Chartered Flight
Jefferson Airplane
3/5
All I knew was “White Rabbit.”
Or so I thought. “Somebody to Love” was a song I’d heard before, but I assumed this version was a cover. Turns out I was right, but Jefferson Airplane really made it famous.
Anyway. This was cool. Miiiiiight be another album that made it here because of a famous track or two, but it’s hard to deny the talent here. They’re a tight group with a well defined sound (even if it deviates a time or two). This sort of gave me what I expected and not much more. Three stars.
Standout Tracks: Somebody to Love, D.C.B.A-25, How Do You Feel, White Rabbit
Cornershop
2/5
If the album had continued in the same vein as the first three tracks, it could’ve easily been a five star venture. As it was, it did not continue that way. It meandered into odd instrumental tracks and middling filler that became repetitive and boring after a while. At nearly an hour long, they could’ve easily cut this album down to maybe 45 minutes. Disappointing, as it had such potential early on. The good stuff isn’t enough to elevate it to 3 stars. 2 stars.
Standout tracks: Sleep on the Left Side, Brim Full of Asha, Butter the Soul, Good Shit
Ice Cube
4/5
Damn. And here I’ve always know Ice Cube for “Are We There Yet?” and for being maybe the most famous Raiders fan.
Joking aside…
In many ways this is still unrelentingly relevant today. In some ways it hasn’t aged well, too. But for the most part this album’s overall message of anti-racism and the misunderstanding of black culture by white people rings as true today as it did then. But, having been only 9 days old on the day this album was released, I can only guess that its message is better and more widely received today than it ever was back in 1992.
The music itself is a great listen. Great backing tracks that don’t get old, song lengths that don’t overstay their welcome, and a delivery from Cube that just flows. His delivery is aggressive and angry, though it does come across a little softer at times. Given the message here though, his anger is justified and makes everything here more believable. Anybody back then that didn’t understand why black artists, specifically rappers, were so angry simply didn’t understand the plight of African Americans in this country that persists to this day. I think this should be a required listen for everybody and it’s a shame I didn’t hear it until now. For an artist I always knew as a personality and celebrity but never for his music, I was very happily surprised here. 4 stars.
Standout Tracks: When Will They Shoot?, Now I Gotta Wet ‘Cha, It Was a Good Day, Check Yo Self, Who Got the Camera?, Say Hi to the Bad Guys
The Who
4/5
Happy to see The Who here again.
As I wrote in my notes on “Who’s Next,” I went through different musical phases in high school. I was that kid who thought all popular music was garbage and that stuff from 25 years back and before was the only good music that ever existed. I now have a wider view of the musical world, thank goodness, but I went through phases with bands. The Who came right after my Beatles phase. And I was obsessed. But what’s funny is, this isn’t the first version of Tommy I ever heard.
My dad introduced me to the extended version of “Live at Leeds,” which includes a full live performance of Tommy, save a few tracks. This live version is absolutely spectacular and in my opinion, is the definitive version. It takes out the filler (of which there is a lot) and lets the bands unleash their incredible live energy into this album.
I’m not here to review Live at Leeds (though I think it’s on this list and I’ll review it eventually), but I just needed to give some context.
“Tommy” is an achievement. It’s complex, it tells a story, and it’s a very well produced double album. Its highs (see below) are very high. And I love it. There’s just too much damn filler. It doesn’t need to be an hour and 15 minutes. You can tell Tommy’s story by omitting a decent amount of the tracks. I think the band, specifically Townshend, had too much for a single album but not enough for a double and stretched it to make it a double. It’s interesting to hear about Sally Simpson, but we didn’t REALLY need to. Do we really need both “Cousin Kevin” and a song about Uncle Ernie? Does “Sensation” need to be here? Did we actually need an “Underture”?
I love the band. I love this album. I love the music. I love what the album tries to say about cult followings and blindly following someone who says they can fix all your problems. But it’s overly long and has too much filler. And this is coming from someone who listened this for probably the hundredth time today. They really perfected the rock opera genre with “Quadrophenia,” which really should be on this list if it isn’t. 4 stars.
Standout tracks: Overture, Amazing Journey, Sparks, Eyesight to the Blind (The Hawker), Pinball Wizard, Go to the Mirror!
Fela Kuti
4/5
Wow
I had zero expectations for what this would sound or feel like and man did this blow me away. What a funky jazz album. Such energy. Such passion. A very tight band, and the addition of Ginger Baker does elevate the entire experience.
I can’t say I’ve ever heard of Fela Ransom-Kuti before, but I gotta hear more. The sound coming out of this band was just so tight and so fun to listen to that I need more. I’m curious to see if the band’s energy can translate to a studio setting or if you really just have to hear them live. We’ll see. 4 stars.
Standout tracks: Let’s Start, Ye Ye De Small, Egbe Mi O (Carry Me)
My Bloody Valentine
2/5
This was a much softer sound than I expected from a band called My Bloody Valentine. All these years I’ve heard their name but never their music, I assumed that they were some kind of hard rock/pseudo-metal band that played on the same bills as bands like Slipknot and Korn. But here we are, and the sound is much more airy and less aggressive than I ever would’ve imagined.
All that said, this was mostly pretty boring. A lot of the songs sounded the same and I was surprised this wasn’t their debut. I’d forgive them more if it was. But this is three albums into their discography and this is clearly their sound. I don’t get the hype at all with these guys. There were some solid tracks (see below), but mostly I just didn’t care. Sorry guys. Two stars.
Standout tracks: who sees you, new you, in another way
Peter Frampton
3/5
Peter Frampton is a very talented guitarist. I just wish he made music that was more interesting and less cliche.
The arrangements, the lyrics, even his voice. It all felt so corny and cliche. He’s an incredibly talented guitarist, that can’t be ignored. But couldn’t he use his powers for good?
Anyway. I just was underwhelmed and I didn’t really care. Three stars for his talent alone.
Standout tracks: Something’s Happening, All I Want to be Is (By Your Side), I Wanna Go to the Sun
Judas Priest
3/5
Like a lot of metal bands that seem to take themselves very seriously and whose image seemed to be based on acting like tough guys and writing songs about scary things and being intimidating, and who like to make Christianity seem scary (which, I mean, it can be), I never quite took Judas Priest seriously.
So all of that being said, I was ready to not take this album seriously. But that’s the thing I’ve learned about metal - you aren’t really supposed to take it super seriously. Sure if there’s a message, hear it. Understand it. But sometimes things can just be fun or expressive and not be so self important.
There was some good stuff here. It all kind of hits the same note with very little variety (that’s my main criticism of metal in general), but for that it is, it’s a good time. The album cover is badass, too.
I was a little suspicious of this album’s selection for this project because it contains one of their most recognizable hits in “Breaking the Law.” Whenever this happens, I just kind of assume an album made the list/book because of that one song. I can safely say that I don’t think that was the case here.
Obviously some very talented musicians who just love to play some hard, loud metal and have a good time doing it. Not at all my favorite album but solid nonetheless. Three stars.
Standout Tracks: Rapid Fire, Metal Gods, Breaking the Law, Steeler
TLC
3/5
I am not the target demo for this album or this genre of music. 90’s R&B is one genre that is almost entirely foreign to me. TLC, Boyz II Men and their contemporaries were undoubtedly insanely popular during their era, but I was under 10 years old at any point during the 90’s, growing up with white parents and friends, none of whom listened to this genre. When an episode of Parks and Recreation referenced Ginuwine, I thought his name was so ridiculous there was no way he could be real. So you see the angle from which I approached this album.
I recognize the cultural importance of TLC. I recognize the talent the group had and how well made this album is. It just really isn’t for me. There are some excellent grooves here, and I really could see myself vibing to this in the right context, with the right people, in the right mood. But in a vacuum (or as much of one as I can ever exist in), this just didn’t hit like I think it was meant to. Enjoyable enough, fun, but nothing I connected to or will remember. Not yet at least. The more I listen to albums in this project, the more I can feel my tastes expanding. Maybe I’ll come back to this one later and see if it hits different. For now, three stars because I think I’m just missing something.
Also the guitar on “Red Light Special” kicks ass even if the song itself is just ok. Oh and I could’ve done without all the interludes. The names were kinda cringy and it felt like they were only there to pad the runtime.
Standout tracks: Kick Your Game, Case of the Fake People, Waterfalls, Switch
Blondie
4/5
Blonde has always been on my periphery. They fall in this weird spot where they always felt like a pop band, but a 70’s pop band that I might actually like with people playing real instruments and lead singer who can really sing. But they’re so close to being 80’s that I just never encountered them.
I’m really glad I finally have. This was such a fun and creative album. It’s goofy, it’s silly, and never takes itself seriously. The lyrics are funny, the riffs are at worst well thought out and well intended and at best are damn catchy and amazing, and the band just has this charm about them. It’s a very easy and inviting album, one that I’m tempted to spin again right now.
I know this makes it sound like I’m giving it five stars. But I’m not. It can be all those things I just said but not be what I think is their best. I’m convinced they can do better than this. I want them to. I want more. So this gets four stars. I’m hoping I get another chance through this project to see what became of them.
Standout Tracks: Fade Away and Radiate, 11:59, Heart of Glass, I’m Gonna Love You Too
OutKast
2/5
I really don’t even know what I listened to. Ms. Jackson appeared in there somewhere but the rest is largely a blur.
I know OutKast has a history of making profound social statements and commentary in their music, and I know they’re widely regarded as one of the better hip hop groups of the last 25 or so years. But I really just didn’t get this. Whatever the messages were that were being sent through this album were completely and utterly lost on me through its confusing and at times bizarre arrangements, it’s sometimes seemingly non-sensical lyrics, and its constant interludes. Without a doubt I missed the point of this album. And when I know I’ve missed the point I will defer to the what I assume the general opinion on it is and give it three stars. But I can’t do that here. I really didn’t have a good enough time with this to give it the benefit of the doubt. I’m sure the messages are there, but the package in which they are delivered clouds them and makes it easy to lose interest, quickly. It hurts me to say, but two stars.
Standout Tracks: Ms. Jackson, B.O.B - Bombs Over Baghdad, Xplosion
OutKast
4/5
Sometimes I think the album selections aren’t so random.
Go back and look at my history you’ll see that just yesterday I was handed OutKast’s previous album “Stankonia.” You’ll also see that I didn’t exactly give it a favorable review. You’ll forgive me if I think this project gets a mind of its own sometimes.
The good news is, I liked this a lot more, even if it had an absolutely excessive runtime. Wikipedia describes this as two solo albums released as a double album. Which is a little annoying because one of them is so much better than the other. Andre 3000 is a creative genius and I won’t be told otherwise. The fact that he was beholden to a, by comparison (don’t come after me, I’m not saying he’s bad) average artist in the form of Big Boi is kind of a drag.
Speakerboxxx is a really creative concept. It’s like its own radio station or something. The problem is that it only plays one genre and a lot of the songs are similar to each other. The good stuff is actually pretty great, but it’s lost in a bunch of average tracks.
The Love Below…damn. What a confluence of ideas and genre. So many different combinations of sound and mood. It flows so easily from one to the next and it all exists on the same sonic level. Jazz, funk, hip hop, rap, rock, soul, R&B - it’s all here and it’s all amazing. The exploration and combining of genres is downright experimental at times and those experiments are largely successes. That’s not something I would’ve said about “Stankonia.” At all. The remix/interpolation of “My Favorite Things”?!?! What!?! Too good.
I respect the hell out of this half of the album and of Andre for creating it. Only thing I’d change is drop the interludes and make better use of Norah Jones. Other than that it’s a masterpiece.
Now the tricky part - a rating. I’m gonna do this individually and the average them out. If this was just Speakerboxxx, it would get three stars. If it was just The Love Below, it would get five. Average that out and you get four. Four stars. I wish I could give them individual scores. Hell I wish these were released separately. But here we are. Four stars.
Standout Tracks: GhettoMusick, Bowtie, the Rooster, Bust, Church | The Love Below (Intro), Love Hater, Happy Valentine’s Day, Hey Ya!, Roses, My Favorite Things, Take Off Your Cool
The Birthday Party
2/5
Ok so I have four questions, each starting with a different word - who, why, what, and whose.
Who was this made for?
Actually though. Who sits down to listen to this and thinks “Oh man that was amazing! I gotta listen to this over and over again, it’s the best!” Or even just having a warm opinion about it? I’m sorry but who is this for? What’s the appeal? It feels like sloppily-made, semi-improvised, overly loud, angry nonsense. There’s a place for that, but not like this, and not in my own headspace.
What were they on when they made this?
A simpler question, but worth answering. Unfortunately I don’t have the answer to this one, but I can only imagine it was a mix of things that probably had them so whacked out of their brains they couldn’t fully remember what to play.
Why was this the final product? Why did they listen back to this and think, “Yup, this sounds perfect. Cut, print, and release boys, we’re done here.”
Whose birthday party was this? Because I’m sure as hell glad it wasn’t mine. I know it’s a tongue in cheek thing, but the joke works so roll with it.
Can you tell I didn’t like this? Can you tell I didn’t enjoy most of this album’s 40 minute runtime? Can you tell I’m 1,000% over this entire thing. I can’t bring myself to give this one star because I’ve yet to do that (though I may inquire about retroactively changing some ratings…), and because it at least took some talent and effort to concoct this abomination, limited in supply both of those things may have been. So two stars. Generously.
Standout Track: The Dim Locator
Kacey Musgraves
4/5
Ok, so the title track played at my wedding as my wife walked down the aisle. So you’ll understand if I carry just a slight sentimental bias toward this album.
The short of it is, this albums starts so, so strong, drags a little in the middle, contains one song that feels pretty out of place to the rest, and finishes really strong.
In more detail, this album is generally wonderful. It stays consistent with its sonic setting, where every song feels like it belongs with the others. They exist in the same space and feel like they just stitch together nicely. Except “High Horse.” That’s the one that doesn’t feel like it fits very well, if you ask me. It’s a great song, but it doesn’t feel the same as the rest. That and the robot voice on “Oh What a World.” Other than that this album is so consistently good.
It’s sweet, sad, sentimental, cute, fun, and thoughtful. Sometimes it borders on corny, sometimes it actually is. But it rarely fails to entertain and I’d only skip a few tracks. It carries this laidback sound that just makes it so easy to listen to, at times deceptively so. It’s easy to forget how deep the album can be from both a musical and production standpoint, which makes it easy to think it’s a simple album. That laidback vibe can lull you into a false sense of security. I had to listen twice because that’s exactly what happened. The production really shines in that way.
Also, I know Kacey is considered a country artist, but I really do think she’s shedded that genre for the most part. This album is a transition album for her, like Red was for Taylor Swift. The country elements here are present but subtle for the most part. Lyrically they’re present more than musically, I’d argue. Songs like “Space Cowboy,” “Velvet Elvis,” and “High Horse” all invoke cowboy/country imagery, but musically I wouldn’t necessarily call them country. The rest of the album could be considered pop or pop rock. Considering what she’s done since this album (the ambitious, poppy and ultimately trying-too-hard follow up “Starcrossed” and her most recent “Deeper Well” which fell a little flat in trying to return to the “Golden Hour” vibe), I think we can say she couldn’t be confined by the country label anymore. I think this album set off the transition.
Overall this is a lovely album that, if not for a few skips and if it were more my genre, would’ve been five stars. As it is, four stars.
Standout Tracks: Slow Burn, Butterflies, Velvet Elvis, High Horse, Golden Hour, Rainbow
Jorge Ben Jor
4/5
I didn’t understand 99% of what was said. But it didn’t matter. The grooves, man, the grooves.
This was such a fun album. I’ve had a decent amount of music out of Brazil during this project and it’s all been so creative and interesting. It hasn’t all been amazing, but it’s been different and interesting, and I can’t help but appreciate that.
This album is alive with funky bass lines, locked in drums, and enthusiastic vocals that all come together to make this a fun, punchy, and funky 40 minutes. I’d gladly listen again. It’s always fun to hear genres that we think of as American or western taken on by a culture that itself is so closely associated with its own genres. The result is often a fresh take on a genre we think we own and know inside and out. We’re often proven wrong. Four stars.
Standout Tracks: Ponta De Lanca Africano, Hermes Trismegisto Escreveu, Xica Da Silva, Cavaleiro Do Cavalo Imaculado, Africa Brasil (Zumbi)
Neil Young
3/5
Another Neil Young, huh?
This one started slow but really picked up at “Southern Man.” The anger he feels about the state of the south then (and honestly, probably still now) is so apparent. That alone makes it worth listening to. He slows it down after that, but still keeps the emotional honestly coming. That’s how I’d describe this album - vulnerable and honest.
I’d liked what I’d heard from Neil Young to this point. “On the Beach” is a great album, and “Rust Never Sleeps” was alright. This falls somewhere in the middle of those two for me. It has its moments, but it isn’t what I assume to be his masterpiece. I know he has a number of albums that made the list, so I’ll wait until I get his best. Three stars.
Southern Man, Oh, Lonesome Me, Don’t Let it Bring You Down, Birds
k.d. lang
3/5
Country and I…rarely agree. Johnny Cash and some Willie Nelson are just about the only two things we do agree on.
I’d never heard of K.D. Lang, I think. I did some reading to understand exactly who she is and why she’s important. I thought it was a happy coincidence that I got a queer artist on San Francisco Pride Day. Nice touch, RNG.
This was surprising in a few ways. For one, I expected it to be more…country. Like heavier on twang and with less reverb, more of a raw sound. Instead we had this airy sound, with vocals that are often sung a little more straight and arrangements that almost sounded like pop vocal jazz.
I also didn’t expect it to be so corny. My god there are some corny songs and lyrics here. I get that that’s part of the country vibe, especially when you do songs in this particular style. But man I just couldn’t get past some of them. I listened to them, but I didn’t necessarily enjoy them.
Overall this was a surprise, in a good way. I liked the arrangements for some of the songs, and I think this tried to be more than the constraints of its genre, which is always appreciated. Did I love it? No. But I liked it, enough so to give it three stars. I honestly thought it was gonna be two stars but she brought it around in the middle.
Standout Tracks: Sugar Moon, Black Coffee, Don’t Let the Stars Get in Your Eyes, Busy Being Blue
The Doors
3/5
Another Doors album. They honestly had a bigger output than I expected, given how young Jim Morrison died.
This met the expectation of a Doors album. It was bluesy, a little psychedelic, and had some elements of harder rock here and there. The organ was back but not quite as prominent as I would’ve liked. But it was just ok. Like I said, it met expectations for a Doors album. Didn’t exceed them, didn’t fall short. It just was. And that’s all I kind of have to say. Three stars. I am whelmed.
Also I’ve heard “Roadhouse Blues” waaaaaaaay too many times in stadiums that I just cannot list it as a Standout Track. Sorry not sorry.
Standout Tracks: You Make Me Real, Peace Frog, Ship of Fools, Queen of the Highway, Maggie M’Gill
Metallica
2/5
Sigh
I really want to like metal. I really want to like Metallica. But man I just do not care. I’ve said this with previous metal albums (Metallica, Iron Maiden), but the stakes are always high with metal. Musically it’s as loud and as intense as it can be. Lyrically it’s all about the end of the world, monsters, dying, descriptions of demons or monsters and why we should be afraid of them, or some combination or derivation thereof. Of course this is an over generalization coming from someone who has now only listened to four complete metal albums in his life. But this is what I’ve heard so far. And I just cannot bring myself to give a damn about it.
This album is no different. Even when they do slow it down, lower the stakes musically, and make it less intense on “Nothing Else Matters,” it’s still high stakes because, well, it’s called “Nothing Else Matters.”
“Enter Sandman” is the clear winner here. Everyone knows it, it’s transcended metal as a genre and is in the popular culture. It also happens to be the best song on this album, if you ask me.
I won’t be seeking out any metal on my own at this point. Which is a bummer because the genre clearly has many talented musicians. If this project hits me with a metal album/band I can get into, great. But at this point I’m starting to get the gist and it just isn’t for me. Two stars. Not even “Enter Sandman” could save this.
Joy Division
2/5
Nope….
…yeah, nope.
I mean I can say a little more but my opinion is kinda summed up there. This sucked. Obtuse for the sake of it. The singer sounded like he was across the room and if that’s an artistic choice, I mean ok fine, but it makes for a poor listening experience. He also sounded like a Muppet at times.
This just was a lot I didn’t like about British 80’s rock. Sad, dreary, sounding like everybody wanted to die, echoey, songs that overstayed their welcome, and trying a little too hard to be interesting. And boring.
I’ve long heard about Joy Division. But I’d never heard them. What little hype there was wasn’t met here.
They only have two studio albums. Please don’t let the other one be on this list. Please. Two stars.
Standout Tracks: Heart and Soul, Twenty Four Hours
Blur
4/5
I’ve been waiting for Blur.
Of course “Song 2” is a sports stadium mainstay. But I also knew “Parklife” going into this album and so was expecting a similar sort of very British quirkiness that that song just oozes. Didn’t really get that here. But the band really covers a wide range of sounds here. There’s lighter, poppier stuff that’s just chill to listen to, harder rock that makes you see that Blur was definitely an influence on later British bands like Arctic Monkeys, and a weird experimental sound collage type song reminiscent of The Beatles “Revolution 9.” Their creativity was apparent from the start and it was interesting to discover that they’ve been this way since the beginning. Not many bands are.
Overall, a fun listen that warrants a lot of standout tracks and relistens. Four stars.
Standout Tracks: Beetlebum, Song 2, Country Sad Ballad Man, On Your Own, Theme From Retro, Chinese Bombs, Movin’ On
Arcade Fire
3/5
Sometimes you go into an album with a certain prejudice or predisposition, knowing little about the artist or the genre or their music. When you do this, one of two things is going to happen: your prejudices will be confirmed, or they won’t be. You’ll be surprised by how wrong you were, or not surprised at all because it was exactly what you expected. I’ve often found with this project that I am wrong about a band or artist after listening to an album of there’s. And that’s been an awesome experience.
I was not wrong here. I figured Arcade Fire was a hipster band, whose sound was “different,” possibly intentionally so, was adored by those who thought their tastes were better than yours, and who took themselves and their music overly seriously and whose songs invoke weird imagery and strange stories. And I came away feeling that way.
It’s an interesting sound, to be sure. And I didn’t dislike it. But I just feel like it isn’t for me. It’s well made, well intentioned, and the people involved are talented. I just didn’t care. And that’s my prejudice prevented me from really enjoying this. I think it needs more consideration. Maybe I’ll give it that one day. For now, three stars. Benefit of the doubt.
Standout Tracks: Keep the Car Running, The Well and the Lighthouse, (Antichrist Television Blues), No Cars Go
Fatboy Slim
5/5
Every time I hear an album that feels made for the club or at least uses heavy sampling and repetition as its main vibe, I’m continually surprised by how much I enjoy it. It’s a very specific vibe, a very specific mood, but it hits.
For me, there isn’t much else to say except that this is just fun to listen to. It works as background music, it works as music you want to dance or groove to, and it works as music you can actually pick apart and think about to see how it works. I never thought I’d do this, but this gets five stars. And I’m pretty ok with that.
Oh but I hate the cover. And “Kalifornia” and its robot voice. Robot voice is something I would remove from music entirely if I could. It sucks.
Standout Tracks: The Rockefeller Skank, Fucking in Heaven, Gangster Trippin, Build it Up, Tear it Down, Soul Surfing, Praise You
Tim Buckley
2/5
Where do I begin…
This is the second Tim Buckley album I’ve had. The first one left me a little underwhelmed. This one largely left me whelmed. I knew it was gonna be weird by the album cover alone. What an uncomfortable image to look at. I’d be interested to know what it’s trying to convey or make the listener feel because for me it just makes me uncomfortable. I don’t think the music is trying to do that. So why is the cover?
As for the music itself, it’s pretty standard mid-60’s folk/psychedelic stuff. Sometimes it feels like renn faire folk, sometimes it just tries to tell a story, sometimes it’s completely obtuse. I wasn’t a huge fan.
I liked the first track “No Man Can Find the War.” Felt like a protest song about Vietnam, and war in general. No man can find it, he can only create it. Other than this the only song that stood out was “Pleasant Street,” but I can’t remember why honestly.
Overall this was fine but nothing I’m really excited about. The arrangements were great and clearly took some talent to create. For that alone it deserves three stars. But it’s downgraded to 2.5 because I didn’t like it much, and then rounded to 2 from there because, well, I didn’t like it. Two starts.
Standout Tracks: No Man Can Find the War, Pleasant Street
Michael Jackson
4/5
This is, of course, just one of Michael Jackson’s seminal pop albums of his career. I’ve had “Thriller” already and it was, of course, a banger. This was also a banger but to a lesser degree. This is just off-peak for MJ. It’s a very strong album but I know he can and has done better than this.
There’s just so much pop fun and flair here. “Don’t Stop ‘Til You Get Enough” is an absolute classic opener. Sets the tone and the bar for the entire album. It’s what an opener should do and I feel like track order is sometimes overlooked these days. I’d already heard this song, as I had for a few others. But it was the ones I didn’t already know that I liked the most. “Workin’ Day and Night” and “Get on the Floor” both stood out to be as both great pop tracks and great dance tracks.
The slower, more introspective stuff? Eh. I’ve never been a fan of the pop/R&B ballad and that holds true here. They’re good tracks but not for me.
It takes a lot for a pop album to impress me. There’s so much crap that for a pop album to make an impression on me is saying something. Another hit for MJ, another four stars.
Standout Tracks: Don’t Stop ‘Til You Get Enough, Working Day and Night, Get on the Floor, Off the Wall, It’s the Falling In Love
Bobby Womack
3/5
I’d only heard of Bobby Womack in passing. I couldn’t have told you his genre or what era he was most popular during. I’d just heard the name.
This was alright. In general, this style of music isn’t really my thing. There are a few Al Green songs that just get me though, and there’s some of that influence and energy here. Loved that.
But overall I just wasn’t super enamored. There’s some great grooves, and it’s something to be appreciated. But the genre just isn’t mine and that’s alright. Mr. Womack gets three stars because what I liked was great, what I didn’t was still good, and man it just sounded like he was having so much fun.
Standout Tracks: So Many Sides of You, Stand Up
John Lee Hooker
4/5
Who knew the blues had any kind of presence in the late 80’s?
This was great. It definitely carried the feel of “boomer music,” reminding me of more commercial blues my parents probably ate up at the time and for years after. But in that way it was a little nostalgic and honestly kind of fun. There are some excellent guests on here, too, and they do add something to the production. They’re not just there for album sales. They felt like legit collaborations.
Overall I had a fun time with this, but I don’t see it sticking in my head as anything other than that. Four stars.
Standout Tracks: The Healer, I’m In the Mood, Think Twice Before You Go, That’s Alright, Rocking Chair, My Dream
Can
3/5
Pink Floyd’s disciples. Was Syd Barrett involved?
But really, this did remind me an awful lot of late 60’s/early 70’s Floyd. “A Saucerful of Secrets” and “Set the Controls for the Heart of the Sun” both come to mind. Long, experimental, often chaotic instrumentals that sometimes build but sometimes meander until they find their purpose and sound. Floyd had more structure to these pieces than Can seemed to. The way I always imagined pieces like this being recorded was that the band had a destination in mind with certain points to hit but would take a different path each time.
That’s kind of how I felt here. The longer pieces feel too long and too varied in their sections to be fully transcribed, written out, and performed and recorded. The result is interesting, experimental, and should be applauded for the sounds it created. But ultimately it’s hard to talk about an album like this. The tracks are so long that it makes for a dense listening experience, one that buries all its quirks and great moments among the rest of the sometimes meandering noise.
I liked this album. But it’s one that is likely experienced once, maybe a few times but never fully grasped and understood. It gets three stars from me. I’d love to see what these guys could do with a little more structure. For what it is, it’s remarkable. But as for something I enjoy, three stars.
Standout Tracks: Future Days, Moonshake
Nick Drake
3/5
Nick Drake is such an interesting case. I had never even once heard of him prior to being handed “Pink Moon” earlier in this project. I really liked that album (gave it 4 stars). Looking back my review, I see a contrast. Whereas that album seemed melancholic and sad at times, this one feels more full of life and even a little whimsy. That probably has to do with the life injected into by the back band (orchestra?), but Drake may also have been in a very different place in life for “Pink Moon.”
Regardless, I like this one a little less than “Pink Moon.” I found the orchestral arrangements to be a little schmaltzy at times, which I wasn’t crazy about. But the essence of what I perceive to be his work is here and I really liked the front half on this album. It just started to fade a little for me as it went on; stuff sounded a little samey.
Good stuff though. A solid three stars.
Standout Tracks: Introduction, Hazey Jane II, At the Chime of a City Clock, One of These Things First, Poor Boy
Pearl Jam
3/5
My only real knowledge of Pearl Jam was that “Even Flow” was in Guitar Hero 3, and it was super fun to play. I imagine a lot of people my age had a similar experience being introduced to Pearl Jam. So that was a nice throwback.
I really enjoyed this album, honestly. Some tracks are a bit long but they don’t overstay their welcome. Eddie’s voice is amazing, and it seems like he can do a whole lot with it. The screams are undeniable. Each song comes at you hard and fast, and stays there. The stakes are high, the songs are serious and meaningful, but not in a way that tired me out.
It’s easy to see how this album was influential. I hear a lot of later 90’s and 2000’s rock here, both in bands I like and bands I don’t. That alone gets respect from me.
This was cool. Some of the songs do start to sound a little samey here and there, but it’s their debut album so I’ll forgive them a little for that. I don’t know of any other Pearl Jam albums or if they’d be part of this list. I kinda hope they are, but I do get the sense that this is who they are.
Three stars.
Standout Tracks: Once, Even Flow, Alive, Jeremy, Deep
The Pogues
4/5
From the instant I hit play, I knew we were in for a good time.
This was such a fun album. So many fun Irish jaunts and jigs, so much whimsy, and with a little bit of punk. God this was fun. I could listen to shit like this all day.
My only gripe, and why it will get four stars instead of five, is that I kind of got lost in it at a certain point. They all started sounding the same and I kind of just think of it as one big jig. But hey it was a hell of a jig. Four stars. Really wanted to give it five but it just ran too long and got too samey.
Standout Tracks: If I Should Fall from Grace with God, Turkish Song of the Damned, Bottle of Smoke, Metropolis, Thousands are Sailing, Fiesta, Streets of Sorrow/Birmingham Six, The Irish Rover, South Australia
Paul Revere & The Raiders
2/5
I was left pretty disappointed by this. It had all the makings of an album I expected to enjoy - a 60’s rock album that might be defined as hard rock or even alt rock. I really thought I’d dig this.
But I just didn’t. It didn’t hit. There were songs that were cool and fun, but nothing I loved. The tone was all over the place. “Little Girl in the Fourth Row” - are you kidding? I know that, for some reason, pedophilia was considered at least somewhat acceptable in popular music at the time (“She was just seventeen/you what I mean”; “You’re sixteen, you’re beautiful, you’re mine”; “sweet little sixteen” - you get the idea), or maybe just referring to women as “little girls” was supposed to be a term of endearment. But goddam that song was creepy as hell by today’s standards. No thank you, bad touch.
Beyond that one song, there’s some stuff to like here but I didn’t need to hear this before leaving this earth. Two stars.
Standout Tracks: I’m Not Your Stepping Stone, Get It On, Shake It Up
Beastie Boys
2/5
I both loved and hated this album.
There are so many great ideas here, but they’re held back by what feels like sloppy execution. Some songs feel great and polished, and some feel like they were just being lazy. None of the “skits” or the intro really add anything to the album. They’re just…there. It’s all over the place. I didn’t get the suite at the end, what was that?
What was cool were the samples, some of the hooks, and the great flow the best songs had. It was a little hard to listen to (as it is with the Beastie Boys), because they sound kind of whiny and cartoonish at times.
But it’s the Beastie Boys. I actually really like them. I don’t know, man. This is a weird one. I love “Sabotage” and “Sure Shot” but those aren’t here and nothing that is reminds me of those song’s energy. I know that they were blurring the lines between rock and rap/hip-hop, like any experiment that’s going to create some odd results until perfected. I’m surprised that this is the Beastie Boy’s album that gets included. I hope there’s another here because this cannot be the best they have to offer. Two stars.
Standout Tracks: Egg Man, 3-Minute Rule, Hey Ladies, What Comes Around, Sadrach, Stop That Train
Emmylou Harris
4/5
As far as country albums go for me, this was alright. I have one main gripe, but let’s talk about more general things first.
Harris’s voice is incredible. The amount of control she has to his these intricate melodies and vocals flourishes (though they’re few) is masterful, and the amount of emotion she can convey in her voice enhances everything. There is no doubting her talent, or that she surrounded held with an excellent group of talented musicians to create an album that shines in its production and technical quality of music.
To my main gripe - it was mostly boring. Beautiful. But boring. My gripe isn’t that, so much as that it starts with the best track on the album in “Bluebird Wine.” That’s an absolute banger and I could listen to it ten times in a row. Her voice really shines here, and it’s just a fun upbeat country tune that really got me excited. My head perked up when it started. And it made me feel like I was in for a party of a country album. And that’s the problem - that’s not what this is. It is not a party. It’s mostly a ballad fest. Rarely does the energy pick back up after the first track, and never does it match it. I would kill for an album by her that had peaks and valleys in terms of mood and energy and not just an immediate peak followed by a huge valley. Don’t get me wrong, I love me some ballads. But an album full of them, after an opener that isn’t a ballad? Come on. I feel like an opener is supposed to set the tone and mood for an album, to establish a vibe. So when an opener is drastically different from the rest of the album, I feel like I’ve been falsely advertised to.
Anyway. I actually did enjoy the album, despite what I’ve said. I just wanted more variety in the energy of the songs. I know country is known for its ballads but clearly she had it in her to crank it up if she wanted to. But I try to appraise an album based on what it is, not what it isn’t. So what’s here gets four stars. Her voice alone gets three. Everything else is enough to earn four stars. She’s definitely someone I’ll checkout outside of this project.
Oh and I appreciated her cover of the Beatles “For No One,” I just wish it wasn’t so schmaltzy. A lot of the ballads are schmaltzy and I just didn’t need that.
Standout Tracks: Bluebird Wine, Before Believing, Bottle Let Me Down, Queen of the Silver Dollar, California Cotton Fields
Dexys Midnight Runners
5/5
This album exceeded every expectation I had for it. Like most, I assume, the only song I knew by Dexys Midnight Runners was "Come on Eileen." I was pleasantly surprised by that song's absence from this album. I love that song, but one complaint I've had with this list is that it seems like if an album contains a massive hit, it makes it on this list even if the rest of the album doesn't compare (see: "Hunting High and Low" by a-ha). So when I saw that their biggest hit wasn't part of this album, I was excited and relieved.
And they didn't disappoint. I had no idea that the band used horns and other wind instruments so extensively in their arrangements. And I loved it. I'm a huge sucker for use of wind instruments in rock and pop music, and when I heard them on the very first track, I was in.
And I stayed in through 95% of this album. Track after track was just banger after banger. The only duds I'd make note of were "I Couldn't Help it if I Tried" and "Keep It." The Brit-Pop voice really come out in those tracks, and I just cannot stand the whiny, annoying texture to it. Oh and "I'm Just Looking" because the whispering at the start made me uncomfortable. The instrumentals were great throughout though, including the songs I didn't like as much because of the vocals.
Overall I really enjoyed this album and am really happy to be giving it five stars.
Standout Tracks: Burn It Down, Tell Me When My Light Turns Green, The Teams That Meet In Caffs, Geno, Seven Days Too Long, Thankfully Not Living in Yorkshire It Doesn't Apply, There There My Dear
Dolly Parton
4/5
Second country album in the last three days. I really enjoyed Emmylou Harris the other day, and I think I enjoyed this one just as much.
Dolly Parton is one of those artists where I know I’ve heard a few of her songs, but because of my age I know her more as a media personality and philanthropist than as a musician. So it’s actually a treat to hear her music. She’s revered as a human being (rightfully so), and as a musician. So it was time to hear what made her famous in the first place.
This was cool. Dolly has such an easiness to her voice. She was born to do this and it shows. The title track, which she apparently holds as one of her favorites, is a sweet and sentimental song about her modest upbringing and how she learned to value what she had, not what she didn’t. It’s a beautiful message and reveals what she’s been through in life. The rest of the album mostly hangs with this sentimentality, though it does venture into more typical country themes of love, love lost, and loneliness.
It’s a very well produced album. The more upbeat tracks have the kind of energy they need to succeed, and the slower ballads are given the weight they deserve. My biggest gripe with it is that, at times, it’s kinda schmaltzy, corny. That may just be a symptom of the era and genre, but it doesn’t stick well with me. This falls at a true 3.5 stars, but I’m going to round up for queen Dolly.
Standout Tracks: Traveling Man, My Blue Tears, She Never Met a Man (She Didn’t Like), Early Morning Breeze, Here I Am
ZZ Top
3/5
I was honestly shocked that two ZZ Top albums made it onto this list. Not because they aren’t a good band, but because…I mean, come on - you’ve heard one ZZ Top album, you’ve pretty much heard them all. And that’s kind of how I felt about this one.
Sure I picked out more Standout Tracks than I might for some albums I regard better than this one, but that doesn’t mean it’s great. It’s good. It serves its purpose of being a ZZ Top album. Nothing mind blowing, nothing groundbreaking, just some cool, motorcycle rock and roll that kicks some ass. It’s fun, it’s energetic, it’s made to kick back and be listened to. Or to drive to. The band is talented, even if the vocals leave a little to be desired at times. Anyway, I would’ve picked this ZZ Top album over the other one, but hey I guess I got them both. I’m whelmed. Three stars.
Standout Tracks: Gimme All Your Lovin’, Sharp Dressed Man, I Need You Tonight,
5/5
It can be difficult reviewing an album as iconic as this one. What is there to say that hasn’t already been said about this or any Beatles album? What can you honestly contribute that hasn’t already been written and talked about for the last nearly 60 years?
I guess it’s the personal stuff, what this album means to you and how you enjoy it. So here’s that.
I adore this album, though I do find that I’ve ingested it so much over the last 20 years that I just cannot find anything new about it. My listening today absolutely flew by. I know every inch of every track. There’s nothing new for me here, and it’s impossible for me to pretend to be someone listening to it for the first time and finding something new. It just can’t be done, short of a case of amnesia. This album means a lot to me in that it’s a place of comfort, nostalgia, and familiarity. It makes me think of my parents (who grew up adoring the Beatles), about how they got me a copy of this album on vinyl for my 20th birthday because of the album’s opening lyrics. It makes me think of high school and my Beatles phase, of listening to this album while doing homework or on the bus to and from school. It makes me think of the day the Beatles landed on iTunes and how weird that felt at the time. It makes me think of all the times I felt like my taste in music was superior to everyone else’s my age because this was “real” music. And it makes me embarrassed for my younger self because of how my taste has grown, and how much more tolerant and accepting I am of music I once thought was beneath me.
You can get lost in the music itself, but when it all becomes so worn in and comfortable like old leather, what’s left is the memories and emotions you attach to it. And that is what art can do, some say should do. Inspire emotions within the person experiencing it. That’s how I experienced this album today - by remembering it at different times in my life and reminding myself of how long it’s been with me. That’s priceless.
I will talk a little about the album itself. “With a Little Help From My Friends” was always a song I wanted to skip to get to “the good stuff.” Today it hit very different, and I love it. How can you dislike the charm in Ringo’s voice? Everything else hit the same as it always has (see my favorites below). Not every track is a complete and total winner in my mind (looking at you, George), but man this truly is a masterpiece. The concept, the art, the songwriting, the arrangements, the production - it all comes together and makes something nearly unbeatable. One of the all timers. Five stars and don’t look back. I hate to play into the narrative and the hype around the band and the album, but it’s hard to deny this album.
Standout Tracks: Sgt. Pepper’s Lonely Hearts Club Band, With a Little Help from My Friends, Getting Better, When I’m Sixty-Four, Lovely Rita, Good Morning Good Morning, A Day in the Life
The Rolling Stones
2/5
If this doesn’t scream “debut album of a 60’s rock band,” I don’t know what does.
This reminds me a lot of The Who’s debut album. That one had some covers, but also mixed in some decent originals. Same thing with the Beatles debut. But this? This is all covers save for ONE Stones original. Why is this on the list? Don’t tell me the Stones did these songs better than the originals. I won’t believe it. They’re serviceable covers but come on. I don’t know how many albums the Stones have here (I can think of at least four that probably belong), but this taking up a spot is criminal. At least when the Who did an album with covers they had like, two iconic songs to go with it (“The Kids are Alright” and “My Generation”). At least the Beatles had “I Saw Her Standing There.” But this is just bad.
The music itself is fine. Like I said, the covers are serviceable. The one original is so clearly, painfully and original song made by a young band that would learn and grow so much more moving forward. They would do so much better than this. Why is this here? Seriously - why? Regrettably this gets two stars, because this pales in comparison to everything else they would go on to do.
Standout Tracks: I Just Want to Make Love to You, Mona (I Need You Baby), Now I’ve Got a Witness
David Bowie
4/5
For an artist the I revere such as Bowie, I’ve actually heard remarkably little of his discography. I’ve heard “Ziggy Stardust” and “Scary Monsters (And Super Creeps)” in full, and now because of this project I’ve heard “Heroes.” I loved “Ziggy,” but was underwhelmed by the other two. But I love Bowie. Weird, right? I was starting to wonder if he was one of those artists who best work is best ingested by greatest hits and being in the know about deep cuts, with a couple good albums mixed in. I don’t have the answer after listening to this album, but I can say that he in fact does have more than one great album.
This was such an interesting listen. It felt very Bowie, but more once I was reminded of Talking Heads. I assumed at first that this was because of Brian Eno, but he had nothing to do with this album as far as I can tell. I’ve heard Bowie do so many different genres and sub genres, and I couldn’t tell you what this is but it was intriguing. The title track is a sprawling suite that introduces the Thin White Duke character. It had highs and lows, and serves as a great opener for the album.
What follows is a small collection of songs mostly longer than four minutes. They vary in style and in substance. Often shrouded in a little bit of that Bowie mysticism and obtuseness when it comes to lyrics, they leave a lot of room for relistening and interpretation. Musically they keep you along for the ride every step of the way.
It’s hard to be more specific than what I’ve written above. This really requires multiple listens to fully grasp. And I don’t have the time for that at this point. But it’s a great album that deserved placement on this list. Four stars.
Standout Tracks: Station to Station, Golden Years, Word on a Wing, TVC15
Television
3/5
From the moment I saw the cover, I got a feeling about this band. I felt like they’d be not to dissimilar to Talking Heads, given they were contemporaries and the cover could’ve been a Talking Heads cover. And I was right - Television does a have late 70’s New Wave kind of sound.
This was an interesting one. It could be quite hard at times, but still contemplative and progressive at others. It could have longer tracks that take their time, or shorter ones that just hit you in the face. Overall, I liked the music enough, but I don’t know if I loved it. But I can appreciate it for its creativity and its originality. This gets three stars.
Standout Tracks: See No Evil, Venus, Torn Curtain
Tom Tom Club
2/5
It feels appropriate that I get a Talking Heads-adjacent album after I’ve called out the Talking Heads in my reviews of the last two albums.
I want to say this was great. I want to say that the other Heads can do something just as good as the stuff they did with David Byrne, that they can stand alone without him. I really want to say these things.
But I can’t.
This was…not amazing. I’m all for experimental stuff. I’m all for weird and quirky stuff. I love shit like that when it’s listenable. This was hard to listen to at times. I found it aimless, corny, quirky to a fault, and just plain boring at times. I love the people involved. I just wish they made better music. Two stars.
Also why the hell would you end the whole thing on “Booming and Zooming”? Seriously? Why?
Standout Tracks: Genius of Love, L’Elephant
Radiohead
4/5
I have heard so much about this album leading up to this. I’ve heard so much praise and so much love that it was hard to know if I could believe that the hype was real and I could buy into it. I’ve seen it ranked as the greatest album of all time, or one of them. I’ve heard fanboys and music critics alike absolutely gush about this album. People cannot get enough of it. So what did I think?
It was great.
What else am I supposed to say? What can I say? This feels a little like Sgt. Pepper where everyone has said everything that can be said about it. It’s difficult to come up with something original to say without sounding cliche. The difference between this and Sgt. Pepper, at least for me, is that I’ve heard this album once and Pepper multiple hundreds of times. I had no attachment to this album outside of the few tracks I already knew and so came at this a little more objectively. Here are my general thoughts.
One listen isn’t enough. For multiple reasons. For one, I can’t hardly understand most of what Thom Yorke is fucking saying. All the long, drawn out words sometimes blend into each other and become one long sound instead of individual words. It’s actually kind of annoying. So another listen is required purely to pick up on the lyrics, preferably while reading along. But then another listen is necessary because, from what I’ve read, this is an album with very meaningful lyrics that reflect themes of isolation and loneliness, none of which I picked up on. So it needs another listen there.
But what about the music? Shit, man. It was great. One word I’d use to describe the feel of this album is dread. Another is confusion. Regardless of what the lyrics say, the music itself really drives home its own themes that are present throughout most of the record. That alone earns praise from me because oftentimes a band has either good lyrics and mediocre music or good music and mediocre lyrics. Even great bands suffer from this. But this album, like a lot of Radiohead’s work, has both. So major props there.
I want to give this five stars, but without really understanding the album and meeting it in the middle, I don’t think I can. One day I’m sure I will. But four stars for now.
Standout Tracks: (Literally all of them but three, so I’ll list those because that’s easier: Subterranean Homesick Alien, Let Down, Fitter Happier)
Nick Cave & The Bad Seeds
2/5
This album was beautiful. So many well thought out melodies and grooves, very lovingly created and meticulously layered and considered. It expresses the sadness and despair (and sometimes love and happiness) of Cave’s life.
Yes this album was beautiful. It was also boring as hell. I mean my god. Every fucking song is at the same damn tempo. There is so little variety in terms of tone and tempo and mood that I literally could not tell you one song from another unless you gave me the lyrics. What the hell man? The wiki article says this is one of his most acclaimed works. REALLY???? He did nothing more exciting or interesting than this?!?! Come on.
Again this was beautiful but I was just so, so bored. It was like going to an art exhibit of an artist and seeing that he painted the same painting twelve times and made only small changes each time. At the first you’re interested in finding the changes and comparing them, but after a while they’re all so similar to each other that you don’t fucking care anymore and just want to go to a different exhibit. That was this about half way through.
Also, there’s a band attached to this? They have no identity here, and it all comes across way more as a singer-songwriter album than a band.
Two stars. Not sorry.
Standout Tracks: (not that I can tell the difference between most of them but ok fine) Into My Arms, West Country Girl (because it was slightly different than the rest)
Napalm Death
1/5
I saw the name of the band, the name of the album, and the cover and was immediately filled with dread.
Then I saw the incredibly short lengths of each song and thought, “Oh that’s not so bad. If I don’t like a song, it won’t last very long and maybe I’ll like the next one.”
Yeah, no. That was a nice thought but it doesn’t apply here.
I won’t say a whole lot here. How anyone can begin to understand what the fuck the lyrics are is beyond me. They clearly have a message but it gets completely lost because he sounds like he’s mumbling while constipated. At one point one of them sounds like Animal from the muppets.
All the songs blend together because of their similar sound and short lengths. I can appreciate the musicianship but that’s about it.
There’s a track called “You Suffer.”
Yes, yes I did.
First ever one star (though I would change a couple retroactively). Oof.
Standout Tracks: Siege of Power
Genesis
3/5
This is so 70’s it hurts.
Like most, the only thing Genesis-related I knew going in was “In the Air Tonight,” and that obviously isn’t here.
I heard so many different here. Yes, The Who, Rush, even a little Pink Floyd. It was such an eclectic sound, one that dares to expand on itself and reach new heights. And it does occasionally reach them. It’s ambitious and I can always appreciate that. Ambition can sometimes earn your three stars on its own.
But I just really wasn’t taken with it. It came across as corny and some ideas were either not as original as I think they thought they were, or were otherwise just not too clever. The suites were cool and mostly well done, but I just didn’t really care. But this is a good album and I’m happy to have heard it. It’s very typical 70’s and I could’ve done with a little more oomph behind the otherwise well defined sound. Three stars.
Standout Tracks: Dancing with the Moonlit Knight, More Fool Me
Prince
4/5
Prince is a force. Prince is an attitude. Prince is self-defined. Prince is confidence. Prince is an artist.
Prince is a genius.
I knew all of these things coming in. But I somehow could count the number of his songs I knew on one hand (Purple Rain, When Doves Cry, Let’s Go Crazy, Kiss, 1999). So I was eager to be educated in the ways of the legend.
And educated I was. What a mix of genre here. Funk, soul, rock, R&B, some world music in there. He was truly a master.
For me this came on strong, sort of slowed down the momentum in the middle, and finished strong. I don’t think the length of this was any help to it. I always dread the longer ones because they’re hard to find the time for. And so when I do, it’s often in spurts that makes it difficult to really fully understand and appreciate an album to its fullest. So a full relistening is in order. But who has the time for that?
All of this said, it gets four stars. It’s Prince. What else am I supposed to give it?
Standout Tracks: Sign O’ the Times, Play in the Sunshine, Strange Relationship, I Could Never Take the Place of Your Man, The Cross, Adore
The Band
4/5
This is the second album by The Band that I’ve been handed here, and I have to say I liked it much better than the other one. The first one was fine, but I didn’t feel like it could be their best work and bordered on corny at times. This one felt more authentic and fresh. They’ve always had a specific sound that sits somewhere between folk, country, blues, and even a little rock. It’s a sound that I feel doesn’t commit to anything too definitely, which allows the music to come across somewhat unassumingly. It’s a bunch of dude playing music about characters they’ve created, stories they’ve written or things they’ve seen. The name of the band could be seen as pretentious (“we’re THE band”), but I don’t think that’s meant to be it. I think it’s meant to just convey that they’re simply a band.
The music is simple in arrangement but so very effective in conveying the emotions of the songs. My one gripe is probably the vocals. From what I can tell there’s two singers. One is the guy who sings the opening line of “The Weight” (all time great song), the other is the guy who sings the verse about Chester. Chester guy…he doesn’t need to sing. Not in love with his voice at all.
But that doesn’t define this album, nor does it detract enough from it to make it an average piece. No, this gets four stars. Great stuff.
Standout Tracks: To Kingdom Come, Caledonia Mission, The Weight, This Wheel’s on Fire
The Kinks
3/5
The Kinks are a band that I’ve always known existed, but never heard anything from them besides the hits.
This album has, I think, a couple hits for them but not ones I knew already. So this was a treat.
The album is good. Nothing blew me away here. It carries their very Kinks sound with some witty lyrics, catchy riffs, and sometimes bombastic arrangements. But nothing blew me away here. This is a solid three stars.
Standout Tracks: David Watts, Situation Vacant, Waterloo Sunset
Miles Davis
4/5
I’ve been wanting more jazz! Glad I finally got it.
From what I understand, this list generally avoids compilation albums. This makes sense; a compilation album is designed to be incredible. It wouldn’t be fair, and then the list would be boring if it was full of compilation albums. So why this is here is interesting to me.
But hey, I’m not complaining. Give me Miles Davis in any form and you know I’m here for it. This is no exception.
The man exudes a swagger, a confidence, a powerfulness in his music. Every single track is a masterclass in mood and tone in jazz. Beyond his technical proficiency lies a this emotional being that takes over his sound and produces music that just hits the spot.
There really isn’t much more to be said. He’s one of the giants in jazz and music in general, and this is something to marvel at. The only reason it’s getting four stars is because it’s a compilation album and it wouldn’t be fair to give it five.
Standout Tracks: Move, Venus de Milo, Budo, Godchild, Rocker, Rogue
The Mothers Of Invention
3/5
My only frames of reference for Frank Zappa and the Mothers of Invention were:
A: Frank Zappa seems like he was a pretty woke dude for his time, and was an incredibly creative guy who probably did a shit ton of drugs.
B: They’re name checked in Deep Purple’s “Smoke on the Water.”
I knew I was in for a weird time, mostly by reputation and the track names. And yeah man, it was fuckin weird. At times
It felt like a parody album, like it was taking on different genres (rock, acid rock, doo wop, and more), which is funny because psychedelia is often known for being parodied in itself. If all tracks are taken as a sincere effort to innovate and make significant serious attempts at bold statements through artistic expression, you probably aren’t going to like it much. But if you accept that it’s a wonky parody of both itself and other genres, it becomes pretty listenable…mostly. You’ll still have a weird album to listen to that may make you slightly uncomfortable. But that’s what challenging music will do to you. Also I do just need to give them the credit for having the balls of steel required to include the following line in 1966:
“Hey you know something people/I’m not black/But there’s a whole lot of times/I wish I could say I’m not white”
(from “Trouble Every Day)
I gained a lot of respect for this album with that line.
Anyway, I liked but didn’t love this. Three stars.
Standout Tracks: Go Cry on Somebody Else’s Shoulder, Trouble Every Day
Neu!
4/5
Wow! No expectations going in and this was amazing! Really cool instrumental (mostly) rock from a band I’d never heard of.
Every song was moody and conveyed an emotion or feeling pretty well. There were some cool grooves. What lyrics there were, I didn’t understand, and I honestly couldn’t tell you if they added or subtracted from the experience. But overall though, this was a great record and I’d love to hear more of them. Really progressive and modern sound, especially for 1975z Four stars.
Standout Tracks: Isi, Hero, E-Musik
The Cars
3/5
My first car was. 1997 Volvo. It didn’t have a working tape deck, and it sure as hell didn’t have a CD player or Aux input. So I was essentially limited to the radio. Being an anti-modern music, anti-pop music snob at the time (I’m in recovery now, I promise), three of my radio presets were the three major classic rock stations in my area. I discovered some bands and songs I didn’t know before, and enjoyed classics I already loved.
The Cars were one of those bands that came on frequently. When they did I…I’d often switch to another station. I really didn’t like “Good Times Roll,” and was sick of “Just What I Needed” from those Best Buy commercials it was featured in. Those were pretty much the only two songs of theirs that would get any airtime. So based on that, I wasn’t a fan.
Fast forward fifteen or so years, and we’re here. My tastes have grown and changed (I’m in recovery, remember?), and through the years and my half a year with this project my perspective and attitude toward a lot of music has changed as well. So I really did feel like I was coming at this with fresh ears, especially given that I haven’t thought about The Cars in probably a decade.
I actually liked this album. Not enough to be overwhelmed or anything. But enough to give The Cars a second look. They’re much more New Wave than I expected. I heard some Talking Heads sounds in here. I heard some really interesting and at times bizarre stuff. I expected a pop rock album and what I got was a creative, sometimes odd New Wave album that definitely stands on its own. I’m pleasantly surprised to be giving it three stars. Good job, The Cars.
Standout Tracks: My Best Friend’s Girl, Just What I Needed
The Mamas & The Papas
4/5
What a cool album. I thought I’d only ever heard one of their songs, the one we’ve all heard - “California Dreamin’,” but I’d actually heard more and just never knew it was them. Made me wonder how many of their songs fit that description.
Anyway I really enjoyed this one. Fun folk rock with some classics. They didn’t all hit but the ones that did we fantastic. Four stars.
Standout Tracks: Monday, Monday, Straight Shooter, I Call Your Name, California Dreamin’
Iron Maiden
3/5
I feel like I’ve said this for every metal album. I’ve had so far, but metal really just has not been my thing. I’ve always kind of felt this way about metal, but my hope is that this project would show me the best of the best and help me understand why it’s so beloved by people who love it. That hasn’t really happened, which is a bummer because I see how passionate metalheads are about the genre.
This album may have moved the needle a little bit. It still would not say that I’m a fan of metal, but this kind of metal album from such an iconic band does check a few boxes for me. For one, it’s still moving into metal from hard rock, so there’s a lot of elements here that are more hard rock than metal. Van Halen-type solos, high energy, but not always high stakes in these songs, and just an overall attitude that is less “I’m gonna kick your ass, beware of the evil that lurks in the darkness” kind of energy and …more literally anything else. One of my main issues with metal to this point has been that it is so high stakes all the time, and it’s exhausting. But this one is not so in your face all the time. And that’s something. I really appreciate about it.
Overall, I liked this. I appreciated that it was shorter than other metal albums I’ve had so far as well. If the other Iron Maiden album I’ve had was a 3, this is 3.5. But I still round that down to 3 because I didn’t like it THAT much to give it 4.
Also “Charlotte the Harlot” is a great song name and you can’t convince me otherwise.
Standout Tracks: Prowler, Transylvania, Charlotte the Harlot, Iron Maiden
Hole
3/5
I’ve noticed a trend in baby names in the last 10 or so years. Parents seem to be just choosing random nouns to be their kids name. And I honestly thought it was a pretty stupid trend.
I also noticed this trend with band names. Hole, Cake, Pavement, Tool, Garbage. All bands that, if it’s petty, I have a hard time taking seriously because I think their name is dumb.
I don’t think that about anymore. I do think their name is kind of stupid, but the music was pretty alright.
I knew that this was Courtney loves band and perhaps Kurt Cobain had some influence here that seems to be disputed. It was fine. A few standout tracks, others just faded. Like most albums. Three stars. I am whelmed.
Standout Tracks: Violet, Plump, Doll Parts, Credit in the Straight World
Calexico
4/5
I have to admit that I had never heard of this band before. Are they a band? I think they’re a band. Hard to tell sometimes with an artist name whether it’s an individual or a band. But I’m pretty sure.
I have to admit that I had never heard of this band before. Are they a band? I think they’re a band. Hard to tell sometimes with a artist name whether it’s an individual or a band. But I’m pretty sure.
No, I never heard of them before, so of course I had no idea what to expect. What I got was this really amazing mixture of genres. At least it felt that way. Jazz, Latin Jazz, Spanish Guitar, Funk, rock. Was a really interesting lesson that always kept me on my toes. And I love what an album does that.
One thing I think that works against this album is that it’s so easy to put on the background and Not really actively listen to it the instrumental tracks, especially contribute to this, as they’re just so chill most of the time that it almost feels like Lofi before Lofi was a thing. I know that this can happen because it happened to me. While listening to this album, I was doing some work and I admit that I probably didn’t listen as close to this as I should’ve. And despite that, it’s gonna get four stars. But it also demands another listen. Throw this on the pile of albums that fits that category. Four stars.
Standout Tracks: Quattro - Worlds Drift In, Pepita, Not Even Stevie Nicks…, Close Behind, Attack El Robot! Attack!, Dub Latina, Crumble
Blood, Sweat & Tears
5/5
What did I just listen to?
I mean that in the best possible way. Trying to define this by an established genre feels impossible. Classical? Not entirely? Jazz? For some parts, sure. Rock? Definitely in there. Gospel? You could argue. Folk? I think that’s mostly the underlying theme here.
I loved this. I loved it for its complexity, its variety, and its soul. I loved it for the tightness of the band and for their clear love of music, for its energy, and for the sheer force of will that is David Clayton-Thomas’s voice.
I don’t even know what to say. This is an easy five stars. Just absolutely fantastic. A masterclass in feel and variety, in band tightness and togetherness. I even listened to the live tracks at the end because I had to hear how they were live and they didn’t disappoint. They’re the real deal. I must heard more.
Standout Tracks: Smiling Phases, More and More, And When I Die, Spinning Wheel, Blues, pt. 2
Ian Dury
1/5
Well that was the most aggressively British thing I’ve ever heard.
What is this? Why is it on this list? Seriously? THIS? Is this the author’s cousin or something? Was this just the first album the maker of this list ever bought and included here for sentimental reasons? I mean some of the grooves were good but the lyrics were atrocious and the guy’s voice was blander than white bread.
I have mentioned before how I think this list has a bias toward some British artists that were only popular in their home market, leading to the inclusion of some British albums that many outside of British culture haven’t heard of, or the inclusion of lesser offerings from otherwise well known artists. This is the epitome of the former.
The most painful thing about this is that it got worse as it went on. My god this was bad. I sincerely hope this man has no other albums here. Everything from the name of the album to most of the lyrics was cringe.
Have I said enough? I don’t know if I’ve said enough /s. One star, and it’s rare something gets one star. This just felt like the aimless musings of a British man who thought he was much more clever and interesting (and sexy) than he probably was. Sorry guy.
Standout Track: Clever Trevor
The Stranglers
4/5
Never heard of the band. Never heard any of their songs. No idea what to expect going in.
This was honestly pretty good. It started out really strong and, at least for me, faded near the end. Which was a bummer because I was ready to give this five stars after the first half. But sustaining such a strong start throughout an album’s entirety isn’t easy and I don’t fault them too hard for it.
This was a cool, new wave type sound that fits into its own niche pretty well. I’m learning through this project just how much I like new wave, and learning just how many cool bands exist in that genre besides the Talking Heads. Four stars.
Standout Tracks: Sometimes, Goodbye Toulouse, London Lady, (Get a) Grip [On Yourself]
Air
4/5
Ok so right off the bat, “Moon Safari” is an excellent name for an album and I love. “Air” isn’t a great name for a band or group, but I’ll allow it.
This was cool. I’ve come to realize through this project that I do actually like electronic instrumental music. It’s all about the vibes and when it hits right, it’s amazing.
There were a couple tracks I’d consider duds, but not many. A few really stood out. And that one last one kind of sounded like the melody from “Ain’t No Sunshine,” so that was weird. Maybe they were going for that? I dunno. This was cool. Four stars.
Standout Tracks: La femme d’argent, Kelly Watch the Stars, Talisman
John Mayall & The Bluesbreakers
3/5
The ole white boy blues, I know it well.
I did find it pretty funny (in a grim way) that the white bands of the 50’s and 60’s appropriated the blues from black culture. I get why they appropriated Rock and Roll - it’s just a fun time. But the blues is such a sad genre, filled with songs of despair and loss. It comes from a place of pain. The black blues artists used that pain and created poignant and memorable art. So for the white artists, the ones causing that pain, to swoop in and appropriate it, is grimly ironic.
Cultural appropriation aside, this was a solid blues rock album. Clapton is undeniable. I do wonder how many of these were covers and how many were originals (I happen to know at least a few were covers), but I’m too lazy to look this up.
Clapton comes at each song with his usual confidence and showmanship, blowing everyone away with his skill. The vocals are good for what this is, and the rest of the band is good.
Can’t think of much else to say, really. It scratches the itch of a 60’s white blues rock album. Three stars, feeling pretty whelmed.
The drum solo on “What’d I Say,” though? That gets that gets five stars.
Standout Tracks: All Your Love, Hideaway, Double Crossin’ Time, What’d I Say, Steppin’ Out, It Ain’t Right, Bernard Jenkins
Dolly Parton
3/5
Pre-listening thoughts: “I love Parton and Harris, so please don’t let this fall victim to 80’s over the top production and sound.”
Ok thankfully it didn’t fall victim to that, but after listening I kinda wish that it had.
There is no doubting the talent of these three women. Having heard a Dolly Parton album and an Emmylou Harris album as part of this project already, I had high hopes for this. My main complaint about those two albums, however, unfortunately applies to this one as well: the songs all sound the same. Slow, plodding country ballads. Beautiful, yes. But slow. And long.
The harmonies these three women create are undoubtedly devine. The songwriting prowess is on full display as well. But also on full display is that classic Dolly air of sentimentality that is almost smothering at times. She hits this niche where the whole thing feels genuine but she goes just a little too far and makes it feel a little schmaltzy. But that’s Dolly, and that’s her thing. Who am I to criticize one of the most successful and popular artists not just in her genre, but of all genres. The woman has her own theme park for fuck’s sake. Only Walt Disney can say that besides her.
In all, file this one under beautiful but boring. It’s sad, really, that the massive amount of talent that had been waiting for years to collaborate couldn’t produce something more entertaining. Give me some country romps next time, ladies. A little more “9 to 5” and “Bluebird Wine,” a little less “Coat of Many Colors,” got it?
Standout Track: Those Memories of You
Depeche Mode
4/5
First venture into Depeche Mode
For some reason this is a band that I feel gets made fun of. I don’t really have any real examples to site, but that’s the vibe I’ve always gotten. I can kind of see why, as their sound does feel very stereotypically 80’s. But know that they’re an 80’s group, and understanding what to expect based on that, this was pretty good.
Lots of depth in their sound, with well developed spaces for it to exist in. It felt very intentional, created to evoke feeling and meaning. I’ve definitely learned to appreciate that 80’s sound a little more through this project (thanks to a-ha and the Human League for that, among others).
Overall this was cool. Four stars.
Standout Tracks: World in My Eyes, Personal Jesus, Waiting for the Night
The Cure
2/5
Be careful what I say, I guess. (See previous review: Depeche Mode’s “Violator”)
I don’t know what I expected. I guess I thought I’d be getting a lot of stuff like “Friday I’m in Love,” stuff on the poppier side of rock. But no. I got this dark, tormented-poet, moody new wave album.
I would’ve preferred the poppier stuff.
I’ve never really dug the whole “look at how emotionally tormented I am” kind of sound and vibe. Like, sorry you’re going through that but it makes your music boring as hell to listen to. The first indicator of what I was in for came right away - the first track. Who the hell opens an album with that? Seriously? You can’t go anywhere from there and have it make sense or gel.
From there it was moody track after moody track. If you’d added ambient rain sounds underneath each track it would’ve fit the vibe perfectly. Sometimes it is, sometimes it ties the whole sound together. Not here, not now.
Very curious to see how many Cure albums are here. I assume at least one more. Hopefully they found some light in their lives. Two stars.
Standout Tracks: A Forest, M
Elvis Presley
4/5
Let’s fucking go
Give me 45 minutes of Elvis any day of the week for this challenge and I’ll be a happy man.
This started off hot and stayed there until near the end. The energy and enthusiasm Elvis still had for performing this late in his career is honestly really amazing. He carries each song as a true performer. Even in just audio, his energy carries over.
Not a whole lot else to say. It’s Elvis. It’s the king. He’s the best. Only reason it doesn’t get five stars is because of the few clunkers present. Four stars.
Standout Tracks: Westin’ That Loved On Look, I’ll Hold You in My Heart, Long Black Limousine, Power of My Love, Suspicious Minds
Steve Winwood
3/5
Huh. I had no expectations and that was probably for the best.
It was fine. I loved the use of synthesizers and electronic sounds. Some of it sounded like it belonged on a Super Nintendo game. It was honestly really cool.
The music itself? Eh it was ok. I liked the individual parts more than the whole. Some of the lyrics were incredibly generic and nothing really shook me. Solid three stars. Not bad. Not great. I am whelmed.
Standout Tracks: Second-Hand Woman, Spanish Dancer
Paul Simon
3/5
Oh my god Paul Simon what the hell was this.
On one hand, I have to give this album some props for how damn joyful it feels. If this is his most popular solo album (which I think it is), I can see why. It has some catchy stuff and it just feels like a really happy album.
But I gotta be honest… I never really believed this version of Paul Simon. It’s really difficult to detach myself from his folky origins with Art Garfunkel and that beautiful sound. I know he’s done way more work outside of that pairing than he has as part of it, but I just don’t buy it. I can’t picture him as some pop artist like this. I had the same problem on the other album of his I listened to, “Hearts and Bones.” He just isn’t that guy to me, so anything other than his folk work feels like a farce to me.
Throw in the fact that this sounds so dated and I just can’t buy in. I know people love it and they espouse its greatness but I just can’t get there. Thematically it’s unfocused. The inclusion of African musical elements and musicians, while probably a huge part of why it feels so joyful, feels out of left field and a little forced. After some reading, I see that he was criticized for breaking a cultural boycott with apartheid South Africa by working with these artists. He claims it was a political statement and he was following his instincts…yeah ok I guess. But the accusations of cultural appropriation do kind of ring true, but I do feel like the inclusion of genuine African artists on this record does take some of the wind out of the sails of that accusation. But I don’t really have a strong opinion on this.
Someone explain to me the greatness I’m missing here because I don’t see it. Three stars.
I do feel like this could've been an influence on Vampire Weekend though. And it definitely has some Talking Heads/New Wave influence in there, too.
Standout Tracks: Gumboots, Diamonds on the Soles of Her Shoes, Homeless, That Was Your Mother, All Around the World or the Myth of
Billy Bragg
4/5
It’s hard not to admire Woody Guthrie. A prolific songwriter of American folk music, and an icon in American culture. To me, he almost feels like a mythical figure. Songs that he wrote have become so ingrained in American society that everybody learns at least one of his songs as a child, and never forgets it.
So it’s truly a treat, then, that this album was put together. Spearheaded by his daughter, this is an album of songs whose lyrics Guthrie wrote but never published or put to music. That’s where Bragg and Wilco came in. They took these previously unheard lyrics and wrote music for them.
The result is mostly great. There’s a couple arrangements that didn’t quite do it for me, but on the whole is positively pleasant to listen to. I do feel like they captured the spirit of Guthrie’s own style, and gave these lyrics a proper and respectful treatment. There are moments where Jeff Tweedy’s voice becomes a little grating, but those are few and far between enough that I don’t knock the album for it. This is a solid four stars. It made me feel good.
Standout Tracks: Walt Whitman’s Niece, California Stars, Way over Yonder in the Minor Key, Hoodoo Voodoo, At My Window Sad and Lonely, I Guess I Planted, Hesitating Beauty, Another Man’s Done Gone
Tim Buckley
4/5
“You’ve got to be fucking kidding me.” - me when I saw this was my album for today.
I have had two other Tim Buckley albums thus far, and I’m honestly shocked to see that he has at least three on here. Lord tell me he doesn’t have more. I could name ten albums not on this list more deserving of his spots than he is.
I sincerely hope my listen makes me feel better about this album because I do not feel good about it right now. We’ll see.
~~~~~~~~~~
Where has this version of Tim Buckley been this whole time???? Goddamn. He was energetic, he was alive, he had soul and a full band, he sang his heart out and then some. Sure the lyrical content was questionable at times but whatever. This was such a departure from the prior two albums that I damn near want to give this five stars. But I won’t overreact. I’ll give it four. That’s what it probably deserves.
This reminded me of early CCR. Big “Susie Q.” vibes, if you see what I’m getting at. High energy folk rock with some soul and some kick. A fun time, made even more fun if you had to suffer through two of his lesser albums. Four stars. Thank goodness.
Standout Tracks: Move with Me, Get On Top, Nighthawkin’, Devil Eyes
Blur
4/5
Blur is at the very least an interesting band.
At the most, they’re geniuses.
This falls somewhere in the middle. They lean into their Britishness HARD. The title track (the meaning of which escapes me) is perhaps the most the most British song of the 90’s, if not the 20th century.
This is an eclectic album, which runs a little long. I probably feel this way partially because of the fact that it stars hot, with multiple tracks that grab you and keep you there. Then it starts to run a little long. Tracks that, while they all have clear direction and intent, don’t keep me all the way there. This could’ve been 10-15 minutes shorter and I don’t think I would’ve thought less of it. That’s a bummer, because I really like Blur and do find them to be one of the more creative bands, one that doesn’t just settle for making fun songs, but ones that try to push boundaries and move music in new directions. That alone deserves three stars. So that, combined with quality, earns it four.
Standout Tracks: Girls and Boys, Parklife, Bank Holiday, London Loves, Clover Over Dover, Magic America, Jubilee
LCD Soundsystem
5/5
Wow
LCD Soundsystem is definitely one of those groups that I’ve heard about for a long, long time. I’d see them on the bill for music festivals and always think to myself that I should see what they’re about. But that’s the beauty of this project - I get assigned anything from old favorites, to bands I’ve never heard of or never would’ve found, to bands I’ve always meant to check out like this.
I adored this album. I don’t think I’ve heard anything like this. It felt like a fever dream where Talking Heads went completely electronic and joined up with MGMT. I had no idea how great a combination that would be but here we are.
I honestly wish I’d gotten to this review sooner (I’ve been backlogged this week), because I feel like I would’ve had more profound things to say about this album I’m going to give five stars. But suffice it to say that I was blown away by this and would absolutely love to hear more. Great stuff. Five stars.
Also, “other voices” is probably one of the best tracks I’ve heard in this project so far.
Standout Tracks: oh baby, other voices, change yr mind, how do you sleep?, emotional haircut
Leftfield
2/5
I’m not usually one to write a short review. Take a look at my history for one minute and you’ll see that’s true. I try to find something interesting to say about each album.
This was an exception.
This was an electronic/club music album. It was exactly what you’d expect from such a record, except that it was too long and honestly boring at times. There were standout tracks, yes. But that doesn’t mean I loved the album. There were good grooves, and that’s what made them standouts to me. I’ve grown to have an appreciation of this genre of music through this project. While I don’t yet have the vocabulary and understanding necessary to articulate what makes for outstanding examples of this genre, I do know the good stuff when I hear. This wasn’t it for me. Two stars.
Standout Tracks: Black Flute, Space Shanty, Inspection (Check One), Storm 3000
The Teardrop Explodes
4/5
The Teardrop Explodes is a terrible name for a band. It’s so bad that I first thought the name of the band must be Kilimanjaro and that the album was called “The Teardrop Explodes.” No. I was wrong. What a bad band name.
Thankfully the quality of the name didn’t reflect the quality of the music. I accidentally caught a glimpse of the average score for this album, and I honestly don’t understand it. I mean it wasn’t great by any means, but to be rated under 3 stars felt crazy to me. This felt like a New Wavey, post-punk romp, complete with horns. Horns!! I’m a sucker for horns, always have been.
I liked this enough that I actually listened to the entire remastered version, bonus tracks and all. I never do that. But this was so listenable and fun that I was here for it.
I don’t get the hate, I really don’t. I definitely am becoming a little jaded by all the Britpop on this list. It’s a clear sign that the author is British and includes a lot of bands from Britain because that’s what was popular there. Which is unfortunate. Do I think that this album belongs on the list? Maybe. I haven’t heard the entire list. It probably wouldn’t make the cut today. But is it good? Yes. And I give it four stars. Almost defiantly.
Standout Tracks: Ha Ha I’m Drowning, Sleeping Gas, Second Head, Poppies, Went Crazy (Reward, bonus track; doesn’t really count)
Supergrass
5/5
I can safely say without any doubt that I had never heard of this band before. At least, I thought I hadn’t.
From the moment it kicked in after that count off on the first track, I was sold. I knew that if this album was going to be anything like the first track, this was gonna be a good time. And oh man was it.
Track after track is filled with really fun grooves, upbeat and energetic sounds, and just a real great party vibe. I could’ve been convinced this album came out in the last ten years pretty easily. I honestly thought “Alright” was a song by like, fun. or something (a band I despise). It sounds so new still.
One of favorite bands (who didn’t make the list, unfortunately) is The Fratellis. I honestly think this album and group must’ve been an influence on them. For the group themselves, I hear some Talking Heads (because when don’t I, apparently) and some Elvis Costello. Combine that with 90’s alt-rock and you have a hell of a time.
Oh that’s one other thing - I generally have found the alt-rock albums on this list to be pretentious and obnoxious (The xx, Arcade Fire, etc.), so I was very pleasantly surprised when I felt like I could give this album five stars. I label nine of the 13 tracks as standouts. I think that says it all. Five stars.
Standout Tracks: I’d Like to Know, Caught by the Fuzz, Mansize Rooster, Alright, Lenny, Strange Ones, Sitting Up Straight, Time, Sofa of My Lethargy
Queen
3/5
I think I expected more from this album. I love Queen, I love Freddie Mercury. I love “Bohemian Rhapsody,” and I knew a couple other tracks from this one.
But I dunno. I obviously didn’t expect every song to be “Bohemian Rhapsody” in terms of iconicness and quality. But most of the tracks feel kinda like what John Lennon might refer to as “granny music.” The album starts off hot with “Death on Two Legs” but then we get “Lazing on a Sunday Afternoon, which I liked, but it definitely fits the “granny music” label. They kind of come back with “I’m In Love with My Car,” but that song is stupid and bad and doesn’t work.
This pattern kind of continues until we get some more meandering stuff near the end, redeemed only by “Bohemian Rhapsody.”
I know the point of this album is to be a little more elevated in terms of artistic intent and taste. I think it partially accomplishes this. But on the whole it wasn’t nearly as compelling as I expected it to be, which is a shame. A very surprising three stars.
Standout Tracks: Death on Two Legs, Lazing on a Sunday Afternoon, You’re My Best Friend, Sweet Lady, Bohemian Rhapsody
Stevie Wonder
4/5
What is there to say about Stevie Wonder that hasn’t already been said?
I said a lot in my previous Stevie review (“Fulfillingness' First Finale”), so I’ll keep it a little more brief here. This reminded me a lot of that album. Very similar vibes, and a similar time in his career. I think I’d rank this one above the first, purely for the grooves. The first one had more ballads which, while beautiful and incredibly well written and produced, weren’t really my thing. This keeps the energy (and the tempo) up and provides some really fun moments.
“Livin’ for the City” probably stands out to me as my favorite track, despite its length. Stevie Wonder’s way of so effortlessly making these profound statements out of what otherwise feel like obvious statements and observations is intriguing, and does make you wonder (no pun intended) how he does it. That knack for simple poetry is on full display this track and in “Higher Ground,” the album’s two best tracks.
Overall it’s an easy four stars. What’s not to like about Stevie?
Standout Tracks: Too High, Living for the City, Higher Ground, Don’t You Worry ‘Bout a Thing
Joan Armatrading
5/5
Never heard of her, not even a little bit. With such a unique name I think I would’ve remembered her, especially with this sound.
This was incredible. From a quiet, soulful folk sound to a more hard, bluesy sound, it’s all here. Her voice is perfect for the music she produces, and she’s got a hell of a band behind her (future Keith Moon replacement Kenney Jones on drums!).
This all makes me wonder where she was before this, and where she went after. I know enough about music of the decade that I feel like I would’ve heard of her. But she was really a bolt from the blue here and that enchanted the entire experience for me. I’m much more excited when I discover a “new” artist like this through this project. I enjoy hearing classics from heavy hitters, and hearing albums I know by heart already. But this album is an example of why I’m doing this in the first place. Five stars.
(This was probably a four and a half star album but “Tall in the Saddle” pushed it over the edge for me.)
Standout Tracks: Down to Zero, Love and Affection, Join the Boys, People, Like Fire, Tall in the Saddle
Ms. Dynamite
2/5
“All you gotta do is dig a little deeper”
The irony
The inclusion of this album really felt like British homerism. Tell me how this is a better album from a musical standpoint than the bigger names in hip hop and rap were producing at the time. Please, seriously, tell me. Because this came off as incredibly generic and bland. Nothing about this was deep, nothing was overtly original or new, and nothing struck me as profound or interesting.
The production was great. Very clean sound for a debut album from 2002. Oh yeah, it’s a debut album again. So this was her best work, right? Because there’s no way she gets another entry here. Seriously please don’t.
Also, how do you say her name? It felt like she was telling me that it’s Dyna-mighty, but it’s spelled like dynamite…if you’re gonna do that at least go all the way with the gimmick and spell it “Dynamighty” or just throw a Y at the end of dynamite.
Nothing about this, from the way she pronounces her name, to the lyrics, is nearly as clever as anyone involved thought it was. It’s so clearly, painfully a debut album and it didn’t deserve to be here. It isn’t profound to say over and over again that you’re thankful for your brother. It isn’t profound to talk about heartbreak in the most generic way possible. It isn’t profound to complain about a man who isn’t around for his kid. It feels like she looked at what had been done before and just did that without putting any unique stamp on it. Two very definite stars here. Please do better. Please dig deeper.
Standout Tracks: Put Him Out, It Takes More
Elvis Presley
4/5
Like I said before, give me Elvis and I’ll have a good time.
What’s not to like? This is just fun. Sure it’s an album of covers, and sure the allegations of cultural appropriation are real, but if you can put that aside and realize that Elvis wasn’t the only one doing that, it’s fun. The energy, the charisma, the pure showmanship of it all is amazing. He had a great band behind him and they help him shine. Is it the best he’s ever done? No. But it’s a great start and representation of his talent. Four stars.
Standout Tracks: Blue Suede Shoes, I Got a Woman, Tutti Frutti, Money Honey
Erykah Badu
2/5
I didn’t get this. Like really at all.
I really liked some of the instrumental arrangements. There’s some really cool stuff here. Jazz, funk, soul, maybe even a little reggae all combine to create this interesting soundscape that just grooves. If this was an instrumental album, I’d give it an easy five stars.
Lyrically? It didn’t do it for me. It’s repetitive, and the lyrics seem to lack depth. Maybe you don’t go to an album like this for lyrical depth but instead come for the grooves. But there’s an emphasis on the lyrics and vocals for sure and it just didn’t do it for me.
That brings me to the vocals. Sometimes her voice is angelic and flows like a fine wine out of a bottle. Sometimes it takes on a tone that feels grating and is downright annoying. It’s a shame it couldn’t better compliment the great instrumentals here.
Overall I hate to give it two stars but that’s where I’m at. It overstays its welcome and just doesn’t get me excited. A second listen might change that but who has time for that when it’s over an hour long??
Standout Tracks: Penitentiary Philosophy, Bag Lady
Metallica
2/5
Please let this be the last Metallica album.
I really hate to say this because I hate when people oversimplify art and especially music. There is always nuance if you just look hard enough, always subtlety you’re patient enough to find it. To say that all a band’s songs sound the same is usually the oversimplification I disdain when I hear it and try to avoid thinking myself.
But come on, Metallica. I can’t even begin to try and discern the content of one album to the next. You could take any track from any of their albums and rearrange them into a new album and I honestly couldn’t tell you it was wrong. I’m sure there’s more nuance than that here, but I just cannot find it. I do not care. I’ve tried with each of these albums but each time they prove to be the same old story - high stakes that never lower, creepy or uncanny names for song titles and for lyrics, songs that go on for too long, lots of double bass drum, and just the hardest fucking guitar sounds you’ve ever heard. That’s the formula. Count on it. Even when a song starts softer, like “One” for example, it inevitably turns into another stereotypical Metallica song. Same thing with “To Live is to Die.” They can’t do anything else but stick to a formula and it’s boring.
I know that a lot of metal is this way, and I also know that Metallica is not representative of every metal band. But come on. Maybe stop trying to be a one trick pony and explore a little more. Two stars. I’m bored.
Standout Track: One
Gil Scott-Heron
4/5
Very soulful, very genuine stuff. Scott-Heron’s voice is so smooth and easy listen to. I thought the arrangements were lovely as well; funky, jazzy and full of great grooves. Such a tight band. The first three tracks, while slow, are still interesting enough to hold the attention of the listener, but when it picks up with “Back Home,” that’s when I really started to vibe.
This was great. My only gripe is that for some reason, this is hard to find. No Spotify, no Apple Music. Found it on YouTube like others must have. Bummer it can’t be included in my running playlist. Four stars.
Standout Tracks: Back Home, The Bottle, H2O Blues
Beastie Boys
3/5
Definitely less grating to listen to than “Paul’s Boutique,” which I didn’t love.
I know the first track is called “Rhymin’ & Stealin’” and that it’s probably meant to foreshadow the intense use of samples (from pretty famous songs, too) on this record. But I honestly don’t care if you tell me how much sampling you’re going to do before you do it, when it’s too much it’s too much. And this was too much.
I dunno man. I came into this with a pretty positive, albeit largely uninformed, opinion of the Beastie Boys. It’s really only gone down since. I expected to give their stuff four to five stars, but this gets three. It was fine.
Standout Tracks: Rhymin’ & Stealin’, Girls, Brass Monkey
Prince
3/5
I like Prince. He’s clearly an immensely talented artist that really had a vision for his work. And so I have no issue praising him for that vision and confidence that so clearly come through in his work.
But I didn’t get this. It was too damn long. I mean my god - it was only 11 songs but somehow 70 minutes. So many of these tracks were just too damn long. Stuff that repeated and repeated until it became tiresome. The grooves were great, but even the best grooves can’t save a song that overstays its welcome.
Prince is a genius, no doubt. And a lot of this was cool. It just overstayed its welcome and got a little too weird at times. Like I’m sure it all made sense in his head, but it just didn’t land for me. Three stars still because Prince, but beyond that I wasn’t sold.
Also “Little Red Corvette” is one song I hear about a lot and I finally heard it and do not understand the hype. Please explain.
Standout Tracks: Delirious, Lady Cab Driver
Meat Loaf
4/5
Whoa
And here I assumed a guy named Meat Loaf would be an absolute joke. I mean I knew his appearance in Rocky Horror was great, but I had no idea just how talented he was.
This album felt grand, big, sprawling and exciting. It did what I love when albums do - started off hot and told us what he’s about, changed gears throughout, and finished strong. This was almost theatrical. Very cool stuff and hard to dislike much.
He’s a joke no longer. He’s a legit and talented musician in my book. This checked every box for me and I’m absolutely here for it. Four stars.
Standout Tracks: Bat Out of Hell, You Took the Words Right Out of My Mouth, All Revved Up with No Place to Go, Paradise by the Dashboard Light, For Crying Out Loud
William Orbit
3/5
I didn't expect much other than other electronic/club album, and for me that’s pretty much what I got.
I still don’t know, even after the handful of albums in this genre I’ve been handed, what makes a good one versus what makes an excellent one. Maybe I just need to hear some bad ones?
Another electronic album, another good time. Three stars.
Standout Tracks: Water From a Vine Leaf, A Touch of the Night, A Hazy Shade of Random, Best Friend, Paranoia
Echo And The Bunnymen
2/5
As tired as I am of the seemingly endless list of stream of Britpop and British post-punk bands on this list, these guys were actually alright. While I couldn’t really discern for you the differences between this singer’s voice and the voices of all the other bands in the aforementioned genres, this guy’s was among the least annoying.
As with other bands of this era and genre, they weren’t nearly as clever as they thought they were. It was entertaining at times but sometimes it just felt obvious and ego-driven, self-indulgent.
I honestly couldn’t tell you the difference between a lot of these bands and I’m at the point now where I feel like I have a firm enough grasp of the genre that I really wouldn’t mind never hearing it again.
But it’s a long list…
Two stars.
Standout Tracks: My White Devil, Heads Will Roll, Ripeness
Pretenders
5/5
Like so many of the bands on this list, I’d heard of (The?) Pretenders but didn’t realize I’d heard some of their music. I realized that I’d heard “Precious,” “Stop Your Sobbing,” and “Brass in Pocket.” The first and third of those were great and were highlights for me here.
This was a lot of fun. Really creative and fun spins of rock tropes, and a really tight group on the whole. Chrissie Hynde’s vocals are intoxicating, and come out with this effortless ease that just draws you in and keeps you there. She’s got such dynamic range.
I’ve been dying for another new wave band that I actually like besides Talking Heads (who were already a long time favorite). After just this album, I have hope that Pretenders can fill that void. This was awesome. Five stars. Even with a couple duds.
Also the bass lines are just incredible. See “The Wait” and “Mystery Achievement” for examples.
Standout Tracks: Precious, The Phone Call, Space Invader, The Wait, Private Life, Brass in Pocket, Mystery Achievement
Bass line on “The Wait” and “Mystery Achievement”
Beatles
5/5
Go back and read my reviews of “Revolver” and “Sgt. Pepper’s” to know how I feel about the Beatles (spoiler: I love them and know a stupid amount of trivia about them).
So instead of gushing about them here, I instead will just write about my experience with this album through the years, and then what I think about it now.
I’ve gone back and forth on “The White Album” for a long time. I used to think it was an album with some of their best tracks, diluted by a bunch of filler crap they never would’ve released otherwise. I then evolved and came to believe that it was something different - an incredible creative endeavor that pushed them to their limits as artists.
I now think the truth lies in the middle.
The band was contracted for a double album and so HAD to produce 30 songs to make that work. So while there were some great songs here that wouldn’t have ever been released on a mainline Beatles album, there is also some real crap here. But that crap is so vastly outweighed by some of each of these writer’s best songs (well, maybe not Ringo) that this is actually one of their best works. I don’t think it’s their absolute best. But damn if it isn’t really up there.
The range displayed here is incredible. Paul’s classic granny music, John’s dark side, John’s soft side, John’s classic cynicism. George’s absolute masterpiece, George’s song about truffles. Huge, soaring orchestral arrangements, loud builds of swelling guitars and drums, contrasted by quiet acoustic songs and songs about a cowboy named Rocky Raccoon.
There’s something for everyone here. People complain about its length. They argue (as I have in the past) that it should’ve been a single album, that it would’ve been better. But I think Paul said it best when he said, “It’s great, it sold, it’s the bloody Beatles White Album. Shut up!” Five stars.
Standout Tracks: Back in the USSR, Dear Prudence, Glass Onion, Ob-La-Di, Ob-La-Da, While My Guitar Gently Weeps, Happiness is a Warm Gun, I’m So Tired, Blackbird, Rocky Raccoon, Don’t Pass Me By, Why Don’t We Do It In the Road, I Will, Yer Blues, Mother Nature’s Son, Everybody’s Got Something to Hide Except Me and My Monkey, Sexy Sadie, Helter Skelter, Revolution 1, Savoy Truffle, Cry Baby Cry, Goodnight
Miles Davis
4/5
Miles Davis was such a badass that he could release a record that was two tracks long.
And have it be fantastic.
This is a typical Davis album in terms of its moodiness and introspective feel. But it’s great and stands out a little because of the statement it makes. Two tracks, one on each side of the record. Done. He didn’t need any more than that.
I don’t know what else to say, really. It’s Miles Davis. One of the best to ever do it. Four stars.
Standout Tracks: both of them
White Denim
5/5
This felt like a few artists put together at times. Some Coldplay, some Black Keys, some U2, some Dirty Projectors. Lots of influences converging in this one energetic and at times frantic album.
This surprised me, really. Never having heard of them I was skeptical of what I might be in for. But the energy, the dedication to precision and arrangements, and the general mood of the whole thing was fun and uplifting and just a great time.
I always appreciate an album that keeps the energy up but still manages not to tire me out. I have often, in these reviews, hounded on artists for lacking variety in tempo, energy, and mood in their albums as that usually makes all the songs sound the same and the whole thing feels monotone. But this was high energy almost the whole way and never felt tiresome. I don’t know how they did it but I love it and I’m here for it. Maybe it was its short length, maybe it was its variety of influences and the distinct nature of each track. I don’t know. But more albums should be this way. Five stars. Loved it.
Standout Tracks: …It’s Him!, Burnished, Back at the Farm, River to Consider, Bess St., Is and Is and Is
The Beach Boys
3/5
Someone explain the hype.
This is what people put forward as The Beach Boys masterpiece? Look, it’s great. Probably their best work. But a masterpiece? Someone explain please.
Don’t get me wrong - it’s an extremely well put together record. Their harmonies are, as always, unmatched. They know how to build them and they certainly know their style and niche. They perfected it. But a masterpiece? I’m sorry I don’t see it.
People compare this to “Sgt. Pepper’s,” or at least mention it in the same sentence. The story goes that they released “Pet Sounds” thinking they’d bested the Beatles, only to then hear “Sgt. Pepper’s” and realize they’d been foiled again. No idea if that’s true but it’s a good story.
If this is their best, why did it feel like a lot of other Beach Boys stuff I’ve heard? The best song “God Only Knows” feels pretty unassuming and shorter than expected. I think it also suffers from needing to sound like The Beach Boys. Another band could probably do this in a way that was more interesting.
The arrangements are great but I guess I just can’t get the “Pepper” comparison out of my head and to me, it pales. Bummer. I really wanted to be blown away and I just wasn’t. Three stars.
Standout Tracks: Wouldn’t It Be Nice, I’m Waiting for the Day, God Only Knows, Here Today, Caroline, No
Kings of Leon
3/5
I was really surprised to see Kings of Leon on here. Not because they don’t deserve it (which after listening, I’d say they do), but because they’re recent enough and were kind of a flash in the pan (at least in the popular music scene) that I didn’t think they’d garnered enough notoriety to be here.
But here, they are.
I actually really enjoyed this. Felt like a great mix of pop rock, U2, a teeny-tiny bit of Vampire Weekend (it’s hard to explain…), and lots of hard guitar.
Caleb Followill’s voice is the obvious star here. It has such a unique tone. Strong, expressive, but with this affectation to it that really grabs and holds your attention. The rest of the band kills it. Such a tight group. Wasn’t surprised when I read they’re all brothers.
Not much to dislike here. Very listenable, very fun, keeps your attention. Didn’t blow me away though. 3 stars.
Also, “17” felt like a creepy song. I have done no digging into the lyrics or their meaning but on the surface it felt like a creep show and I wanted no part of it.
Standout Tracks: Closer, Crawl, Sex on Fire, Use Somebody, Revelry
Sister Sledge
4/5
Going in, this felt like another album where the reason it made the list was because of its title track - a massive hit of its era that has persisted in the cultural consciousness to this day.
But after listening I don’t think that’s true or fair to say.
The group themselves is described as an R&B group on Wikipedia, but this album feels all disco. Makes sense given the era. I admit that I have always had a weird soft spot for disco, despite not knowing much about the genre as a whole. The orchestral element of it is what really gets me though. It’s just such a fun and bouncy sound, one that gets its depth from its funk-inspired grooves and those orchestral arrangements that just fill out the sound.
Sister Sledge does all of this here in these songs. The grooves are fun, and the vocals are pristine. All in all, this is one of the better collection of disco tunes I’ve heard and I was pleasantly surprised by it all. Four stars.
Standout Tracks: He’s the Greatest Dancer, Somebody Loves Me, We Are Family, Easier to Love, You’re a Friend to Me
The Go-Betweens
3/5
This was largely inoffensive.
I really didn’t feel too strongly about this one either way. It was ok. I don’t think I really needed to hear this before dying.
It suffers from that incessant 80’s reverb, and just from being generally kind of bland. I really wanted to like it for a few reasons but it just wasn’t there.
The band themselves seem talented and there were parts that did stand out (the vocals and guitar, namely). But not enough to write about and not enough to move this higher than three stars.
Standout Tracks: Love Goes On!, Love is a Sign, I’m Alright
David Bowie
5/5
I’ve heard the name of this album for years and only once I actually listened to it did I understand the pun in the title. Go me.
This is the third Bowie album I’ve had, and I think I like it the best.
It starts off hot, cools a little with the title track, but man does it stay hot after that. It never really lets up. “Watch That Man” is such a stellar opener. It’s what I want in an opener. Couldn’t get better.
The emphasis on heavy guitar throughout is wonderful and really brings in a hard rock sound I’d been wanting from Bowie in both “Heroes” and “Station to Station.” This felt more like “Ziggy,” which I appreciated. I’ve always loved hard rock Bowie and it was great to have him back.
Please give me more Bowie like this. This felt like exactly what I’d expect one of his albums to sound like and I loved it.
A surprising five stars from me. Excellent stuff.
Standout Tracks: Watch That Man, Drive-In-Saturday, Panic in Detroit, Cracked Actor, Time, The Prettiest Star
Stevie Wonder
4/5
I mean, come on.
This might be Stevie’s best. It certainly helps that “Superstition” is here. I consider that to be one of the best songs ever recorded.
This is Stevie at his finest. The soul, the funk, the grooves, and the gospel all converge for an album by a seasoned artist who knows how to channel all his best energies and in which directions to create a masterpiece.
Did I love every song? No. But even the slower ones (which are usually snoozers for me with Stevie) were undeniably wonderful.
There’s just something about his music. The reassuring quality in his voice, the sincerity of the lyrics, and the soul of it all really makes you feel warm and cozy. I could never dislike a Stevie album. I don’t think that’s possible. And this one is fantastic. Four stars.
Standout Tracks: You Are the Sunshine of My Life, Tuesday Heartbreak, Superstition, Big Brother, Blame it on the Sun
Beck
4/5
Where has Beck been all my life?
I had “Odelay” a while back for this project, and simply loved it. He’s such a creative force in every way. Taking established norms and turning them on their heads, innovating and experimenting and being unapologetic about the results be they good or bad. He is truly himself as an artist and it’s fun to listen to.
Scrubbing back through this album and tracking all the different genres and influences I hear is kinda mind blowing. There’s rock, some rap/hip hop, blues, funk, and prog rock all here. It’s a great mishmash that never really lets up. There’s a range of moods and sounds here, from the radio hits like E-Pro to the sadder more reflective stuff like Broken Drum. Something for everyone. Excellent stuff. Four stars.
Standout Tracks: E-Pro, Que’Onda Guero, Girl, Missing, Broken Drum, Scarecrow, Go it Alonr
5/5
I’ve been a Muse fan from a distance for a long time. And by that I mean, I heard “Knights of Cydonia” in Guitar Hero 3 for the first time and then heard a few other Muse songs.
But I have always thought they were pretty cool, and there’s a live version of “Knights of Cydonia” at Wembley that absolutely blew me away in high school, and honestly still does.
So I was excited coming into this album, and they didn’t disappoint. Banger after banger. The songs have simple premises but are executed with a precision and complexity that makes them intriguing to listen to. “Knights of Cydonia” is a great example. The song is based around triplets. The drums play triples throughout, the guitar has a triplet riff late in the song, and there’s a synthesizer triplet riff as well. Sounds simple, but the entire song being based around that one concept is pretty genius, especially when it’s executed with the complexity that it is. And it’s all to reinforce the idea of knights galloping in on horses (hence the horse sounds at the start).
Anyway, I loved this album. Five stars.
Standout Tracks: Take a Bow, Starlight, Map of the Problematique, Soldier’s Poem, Invincible, Assassin, City of Delusion, Knights of Cydonia
Steely Dan
4/5
The number of times I’ve heard someone (usually either someone my dad’s age or a stoner friend) dump heaps of praise on Steely Dan is a number high enough that I can’t count it. Same with the number of times I’ve heard “Reelin’ in the Years” on classic rock radio. So I was relieved to know that song wasn’t here.
I would say, however, that they did live up to the hype. Just such a tight band. Amazing blues rock here, funk-influenced stuff there, and the ability to switch between those genres and more mid song. Truly brilliant stuff.
Throw the vocal harmonies on top of all that and you have a great time. They do at times inch a little too close to being corny or sounding dated. But it never quite gets there and honestly, even if they did I wouldn’t care. The horns, the grooves, and the vibes are more than enough. Four stars.
Standout Tracks: Night by Night, Parker’s Band, Pretzel Logic, With a Gun
Badly Drawn Boy
4/5
I honestly wasn’t quite sure what to make of this at the start. But about halfway through I started to view this a precursor to the indie rock and pop rock sound we’d hear later in the decade from bands like Phoenix or Edward Sharpe. At least that’s what I heard.
There’s some really charming stuff here. Some wonderful arrangements involving instruments I didn’t expect to hear. Sometimes the vibe felt akin to walking in the woods on a warm spring day.
My one issue with it is that it was just too damn long. It didn’t need to be an hour. There were at least a few tracks that could’ve been cut here to make this a 40-45 minute album. It gets four stars from me, but it’s really more a 3.5.
Standout Tracks: The Shining, Stone on the Water, Body Rap, Once Around the Block, Bewilderbeast, Magic in the Air, Disillusion
Stevie Wonder
5/5
I don’t know if this is the last Stevie Wonder album on the list that I haven’t heard yet, but if it is, the RNG save the best for last.
This album is the epitome of everything that made the other Stevie Wonder albums so good. This is an artist at the absolute peak of his songwriting and musical talents. The catchiness of every melody is infectious. The feeling that he not only plays with, but also conveys through his music is as clear and as present as it has ever been. That to me has always been the essence of Stevie Wonder‘s music - the feel.
He’s nothing if not consistent in that this album, like the others, features an eclectic and wonderful, even masterful blending of genres from funk to soul to gospel to jazz. It all comes together in this melting pot of an album that just works. I don’t really know how much more detail I can say about this, it just works.
I found the structure to be interesting. As a double album, it obviously has four sides. The first two sides seem to have songs that you might hear on the radio. Their lengths are radio appropriate, and if they’re not, they could easily be trimmed down for a radio edit. These are the ones that pay the bills, these are the ones that Stevie knew to front load the album with.
But the second two sides, those seem to have songs that perhaps take on a deeper, bigger meaning for Stevie. Not only are they longer in length (which makes them not as radio friendly as the first two sides’s songs), but they seem more personal. One song, “Black Man,” seems to be pushing the message that all people have equal value and equal things to offer the world (though the language it uses is rather dated). Another is clearly about his daughter and his feelings right after her birth. This second half of this album seems to be of a much more personal nature, and I think that’s why the tracks are longer. He viewed the second half of this album as his blank canvas on which to paint his personal message. This album could have been a single album with just two sides. But he had something to say, and he needed to say it. So this album became a double album.
There isn’t much more to say. This album is a masterpiece. Like I said this is Stevie‘s best. Five stars.
Standout Tracks: Have a Talk with God, Contusion, Sir Duke, I Wish, Summer Soft, Isn’t She Lovely
Supertramp
3/5
The number of times I’ve heard about Supertramp is probably about as many times as I’d heard about a band like Bad Company before hearing their first album. I didn’t like Bad Company’s album. I found it generic and derivative and mostly just bland. This was not Bad Company’s album. This was leagues better.
Eight songs and 44 minutes means you’re gonna have some longer songs here. I can deal with that. Hell I don’t mind that, if the songs are good. I’m happy to say that they pretty much pull that off here. It would be easy for an album with songs that are mostly five minutes or longer in length to have one or any of those songs over. It’s welcome. It has to be musically interesting enough it has to go places it has to take me from one place to another to another and then bring me back home. It can’t just be a six minute song that doesn’t go anywhere or repeats verse-chorus-verse and then ends with a resounding chorus. They don’t do that here, and I’m very grateful for it.
Instead, these songs go places. Some have long drawn out intros that then move into something more striking or complex. Others come at you hard right away but they find a way to go somewhere else while they’re there.
Spotify attributes the genre symphonic rock to this album. That’s not a genre I’ve heard of too much, but I think if I had to assign that label to one band, it might be Supertramp. There are elements of other genres here. They use of horns and I think strings a couple of times, maybe. I always appreciate it and seeking to fill out their sound with horns or pianos. I am myself a sucker for rock ‘n’ roll saxophone, and if it ever appears in a song that song gets the thumbs up for me. So that was very much appreciated here.
I am left with a little bit lingering feeling of forgetfulness about this album. I don’t mean to say that the album itself is entirely forgettable, just that half an hour after listening to it to sit down to write this, I don’t know that I could tell you how any of the songs go. Maybe that’s just the nature of their songs, because they do weave from place to place and end somewhere different than they started. That can make them hard to recall on demand unless you know them very well. Or maybe it’s just that the overall product, while it presents as impressive and grand, isn’t quite what you thought it was.
I don’t know where the answer lies there, that would require more than just one listen. For now, I leave it at 3.5 stars. When I’m faced with a half star rating I have to decide which way to round for the purposes of this project. If I liked it enough, I round it up, giving it the benefit of the doubt. But if I wasn’t thrilled with I round down. I’m very tempted to round up for this, because I do think this album has a lot of potential upon relistens. But I just don’t think I can do that at this point. And so for me, I round down, giving it three stars.
Standout Tracks: Bloody Well Right, Hide in Your Shell
Turbonegro
2/5
I need someone to explain this to me. It’s satire, right? Like “Rock Against Ass” and “Rendezvous with Anus” are jokes, right? I just am confused so some explanation would be nice.
This is a good time if you don’t listen too closely. It’s glam-inspired punk, a combination I don’t know that I’ve ever thought of before. For what it is and what it’s trying to be, they pull that combination off well. But this self-aware, “we’re gonna say outrageous things because that’s might shock some people” kind of attitude has always struck me as a pretty childish form of surface level, superficial shock rock that doesn’t shock nearly as much as they’d expect. Or maybe they weren’t trying to shock anybody, but just thought it was funny. Well I thought it was just kind of dumb.
Or maybe they’re completely serious, in which case I’m totally lost. Regardless, this album has its moments, just not enough to push it past two stars.
Standout Tracks: Selfdestructo Bust, Prince of the Rodeo
The Beach Boys
4/5
Is it bad or blasphemous or weird that I liked this better than “Pet Sounds”? Maybe it was the lack of hype around this, but I just overall liked the vibes better. They weren’t trying to do too much like they might’ve been on “Pet Sounds” and it just works better.
Also, I need to admit something. The Wikipedia article for this album notes that this is the first album to not include songs about surfing or cars, ditching the surf motif in all but their name. I didn’t hear a distinct difference in style or arrangement between this and previous albums. Which made me realize - I’ve so closely associated The Beach Boys sound with surfer rock that I just assumed they were one and the same. So I expected a different sound from this album but didn’t get it. Their sound isn’t necessarily tied to the content of their songs, and vice versa. They exist independently from each other. I was just out here assuming that surf music sounded like Beach Boys music and so if they did something other than surf music, it would sound different. But no.
Anyway, I like this enough to give it four stars. Better than “Pet Sounds.” Fight me.
Standout Tracks: Do You Wanna Dance?, Help Me, Rhonda, In the Back of My Mind
The Clash
5/5
I’ve been on a journey with this album.
At first, I knew I’d heard covers of “Train in Vain” as a kid. But more significantly than that, I really discovered this album in college. I loved the first two sides to death. The only “weaker” tracks (read as: the ones I skipped to get to my favorites) were “Spanish Bombs” and “The Guns of Brixton.” I feel like both of those speak to the particular era this album was recorded in, one in which I wasn’t alive (and wouldn’t be for 13 more years). So they’re harder to connect to, and honestly “Guns of Brixton” is just kind of a downer, especially for a side closer.
The second two sides of this album were always a mixed bag for me. “Wrong ‘Em Boyo” is an undeniable banger if you ask me, but the rest? I always felt I could do without most of them, and you could’ve made this a single album.
And that was my opinion of this album for over ten years, a period in which I rarely if ever gave the full thing a listen. But that’s changed. Now I actually quite like both halves. The first still reigns supreme if you ask me. But side two has some amazing gems. Songs like “Koka Kola,” “The Card Cheat” and “Revolution Rock” all grew on me during this listen.
I think I also have a greater appreciation for the themes here. Disillusionment with society and capitalism/consumerism, sex, life in 70’s London, self reflection, and more. Not all of these went over my head in college, but some definitely did. Now I see them, and appreciate them. They demonstrate the range, writing skill, and intellect of those writing them.
On the whole, I really don’t know what else to say. It’s a brilliant album that brings together a host of influences and ideas and weaves them almost seamlessly in a package that has aged very well and whose themes still find relevance in today’s modern world. Five stars.
Standout Tracks: London Call, Brand New Cadillac, Jimmy Jazz, Hateful, Rudie Can’t Fail, The Right Profile, Lost in the Supermarket, Wrong ‘Em Boyo, Koka Kola, The Card Cheat, Revolution Rock, Train in Vain (Stand by Me)
Circle Jerks
4/5
Look at the band name.
Look at the album name.
Did I have high expectations? Did you?
No, not at all.
This screamed novelty to me as I judged this album by its cover. Or shock rock. Or something I wanted no part of. I was worried this was another Napalm Death situation. I wasn’t ready.
Then I saw it was literally 15 minutes long. The length of my commute home. No matter the content, it would be over before I got home. That alone was going to earn it at least two stars - it couldn’t overstay its welcome.
Thankfully, I actually quite liked the content. I was surprised. It’s by no means deep or virtuosic. But man those riffs are catchy and just fun to listen to. Felt like a true punk album. Only a punk band would not give enough of a fuck to record something longer than 15 minutes. They’d expand the songs with solos and bridges and breakdowns. But nope, not these guys. They said fuck all that and made a 15 minute record. Good for them. Had it been twice the length it might’ve gotten two stars from me. But it wasn’t; it was 15 minutes. Four stars.
Standout Tracks: Deny Everything, I Just Want Some Skank, Beverly Hills, Back Against the Wall, Paid Vacation, Don’t Care, What’s Your Problem
T. Rex
4/5
T-Rex has always been this odd combination of genres for me. On one hand, they’re this no frills rock band with songs like “Bang a Gong,” a song based on old, reliable blues progressions that’s doesn’t break any new ground. On the other, they’re this in your face glam rock band that, I imagine, put on a hell of a show.
That’s kind of where I think this album falls for me - right in the middle. It’s got both elements here, and they work pretty well together. I’ve always loved Marc Bolan’s vocals. I think he had the perfect voice for the sound of the band.
But while this album does do its shtick well, I think it does it a little too well. It doesn’t reinvent anything, doesn’t push any boundaries or break any new ground. That’s alright, but I’m not convinced it needed to be here. I liked, and so it’ll get four stars (rounded from 3.5). But did it need to be? No. Did T-Rex have better material that could’ve been here? I assume so. Four stars (rounded from three and a half).
Standout Tracks: Metal Guru, The Slider, Buick Mackane, Telegram Sam, Baby Strange, Ballrooms of Mars, Chariot Choogle
The Divine Comedy
2/5
I get that it’s supposed to be funny, maybe even high brow in its own way. I get that it’s a character (I mean it’s titled “Casanova,” after all). I get it. It’s just a bummer that that shtick was pretty off putting. The music was actually pretty great. But the conceited and schmoozey tone of it all, even if it’s supposed be funny, just didn’t land with me.
The music, as I said, is cool. Felt like it was trying to push boundaries in terms of pop music. Good chamber pop, as Wikipedia calls it. But on the whole? Kinda cringe, not for me.
Two stars.
Standout Tracks: Becoming More Like Alfie, Charge, The Frog Princess, The Dogs & The Horses
The Doors
4/5
Why do people hate The Doors? I mean I guess if you don’t like 60’s rock, I know right guitar-centric music they wouldn’t really be for you. But other than that, I don’t get the hate. Maybe folks haven’t heard more than “Light My Fire,” “Break on Through,” and “This is the End.” I know I hadn’t heard much more before today and I still liked them.
This was a great album. Great elements of blues rock, hard rock, with some psychedelia thrown in. Starts off hot and stays there for about half the album. I really thought we were destined for five stars here but everything after “L.A. Woman” and “Riders on the Storm” didn’t hit quite the same. Still though, I found very little to dislike here. I really think this is every member at their peak as musicians and creators. If someone only had one album to listen to for The Doors, it might be this one. Such energy, such cohesiveness. Really just a great time of an album. Four stars.
Standout Tracks: The Changeling, Love Her Madly, Been Down So Long, Car Hiss by My Window, L.A. Woman, Riders on the Storm
Creedence Clearwater Revival
4/5
Did CCR ever have a bad album? Seriously though. I’ve heard three now, and none of them are even mediocre. They only had seven total, so I’m guessing they’re just that good.
The band knows their sound and, by the time they hit this album, had absolutely mastered it. They, to me, are the epitome of their sound and genre, at least in the popular and mainstream sphere. Fogerty’s voice really just lends itself to the grit and raw energy in each song. Even when the songs are a bit less intense in tone (think “Bad Moon Rising” or “Lodi,” he’s able to retain what’s great about his voice while also removing the grit at the same time. He maybe only sung a certain genre, but he had range within it that was overlooked.
It’s a shame that most (including myself) don’t know the names of the other band members of CCR, because they’re damn good. If I had more than one day with this album, I definitely would figure that out. But I don’t and so on we go.
Four stars.
Standout Tracks: Green River, Commotion, Tombstone Shadow, Bad Moon Rising, Sinister Purpose, The Night Time is the Right Time
The Specials
2/5
I don’t really know what to take from this.
It was…fine. Mostly not my thing. The recording quality was bad. Might’ve been intentional I suppose but it didn’t help either way. I really wanted to like it but it was just a little too quirky British in places for my liking. Some fun grooves but nothing good enough to push it past two stars.
Though the James Bond references on “Sock It to ‘Em J.B.” were fun.
Standout Tracks: Hey Little Rich Girl, Sock it to ‘Em J.B., Holiday Fortnight
Cypress Hill
3/5
As I've been on this journey, I have come to gain not just an appreciation for hip-hop, but also a more discerning ear for quality within the genre as well. I've been handed albums that I would elevate above others (Biggie's debut, all Tribe albums, Kanye's "My Beautiful Dark Twisted Fantasy). The music snob in me tells me that these albums aren't just art in the common sense of the word, but *art* with that added emphasis, almost like you're adding a syllable to that one syllable word. These are some of the best the genre has to offer.
I've been handed some stuff in this genre that I didn't care for (Dizzre Rascal, Ms. Dynamite, Outkast's "Stankonia," and more). I know by now what I do like and don't like in hip-hop and rap. That is something I could not really have told you 257 albums ago, but here we are. I'm pretty proud of that.
So where does Cypress Hill fit in here? Well, let me start by saying that I knew them almost only by name. I couldn't have named you one Cypress Hill song...except for "Insane in the Membrane" which isn't on this album. So I at least knew that their peak of popularity and probably artistry came in the 1990's. The stuff I've liked the most from hip-hop and rap came from the 90's, so we're off to a good start.
I honestly really liked this album. It wasn't my favorite of the albums I've had from these genres. But it still carried that raw energy, excellent sampling, and great lyrical flow. As with a lot of music from the 90's and earlier, some of the lyrics haven't aged super well. But all you can really do there is try to understand that it's a product of its time and try to appreciate it as a work of art. I think it does work as art, but I can also tell that this is a debut. I don't get the sense that this is 100% put together thematically, or that this is the peak of their songwriting and production abilities. I have a feeling they'll have at least one more album on the list, and that they'll blow me away on that one. For now, I have to settle and give it three stars. That feels harsh, but seeing as how my average score thus far is a 3.45, I don't feel too bad. Besides - I think they can do better.
Standout tracks: Pigs, How Could I Just Kill a Man, Hole in the Head, The Phuncky Feel One, Real Estate, The Funky Cypress Hill Shit
Buddy Holly & The Crickets
2/5
Buddy Holly is an absolutely essential musician and musical act. He, along with Elvis and other early rock n roll and rockabilly stars, are directly responsible for the emergence of rock n roll as a legit genre, and helped explode the popular music culture and market.
So his importance in music and popular music history cannot be ignored, understated, or forgotten.
Ok with that out of the way, this album just hasn't aged well. Not that the lyrical content is bad; it's not. That stands up just for with other music from its era. No, I just mean that what was exciting to the teens of the 1950's, what was considered high energy and swoon-worthy back then just doesn't hit the same now. And it never could. It feels incredibly safe, even for the standards back in 1957. Maybe I'm underestimating what was socially acceptable to put into a song back then, and if I am then I think my argument here is busted. But it just doesn't have any edge to it whatsoever.
Sure, he's got some energy, and he shows it sometimes. But knowing that this came out after Elvis had made his debut the year before, I can't help but wonder how anyone could get excited by this after they'd heard Elvis the year before.
Again, my knowledge of social standards and availability of popular music from/in 1957 is limited, given that that was 35 years before I was born. Still, for me, I hate to do this but I'm gonna give Buddy and his Crickets two stars. Sometimes the originator of a genre or of a movement is unable to be matched by what comes after. But in this case, what came after Buddy Holly did what was doing and did it better and in more exciting ways. Bummer, too, because I really wanted to like this more.
Standout Tracks: Not Fade Away, Tell Me How, That'll Be the Day, I'm Lookin' for Someone to Love, An Empty Cup (And A Broken Date), Send Me Some Lovin'
Yes
4/5
Yes, Yes.
Man what a great album. The longer tracks are obviously the better ones. The shorter ones felt like afterthoughts, or ones that they couldn't quite figure out in time for the album and so used them as filler instead.
I don't know if there's a group that is as technically sound as Yes is, especially on this album. "Roundabout" is an absolute masterpiece. The range shown on that track is amazing. The precision, the time changes, the harmonies, the organ solo(!!). All of it is incredible and for encapsulates what the band is capable of. My one gripe - Roundabout should've been the closer. It's the best track and you can't put your best track first. I don't care how good the rest of the album is. And the rest of this album doesn't match what "Roundabout" does.
That's not to say it's bad. Not by any stretch. "South Side of the Sky" almost matches the energy and virtuosity of "Roundabout" in a way that really pleasantly surprised me. Even one of the shorter tracks, "Mood for a Day" grabbed my attention.
On the whole, I enjoyed this one. It did leave me wondering where the band went from here. I knew "Roundabout" coming in and expected (and got) an album that mostly sounded similar. I know they did "Owner of a Lonely Heart," which was a huge radio hit. I...don't like that song. Maybe I'll find out through this project. Four stars.
Standout Tracks: Roundabout, South Side of the Sky, Long Distance Runaround, Mood for a Day, America
Sex Pistols
4/5
I thought I would hate this. I thought it would be sloppy, basic, and boring.
Holy shit was I wrong.
I loved this. Yeah, a lot of (if not most of) the songs have a very similar vibe to each other. And yeah, the energy level doesn’t have many if any peaks or valleys. But I don’t care. It’s such fun listen.
It’s also glaringly obvious how influential this album was. Punk, hard rock, hell even some new wave bands were probably influenced by this. I recognized a lot of pop punk elements in here too, that would go on to inspire some of my favorite bands.
I loved this not just for its influence but for its vibe. It’s a feat time, and honestly the songs were way better than I expected. I love music from this era, I love bands from this era. But I never once really tried to listen to the Sex Pistols before. I always rolled my eyes at them. But all expectations were defied and I loved this. Four stars.
Standout Tracks: Holidays in the Sun, No Feelings, God Save the Queen, Problems, Seventeen, Anarchy in the UK, Pretty Vacant, EMI
Johnny Cash
4/5
Simply iconic.
Johnny Cash may not have written some of history’s more complex lyrics. He may not have been responsible for some of the most complex or captivating melodies. Hell, from what I’ve seen he wasn’t exactly a thrilling showman. But his personality and his attention-demanding baritone voice, his style and his gravitas all make him a compelling performer.
This might’ve been his best live performance. Even the songs that feel like duds to me, either because of their silly, dated humor or for simply being less exciting, stand out as great performances.
Cash has always been an artist I wanted to know more about. I’d actually only heard “Folsom Prison Blues” from this album but never the rest of it. I definitely wasn’t disappointed, but I wanted more from it. It’s iconic, it’s great, it’s fun. But I don’t know. There’s some oomph missing here. Not enough to put it below four stars, but enough it isn’t worthy of five. Don’t get me wrong, I loved it. But I just feel like there was something a little lacking here in terms of energy.
Standout Tracks: Folsom Prison Blues, Cocaine Blues, 25 Minutes to Go, Jackson, I Got Stripes
Joni Mitchell
3/5
I liked the other Joni Mitchell I had earlier more than this (“Court and Spark”). Much more energy on that record.
This was perfectly fine folk. Her songwriting skill, again, are excellent. Her voice is beautiful when it isn’t sometimes grating (and it can be grating, at least to me, on those high notes). She’s an icon for a reason.
But I dunno. Felt like a perfectly good 70’s folk album to me. I probably missed something here. Three stars.
Standout Tracks: My Old Man, Little Green, California, This Flight Tonight
Dexys Midnight Runners
4/5
I’ve apparently been sleeping on Dexys this whole time.
Another banger of an album. The attitude, the charm, the HORNS, all of it.
Elements of new wave, soul, funk, maybe even some Motown influence. I don’t know man, they might be the most underrated artist on this list for me coming in. I’ve enjoyed both albums from them. For once I’m not complaining about the potential for a UK bias by the authors/editors of the books. This is just great.
I didn’t love it like I loved the first one if there’s I got (“Searching for the Young Soul Rebels”), so they won’t get five from me this time. But a very happy four stars for this one. Gotta stop sleeping on them and wake up.
Standout Tracks: The Occasional Flicker, Knowledge of Beauty, One of Those Things, Listen to This
Tom Waits
2/5
Ok but actually what was this?
In doing some reading, I found that it was a studio album performed in front of a small live audience to emulate a jazz club. So it’s a live album…?
I could meander on about the intricacies of this thing, but I think my take comes down to this - this album had a decent concept at conception, but never fully develops or goes anywhere. Instead it becomes this weird album full of clever wordplay and weird, somewhat unintelligible stories that don’t seem to have much of a point.
I wanted to like this. I really did. I like Tom Waits. I like jazz. I like the feel of this album. But it’s too damn long, never goes anywhere, and is overall just plain boring.
Two stars, regrettably. Not for lack of trying on his part, I just got bored.
Standout Tracks: Opening Intro, Emotional Weather Report, Better Off Without a Wife, Spare Parts I (A Nocturnal Emission)
Scritti Politti
2/5
If this isn’t the most sugarcoated, made for the charts, junk food music crap I’ve ever heard, I don’t know what is.
They wanted so badly to be Michael Jackson. I hate to break it to them - no one is.
Was there substance here? Maybe. But I was so turned off from the music that I didn’t really listen to the lyrics. It just felt like they took what was on the American charts and decided to copy it. And that the author of this list (a Brit) heard that in his younger days, loved it, is nostalgic for it, and threw it on this list.
It didn’t need to be here. I didn’t need to hear this.
Please god let there not be any more of them on this list.
Two stars.
Standout Track: Perfect Way
Silver Jews
3/5
What a strange album. I went in completely blind and was largely underwhelmed.
Some really great lyrical and musical moments in this one, but overall nothing I’m going to remember. The singer’s voice reminds me of a couple other deep voice talky kind of guys I’ve had so far, many of whom have reminded me of the lead singer of The Hold Steady (niche reference, perhaps).
I dunno what to make of this. It was fine. Three stars, I guess.
Standout Tracks: Time Will Break the World, Transylvania Blues, Let’s Not and Say We Did, Friday Night Fever, Death of an Heir of Sorrows
Bill Evans Trio
5/5
Yes.
Yes, yes, yes.
Nothing else to say. I love this. I want more of this. More jazz. There isn’t enough jazz on the list. Give me more jazz. This was great. Technically, musically, feel-wise, just excellent.
Yes.
Five stars.
Standout Tracks: all of them
Simon & Garfunkel
5/5
I'm horribly behind on reviews at this point, so I'm gonna have to keep the next seven of them short just so I can catch up.
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I love Simon and Garfunkel, and it's a little surprising that it took this long to get one of their albums. I've had a couple of Paul Simon albums, but those, in my opinion, do not even come close to the genius of him and Art together.
I cherish the music they made together. It's such a unique and refined sound, one that really hits hard. It can be light, fun, dreamy, dark, serious, and even a little frightening. You get all those elements on this album.
I need to talk about "7 O'Clock News/Silent Night" though. The first time I heard this track, I was in the fifth grade. My then music teacher played it for us during a unit talking about folk music. It blew my mind. It was the first time I'd heard a song that used significant audio that wasn't music, and combined it to create something that contrasted the messages of both to make something totally new. I thought it was brilliant then, and it opened me up to the idea that music could be more than just fun songs, but could send a message as well. I love it.
This is an easy five stars for me. I don't love every track, but what I do love is undeniable.
Standout Tracks: Scarborough Fair/Canticle, Homeward Bound, The Big Bright Green Pleasure Machine, Flowers Never Bend with the Rainfall, A Simple Desultory Philippic, 7 O'Clock News/Silent Night
Cocteau Twins
2/5
Someone help me understand:
A: The hype here because I just don't get it, and
B: What the hell these twins are saying
Seriously, I had the same problem on the last album. With all the reverb, I couldn't understand any of the words. Some of the grooves were cool, sure, but I honestly don't know what they were saying half the time.
I don't know. Dream Pop or whatever this was is fine, I guess. But part of me gets the sense that you just had to be there. Two stars.
Standout Tracks: Cherry-coloured Funk, Pitch the Baby, Heaven or Las Vegas
The Beta Band
4/5
I really didn't know what this was, even after listening.
Are they really a band? Are they playing instruments or is a lot of this done digitally? Does it really matter?
No, it doesn't.
This was great. Very moody. From the first vocal line, I knew I was in for something a little more unique. What a great opener. Seriously, it really set the tone for the whole thing and let me know what to expect moving forward.
Really felt like it lived in its own sonic space, like it existed in its own world and you'd be hard pressed to ever hear this on the radio or on TV. You'd only hear this when listening to the album and nowhere else, not because its somewhat obscure, but because where else would it fit?
I really enjoyed this. Not enough to give it five starts, but definitely enough to give it four. One of the more innovative albums I've heard from this century.
Standout Tracks: Squares, Human Being, Broke, Quiet
Soundgarden
4/5
Ok. Ok ok ok.
This was great BUT, and I hate to say this, but it suffers a little from it length.
Their sound is so well-defined here, and it's clear that the band knew their strengths, played to them, and turned that shit up to 11. But that's also part of where my issue lies - nearly every track feels like it's so high energy and so high stakes that it does become a little repetitive and boring after a while. Like, "Oh man another heavy guitar riff and another searing vocal from Chris Cornell..."
Again, I thought this was great. But I just think that the high energy of each song, combined with the lengths that some of these tracks go to, just makes for an exhausting album. The lyrics, artistry, and technical skill are undeniable. But I just could've used a little less length and little more variety in mood.
Four stars.
Standout Tracks: Let Me Down, My Wave, Superunknown, Black Hole Sun, Spoonman, Kickstand, Like Suicide
The Byrds
3/5
Man this was so brief, I hardly had time to really take it in.
What a fun country rock romp this was. I mean, when you had Gram Parsons into any country mix, you're going to have a good time. But this was just a good, simple, not overdoing it at all kind of album that was pleasant to listen to. This is what I wish more country was like today. Meaningful lyrics not focused on trucks, beer, and horses and more about the life, highs, lows and intrigue of being a person living in the country.
Totally my thing? No, and for that reason it'll get three stars. But great for what it is? Absolutely yes.
Standout Tracks: You Ain't Goin' Nowhere, You Don't Miss Your Water, Pretty Boy Floyd, One Hundred Years from Now, Life in Prison
Mj Cole
2/5
Come on, man. Seriously?
Look, not much about this album is bad, per se, but man does it feel dated. The grooves are still there, it's still danceable, but the production just feels so old. I generally have a pretty mixed opinion about house albums like this, and I have a pretty tenuous one regarding their inclusion on this list. But for the love of god if you simply MUST include one on this list at least make it, you know, still culturally relevant?
I don't know, I hate to rag on this thing so hard because it's simply a product of its time and you can't fault it for that. But did I NEED to hear this before my death? No, not really. Two stars.
Standout Tracks: Introduction, Bandelero Desperado, Sanctuary, Rough Out Here, Slum King
Carole King
5/5
I've been waiting for this one. Not because I know it front to back and want to gush about it (because I don't). No, I've been waiting because I wanted to see what all the fuss was about. So many times I've heard this album gushed about by critics, seen it on list after list of the best albums ever, and heard from my own mother just how important an album this is.
So that's a lot of hype, right? How often does any piece of media actually live up to any amount of insane hype? How often are you left disappointed by an album that everyone else seems to love, but you just can't get into?
Well, I'm here to say that not only did this album meet the high expectations set onto by everything I've ever heard about it, it exceeded it.
This is a fantastic collection of songs by a wonderful singer songwriter. Truly a masterpiece of originality, storytelling, and emotional songwriting. Carole King does here what so many others strive to do, which is to produce an emotionally authentic piece of art that so many have found, absorbed, and loved long after its release.
I can't say enough, honestly. Easy five stars. I loved it.
Standout Tracks: I Feel the Earth Move, So Far Away, Way Over Yonder, Where You Lead, (You Make Me Feel Like) A Natural Woman
Bruce Springsteen
2/5
I wanted so badly to love this.
I like the idea of Springsteen. I love "Born to Run." I love the fact that he has Max Weinberg as his drummer and for the longest time had Clarence Clemons as his saxophonist. I love the fact that there's a sax in his band at all. I love so much about the idea of Springsteen.
But this was boring, and that sucks because it didn't need to be. There are bright spots, to be sure. But one cardinal sin for me has always been that if you're going to put out a song longer than four minutes, it had better not be a slow ballad. Because that gets so boring and feels so much longer than it actually is. And Bruce does this multiple times on this album and I just can't get there with him.
I might've been able to had he been a little more intelligible. People complain about mumble rap today. they complain about singers who are impossible to understand. I've never heard anyone level that accusation at Springsteen before, but they should. There are so many songs on this album that I just can't understand a word he's saying. They're pretty, they're interesting in their own way, but I just cannot understand him for the life of me. It was funny at first, but after a while I just found it annoying.
It's a shame this didn't hit harder for me. The Boss is such an icon, and his musicianship and showmanship are unquestionable. But I just didn't really find myself caring about this album. Bummer. I loved the more upbeat, rock stuff (see below), but on the whole, this was a snooze. Two stars.
Standout Tracks: Adam Raised a Cain, Candy's Room, The Promised Land, Prove it All Night
Roxy Music
4/5
My mom is a huge Roxy Music fan. I think I mentioned this before. I love that for her. I don't quite get it.
This album definitely grew on me as it went on, though. I felt the song ("Do the Strand") was a little lackluster, though might've hit better if it didn't start in such a disorienting way. That was probably intentional - grabs your attention, gets you in the mood for an album that will sound and feel different, etc. But still, didn't love it.
Bryan Ferry's voice will either charm or deter you; it may even do both at different times. I ultimately think he has a great instrument, he just chooses to do weird things with it at times. I can appreciate the artistic choices, though.
Way more horns on this album than expected, I will say. I never, ever hate horns on any album (see my reviews of the Dexy's Midnight Runners albums I've had, for example). They definitely earn points for that.
I don't know, the more I write about this, the more I think about this and listen back, the better my opinion gets. You're literally reading my opinion evolve in real time. This was going to get two starts at the start of this review, but I think it definitely earns a solid three. There are some really cool bright spots here, but some stuff just doesn't work for me enough to give it four.
Ok, ok, upon more relistening, it gets four stars. I get it now. You're welcome, mom.
Oh and making "The Bogus Man" nine-plus minutes was a bad choice and I do not understand the need for some artists to make slow songs that long.
Oh oh and the buildup, fade out and fade in on "In Every Dream Home a Heartache" is simply spectacular and I completely expected to hate that song for the first half of it.
Standout Tracks: Beauty Queen, Editions of You, In Every Dream Home a Heartache. Grey Lagoons.
Magazine
3/5
I've been struggling recently to keep up with all the albums. Life has fully taken over dominating my free time and I haven't been able to give these albums the proper listen they deserve. I've definitely struggled to be a good active listener recently, and it shows with this one.
I didn't remember a lot about this album when I sat down to write this review. I was ready to assume that was because it was forgettable and I was going to say some snarky things about that and call it a day. But when I literally saw my opinion of Roxy Music's "For Your Pleasure" evolve from the start of my review of it to its end, I figured I had to give this another shot.
I didn't relisten to the entire thing (I have two more reviews to catch up on after this one), but I gave enough of it a second chance to form a refreshed opinion.
This is great. Great energy, awesome bass lines, horns(!), and just a fun punky/new wave sound that really grabs your attention and keeps it. I don't know how I could've had a middling opinion of this one with even a passive listen. I must've been really focused on work or something.
There's an air of mystery or just weirdness around the whole thing at times, which really adds to the intrigue of the experience. Sometimes it works, sometimes it doesn't. Some of the songs overstay their welcome a little, but on the whole it feels timed out pretty well.
I dunno. I have a weird opinion here where I really like some of this and would just skip some of the tracks outright. I think what holds it back for me is the fact that the singer's voice is, at times, so aggressively British that I just cannot deal. Three stars, I guess.
Standout Tracks: Definitive Gaze, My Tulpa, Shot by Both Sides, Recoil, Motorcade, The Light Pours Out of Me
Radiohead
2/5
Ok I've had three Radiohead albums at this point, including the one most consider their best - "OK Computer." If I didn't like that one much (which I didn't), I didn't think I'd like much else of theirs.
And I was right.
Thom Yorke's voice is grating and unintelligible. I cannot understand 99% of what this man sings. The music itself is obtuse, which I can handle, but this one was so obtuse that I just can't even begin to get where they were going with this one. I assume a lot of the themes that emerge here are presented lyrically, but, again, I can't understand them and am not motivated enough (nor do I have enough free time) to sit down and read the lyrics along with the album.
Somebody please enlighten me as to the amazingness, the power, the appeal of Radiohead. Because outside of a few songs, I haven't found it over three albums. I want to. I'm not a hater. I’m a listener desperate to understand them because I can see that they're genuine artists.
Two stars.
Standout Tracks: I Might be Wrong, Dollars and Cents, Hunting Bears, Life in a Glasshouse
Koffi Olomide
2/5
I find it interesting that a lot of people that have listened to and reviewed this album for this project are acting all holier than thou about the awful things this guy has done and giving the album poor reviews, while at the same time handing out great reviews to equally shitty artists just because they know who they are or are more famous (Michael Jackson, Kanye, etc.). I'm not saying this guy gets a pass, and I'm not saying the other shitty people with albums on this list should either. I'm just saying that if we're going to condemn this guy's work because of the person he is, let's also condemn the work of artists like Jackson and Kanye for the same reasons.
I stated in my review of "My Beautiful Dark Twisted Fantasy" that I wanted to review the art, not the artist, to separate the two from each other. Some people find that impossible to do, and I don't blame them for it. But the point of this project is to listen to and review albums, so that's what I’m going to do.
So, with that in mind, let's review this album.
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Maybe it's just that I don't understand the style of music enough to understand why this is so repetitive. Melodies, guitar tones, arpeggios, and even specific phrases appear and reappear throughout this album enough that I'm left assuming that it must be a feature, not a bug. That the culture around this music is such that you just cannot have this style of music without certain elements. Like how a lot of rock music uses heavy distortion on guitars, metal uses double bass drums, reggaeton uses that same reggaeton beat in most of its songs, and how Radiohead wouldn't be Radiohead if you could actually understand Thom Yorke (still not over that...).
So I'm willing to assume that I just don't know enough about the genre here, and that the repetitiveness is intentional and celebrated by those who have intimate knowledge of it.
But it didn't work for me, honestly. I loved what I heard in the first couple tracks, but the more certain themes or motifs kept returning, the more I realized just how one-note the whole thing seemed. Bummer, because a lot of it is a fun, happy time with music you could easily dance to either in your seat or on a dance floor.
On the whole, this had potential but just didn't get any more interesting or better after the first couple of tracks. Two stars.
Standout Tracks: Papa bonheur, Désespoir, Qui cherche trouve, Porte-monnaie
Frank Sinatra
4/5
It's about time Frank showed up.
I was in high school in the late 2000's/early 2010's. I had no business enjoying anything Frank Sinatra had ever put out. But I've always found, like many others have, something outright charming about Sinatra. His smooth voice, his style, his attitude and showmanship. It's just all tied up neatly in a nice package. You know what to expect from a Sinatra album. It's reliable, it's comforting. Sure, you could say that makes it boring. But I say it makes it great.
Is this his best output? Hard to say. He always seemed like one of those artists that didn't put out conventional albums but just kinda recorded songs and they were released on themed compilations. I'm probably speaking from ignorance there, but I don't know that I've actually ever listened to a straight up Sinatra release. Maybe I just alway assumed that because he mostly recorded jazz standards. I dunno.
Anyway, seems like this is his ninth studio album. As an album of covers, the focus is on the interpretation - the arrangements, the vocal choices, and the song choices (taken mostly from jazz standards). So let's break it down.
The arrangements: Nelson Riddle is, of course, a master and a frequent Sinatra collaborator. I do think he borders on overdoing it here a little, and there's a little too much schmaltz for me in certain places. Kinda feels like this was in an effort to make it a little more hip-sounding. I don't hate it, I just could've done with a slightly scaled back version of these arrangements. The arrangement for "Pennies from Heaven" just left me wanting the Louis Prima version. I know they probably slowed it down to differentiate it from that version, but if you're living it is shadow why even try it at all and create an inferior version? I also give Nelson Riddle a pass because he scored the 1960's Batman show and movie, and that score is ingrained in my very being (another anachronism on my part).
The vocals: what is there to say? It's Sinatra. His phrasing is largely impeccable. Say what you will about his actual vocal talent or range, the man knew how to use what he had to its fullest. He delivers the lyrics in a stylistic and smooth way that just makes them insanely listenable. I'd listen to him sing the phonebook and it would be interesting.
The song choices: This is a great mix of songs a lot of people with a passing familiarity of jazz standards know ("Pennies from Heaven," "I've Got You Under My Skin," "Anything Goes," etc.) and ones that I've never heard before. I love this. It makes it so it isn't just a hit fest of songs we all know. It kept my attention because I had to really listen instead of just make this background music. I appreciate that.
This is a great time. Not his best, but it's hard for me to give it less than four stars. So that's what it gets.
Standout Tracks: You Make Me Feel So Young, Too Marvelous for Words, I've Got You Under My Skin, I Thought About You, Anything Goes, How About You?
Sade
2/5
Sade’s confidence to name her band after herself AND to be an artist that goes by one name is woefully misplaced.
That isn’t to say she’s untalented, or that this album was bad. On the contrary - I’ll tell you now that I’ll be giving it a pretty fitting rating of two stars. But I can’t help thinking that maybe, just maybe it would’ve been cool if the band had a different name. Carlos Santana named his band “Santana” because he was the generational talent at the center of it. Can you name any other members of that band? I’ll wait. Because I can’t.
Beyoncé goes by one name because she’s Beyoncé - there’s only one and we all know it. So does she. Madonna did the same. As did Prince.
So you can’t just decide to go by an eponym AND name your band after yourself unless you either A: really are a generational talent and know it or B: are marketed that way by your record label because they think they can best sell you that way.
I think the latter must have happened here. This album is…boring. Sure it’s got fun moments here and there. Some cool grooves. But Sade herself isn’t, in my opinion, the main attraction. Her voice is good, but is it THAT good? If it is, she doesn’t find space to show it off here. And sure, fine, you can tell me that the genre doesn’t fit a vocal style where she could show off, and you’d be right. But still. Snoozefest.
She’s the focus of the band, its main attraction. But I don’t really understand why. Maybe because this is the closest thing to elevator Muzak I’ve had thus far, and the record label knew that and needed to make it about her to sell it better. This is “jazz” for people who don’t really know jazz. Those people hear this and can feel cultured by listening to it. I listen to it and feel disappointed and bored.
Standout Tracks: Hang Onto Your Love, Cherry Pie
Heaven 17
3/5
If Devo and the Talking Heads had a baby and raised it on The Human League.
I honestly didn't (and still don't) know what to make of this. Innovative, for sure, especially for its time. Frenetic at times, lacking direction, and yet in its own way feeling pretty cohesive in style and form. It's all over the place in a way that's almost charming and sometimes slightly frightening. If these sound like contradictory or vague lines of a review, it's because they are. This is definitely a difficult album to nail down in one listen, and I regret that that's all I gave it. Three stars.
Standout Tracks: Penthhouse and Pavement, Soul Warfare, Let's All Make a Bomb, We're Going to Live for a Very Long Time
The Stooges
4/5
Holy shit what a ride.
I think the thing that blows my mind the most about this is not the sound, the fact that this is one of the earlier punk records, or that Iggy Pop's career started in the 60's. No the thing that blows my mind the most is that they got one of the guys from The Kingsmen (of "Louie, Louie" fame) to produce this. Excuse me? One of the guys responsible for one of the most straight laced examples of rock n roll in its infancy produced this??? Wow.
Anyway.
I enjoyed most of this, so it'll be getting four stars, I'll tell you that now. The pure, raw energy that oozes out of every inch of this album's sound is almost unbearable at times. Not because it's hard to listen to, but because trying to meet this record where it's at (which is all you can hope to do with any given album; it can't meet you where you are, after all) is challenging when you need to keep up with its raw power and rapid pace.
The record does suffer somewhat, at least for me, in a similar way that metal records do - when every song is turned up to 11 in terms of volume, energy, stakes, intensity, and attitude, nothing feels urgent or important and the songs tend to blend together at times. I will say though, I don't think this one suffers from that fate nearly as much as others do, and I actually appreciate the rhythmic differences that present themselves from song to song (unlike metal...).
Also, special shoutout to the use of saxophone on this record. Really unexpected and honestly did elevate some of the tracks for me. Seriously cool stuff.
Yeah this is an easy four star for me. Pleasantly surprised upon skimming back over this for the review.
"LA Blues" can, of course, burn in hell. That's what it sounds like it's trying to depict, right? Burning in hell?
Standout Tracks: Down on the Street, Loose, 1970, Fun House
Paul Simon
4/5
Now THIS is the Paul Simon I've been waiting for. Much more of the singer-songwriter vibe I was hoping for in the other two of his albums I've had thus far (#81 "Hearts and Bones" and #211 "Graceland"). I think really what I want from him (and what a lot of people probably want from him) is just more Simon and Garfunkel. And that probably frustrates the hell out of Paul Simon. But that's his problem.
The elements of funk, world music, and folk that he weaves in here are, while a departure from what he'd done prior, welcomed because they're intertwined so seamlessly. They feel like they fit and they should be there as part of his sound. It's like the natural evolution from what he'd done with Garfunkel.
This is an easy four stars. Close to five, really it was. Hell I'll even say it's really four and a half stars, but. I have to round that down here. It's like I said above - all I really want from him is more Simon and Garfunkel and this is the closest I'm assuming he ever got to making a record like that by himself. So I can't give it five because it isn't what I wanted it to be. Bummer.
Standout Tracks: Mother and Child Reunion, Everything Put Together Falls Apart, Armistice Day, Me and Julio Down by the Schoolyard, Peace like a River, Hobo's Blues, Paranoia Blues
MGMT
5/5
The first time I heard MGMT song was at a party my older sister dragged me to. We were still in high school at the time (she a senior, I a freshman), and she wanted me to be cool and hangout with seniors and drink. Well, I was awkward as hell and really didn't know how to talk to strangers, let alone strangers I was trying to look cool in front of. So while I then (and now in hindsight for different reasons) appreciate my sister for volunteering to bring me along, I really was a fish out of water at the time.
The one thing I have a vivid memory from that 2007 night though was hearing the strange, unique, intriguing, and in some ways haunting melody of "Kids" come on over the speaker one of the guys had brought with him. I was immediately drawn to its eerie synth melody, its simplicity, and how it made me feel. I didn't know what that feeling was in the that moment; I couldn't have been older than 15 at the time, and so had the emotional intelligence of a teenage boy that age. Looking back, I couldn't know what that feeling was because I hadn't lived long enough to experience it in a meaningful way - nostalgia. More specifically, a longing for the simplicity of childhood and a simpler life.
So coming into this album, I was expecting a slate of songs similar in feeling and depth to "Kids." I got exactly that. I really enjoyed this album front to back. There were honest to god moments where it reminded me of The Beatles. Some of the arrangements and some of the sounds in general just sounded like Beatles-esque. They even had a song that sounded Indian-inspired.
I really loved this album. It varied it energy, sound, attitude, and tone throughout. Some songs were heavier on the electronic sound, which is itself really unique. Maybe it's my limited knowledge of this genre, but I haven't heard anything else like this before or since. I liked that there were songs that were lighter on the electronic sounds and had some guitars and bass in there.
A very happy five stars for this one. Very impressed. Would love to have another of theirs on this list. From what I remember, though, their peak was short lived, so we'll see.
Standout Tracks: Time to Pretend, Weekend Wars, Electric Feel, Kids, Of Moons, Birds & Monsters, The Handshake, Future Reflections
Kraftwerk
2/5
I can see why this is here. For its time, this was groundbreaking. An entire album composed exclusively of electronic sounds in 1974 was, I assume, unheard of. That must’ve been absolutely mind blowing to folks at the time.
That, or they had my reaction.
I didn’t really care for this. Maybe it’s because it’s hard to listen to this and remember its place in history. Maybe it’s because it just doesn’t hit like it would’ve in 1974. Maybe it’s because it just wasn’t that interesting to me. I appreciate what it tried to do. I actually thought the track that tried to mimic bird noises was super cool. But the novelty of it all wears off quickly these days and you’re left with an album that, for everything that it is, is ultimately an experiment. And that’s cool, but as an album it falls a little short because it’s held back by the fact that it’s an experiment. Two stars.
Standout Tracks: Kometenmelodie 2
Van Halen
5/5
I always thought “Jump” was such a departure in sound for Van Halen. I’m not exactly a fan of them or anything (though I did LOVE their debut album when it was handed to me for this project months ago), but what I know of their sound is so different from “Jump” that I honestly always assumed, when hearing it on the radio or in a show or movie, that it was some other 80’s band. So, seeing that it was essentially the lead track on this album, I was really curious to see if it set the tone for the whole thing or if it was a blatant single composition.
Well, the answer is no it doesn’t really set the tone for the rest of the record. “Jump” is not, in my mind, entirely indicative of the rest of the album’s sound. And even after relistening, it isn’t even THAT poppy. It still has a killer guitar solo. But it definitely feels like a song arranged in such a way and put as the first real track on the album so that it pleases the record company as a lead single. And yet it’s still pretty good.
The rest of the album feels really similar to their first one, though they seem to have reigned Eddie in just a little. That doesn't mean he isn't shredding throughout, because he definitely is. But they didn't give him his own track like they did with "Eruption" on the first album.
Part of me feels like I shouldn't give this five stars solely because it does feel really similar to the first album is a lot of ways, and that lack of growth is a little disheartening. But in the end, I loved the first one and there is enough of a change in sound, albeit somewhat subtle, that I can still give it five.
If you'd told me when this whole thing started that I'd be giving two Van Halen albums five stars, I would've thought you were crazy. But here we are.
Standout Tracks: Jump, Panama, Top Jimmy, Drop Dead Legs, Hot for Teacher, House of Pain
Lou Reed
4/5
This was produced, in part, by David Bowie, and it shows.
It’s such an interesting mix of two genres that would really take off after this album - glam rock and punk. Of course not all tracks fall into either or both of those genres, but there’s enough here to call it a forerunner to both.
I’d honestly always thought of Lou Reed as being far less interesting than this. I think I always confused him with other artists from this era from completely different genres. I’m glad my prior expectations were completely blown away.
This is an easy four stars. I’d be curious to see what he did after this and if he ever was this good again.
Oh and I kept waiting for “Can I Kick It?” to hit during “Walk on the Wild Side,” despite the fact that I’ve heard both songs before. Funny how that works.
Standout Tracks: Vicious, Hangin’ Round, Walk on the Wild Side, Satellite of Love, Wagon Wheel, Goodnight Ladies
The Go-Go's
4/5
Man, what a fun album.
Seriously, this album oozes enthusiasm, fun, energy, and complete buy-in from the members.
Everyone knows "We Got the Beat," "Our Lips Are Sealed," and the absent-from-this-album "Vacation." And you'd be forgiven if you thought that that's all there was to this band. But I am so happy to say that that isn't the case, and in fact there is more to like than just a few hits.
Yes, it's fun and yes it's an easy listen. But the creativity on display here, the layering of sounds and the riffs are just awesome. They had a unique sound, kind of a combination of New Wave, Riot Grrrl, and some punk vibes. Really cool stuff. Four stars.
Standout Tracks: Our Lips Are Sealed, How Much More, Automatic, You Can't Walk In Your Sleep (If You Can't Sleep)
Kraftwerk
3/5
Wow, second Kraftwerk album in a week.
I wasn't really excited for this one after the first one a few days ago. But, I saw that this was a later record of theirs, and assumed that there would have been some evolution in sound.
And...well there was. To an extent. I think the musical ideas shared here are more interesting, and their skill with electronic instruments has clearly grown album-to-album. I appreciated that there were more vocal parts, as well. Even if they were, at times, comically German-accented and sometimes overly simple in terms of lyrics.
I dunno. I wanted to like this so much more, but it's dated, still somewhat experimental, and overall not really my vibe. I appreciate it for what it is, applaud those involved for making something so innovative for its time, and am happy to have been exposed. But if I never heard this or any other Kraftwerk music again, I'd be alright. Three stars.
Standout Tracks: The Hall of Mirrors, Trans-Europe Express, Franz Schubert
Kraftwerk
3/5
"But if I never heard this or any other Kraftwerk music again, I'd be alright."
Me. Yesterday. In my review of yesterday's album "Trans Europe Express" by, you guessed it, Kraftwerk.
Sigh
This one is better I guess. As I said yesterday, Kraftwerk definitely grew in terms of the depth, cohesiveness, and complexity of their sound. Songs take on more definite forms with each album. The direction is clearer. The different elements of their sound come together better. The evolution of sound is clear from album-to-album.
That makes this the most listenable of their records I've had. That isn't to say the other two weren't listenable - they were. But this one comes together in a way that really makes it feel like they're at the top of their game as a group. And I can appreciate that.
Does that move the needle enough for me to give them more than three stars? No. This still ultimately isn't my thing, and that's alright. Happy to have listened, ready for something new. Three stars.
Standout Tracks: Spacelab, Metropolis, Neon Lights
Fiona Apple
4/5
Yes please.
Fiona Apple is one of those artists that I've been aware of for a very long time, but has never made her way into my music listening in any significant way.
I've heard a lot of hype some some specific music content creators and certain people I've met who just rave about her. I can see why.
This was a really creative, pointed album. It has such a unique sound, one that feels mysterious, dark, sad, serious, and at times melancholy. It draws you in because you want to know more about what's happening, about what you're hearing. Any album that's capable of this is a winner in my book. And that's not even mentioning the lyricism here, which is top notch. Seriously, it's poetry.
This is an easy four stars. Loved it.
Standout Tracks: Sleep to Dream, Criminal, Slow Like Honey, Never is a Promise, The Child is Gone, Carrion
Elvis Costello & The Attractions
3/5
Another Elvis Costello album, another set of quirky, sometimes (seemingly) nonsensical, hipster New Wave songs.
Don't get me wrong - I actually really like Elvis Costello. I think he's a genius and that he has the ability to write really introspective and interesting lyrics, set to music that really feels like its own genre sometimes. Buuuuuut.....
But his sound is so very much him that, without listening to his other albums on this list more than once to discern differences (not to mention the gaps between the albums), it's hard to say that this was much different than what I remember the other albums sounding like.
I guess this one was a little more on the experimental side? I guess? I dunno. It was fine. Very Elvis. Much Costello.
Three stars.
Standout Tracks: Beyond Belief, Almost Blue, The Loved Ones
The Bees
2/5
I don't know what to make of this thing.
I guess what I hear is a band that knows they have a set of eclectic and unique influences that tried to harness those influences and mesh them with their own talent and ideas in a debut album. In the end, for me, this does feel very much like a debut in the way that it's sort of...a mess. It's all over the place. Which is fine for some albums, bands, and genres. But this felt directionless. I wasn't sure what I was listening to or what the point was(?).
I'd be really, really curious to hear what came after this for the group. I'd love to hear a more refined version of this sound, one that has a little more cohesion and oophm behind it. This felt like they were trying to imitate their influences, rather than show us who they are. Fine for a debut, but not their full potential.
Two stars.
Standout Tracks: Punchbag, A Minha Menina
John Coltrane
5/5
I'm always pleased when I’m handed a jazz album, even more so when it's from a master like Coltrane.
I don't know what else to say except that this is a master class in mood and feel. Coltrane exudes emotion through his instrument here, pulling us along through a piece in four movements, as though it were a classical composition. It takes us to upbeat, fun places, dark, intense places, and everywhere in between. All this in just a short 32 minute runtime.
This is one I'd love to listen to on vinyl, in a dimly lit room late at night, with a warm cup of tea in hand. Just sink into a couch and listen to a master perform his art. Excellent stuff Five stars.
Standout Tracks: Acknowledgement, Psalm
Isaac Hayes
4/5
The extreme length of “Walk on By” and “By the Time I Get to Phoenix” are both a benefit and a hindrance to this album. On one hand, the two tracks are allowed time to breathe and build, to tell a story and really convey the emotions in those stories. They’re really master classes in how to do these things in music and the instrumentation on them is superb.
On the other hand, their lengths really dominate on this album to a degree that really overshadows the other two tracks. It also makes those tracks seem a little tame and less special by comparison. I think opening and closing with the two longer tracks was a great choice, but really no matter how you ordered them it was going to be tough to make those other two feel special. I’m honestly surprised this wasn’t a two track album, with one long track on each side.
In the end, I really enjoyed this and would love to hear more Isaac Hayes. I’m assuming the “Shaft” soundtrack is on the list, so I’ll wait for that.
Four stars.
Also, the single edit of “By the Time I Get to Phoenix” is a travesty.
Standout Tracks: Walk On By, One Woman
Femi Kuti
4/5
I absolutely cannot deny the infectious energy of this album. Femi Kuti, like his father before him, demonstrates his unique ability to inject excitement and levity into songs that may carry heavier, more important messages. How he does this, I don’t know, but it’s incredibly effective.
People like listening to happy, fun music. If that’s the genre that gets your message out, you go with it. Was this his intention? No idea. Maybe. But that’s my interpretation.
I would give this five stars if only each track wasn’t so damn long. It’s an absolute joy to listen to, but some songs overstay their welcome a bit. On the whole, though, I loved it.
Four solid stars.
Standout Tracks: Wonder Wonder, Survival, Plenty Nonsense, No Shame, Changes
The Specials
2/5
I guess you just had to be there.
Or maybe I just don’t get it. What is so special about this band? I’ve had two of their albums now and haven’t felt moved. I’ve just felt underwhelmed.
I haven’t ever been a reggae fan, and there’s obviously a lot of reggae influence here. They’re labeled a ska band, and I see that. I like ska. Well, 90’s ska anyway. Upbeat songs with horns. This isn’t that.
I heard the Clash a lot in here. Sometimes I could’ve sworn it was Joe Strummer singing. Hell, there was even a riff that sounded like “The Right Profile.”
I dunno. I just feel like they really wanted to be The Clash with their own twist and I just don’t get it. The music doesn’t blow you away and the lyrics don’t say much of anything original. Somebody enlighten me because I don’t see it. Two stars.
Standout Tracks: A Message to You Rudy, Nite Klub, You’re Wondering Now
Elliott Smith
4/5
What a moody, breathy album. Not usually a fan of this kind of music. It always strikes me as understated to a fault, where an otherwise profound or powerful message is lost in how subdued its delivery is.
So for that reason, I really need to listen to this again with the lyrics in front of me. Each song is generally pretty short, and the way they’re sung isn’t easy to follow. I’ve always had a knack for just not understanding singing that isn’t crystal clear (looking at you, Thom Yorke…), so I couldn’t really understand a lot of what he was saying.
The music was cool though. Lots of really moody arrangements, great instrumentation, tight sound. Reminded me of early White Stripes in some moments, Radiohead in others, and Bob Dylan in still some more moments.
Overall, this was cool. Four stars, while allowing for the possibility of it rising to five upon relistens.
Standout Tracks: Alameda, Ballad of Big Nothing, Angeles, Cupid’s Trick, Say Yes
Jimi Hendrix
5/5
I've always encountered Jimi Hendrix in almost every context except his studio albums. Individual tracks, live performances (Monterey, Woodstock, namely) and even a posthumous release ("Valleys of Neptune"). Hell, I first heard "Spanish Castle Magic" in the original "Guitar Hero" as an instrumental and didn't know it had lyrics until later.
But I've always loved Hendrix, and loved what I've heard. Some of my favorites of his are on this album, so I was excited. And he didn't disappoint.
There isn't much new to say about Hendrix. He's one of those virtuosos that, especially since he died so young, has been talked about and dissected and analyzed and idolized in the 50-plus years since his death that, not unlike the Beatles, there's hardly anything original left to say. He's iconic, he's one of the best to ever pick up a guitar, and he's unforgettable.
I would like to note here, though, that his stylistic range here both as a vocalist and a guitarist is amazing to witness. He can shred through something as wild and fun as "Fire," playing fast and with such incredible energy and conveying excitement with his voice in a way that is simply infectious. Then, on the same record and with just as much ease, he can play something as tender and soulful as "The Wind Cries Mary" with just as much passion and expertise. More still, he can absolutely demolish an audience with something as hard and unforgiving as "Purple Haze." The thread tying all these songs together, regardless of genre, feel, style, or tone, is precision. He plays everything with such precise intent to the point where you could tell me he could make a guitar quack like a duck and I'd believe you. Truly one of a kind.
It's also more than worth calling out his band. In Noel Redding and Mitch Mitchell, Hendrix had a band that was almost on his level. I say almost because, well, Hendrix is talked about as a legend and, while the other two are certainly masters of their instruments, are not remembered quite the same way. Nevertheless, the energy they bring does match that of Hendrix and is vital to the success of the their sound. You need only listen to "Fire" for proof of this. The bass line on that song really drives everything underneath the guitar. The drums are absolutely manic and provide the kind of agile energy needed for a song titled "Fire" and with as quick a riff as it has. It's perfection.
I couldn't have been happier with my 300th album for this project. I don't know what else to say. Five stars.
Standout Tracks: Manic Depression, Hey Joe, Love or Confusion, The Wind Cries Mary, Fire, Are You Experienced?
Coldcut
4/5
The sheer number of electronic/house music that has made its way onto this list, as well as the sheer number of obscure British artists, as well as the sheer number of debut albums has continued to astound me. This album checks all those boxes. So going, I honestly thought this was going to be severely mediocre. You see, I’ve had really mixed experiences with each of those categories listed above to this point. The obscure British artist that lacks appeal or significance outside their home market can be really grating at times. The electronic or house music can be good but really repetitive and any given album might not offer much by way of something new to the genre. And I’ve written before about my feelings on debut albums.
So, again, I was skeptical.
I loved this. Defied my expectations on all three counts. This felt original, fresh and lovingly crafted. The samples from other media enchanted the tracks instead of distracted from them as is often the case. Hell, the fact that they used a ringing phone as part of a beat is incredible.
I really am impressed by this and am definitely happy to have heard it. Four stars. Too bad it was hard to find.
Standout Tracks: People Hold On, Fat (Party & Bullshit), My Telephone, Stop This Crazy Thing, Not Paid Enough
Bob Dylan
4/5
You don't have to do much other than throw a Bob Dylan album at me to make me happy. I absolutely love this man's music. I'm really looking forward to more of him throughout this project.
This isn't his best, by far. I honestly thought he didn't do anything worth listening to outside of the 60's, so this was a nice surprise. But the typical Dylan sound (save for a few tracks that veered in directions I didn't care for) is here, his voice hasn't deteriorated yet (though if you ask some, it was never good to begin with), and the classic bite in his lyrics is as present as ever.
I don't have a lot else to say. It's Dylan. I love him. Four stars.
Standout Tracks: Tangled Up in Blue, Simple Twist of Fate, You're Gonna Make Me Lonesome When You Go, Meet Me in the Morning, Lily, Rosemary and the Jack of Hearts, Shelter from the Storm, Buckets of Rain
Arrested Development
3/5
Does this count as gospel? I didn't hear all the lyrics, but there definitely seemed to be gospel themes in some of the songs. Don't think I've heard of gospel rap, but of course it exists.
This was cool. Some really great grooves in here. Loved that it was a full band and not just one guy and a drum machine. That's always refreshing. Felt like it ran a little long though.
Overall this was cool and a second listen is probably required. Curious about the title, too. What is that length of time a reference to? Still things to learn here. Three stars.
Standout Tracks: Man's Final Frontier, Mama's Always on Stage, Fishin' 4 Religion, U, Dawn of the Dreads
The Stooges
5/5
Holy shit what a ride.
I said that for the first Stooges' album I had (the sequel to this one) and it still applies here. The sheer innovation on these albums alone is insane. It would be really easy to listen to these and assume they came about in the late 70's, but no. This is from 1969 and I could hardly believe it.
I'd describe this album in one phrase alone that I feel just conveys how I experienced it: raw power. This takes the idea of playing everything as loud and hard as possible and just runs away with it. The Beatles did that with "Helter Skelter" and still did it with some sense of containment, a sense of structure and like they knew what was going to happen next. There are moments on this album where you can't even tell if the band knows exactly what's going to happen next. It's an absolute ride that you go on with them, not that they take you on. Neither you nor the band knows what's coming and it's really fun to discover that together.
I can't say enough about this album. The one thing holding it back (though not enough to lose a star) is "We Will Fall." It's ten minutes of what feels like some kind of funeral dirge, or some kind of meditation. I don't know what it is and I don't particularly like it. I feel like it must've been recorded and included to pad out the run time of the album because without it the album isn't even half an hour long. Take that out and you have what might damn close to a perfect debut album. But even still, I can forgive it as it was clearly an experimental leap for the band, and I'll never hate on that.
Five stars.
Standout Tracks: 1969, I Wanna Be Your Dog, No Fun, Real Cool Time, Not Right, Little Doll
Bonnie "Prince" Billy
1/5
I just didn't care.
This is such a horribly depressing album that it's really hard to like. The singing isn't even particularly good, and the songs are just so drab. Maybe that's the aesthetic, I don't know. This album felt like a prelude to suicide. It felt like what someone who's locked themselves in their bedroom due to depression must feel like. This album probably aides in bringing people into depression. This album just felt like the odd, poetic ramblings of a sad sack of a human being, one that is such a sad and useless sack that he can't even garner any sympathy. It had moments that felt like they were trying too hard to be edgy or dark. I mean for fuck's sake, some of the song titles?! Are you kidding me? "A Minor Place," "I See a Darkness," "Another Day Full of Dread," "Death to Everyone," "Today I Was an Evil One," and "Black." Ok, edgelord, do your thing.
And I get that this is all probably the point, or at least adjacent to the point of this album. I get that that's the mood it's meant to convey, and I get that it's probably all some grand statement about I don't know what. But it's so on the nose in moments. And I just didn't care, and I didn't like it. This joins the exclusive group that is the One Star Club. RIP.
I need to pick a standout track but man, I don't know. I guess I'll choose one. Oof.
Standout Track: Black
Yes
2/5
So, I really liked the previous album I had by Yes. I thought it was creative and fun and original and carried a really unique sound.
But, after hearing this, I'm convinced that Yes is a bit of a one-trick pony. And I hate that that's how I feel.
The sense I get from this album is that it was a warmup for their follow up, "Fragile." They perfected the long song formula on that album, and it all hits much better there than it does here. Also, that album isn't filled with 6 minute songs (or longer).
This album is, and it feels like a marathon 42 minutes because of that. To add to that, the longer songs themselves don't really feel as well flushed out as they would on Fragile. Here, they feel more like a collection of ideas that they didn't know how to extend into full songs, and so instead threw them together as one long track. Sometimes those ideas feel connected, sometimes they don't. And that unpredictability, at least to me, made this feel like a much longer album than it actually is.
I wanted to love this, but I just couldn't get there. Two stars.
Standout Tracks: The Clap, A Venture, Starship Trooper
XTC
3/5
I'm sure these guys are well known in Britain, but I confess that I'd never heard of them. That's good though, as it means I had very few if any expectations or prejudices going in.
Huge psychedelic vibes on this one. Really unexpected from an album released in 1986. It really felt like, at moments, they were really Beatles-inspired. I guess that shouldn't be surprising, given that they probably grew up in the 60's/70's Britain. (A quick check of the Wiki article confirms this.)
I think you can condense my opinion on this one into one thought - they try to emulate that 60's sound, but they just can't do it as well as it was done back then. It's unfortunate, because there's so many wonderful ideas here. But the entire thing felt more like a band trying to be something they weren't, and something that didn't exist anymore and couldn't be recreated.
All of that said, I really liked this. Some of it was a little cringey by today's standards ("That's Really Super, Supergirl" really needed to not). But the creativity on display here, the riffs, the production all come together to make a perfectly listenable, if not derivative, album experience. I just wish they could've made it all sound a little more authentic and less like an imitation of a sound that wasn't their own. It also didn't need to be as long as it was. Easily could've been a 35 minute album and I would've liked it more. The fact that I didn't find any of the songs after the half way point worth adding to my standout tracks below is telling.
Overall, though, three stars. Perfectly enjoyable, a nice throwback, easy listen.
Standout Tracks: Summer's Cauldron, Grass, 1000 Umbrellas, Season Cycle, Earn Enough for Us
Butthole Surfers
2/5
Back to the cheap shock value schlock, I see.
Yeah that's really what this felt like. I mean, the title (of the band and the album) alone is definitely meant to rile some people up in the cheapest way possible. And I'm sure that's all part of the point on the band's part, but it doesn't come across as particularly clever or interesting.
There's some stuff to like here, but man is it all overshadowed by the stuff that's just obnoxious and painful to listen to. I mean, some of the riffs are amazing ("Sweat Loaf," among them) but I just really didn't care for pretty much any other part of this.
I'd love an explanation of this one's inclusion. What does this bring to the table that is so unique, so special, so artistically magnificent that it deserves inclusion here? I'd love to know.
Two stars. It really wasn't THAT bad, I just never want to listen to it again.
Standout Tracks: Sweat Loaf, Human Cannonball
Siouxsie And The Banshees
4/5
I can safely throw this album into the ever-expanding category of "Bands I've never heard of that I now wonder why I've never heard anything from and want to hear more from moving forward."
There's probably a way better title for that category...
Anyway, you get it. I've never heard of this group or their albums. Sometimes when that happens, I assume I HAVE heard one or more of their tracks without know who it was. But they don't even fall into that category for me here, either. Complete blindness is what I went in with.
This was so cool. I mean for one, the number of female-led bands or female solo artists on the list as a whole is drastically, tragically small. So the fact that this is a female-led group earns it points off the bat. The fact that it's actually good gets it an easy four stars.
The attitude, the driving sound, the aggressiveness, and the sheer force behind some of these songs is awesome. I did think it was kind of funny that Siouxsie's voice sounded a little like Geddy Lee at times, but it didn't turn me off from the record at all.
It's such a dark, forceful album that it almost feels ahead of its time. I wouldn't be shocked at all if grunge bands like Nirvana, Pearl Jam and Soundgarden were all influenced by this record.
The album as a whole is great and I would love to hear more of them. Four stars.
I guess a better name for the category would be "Unheard of bands that struck a chord."
Standout Tracks: Spellbound, Arabian Knights, Halloween, Monitor, Head Cut
Digital Underground
3/5
It's a bold move to make the first album you release a concept album. You aren't a known quantity and the first thing people are going to hear from you is a somewhat offbeat concept album about sex and drugs. I mean, I'm 100% here for it. I'm just surprised that's what Digital Underground chose to do.
Anyway.
This was a trip, man. Some really cool beats and grooves here. Sometimes I was left wondering if this was included simply for "The Humpty Dance." Because while there are some great tracks here, it does start to sound a little samey as it goes on. The track lengths don't help, either.
I don't know. I wanted to love this. 90's hip hop is its own thing. It's on another level in terms of style, content, and attitude. Hip-hop artists back then weren't afraid to be funny or go out on a limb with a crazy or goofy concept like this. But the length really gets me, and I just can't imagine that the album as a whole is really that highly regarded. It's not bad by any means, but it's a three star effort for me.
Standout Tracks: The Humpty Dance, Rhymin' on the Funk, Gutfest '89, The Danger Zone
Various Artists
3/5
Ok, ok, I see you. A Christmas album on Christmas. Very cute.
But honestly, come on. This? I mean it's cool but it's missing a lot of the real classic recordings from this era. I know it's a compilation specifically produced by Phil Spector, so there weren't going to be any non-Spector tracks here. But still, for me no Christmas album is complete without some of the real classics (Brenda Lee, anyone?). But it serves its purpose as a Christmas album just fine.
As an album overall? I dunno. It's cool I guess. Something to listen through, not to. I wouldn't ever put this on except as background music at a Christmas party, you know? Like I would never choose to sit down and listen to this intentionally in or out of the holiday season. So I don't really know how to rate this. So I guess it gets the benefit of the doubt and gets three stars. Meh.
Standout Tracks: Santa Claus is Coming to Town, Christmas (Baby Please Come Home)
Donovan
4/5
I have heard for years and years about the great Donovan. The Beatles loved this guy. He was more influential than people give him credit for in the 60's. Plus, he recorded "Atlantis," so that earns him a lot of points in my book.
Donovan went to India with the Beatles a couple of years after this album released, and his interest in Indian music shows here. Hell, there's elements of Indian influence, chamber pop and baroque pop, straight up rock, psychedelia, and folk. It's a eclectic mix of these genres, which at times even coexist within the same track. It's a really fun listen because you don't really know what you're going to get next.
Did I love every track? No not at all. It has the feeling of an experimental album (despite the fact that it's performed with the confidence of someone who knows exactly what he's doing), and you're always going to have some misses when experimenting. But man was this a cool listen. I gotta have more. If we can have four Metallica albums or whatever on this list, we can give Donovan at least one more. Four stars.
Standout Tracks: Sunshine Superman, Bert's Blues, Season of the Witch
The Rolling Stones
3/5
Alright so I've been handed three Stones albums now and I'm just kind of waiting for one to blow me away. I love the Stones, don't get me wrong. But I was given their debut album which, I mean, is all covers done worse than the originals. Then I was given "Sticky Fingers," which I had actually never heard in its entirety and really liked. But it didn't blow me away, man. I wanted this to blow me away.
It did not.
This was apparently the Stones' first album of all original music. The Beatles first album of this nature was "A Hard Day's Night." They knocked it out of the park. This...is good but I mean come you guys. They're mostly still trying to be like their influences and not like themselves. Some of it is poppy, some of it is bluesy, but none of it blows me away. Such a bummer.
One day the generator will throw "Let it Bleed," Some Girls," or "Exile on Main Street" at me and I'll be a happy boy. Until then...three stars. "Under My Thumb" really does a lot of work here for me.
Standout Tracks: Mother's Little Helper, Stupid Girl, Under My Thumb, Doncha Bother Me, Flight 505, It's Not Easy
Jeff Beck
5/5
So I'll admit that, for a long time, I confused Jeff Beck with Beck. I think that's fair when you have no context for either artist. Obviously they were at their peak popularity in different eras and it's silly to get them mixed up once you know that, but that was me for the longest time.
Moving on.
This was heavy, man! Bluesy and heavy. Jeff Beck really lays it on thick. He's a guitar god, obviously. Anybody who was in the Yardbirds at that time would've been (Paige and Clapton say hello). But man this is was amazing. Such attitude, such delivery of said attitude. Yeah, they aren't all originals. And yeah there's some interesting choices here ("Greensleeves," for one. Don't get me wrong - it's beautiful and I'm glad it's here. Just kind of a weird choice.), but man when this hits, it HITS.
Just some nice, heavy blues rock that's good for the soul. I'll take it any day. Five stars.
Standout Tracks: Shapes of Things, Let Me Love You, You Shook Me, Ol' Man River, Rock My Plimsoul, Blues Deluxe
Bob Marley & The Wailers
2/5
I...have never seen the appeal of reggae. It has always seemed like a slow, repetitive genre that doesn't offer much to dance to, much message to hang on to, and much intrigue when it comes to arrangements or instrumentation. Obviously, Bob Marley is known for being a powerful lyricist, one that delivers messages of social change through his words of peace and love.
I was ready for this album to prove me wrong, to be the one that finally made me get reggae. Who better than the man everyone praises as the best to ever do it? Well...
All it did was confirm my feelings about it. Sure, Marley does have good messaging in his songs, albeit pretty simple and surface level messaging. It wasn't enough to get me excited. Nothing about this album was.
I will get hate for this, but I just do not and have never seen the appeal of reggae. Somebody please explain it to me. Do I need to be high? It seemed like all the stoners I knew in college loved Marley. Is that what I'm missing? I could see that being what I'm missing. I'm not even joking.
Anyway, sorry to do this to the man himself but, two stars.
Standout Tracks: Lively Up Yourself, No Woman No Cry, Them Belly Full (But We Hungry), Talkin' Blues
R.E.M.
2/5
This was a rare case where I actually liked this album the more it went on. When it ended, I was almost a little disappointed. It was just getting good, and then it ended.
I dunno. REM has always been a bit of an enigma to me, as I'm sure they've been to most. We all know "It's the End of the World as We Know It," "Orange Crush," and "Losing My Religion." And to be honest, I always thought "Everybody Hurts" was a meme song and honestly didn't know it was REM.
This felt a lot more produced than I expected. The string arrangements really caught me off guard. I always viewed them more as a band that would've forgone those kind of embellishments in their work. But hey, they added to the whole vibe I guess.
I hate to say this was boring because I don't think that's really that fair to say. I think it just wasn't for me, mostly. At least not until you get closer to the end. Then it starts to catch for me. Bummer. Could've been so much better. Two stars.
Standout Tracks: The Sidewinder Sleeps Tonite, Man on the Moon, Nightswimming
Willie Nelson
4/5
Good ole' Willie Nelson. He's always good for a charming, folksy album of country songs, isn't he? Probably will be until the day he dies.
He's got such a charm and charisma in his voice alone. He seems like such a kind person, and that shines through in his music. That, and his love of what he gets to do.
I'm not going to tell you that I fully understand what this album means to country or popular music. And I'm not going to tell you how good a country album it actually is because, frankly, I don't know. But I'll tell you that I found it damn endearing and charming and I loved it. Willie Nelson is an American treasure and should be treated as such. Four stars.
Standout Tracks: Time of the Preacher, Medley: Blue Rock Montana/Red Headed Stranger, Red Headed Stranger, Denver, O'er the Waves, Down Yonder, Remember Me (When the Candle Lights Are Gleaming), Hands on the Wheel
David Bowie
3/5
This is my fourth Bowie album I've been handed so far (and I believe there's still more to come!). I love the man. I love a lot of his music and I love the fact that he never let himself be put into a box and labeled. He did his thing when he wanted to do it and wouldn't let anyone tell him otherwise.
This was such an interesting choice for him. The overall sound of this album is tough to describe. It's hard at times, floaty in others, but it always has these incredibly strong backing singers attached to it, almost always has horns involved, and it always finds a groove.
I really didn't need his cover of "Across the Universe." It's kind of a funky, gospel take on an otherwise thoughtful and hopeful song. I don't think it worked, personally. I don't begrudge him for trying, but I don't think it added much to the album and I don't think it was necessary.
This was such a weird offering from Bowie. It definitely isn't one of the ones that stands out from the pack of his I've heard so far, nor will it be at the end when I've heard all his entries on this list, either. But it's still Bowie, and there are some damn fine grooves on this album. Three stars.
Standout Tracks: Young Americans, Fascination, Somebody up There Likes Me, Fame
Skepta
2/5
British rappers have really yet to impress me throughout this project. I saw that Pharrell was attached to this album and I had hope. It was misplaced.
This is just another rapper rapping about how great he is, his own personal, non-specific struggles ("I just feel a lot pressure from all side, fam"), and about all the women he can get to twerk in his face. Is there something deeper here? Maybe. But I didn't hear it in the lyrics and I can't find anything online saying otherwise.
Why is this called "Konnichiwa"? Is Skepta part Japanese? Even if he is, why is this called "Konnichiwa"? Feels very "white girl gets tattoo of Chinese symbol for water" of him. Call it "hello" in a different language and it'll seem exotic. It's all for show.
Lastly, there were moments where I just genuinely couldn't understand what he was saying. Not because of speed, but because of his accent. I just can't get over how grating the British rapping voice the rappers there seem to share can truly be. Gave me flashbacks (not the good kind) to Dizzee Rascal at times. This wasn't nearly as bad as that, though they do apparently share the same sub-genre of grime. Ah yes, what an appealing sounding genre! Right up there with grunge and shoegaze. I swear who the hell comes up with genre names.
Anyway. The production on this was awesome. The hooks were great. I just would've loved for another rapper to take them on. Two stars. NEXT.
Standout Tracks: Konnichiwa, Man
David Bowie
2/5
Another Bowie, so soon?
I know he has a ton of albums on this list so I'm not too surprised he's popped up again already, I guess.
Bowie recorded this after a hiatus from music. He definitely didn't lose his edge in that time, or his knack for making interesting music. But interesting doesn't always equate to good, at least to me. I can appreciate an album for the ideas it attempted and expressed, and still not find them to be particularly listenable or subjectively "good."
And that's kind of how I feel about this album. While the ideas and interesting, and the experimentation is appreciated, I generally find it be...bleak. And I hate to say that because I love Bowie, and I don't think he'd enter the studio without feeling as though he had what he believed to be genuinely good ideas that were worth pursuing. But the overall sound doesn't come across as comforting Bowie, or funny Bowie, or playful Bowie, or melodramatic Bowie, but just as sad and bleak Bowie. And there's space for that version of him (as there is for all Bowie eras), but I didn't love this one.
Bowie can and has done better and I know that there's better on this list that I both have and haven't heard. Two stars. Hurts, man.
Standout Tracks: The Next Day, Dirty Boys, Valentine's Day, If You Can See Me, Dancing Out in Space, (You Will) Set the World on Fire
The Velvet Underground
4/5
The original hipster album? Sure felt that way.
Everything surface-level about this feels like they were trying really hard to be cool. Associating themselves with a German singer that probably nobody in the States had heard of. The interactive Andy Warhol cover. The lack of a band name or album title on the cover. It just all feels packaged to make them seem like a bunch of hipsters producing music that was obtuse for the sake of being obtuse.
But then you actually listen to the music. And you realize that they're another blues/pop/rock band from the late 60's and you know that there's a TON of those. You can see why they stuck out, and why this album has persisted. The cover draws you in, the music makes you stay.
But for how long? Long enough to get a grasp on the album, anyway. It's a good album. Easily three stars upon first listen. The tracks with Nico are, in my opinion, weaker than the tracks without her. But that mean they're bad. "Femme Fatale" is a well-done song that got stuck in my head pretty easily.
A second listen improved this to four stars for me. I was surprised because I didn't LOVE it the first time through. The Nico tracks made it worse for me, but I warmed up to them a little this time around. I don't think she's a particularly engaging singer but the songs have charm.
Four stars. It has its flaws but it also has a little bit of the old x-factor that edges it to four stars. Glad to finally cross this one off my list. Don't know how I got through college without listening to it.
Standout Tracks: Sunday Morning, I'm Waiting for the Man, Femme Fatale, Run Run Run, Heroin, There She Goes Again
Super Furry Animals
3/5
So we have another 90's British (Welsh, in this case) band inspired by the sounds of the 60's and 70's, and trying to both imitate and iterate on that sound.
How many times have I been here before? And how many more times can I come here and still find it interesting?
Look this is a fine album and all. But I just don't find the idea of another band playing musical dress up as a psychedelic band all that fun at this point. The list is too littered with such bands, especially when spots are precious.
So I admittedly came into this album with that prejudice. I will say - I liked what I heard. I just didn't find it to be that interesting or have anything new and exciting to say or do with the genre. There are a lot of standout tracks purely because I feel like I was meant to like this given the band's influences. But it wasn't surprising in any way.
Bummer, because there's a lot to like here and a lot of potential. Three stars.
Standout Tracks: God! Show Me Magic, Something 4 the Weekend, If You Don't Want Me to Destroy You, Bad Behaviour
Talking Heads
5/5
I thought I was done with The Talking Heads! But I'm relieved to say that I wasn't.
I adore them. Of the now four albums of their's on this list, I rank them this way:
1. Remain in Light
2. Talking Heads: 77
3. More Songs About Buildings and Food
4. Fear of Music
"Remain in Light" is, to me, untouchable. So putting "77" at number two is saying something, because it's almost its own number one, if that makes sense.
There's so much to like about this album. Byrne's lyrics are both insightful and interesting while somehow still maintaining a strange balance of naivety and self-awareness. It's almost like he's playing a part throughout the entire album. "Don't Worry About the Government" is the peak of this concept.
The five-track run on this album from "The Book I Read" to the final track "Pulled Up" is really hard to beat for me, whether limiting that to another Heads album or other albums from this era. The riffs are so catchy and fun, the delivery of the lyrics is captivating. And my goodness the bass lines, as always, are just impeccable. Tina Weymouth never disappoints.
I love the Talking Heads and always will. I really don't understand how "Stop Making Sense" isn't on this list. Like that just doesn't make sense to me. Maybe the author figured you needed to see the film to have proper context for the soundtrack, I don't know. But it really should be here anyway.
I really dislike "Happy Day." That song can burn in hell. But my distaste for it isn't enough to lower this down to four stars. It's an easy five. Love the Heads.
Standout Tracks: Uh-oh, Love Comes to Town, Don't Worry About the Government, First Week/Last Week...Carefree, Psycho Killer, Pulled Up, Love -> Building on Fire (I know it's a bonus track but I don't care; I fucking love that song)
Billy Bragg
2/5
So I had no idea (and still don't) who the hell Billy Bragg is. Based on his voice, I'm left to assume that he's one of a few things:
1. The lead singer of an 80's Britpop band I probably wouldn't much like who has some solo albums
2. An English folk/folk rock singer
3. Both
I don't know which, if any, he is. But I can say with certainty (at least after listening to this album) that I do not like his voice. A lot of British singers take on a more American voice when they sing. If they don't, they at least don't let all the harsh pronunciations of their uniquely British syllables shine through. I assume this used to come from the Blues-inspired British invasion bands trying to emulate their American musical heroes.
But Billy Bragg seems to not even try to do that. Which, I mean, fine for him. It's his voice. But I don't like it. It's at times really hard to listen to. He even is able to rhyme words that, on paper, should not rhyme but do because of his pronunciations and accent.
But ok, ok. His voice isn't the best. What about the music? Surely if the music is good enough, one can look past his voice. Look at Bob Dylan, or Neil Young, or Geddy Lee. People have very strong opinions about all those men's voices but some people love the music enough to look past it. Well, I hate to say it but the music wasn't good enough for me to look past his voice.
Don't get me wrong - I actually think that in places, it's excellent. It has this unique, upbeat quality to it that is somewhat infectious. I love that. But the production is really what kills it for me. This came across to me as a folk record, or some offshoot of folk. You wanna know what really kills folk for me? The 80's production aesthetic. It works for pop, it works less well for rock, even worse for jazz. But folk? The most stripped down, simple sound? A sound that's meant to be about a musician, their instrument, and maybe a small band? The 80's production attitude is horrible for that. And for me, it tanked this album's rating. This could've received four stars if only it was recorded like a Dylan album. Maybe that's all I wanted this to be - a Dylan album. Maybe that's all I ever want a folk album to be. It's hard to say.
Anyway, this gets two stars. Not because it was bad, per se. But because it could've been better.
Standout Tracks: Ideology, Honey, I'm a Big Boy Now, Help Save the Youth of America, The Warmest Room
Emerson, Lake & Palmer
2/5
What in the Yes-Rush-King Crimson was this?
I'm so tired of these "let's record a twenty minute epic song and have it be one entire side of our album" bands. It feels like they think they've pulled off a masterpiece of a track, one that should stand the test of time and be revered for ages. But to me, having heard a handful of similar albums to this point, it just feels played out. These long songs feel more like a series of ideas that they couldn't figure out how to extend into one song and instead combined those fledgling ideas into one song. Sometimes that can breed great results, but more often than not it seems to just produce a track that feels a little scattered and whose ideas are shoved together for convenience and not necessarily because they connect thematically. It's a shame.
I don't have much else to say about this, honestly. The title track is a monster and is alright. The second side is a bunch of inferior ideas that sound like they're doing their best imitation of a handful of other styles and groups. Two stars.
Standout Track: Are You Ready Eddy?
The Who
3/5
I love The Who. You need only look back at my reviews of "Tommy" and "Who's Next" to get the whole story. So if you really care, you can go back and read those reviews. Suffice it to say, I have loved them for the last 15 years, dating back to high school, and continue to love them.
So, knowing their discography like I do, I was incredibly surprised to see this album on the list. Why, when they have excellent albums such as "Quadrophenia" and "Who Are You" and even "The Who By Numbers" in their discography did this one make the cut? I'm not hating on it, but I really don't think it represents the best of their work.
The idea behind the album is undeniably clever, and it shows that the group was thinking about the idea of a concept album before "Tommy." Hell, there's even a riff from "Tommy" at the very, very end of this album. I digress. The idea of this album, as though it were a pirate radio broadcast, is genius. The inclusion of advertisement jingles from various real-word products really sells it (no pun intended). But as much as I love the band, and as much as I love the concept, the music itself is mostly lackluster.
The Who are about raw, loud power and energy. They're about kicking your ear's ass and not apologizing for it. They're a force to be reckoned with. This album lacks a lot of what makes The Who, The Who. Beyond that, the songwriting is mostly mediocre at best. The lyrics are vague and don't tell a complete or interesting story. My best example of this is "Our Love Was." Pete sings about how his relationship has hit the rocks and is on life support. Then, as though announcing "somehow, Palpatine returned," he just shifts and says "then suddenly, our love was flying." Why? What happened? I don't get it. It's thin songwriting at best and it's a shame because they had written better stuff before this and would write much better stuff after this.
There are what feel like filler songs as well. "Silas Stingy" is a waste of a song. Sorry. It just feels really out of place and like it was included to pad the run time. "Sunrise" is a sweet song but never goes anywhere and isn't that creative, lyrically.
Honestly, I think the best things about this album are the advertisement jingles and "I Can See for Miles" which, though is suffers from vague lyrics like a lot of the other songs here, goes so fucking hard that I don't care.
Overall this is a disappointing showing from a band that is known for an excellent catalogue of work. I really hope a new edition of the book either removes this one and replaces it with "Quadrophenia," "Who Are You," or "The Who By Numbers." Or at least adds one of those. Three stars.
Standout Tracks: Odorono, Tattoo, I Can See for Miles, Relax, Rael 1
4/5
I'm surprised, but I've only heard this album all the way through twice before this listen (one of those times was at Joshua Tree National Park, fittingly). I say that's surprising because my parents (in particular my mom) absolutely adore U2. So I heard a lot of them growing up. So coming in I knew "I Still Haven't Found What I'm looking For" and "With or Without You," pretty much by heart. The rest, I knew less well.
I think it's fair to say that they front loaded the hell out of this album. Or maybe they had a concept for it. Put the more echoey stuff on the first side, the more grounded stuff on the second. Hard to say. But I found the first side to be a much better time than the second. You have hit after hit, banger after banger on the first side. Hell, they even put the two aforementioned songs I already knew BACK TO BACK. What are you doing? Don't fire those bullets so quickly. Save those, space them out. But that's just me.
As it is, the album is good. There's stuff to like on side two, and I appreciate the more grounded and at times even gritty sound they throw out there. It's a balance, and I think it works well enough for what it is and what they were going for. I just personally wouldn't have done it that way.
It is nice to hear a more grounded sound come out of the band. They're so known for their airy and echoey guitar sounds and vocals that soar above it all and give the whole sound a really high-stakes feel. So to hear them produce a gritty bluesy track was awesome and something I want more of.
Overall, this gets three and half from me. So I'll round up to four. Benefit of the doubt and all that.
Standout Tracks: Where the Streets Have No Name, I Still Haven't Found What I'm Looking For, With or Without You, Bullet the Blue Sky, Trip Through Your Wires, One Tree Hill
Coldplay
2/5
In 2018, I attempted a project similar to this one on my own. I tried to listen to an album each day, but wasn't going off of any list. Instead, it was whatever I'd been curious about, or else had been meaning to listen to. So I listened to Coldplay's entire discography to that point. I gave this album pretty good marks (7/10, so 3.5/5 on this project's scale). I also didn't much like "Viva La Vida or Death and All His Friends."
So it's interesting to me that, almost 7 years later, my opinions have changed. Coldplay has two albums on this list, neither of which is "Viva La Vida or Death and All His Friends." I actually find that to be the best Coldplay album now, though the other two on here are alright as well. I definitely think this one is better than "Parachutes," and I'd replace that in heartbeat with "Viva La Vida." But we aren't here to talk either of those albums.
There's obviously a few hits on this one, namely "The Scientist" and "Clocks." And those are both fantastic songs. But I was much more taken with the ones I don't remember. "Politik," for one, is a great opener, as it sets the tone for the album as being piano-heavy. But its tone is darker than the rest of the album, as well as anything they'd released prior to this. "God Put a Smile Upon Your Face" picks up that darker tone a little bit in places, and really keeps the interest up and shows that they've evolved.
Things start to trail off a little after "Clocks," though. "Daylight" sounds a little too like "Clocks" to be back-to-back. "Green Eyes" doesn't really fit with the rest of the album in sound or style. "Warning Sign" just feels like "The Scientist." "A Whisper" and the title track sound a little too generic and like a few other Coldplay songs. "Amsterdam" is a good closer though. The calm after the storm.
Overall this was a good album, if not front-loaded. The back half really tails off, which is a shame because we know they can do better. I liked what I liked, but it wasn't enough to prevent a two star rating. Shame.
Standout Tracks: Politik, God Put a Smile Upon Your Face, The Scientist, Clocks
The Allman Brothers Band
5/5
You might be hard pressed to find someone of my age who has seen The Allman Brothers live. It was 2009 with a lineup far from the original but still including Gregg Allman and with greats like Warren Haynes, Butch Trucks, and Derek Trucks. They were spectacular. My dad, who took me, assumed I wouldn't have fun, that it wasn't the kind of music I would enjoy. But I'd been in jazz band in high school and found this to be a close enough approximation that I actually really enjoyed it. They even played a few tracks off this album at that show.
Fast forward to today when this album shows up. Not only did it bring me back a little bit to that show with my dad, but it also was a hell of a listen. The sheer amount of skill on display here is mind blowing. Jam bands can be a little tiresome. Sometimes you just want them to get on with it. But I wouldn't say that here. Sure, it's easy to get a little lost upon first listen. But even on first listen you really do get the sense that there was just so much talent in that one band. Track after track after track, they just keep hitting you with these inspired, blistering solos. It's a joy to listen to, and really makes you want to listen again.
My one gripe, and this is probably unfair given that they are one of the most famous jam bands, is that the songs that are longer than 10 minutes feel a little, well long. But that obviously can be forgiven because they are who they are.
On the whole, I loved this. Absolute masterpiece of a jam band album. Makes me want to find some musicians to play with. Five stars.
Standout Tracks: Statesboro Blues, Done Somebody Wrong, Stormy Monday, Hot 'Lanta
Adele
3/5
I was a little surprised to see Adele make the list. Not for lack of talent of course, but because I just didn't know that she had a back catalogue of good songs. Being ignorant of her outside of her hits, I was honestly kind of assuming that other than, say, "Rolling in the Deep" and "Set Fire to the Rain," that the rest of the album would be kind of run of the mill pop.
And in some ways, it was. But I think her talent alone lifts it above just your average vocal pop record. She has a versatile voice, one that could tackle pop ballads, jazz, and probably even the blues. So this kind of voice belting out these (mostly) pop ballads is a treat in and of itself. It actually almost feels a little too normal. She's been around for long enough at this point that we've all gotten over her immense talent and probably take it as normal now.
However, her talent, massive though it obviously is, does not change this from being a pretty standard pop record. I love that it uses exclusively arrangements of real instruments, played by real people in a studio. That's one of my favorite things about this record, honestly. Too many pop records rely on other means of instrumentation. Not this one. Adele's voice wouldn't work well outside of this context, so it makes sense. But the songs still follow a similar structure and pattern to other pop songs of their day. There isn't much here to sink your teeth into here. But this is a very good example of what this is - a vocal pop record. It does a great job of showing off the center of attention. But it didn't quite do it for me. Three stars.
Standout Tracks: Rolling in the Deep, Rumour Has It, Set Fire to the Rain, I'll Be Waiting
Genesis
2/5
I went into this with no context at all, except knowing that this was Peter Gabriel's last album with Genesis and that it was a 94 minute double album.
I kind of wish I'd read more about this. Is this a concept album? Is there a story, or a theme that runs throughout? It's hard to tell because there's so much there to take in. And that I think is this album's biggest problem. This didn't need to be a double album. There is what's clearly a lot of filler here. Short, two minute instrumental songs that, while they sonically vibe with the rest of the album, really feel like filler. My guess is that they had more than enough content for one album but not enough for a double and decided to stretch. And that kind of sucks because it falls into the trap that I feel like a lot of double albums do. Rarely does a double album match the demand of its length and keep the consistency up the whole time. An example of this is The Who's "Quadrophenia" which for some reason isn't on this list. Another might be Pink Floyd's "The Wall," which is on this list. But even the Beatles had to resort to filler tracks on their self-titled album (The White Album).
Anyway, there's some cool stuff here like I said, it just gets lost in the double album of it all. I wanted to like it, but I wasn't crazy about it. Also kind of happy to be done with Genesis, to be honest. Two stars.
Standout Tracks: In the Cage, Back in NYC, Anyway, Here Comes the Supernatural Anaesthetist
Kate Bush
4/5
So this is the second Kate Bush album I've had, but I neglected (for some reason) to give the first one (Hounds of Love) a proper review. I remember not being super crazy about it, but probably owe it another review based on how much I enjoyed this one.
While I couldn't always (read as: mostly couldn't) understand what she was saying, the well-defined sonic landscape of this album is undeniable. It's a journey through these sounds and melodies that, to me, come across as completely original. Sure she borrows things here and there, but she makes something new from them. And that's the key difference. I like when I'm able to say that an album takes place in its own sonic setting, its own world that has its own rules and a specific pallet it draws from for sounds and themes. This album is definitely one of those.
I liked this a lot more than I thought I would. I didn't love all of it, but I think I'd be doing it a disservice to give it anything less than four stars. So four stars it is.
It definitely makes me want to revisit "Hounds of Love."
Standout Tracks: Love and Anger, Heads We're Dancing, This Woman's Work
AC/DC
3/5
I know a handful of the famous AC/DC songs. "Highway to Hell," "It's a Long Way to the Top," "Thunderstruck," "You Shook Me All Night Long," "Back in Black," "Hells Bells." You get the idea.
So when this album came up, I thought I'd be in for a trip down a track list like that one. I wouldn't say that ended up being true. I actually felt like I have the same kind of gripes with this album that I have with a lot of metal albums - it's too high energy for too much of the time. More than that though, I feel like AC/DC was kind of a one trick pony in some ways. Searing vocals from either Bon Scott or Brian Johnson, sick guitar riffs and solos from Angus Young, and a pretty standard song structure. The lyrics are never anything to dig into, but if you're coming to AC/DC for the lyrics, you're in the wrong place. The songs, I'll admit, blend together after a while. They all kind of sound the same. And that's disappointing.
I said they're a one trick pony, but that one trick is pretty good. How they made a career off of it isn't really surprising to me - the music is far from bad, and it's entertaining and fun to listen to. I can't imagine what a concert was like in their heyday. But as a musical experience, it's repetitive and simplistic. But I still had a great time and it deserves three stars for the musicianship alone.
Standout Tracks: Highway to Hell, Girls Got Rhythm, Night Prowler
Nirvana
3/5
Back in college, I made it a point to listen to all three Nirvana albums. I remember liking "Nevermind" the best of the three, though I know that's a basic take to most.
Still, I liked them enough. I didn't like all of what I heard; some was too bizarre or metal for my liking. But it was hard to deny the meaning behind any of the work, the pain and emotion included in it, or the sonic cohesiveness of each album and of all three taken together. Nirvana had a sound, and they stuck with it. Maybe it would've evolved more if Kurt had lived. Maybe they would've found a new direction to follow. We'll never know.
But how did I like this in the year 2025? It was good. Nothing really blowing me away here, and there were moments of either intense weirdness ("Scentless Apprentice," for example), or otherwise metal sounds ("Milk It") that I just couldn't vibe with. If you can get into the vibe of the album, try to get with the sound and the go with the flow, go where they take you, it works. But it can take some effort to do so. Overall I liked this, and I'd be happy to relisten to other Nirvana albums as well. I'm assuming "Nevermind" is on here, so we'll get there at some point. Three stars
Standout Tracks: Serve the Servants, Heart-Shaped Box, Dumb, Very Ape, Pennyroyal Tea, Radio Friendly Unit Shifter, All Apologies
Mekons
4/5
I thought I was going to hate it.
It had everything I haven’t much liked about some of these albums. It’s from the 80’s. It’s a British band I’ve never heard of. The singer has that horribly typical British singing voice that sounds like he's a whiny drunkard. It is apparently heralded as a masterpiece by fans of the band.
But you know what? Honestly, I thought it was great. Such a great, laid back sound throughout most of it. And even when it kicked up the energy it still never came across as overly aggressive. I don't know what you call this genre, but I've definitely heard it before. Rural folk rock? The kind of music that has that very Irish-sounding violin and folky feel but still manages to have a rock edge to it. That's what this was. With a lot of other stuff thrown in too.
And I think that's where it kind of lost me in places. I can see how it's considered a masterpiece. It's weird, it's experimental, it's adventurous and it definitely has a unique air about it. But I think it tries to cover too much ground in such a short time that it becomes unfocused. Listening back to some of it now, I hear so many influences and so many genres that it honestly makes my head spin, and not in a good way.
Compared to my low expectations, it gets five stars. But outside of those, it's a solid three stars. So I'll average that out and hand it four stars.
Standout Tracks: Darkness and Doubt, Flitcraft, Abernat 1984/5, Last Dance
Sam Cooke
5/5
I mean, come on.
A Sam Cooke live album? What the hell am I supposed to do - dislike this album? My god the energy pouring out of this man and this band into the crowd, and the energy they throw back at them is incredible. I can't imagine what it was like in The Harlem Square Club (oddly not actually located in New York City...). The record label apparently didn't want to release this at the time, as they feared it would damage Cooke's more clean cut image. They felt it was too raw, too raucous. Maybe they were right, but I'm glad it came out two decades later because this is a treasure.
I would love to have seen him live in this period. A show like this must've been incredible. Five stars.
Standout Tracks: Feel It (Don't Fight It), Chain Gang, Medley: It's All Right/For Sentimental Reasons, Twistin' the Night Away, Bring it on Home to Me
Peter Gabriel
3/5
I...didn't love what I heard from Genesis during this project. So I was hesitant about what I might get from Peter Gabriel's first solo outing.
I guess I shouldn't have been. He probably left Genesis because he wanted to do stuff he couldn't do while he was with them.
I actually really liked this album. Some original ideas, a mix of sounds and genres without being scattered, and a certain charm about the whole thing. It's far from my favorite album, but given my low expectations I was pleasantly surprised. It doesn't overstay its welcome, either. That was my biggest issue with "The Lamb Lies Down on Broadway." It was far too long for being not that great, with pretty obvious filler throughout. This wasn't that, and I appreciated it.
Overall it's a three star experience for me. Good stuff and I'd like to hear more of his solo work.
Standout Tracks: Solsbury Hill, Modern Love, Waiting for the Big One, Down the Dolce Vita
Janis Joplin
5/5
Ok I'm gonna need to stop you right there.
You mean to tell me that Janis Joplin died at what I can only assume was the peak of her recording career? Because I cannot imagine her producing a better record than this one. Oh my goodness.
I honestly don't even know how to put into words how I feel about this record. It has everything I love - fast, upbeat grooves played by an excellent rock and roll/soul band. Motown vibes. Soul. Amazing instrumentation and mixing. And on top of all of that (which would be enough for four stars for most albums with all of that), it's got Janis on vocals absolutely blowing everyone out of the water. I don't even care that there's a filler track on this album ("Mercedes Benz"). It's charming enough that I can let it slide. I am such a sucker for an album like this.
There have been albums that have felt like they were made for me that I just didn't like. Albums I felt like, because they checked a handful of boxes that generally agree with my musical tastes, had to be a five star album but yet weren't because they were too perfect. I was worried after a couple of tracks that this would be one of those. It wasn't. It was just one kick ass album. God bless this woman. She died far too soon. Five stars.
Standout Tracks: Move Over, Cry Baby, Half Moon, Me and Bobby McGee, Get It While You Can
Tracy Chapman
5/5
This is the beauty of this project.
My perception of female singer-songwriters from this era hasn't always been the most informed and, therefore, not always the most kind. There's a certain crunchiness I, accurately or not, ascribe to performers like Chapman. Lilith Faire types. Performers that, while talented, insist upon themselves and their art. That can be annoying.
This was, of course, an outdated, sexist and juvenile opinion, one formed in my younger years and never reexamined or challenged. And that is where the beauty of this project comes into play. I would probably have never picked up this album if not for this project. I never would have reexamined my opinions of Tracy Chapman or even given her work a fair shot. And yet now I have.
And goddamn.
The entire thing is a completely understated sharing of one person's life experiences. It's understated because to her, this is life. It's what she's experienced and what she's been through. It's her norm. It's remarkable to us, the listener, because it isn't normal for us. Or maybe it is and we see ourselves in it. I personally can't say that I see myself in her work, but that's what makes it remarkable. It's a beautiful, painful, genuine look into a life that I could otherwise only struggle to relate to. It's an understated masterpiece of an album that conveys so much while asking very little of its listener. It doesn't take you on a sonic journey. It doesn't try to wow you or impress by overwhelming your senses or blowing you away with its production. The album, and Chapman, simply want you to listen. That's it. Just listen to her stories. She isn't the best vocalist ever, and the production is mostly scaled down enough that it's in no way ever distracting. And that's intentional. Because you just need to listen.
I can't say enough about this. It's an easy five stars. I have such a newfound respect for Tracy Chapman, and I regret that I ever had anything else but that for her.
Standout Tracks: Talkin' Bout a Revolution, Fast Car, Behind the Wall, Mountains O' Things, Why?, For You
Johnny Cash
4/5
I love Johnny Cash. He's amazing. He's iconic. But did we really need both this and "At Folsom Prison" on the same list? Is there not another Johnny Cash studio album we could've replaced this with? Is this here only because it has "A Boy Named Sue" and "Folsom Prison" doesn't? Someone please explain to me why both are here?
You can pretty much read my "At Folsom Prison" review to know what I think about this. The only differences being that A: This one has a little more banter than "At Folsom Prison" and B: A different track list.
That being said, this was great. I actually liked the track list a little more than "At Folsom Prison." But I thin that's kind of the problem. Having these two on the list means they're going to be compared to each other. And that's disappointing. But as it is, four stars.
Standout Tracks: Wanted Man, I Walk the Line, San Quentin, A Boy Named Sue
Green Day
5/5
Before I discovered music of my own, my conduit to music was, like many, my parents. I learned, mostly through my musician of a father, to love The Beatles, The Rolling Stones, Deep Purple, and Led Zeppelin. Especially Led Zeppelin. I grew such a fondness for the certain songs that I knew of those bands, and would later grow to love their greater discographies. But that only came after I found music of my own. Music my dad didn't know and didn't introduce me to. Music that I made my own and that I learned everything there was to know about.
In 2004, that happened. But even still I needed some help. I was 11 in September that year, having just started sixth grade. My older sister, who was 14 at the time, was much more hip to modern music than I was (in that she was at all) and one day brought home this album from a band I'd only vaguely heard of - Green Day. She told me it was big, and that it was causing some kind of controversy. I think I saw the music video for the title track soon after. I had no idea that there were still rock bands out there, doing rock band things. Everything I'd heard to that point was old stuff. But here was something new. Something that felt like it was for me.
I took off from there. Green Day was, as they were for many, my gateway band. My musical taste quickly expanded beyond the bounds of my parents' generation, and became this sprawling landscape of various genres and artists. It's still expanding today (helped in the last year or so by this project, thank you very much).
I give you my life story because I feel it important to give you context. I hold this album in such high regard that it's impossible for me to be objective. I have heard this album hundreds of times. I have seen Green Day in concert five times (most recently on the anniversary tour of this album, where they played it in full). This album is as familiar to me as an old leather jacket is. It fits like a glove. It is so familiar that I can start it, zone out, and then zone back in and I haven't really missed anything because I know it front to back. I can't hear anything new in it anymore. I love the band and this album with all my musical heart and this was never going to be anything but a five star review. I tried to write one, but I don't think I can really, properly do it. That requires some objectivity, Which, like I said, I don't and simply could never have. And I'm ok with that. This being the first album I truly loved that was my own, it has always been the way it is. To analyze it or criticize it is so difficult for me, and honestly doing so would probably dampen my feelings toward it. So I'll stop trying and just tell you that I fucking love this album. I tried to write one before giving up, and that's below if you have any interest.
Standout Tracks: American Idiot, Jesus of Suburbia, Holiday, Are We the Waiting, St. Jimmy, Give Me Novacaine, Letterbomb, Wake Me Up When September Ends, Homecoming
Green Day has never done anything better than this, before or since. They've produced great music, don't get me wrong. But this is the pinnacle for them. And what a high it is.
Let's start with what is, for me, the two highlights of the album "Jesus of Suburbia" and "Homecoming." The two 9+ minute songs. I have criticized bands like Yes and Emerson, Lake, and Palmer for having these crazy long songs that feel like the stringing together of ideas for the sake of salvaging a few half-baked concepts. The 9+ minute tracks on this album do not strike me that. Each tells different parts of a story (pretty key parts, honestly), and the different sections help to differentiate those parts. I love them and think they're the band's best work, period.
The rest is just such a diverse set of tracks that tell a story. What that story is up to interpretation and honestly, I'm not sure the band quite knew what it was when they finished it. But it's secondary to the music, in my opinion. The music takes precedence here. Except of course for the anti-war, anti-government messages of the title track and "Holiday."
Thundercat
3/5
Is it weird that I saw this guy's name and immediately thought he was Thunderclap Newman?
I really don't know what the hell to make of this. Is it a sincere attempt at a concept album? Is it a parody of the genres it attempts? Is it both? Yes? What the hell is the album cover? Why did it feel like a poster for an Eric Andre standup special? What the hell is this?
It's albums like these that make me have to stop and think back on my initial reaction. That reaction is usually like the above - confusion, a little bit of frustration, and a whole lot of questions. Specific for this album, I thought this was well-produced but that the concept of the album was a little underdeveloped and scattered. Simply, I just didn't get it.
But then I step back and think - "Why didn't I like it? Because I don't understand it? Because it's different to what I usually listen to? Why is it so acclaimed in its genre? There has to be a reason." It's in these moments that I feel like I just have to give it the benefit of the doubt and hand it three stars. Which is what I'm going to do because honestly, I don't know what else makes sense.
Standout Tracks: Uh Uh, Walk On By, Friend Zone,
Frank Zappa
3/5
I don't known if it's the fact that this is a solo album for Zappa, or that he just found a different, more listenable sound at some point, but this is so much better than The Mothers of Invention album I had before. For one, it's coherent. For another, it has some great jamming, which I'll never turn down. I do kinda wish some of the tracks were shorter, but I can't really complain.
Zappa's a weird dude, and I didn't particularly love "Willie the Pimp." I got the impression that he was doing a black voice, and any song about pimps or whatever just is a little off-putting. Bummer, because it has some of the best solos of the whole album.
Overall, it was fine. Didn't blow me away, and honestly lost my attention at time. Three stars.
Also why the hell is it called "Hot Rats"? What a gross name.
Standout Tracks: The Gumbo Variations
Lauryn Hill
3/5
I will admit that I knew nothing of this album going in, except that it is very highly regarded both in and outside of its genre, and that Apple Music recently proclaimed it to be the best album of all time.
So my ignorance did not serve me well here. I could've read up on it before listening. I could've relistened to get a better understanding. I could've not listened to it only in the car. I could've done so many things. I still could. And definitely will in the future. Hell I may even come back to this review and change it. But for now, I just have to say this.
I didn't get it. I can recognize its technical excellence; the production alone is worth a listen, if not a little dated in places (those R&B chimes just don't land for me, man. Cliche). I can recognize the beautiful harmonies for their lushness and synergy, and how they elevate each track. I can recognize all that. But in doing so, I still don't understand the hype. I desperately want someone to explain it to me because I would love to know.
I didn't dislike this album, don't get me wrong. I just lack the context to understand its greatness. Hell, I couldn't have even told you if Hill was singing, rapping or both at any given moment. I thought the concept was great; the roll call at the beginning where she's absent (hence, her miseducation), and the subsequent interludes of conversations had in a classroom are great and clearly point to the idea that this album and Hill herself have something to say about a handful of topics. I just didn't quite pick up on what those things were. I might've if I'd had the context. I might've if I'd done my homework. But I didn't. I will return to this. It deserves at least that.
For now, three stars. Sorry, y'all. I, too, am miseducated.
Standout Tracks: I Used to Love Him, Forgive Them Father, Every Ghetto, Every City
Run-D.M.C.
4/5
I don’t know a whole lot still about rap and hip hop. I’m happy to say that I’ve learned a lot through this project, but I basically started at zero so I don’t know much compared to experts. I have learned, however, that I very much enjoy 80’s and 90’s rap. There seems to be a feeling of authenticity, of urgency about social issues, and even sometimes just some goofy fun. I have been wanting to consume more since I first listened to Biggie’s debut, “Ready to Die,” and have liked what I’ve heard. So when Run-DMC came up today, I was thrilled.
This is great album. They move through each track with a certain levity, even when the songs are about something heavy. It seems effortless, as though writing the lyrics was easy and the delivery of them is just fun for them. It’s refreshing after being exposed to modern rap and hip hop, which seems contrived and mostly focuses on how great the performer thinks they are. They try to tell why they’re great. Run-DMC simply shows you.
Are all the rhymes expertly written? No, there’s definitely some clunkers and stretches here, stuff written to fit the rhyme but not necessarily sound natural. But you can forgive them for that. It is hard, after all, to write compelling lyrics AND have them rhyme.
I dont need to write on and on about the Aerosmith collaboration and how groundbreaking it was. There’s plenty of YouTube essays on that. I will just say how naturally it works; the original “Walk This Way” is almost rapped anyway, so if there was ever going to be any collaboration or collision of these two genres, this was the perfect choice.
I thought it was great. Four stars.
Standout Tracks: Peter Piper, It’s Tricky, Walk This Way, Is It Live, Raising Hell, You Be Illin’
Red Hot Chili Peppers
4/5
Can we just acknowledge how awful a name “Blood Sugar Sex Magik” is for an album? Seriously, it’s cringe.
Luckily the album itself is not (well mostly). I’d never heard an entire RHCP album front to back before. Not even “Stadium Arcadium,” and that was out when I was in middle school, the era of my peak musical awareness. I didn’t even know that “Give It Away” and “Under the Bridge” were two different songs because I’d heard Weird Al’s “Bedrock Anthem” and just assumed it was a direct parody of one song. Nope.
I knew they could be funky, I knew they could rock hard, and I knew they could even have elements of rap in their music. But I had no idea they could do it all so well. I mean my goodness this is just filled to the brim with incredible grooves.
I did find it funny that Anthony Kiedis definitely sounds like Elvis Costello at times, at least to me.
There are some misses here, either for lyrical content or just because they weren’t as high as the highs. Some lyrics were straight up 90’s cringe, but I can largely forgive them for that because, let’s be honest, they were probably edgy back then.
I loved this. I even loved the worst-named song on the album “Suck My Kiss.” What a horrible name for a song. Four stars.
Standout Tracks: The Power of Equality, If You Have to Ask, Breaking the Girl, Suck My Kiss, Give it Away, Under the Bridge, Apache Rose Peacock, My Lovely Man
The Smashing Pumpkins
4/5
“Scott Pilgrim vs. the World” (the movie) came out at a pretty formative time for me. It was 2010, and I was 17. That movie had such character, such style, and a plot and character arc that really felt relatable to me. I’ve been enamored with it ever since, through my 20’s and into my 30’s.
I mention this because I then moved on and read the graphic novels, the first of which is called “Scott Pilgrim and the Infinite Sadness.” I didn’t know then what it was a play on, but obviously it’s on this album’s title. I thought the “SP” on his shirt was meant only to be his initials. Had no idea it was anything else at the time. So, this being adjacent Scott Pilgrim content, I came into curious and somewhat expecting to like it. Keep that in mind.
Double albums have been a pet peeve of mine in this project. For one, their length makes it hard to fit in a full listen in one day. But more than that, if it’s a double album you don’t like, well, too bad for you. You’re stuck with it for 90+ minutes. That’s not even accounting for the fact that it feels like so many double albums are strewn with filler and half baked ideas just to fill in the run time. So I came into this with that prejudice. Keep that in mind.
But ok, three paragraphs is enough of a preamble. Did I like this album?
Yes, actually. More than I thought. It does get a little samey after a while. But the variety of genres present does really help to keep things fresh enough throughout this album’s two hour run time. There’s grunge, some glam type stuff, art rock, even some stuff bordering on (if not fully) metal.
This is definitely a magnum opus type of album though. Every single track is incredibly well-produced and thought out; no filler here. Not even a little. I think at times some tracks are perhaps a little too well thought out (they could’ve been shorter), but I’d take that over filler any day.
Do I have any idea what this album is about? Not in the slightest. It’s clear Billy Corgan has something to say, and it’s clear that he’s an excellent songwriter. I just couldn’t tell you what these songs are about. Sometimes they’re full of obtuse imagery, sometimes sobering descriptions of emotions, sometimes just straightforward storytelling. But what’s the theme throughout? Is there one? Is it a concept album? The title suggests as much. But I don’t know.
In the end, though, I’m here for it. Despite the length. Despite not know what it’s about, I thought this was great. Four stars. There’s something here for most.
Standout Tracks: Mellon Collie and the Infinite Sadness, Tonight, Tonight, Here is No Why, Bullet with Butterfly Wings, An Ode to No One, 1979, Stumbleine, Lily (My One and Only), Farewell and Goodnight
Steely Dan
4/5
Steely Dan has always been an enigma to me. So many people I know (namely stoners) rave about them. But I’d never heard anything of them until I had “Pretzel Logic” a while back, which I really enjoyed.
I think I might’ve liked this album better. The different approach to this album is evident. Where “Pretzel Logic” felt more like a rock-funk-jazz fusion album, sometimes focusing on just one of those genres, “Aja” feels more like a straight funk album that sometimes ventures elsewhere for a minute. And I loved it. The grooves just never ended. And still present are the great harmonies, the excellent guitar work, and killer drums. Seriously, the drums kick ass on this album.
Please give me more Steely Dan. Four stars.
Standout Tracks: Black Cow, I Got the News, Josie
Beatles
5/5
Here we are again. Another Beatles album I know front to back, that I’ve heard a hundred times. Go back and look at my other Beatles review to see how I feel about them (top 5 favorite band; basic, I know).
This was their first album of all original tracks and man does it shine. From kicking off hot with the title track, to bringing it down with tracks like “If I Fell” and “And I Love Her,” this album keeps the infectious energy of the Beatles while also showing a more mature, refined sound and attitude. They know what they’re doing, the recording quality is superb, and John and Paul are just absolutely kicking ass here. Yes, most of the songs are still about love in the most vague and naive way. But not all of them are. “And I Love Her” shows a more mature take on the subject, and “Things We Said Today” takes a darker, more negative look at it. Same with “You Can’t Do That.” Hence, the maturity I mentioned, as well as more complex songwriting and arrangements.
There are lighter moments, too. The falsetto line in “Tell Me Why” sounds like something they had a ton of fun recording and comes out of left field. I always smile at that line. And “Can’t Buy Me Love” is just a fun, high energy romp.
This isn’t the best Beatles album, but it’s definitely the best of the early period. It’s a trip to listen to through these albums in chronological order and see the evolution of them as songwriters and musicians in an insanely short period of time.
I love this album. Five stars.
Standout Tracks: A Hard Day’s Night, I Should Have Known Better, Tell Me Why, Can’t Buy Me Love, Things We Said, You Can’t Do That
Randy Newman
3/5
I rather liked the first Randy Newman album I had here. It had this unique vibe of feeling nostalgic, witty, snide, and a little angry at times while all feeling wholesome.
This one attempts something similar, though doesn't quite reach the same heights, at least for me. This album doesn't hit like the other one. Maybe it's that the sound is similar enough that it doesn't strike me as fresh anymore. I don't know, but it just didn't hit like before.
The concept of this album, though slightly loose, is views on the south from various people's points of view. Which I didn't know going it. Knowing that, I give the album a little more credit than the two stars I was going to give it. It seems a little out of left field, but I can roll with it.
We need to talk about "Rednecks." I agree with the message he's trying to espouse here. I agree with the sentiment. I don't agree with his use of the N word. I liken it to John Lennon's "Woman is the N***** of the World" - the message is there, I agree with the sentiment, but he never should've used that word. It was a different time, obviously. We know better now. So I can forgive it a little bit for it being a different time. But don't tell me it wasn't at least a little frowned upon back then. Don't tell me he thought what he was doing was perfectly above board. He knew. And that's where I don't agree with it. I know the song is from the perspective someone who uses that word, a character being portrayed by Newman. But I still can't support it like I wouldn't support it today.
Anyway. Three stars. Not as good as his last outing, but not bad. I'll always enjoy an attempt at a concept album.
Standout Tracks: Birmingham, Louisiana 1927
The Verve
1/5
Woefully generic.
Generic in sound, generic in lyrics, even generic in album art. Generic, generic, generic. In the most woeful way. Nothing about this was remarkable except how boring it was.
I say it’s woefully generic because there definitely could’ve been something here. The sound isn’t captivating or interesting. Nearly every song, especially near the end, sounded the same. But there’s a foundation here, ideas that could’ve been built upon. Shorten some of the songs (seriously - why the hell were there songs longer than 5 minutes on this album?? They really thought they were THAT good??), work on the lyrics, and add some energy. There could easily be something here. As it is, there isn’t.
Honestly, the lyrics might’ve been the most generic thing about this. They’re all so vague and rely on cliches. They don’t say anything profound, despite being sung with the confidence and conviction of someone who truly believes that they do. It really felt like they believed they’d created something truly meaningful and insightful. Which is sad because they truly didn’t. It was just forgettable. Which is almost worse than just being outright bad.
I suspect this album’s inclusion is yet another example of the sheer, unabashed, blatant UK bias of the editors of the book. Based on this album, the Verve probably don’t deserve one album on this list but I believe they have at least two. I shudder to think of all the great bands and artists that lost a spot to The fucking Verve. One star. I never need to listen to this again. I don’t want to listen to this again.
Standout Track: This is Music
The Who
5/5
This was my formal introduction to The Who. I'd heard "Who Are You," and that's about where it ended at the time. My dad had this album when he was in high school, and when I was in high school it was re-released, including the entire set they played at Leeds. This was new. Until this point, only the six-track version of the show was officially released. So my dad bought it on iTunes and shared it with me. I ran with it.
I listened to this thing front and back and front and back and again and again and again until I knew ever nuance, every inch of every track. I knew all the little jokes and banter between songs, most of Pete's ridiculously long introduction to "A Quick One While He's Away," the timing of the back and forth in "Magic Bus," and more. So much more. I'm confident that I can say that if you searched my entire city, maybe my entire state that you would not find anyone as well-versed in this album as me. That might be hyperbole, but you know what I'm saying - I love this album.
I was conflicted about which version to listen to for this project. I settled on listening to the vinyl version I have for the first time, and then supplementing with my favorite tracks from the expanded version. I consider that a full-enough listen for this.
Anyway, a review. The sheer amount of raw energy, musicianship, and hard work displayed on this album is astounding. It's four guys. Only three of them are playing heavily amplified instruments. So why do they sound like a full eight-piece band? It's insane. Townshend's guitar playing is completely full of this incredibly manic-but-under-control energy and sound that completely melts your face. His solos here are completely insane. Why he isn't considered one of the best guitarists of all time is beyond me. Entwhistle's bass is, as always, what really fills out that Who live sound, that gives it that weight and helps it feel bigger than it should. Daltrey's voice is in peak form here, and it's such a delight to be able to hear him absolutely destroy line after line. And then there's Moon. If Townshend is manic-but-under-control, Moon is just manic. I have copied so many licks he uses on this album that I probably could be sued for plagiarism if it were allowed. He's an absolute god and you need only listen to this album to understand why.
That's the thing about The Who - they're four musicians who each are some of if the very best at what they do. And this album is exhibit A as to why and how. If you didn't listen to the entire thing, I really encourage you to do so. It's mind-boggling. Five stars. Couldn't have been easier.
Standout Tracks (from the full version): Heaven and Hell, Young Man Blues, A Quick One, While He's Away, Magic Bus, Overture, Amazing Journey, Sparks, Eyesight to the Blind, The Acid Queen, Pinball Wizard
The Beau Brummels
4/5
This is a great example of why I'm doing this project. A band I've never heard of that produced a great album during a period I am very familiar with. A hidden gem. An album that I've never seen make any "best of" list until now.
So yeah this was a great listen. Combined a Dylan-like voice and, in some cases, lyrics, with a Beatles-esque production with ambitious orchestral arrangements. This was really cool. It's psychedelic folk rock, with a little bit of Renfaire flair. Throw on top of it all that they're from San Francisco (my home region) and I'm completely here for this. Four stars. Great stuff.
Standout Tracks: Are You Happy?, Only Dreaming Now, The Keeper of Time, Triangle
Bonnie Raitt
3/5
I'll be honest - I was really surprised to see a Bonnie Raitt record on here. Maybe it's because I've never really been privy to most of what she's done, or maybe it's because I used to conflate her with Reba McEntire and thought she was a country bumpkin singer producing over-produced country schlock that I assumed she wouldn't make a list like this. I was then further surprised when I actually found that I liked this.
For one, it isn't country so that right off the bat scored it some points. Is it still 80's music that suffers from the horrendously 80's production sound? Yes. Yes it is. I would love to hear these songs produced today, or remixed by someone today, who can make them sound modern. Because I could see that really improving the album as a whole and making it more accessible.
That aside, it's hard to deny that this album is a fun time. The bluesy stuff on here really shines (looking at you "Thing Called Love"). The softer stuff...is ok. I could've done without and instead made this whole album one big blues rock blowout. I almost got the impression that the softer stuff was there to sell the album while the bluesy stuff was her real passion.
On the whole, this was a good time and gets a very solid three stars from me. Good stuff, could've been better had it focused on its strengths more.
Standout Tracks: Nick of Time, Thing Called Love, Love Letter, I Will Not Be Denied, The Road's My Middle Name
Nick Drake
5/5
"Whereas 'Pink Moon' seemed melancholic and sad at times, 'Bryter Layter' feels more full of life and even a little whimsy...Drake may also have been in a very different place in life for 'Pink Moon.'"
Little did I know. I wrote that in my review for "Bryter Layter," Drake's second album. I didn't know then that "Pink Moon" was his last released album, and the last music he produced before committing suicide. I oddly find this album to be somewhere in the middle, tonally. Whereas "Pink Moon" was sad and often left me feeling contemplative, and where "Bryter Layter" felt a little more upbeat, this one just feels a little more even-keeled, and little more balanced.
The guitar work is amazing. The rest of the band is great, too, though I could've done without some of the orchestral arrangements. It continues to fascinate me that Nick Drake was making his music in the late 60's. The production still sounds so fresh and new.
Drake sings with a commanding tone. It's a unique voice that's hard to ignore, and one that carries a lot more weight and, at times, urgency than you would expect from someone in his 20's. He conveys these stories, feelings, and ideas with such confidence that, combined with his voice, I thought he was a man in his 50's.
I can't say enough about Nick Drake. He may be my favorite artist I've discovered through this project. He really is a treasure and it's such a shame that he lived and died two decades before I was even born. Five stars.
Standout Tracks: Time Has Told Me, River Man, Three Hours, Day is Done, 'Cello Song, Fruit Tree, Saturday Sun
Tears For Fears
3/5
I've never really been a big Tears for Fears person. Much in the same way that most 80's music has always been inherently off-putting to me for it's ridiculous production aesthetic and corny as hell sound that just hasn't, in my opinion, aged well and ruined what could've been a lot of great music for entire decade. I've never given them a look beyond their transcendent hits, two of which make it onto this record.
But like many 80's albums on this list, I came away from this one feeling a sense of pleasant surprise. That's directed mostly at the idea that this is rocks a little harder than I thought it could or would. It's so easy to assume that these 80's bands were pure pop, when really they may have just been rock bands that fell victim to the trends of the day.
Am I saying I loved this? Not at all. I thought it was perfectly fine as something to listen to while doing something else. But the fact that I found it any bit impressing is a win for this album and for me, because I assumed I wasn't going to like it at all. Three stars.
Oh and it didn't overstay its welcome, unlike some other albums I've heard here. Seriously - 8 songs, 41 minutes and they said what they needed to say. What a concept.
Standout Tracks: Shout, Everybody Wants to Rule the World, Broken
Justin Timberlake
3/5
It is so easy to look back at early 2000's pop and cringe. Cringe at the fashion of the day, the hair styles, cringe at the trends, the technology, the things we thought were funny back then.
Funnily enough, one thing that hasn't really aged all that poorly is the music. In general, I find early 2000's music to have aged better than expected. That's probably because it's the music of my late childhood and early teen years, but still. I cringe at the rest of the stuff from back then, but not the music.
Well except for this. From the title, to the production, to the whole club music aesthetic, to the idea that a white boy from a boy band was going to come out here and produce an R&B album. Let's look at those elements one at a time.
The title. Yeah we get it. His name is Justin. It's called "Justified." Is that it? It's not more clever than that, is it?
The production feels like the people in the studio thought they were showing restraint but still over did it in some places. All the vocal interjections from Timberlake, the excessive flourishes in the beats on some of the songs, and the parts of the songs where he just talks like he's talking directly to the listener. Pull it back, man. You don't need that much.
The idea that a white boy was going to go from an all-white boy band and then produce a more mature R&B album has not aged well. I'm not saying he can't do it for cultural appropriation reasons (if I did, I'd have to levy the same criticism at Elvis, The Beatles, The Rolling Stones, Eminem, etc.). I just mean that I don't think it's that easy to take him seriously with this album. He went from doing choreographed dances and singing "Bye, Bye, Bye" to something like this in less than a year. The longer he pursued his solo career, the more believable he became. But with this, I just don't think I can take him seriously.
I also just don't like him, nor do I care for the genre much. He has a track record of being kind of a dick. Namely with how he took none of the blame or suffered any consequences after the Janet Jackson Super Bowl incident, while she took all the blame and suffered because of it. There's more than that (his treatment of Britney Spears, for instance) but his image has taken a dive in the last few years and I just don't want to like this.
So here we are. I can acknowledge that, as a pop record, this is well-produced (for its time) and probably one of the better albums of the its decade. I can look at it and tell you that I know that. But I didn't like it as much, and so it's getting three stars. I wanted to give it two, but I think that would be underselling it a little in terms of its impact and how good it is for its time.
Standout Tracks: Senorita, Rock Your Body, Let's Take a Ride
N.E.R.D
4/5
This caught me completely off guard. I think I'd maybe heard of N.E.R.D at some point but I couldn't have told you anything about their music. I definitely couldn't have told you that Pharrell was involved. Now that really caught me off guard.
This was such an interesting journey. I do mean journey. It's its own kind of trip through genre and attitude, moods and messages, seriousness and levity. There's rock, hip-hop, rap, funk, soul, R&B, and more all crammed into one album. That makes this so hard to compare to something else, to find context to fit it into because it differs so much from other things that I have personally heard. The closest things I can think of are the Beastie Boys (for the joining of genres) and a group like OutKast (for the fact that they truly seem to be a group, maybe even a band).
There's some stuff here I really liked, stuff that scratched the rock itch but did so with enough innovation and variation from cliches and the norms of the genre that it made it interesting. Even on tracks where I thought the lyrics were lacking, the instrumentation never, ever was. It always gave you something to bop to, even if it started to feel a little repetitive by the end.
Overall this was great, but I do still find myself lacking anything amazingly insightful to say about this. A second listen is warranted and necessary. Four stars.
Standout Tracks: Don't Worry About It, Fly or Die, Jump, Breakout, Drill Sergeant
Boston
3/5
I've always had a certain amount of contempt for Boston (the band and the album).
You have a band that produced music that really feels like an attempt by a pretty clean cut rock band to make a "cool" rock album, one that feels like it wants to be edgy at times but has a sound far too clean to feel that way, and lyrics way too sterile to even pretend they're anything but dull-edged.
Combine that with the fact that, much like Peter Frampton, Bad Company, and others, this album feels like it has everything that SHOULD make it an all-timer, five star album for me. It's from the 70's, it's a rock band, it's an incredibly popular album, and it's full of guitar solos. But see that's the thing - it's too perfectly tailored. It's too perfect, and it's far too clean. There's no roughness around these edges.
The whole isn't greater than the sum of its parts here. There are amazing bright spots, two songs I love in particular in "More Than a Feeling" and "Foreplay/Long Time." But beyond that it mostly feels forgettable to me, everything a little too milquetoast for me to get excited about. It's corny, 70's dad rock and I only have so much capacity for that after a certain point.
This isn't bad, but it's far from great in my opinion. I'd love to see what Boston could've done if they'd ever found some edge. Maybe they did, but the world didn't care about them after this album. What a shame. Three stars.
Standout Tracks: More Than a Feeling, Foreplay/Long Time, Hitch a Ride
Jamiroquai
4/5
I'll be honest with you and admit that I thought Jamiroquai was a person, not a band name.
But ok, I was wrong about that. They're a group, cool. I then assumed that, based on the sound, the genre and, I'll be honest Jay Kay's voice, that they were primarily a black band. Hell, in listening to this album I was drawing comparisons of Kay's voice to Stevie Wonder and Al Green. These are things I sincerely thought.
I know now how wrong those assumptions were, and I honestly was a little disappointed to see that an acid jazz and funk band called Jamiroquai, whose sound is reminiscent of 70's soul and funk music, is primarily a white band. It shouldn't be this way, but it honestly kinda took the wind out of my sails on this one. It shouldn't, but it does.
Anyway, the album is fantastic. The mix of funk, soul, jazz, disco, and whatever the hell else was on here is just absolute ear candy. I could've listened to an hour more of this. I thought I had more to go and was so bummed when I realized I was on the last track (which is a really weird choice for a closer, if you ask me). Seriously - this was made for me. I've loved pretty much every jazz and funk album I've been dealt in this project, and this just took things up a level. The grooves, man. It's the grooves. The grooves are perfect here. Four stars.
Just still here being stunned that Jay Kay is a white guy. Go figure.
Standout Tracks: When You Gonna Learn?, Hooked Up, If I like It, I Do It, Whatever It Is, I Just Can't Stop, Revolution 1993
Kendrick Lamar
4/5
This was challenging in the best possible way.
It challenged my perceptions of hip-hop and rap, it challenged me as a listener to really pay attention and try to understand the art being presented to me, and it challenged my ability to focus and give this the attention it deserved. It challenged me to understand the thesis of this album.
I did not live up to all those challenges. One listen isn't enough to even try. But it was a hell of an experience.
Let me describe what I heard. I heard beat poetry, jazz, hip-hop, rap, anger, frustration, sensuality, and an unmistakable confidence (hell, cockiness) from a man who, with this album, left an impact on the world and the music industry before the age of thirty.
But did I understand it? Well, no. And there are reasons for that. Some good, some weak. The good reasons? It wasn't made for me. It wasn't made by people I share a cultural heritage or cultural present with. It would take a wrecking ball to break down all the barriers I have to understand this. And that's ok. That's good, actually. The weak reasons? I could've paid better attention, read the lyrics along with the tracks, and I could've listened a second time. But that's the nature of this project - one album a day, and then you move on.
I, too, then feel conflicted. Knowing that I didn't fully grasp what was in front of me, can I fairly give this any kind of rating? Can I truly say, with confidence, that I assign a specific number to this album, a number I say reflects its worth and meaning as a piece of art? No, but I'm going to anyway because again - that's the nature of this project. So, four stars it is. It's probably five, I just can't justify that without listening and knowing more.
Standout Tracks: King Kunta, These Walls, u, Alright, For Sale? - Interlude, Momma, Companion (A Zulu Love), i
Buffalo Springfield
3/5
So I honestly didn't know that Neil Young was in Buffalo Springfield. Or Stephen Stills. Makes sense, then, that Young would eventually join CSN(Y).
This was cool I guess. A pretty unrefined and raw sound from what must've been some insanely young and hungry blues players. There are some fantastic ideas here, and some wonderful vocal harmonies (when they get it right, they hit). But I guess I was just waiting for something to hit different with this one. It felt a lot like other mid-to-late 60's bands. Hitting it hard with some great riffs and solos, throwing in some vocal harmonies, and occasionally going softer to show they were sensitive.
I don't know, am I missing something here? Because this really felt like a run of the mill late 60's album by a band made up of guys who would go on to do much better things. Somebody fill me in on what I'm not getting. Three stars.
Standout Tracks: Mr. Soul, Bluebird, Good Time Boy
Elvis Costello & The Attractions
5/5
The other two Elvis Costello albums I've had thus far ("Blood and Chocolate" and "Imperial Bedroom") were really disappointingly and unfortunately underwhelming. I really, really wanted to love them both but there wasn't enough really wowing me.
But this is a different beast. This was incredible.
The music aside for a minute, the sheer attitude that oozes throughout this album makes it fun from the start. Sometimes he's tender, sometimes he's snotty, sometimes he's being a jerk but no matter what it's a fun time.
Punk and New Wave share a lineage and some of the same traits. But they are distinct genres, without a doubt. But when they come close together, when a band or artist can overlap elements of both such that the result is a hard New Wave sound that is still soft enough for most, that's the sweet spot. Talking Heads nailed that on their first album. But Costello completely masters that delicate balance here.
Sure, sometimes the songs sound a little samey (upbeat, organ/keyboard riff, witty lyrics from Costello, etc.), but there's enough variety both within and without that mold that it doesn't matter. Hell, there were elements of singer-songwriter, reggae, punk, new wave, rock, and honestly even some ska here. Wonderfully done.
Did I know half the time what he was singing about? No, not really. Sometimes that was because he was hard to understand, and sometimes that was because the words didn't necessarily make immediate sense. I don't care. The music was all I needed.
This is an easy five stars. What a fantastic album. This is what I wanted from him all along, and I'm so glad to have been able to listen to it. Wow.
Standout Tracks: No Action, This Year's Girl, Pump It Up, You Belong to Me, (I Don't Want to Go to) Chelsea, Living in Paradise, Lipsitck Vogue, Radio, Radio
Kings of Leon
3/5
I was surprised Kings of Leon, of all bands, got more than one album on the list. But here we are.
This was fine. I really liked the more stripped down, raw, almost punk/new wave/hard rock sound on this album. That makes sense, given this was before their breakout and only their second album.
The vocals are really...bad in places. Namely on "Milk" and "Day Old Blues." "Milk" in particular was almost unlistenable the vocals were so bad.
But there's definitely the genesis of a better band here. They just hadn't totally found their identity yet. Knowing that they'd be more solidified later on only makes this a lesser listening experience, and that's not great when the album was already unremarkable. Bummer. Could've been better. Three stars.
Standout tracks: Slow Night, So Long, Taper Jean Girl, Pistol of Fire, Soft
Stephen Stills
4/5
I really loved how this album started - with a bang. Just some great bluesy rock that really scratches a certain itch for me, the kind of itch that has to do with fond memories of playing with other musicians. Great stuff one track after another for the first five or so, some faster, some slower. But all the same attitude the whole way.
Then it started to shift tones, and do so rather often. It got real country, real quick. And I really wasn't nearly as into that as I was the bluesy stuff.
I dunno, I think this suffers from being a double album. It loses focus at times, trying out other genres and styles that don't work as well. I think a lot of double albums suffer from this, and I wish they were less common. They feel like ego trips to me, and I don't think many artist's best work has been a double album. I'd love to be proven wrong on that.
I wanted to love it, and off the bat it was gonna be a five star endeavor. Alas, it's four.
Standout Tracks: Song of Love, Rock and Roll Crazies/Cuban Bluegrass, Jet Set (Sigh), Anyway, Both of Us (Bound to Lose), So Begins the Task, Don't Look at my Shadow, Johnny's Garden, The Love Gangster
D'Angelo
3/5
I have no doubt that D'Angelo was a huge R&B star in the 90's I have no doubt that this album is a great example of that genre in that decade.
I also have no doubt this simply isn't for me. So much about this genre is foreign to me. It's music that is simply made in a different way from what I know better, from the ground up. Different ideals, different priorities, different focuses, different attitudes. It's really hard to relate to. I can find the grooves to be nice and danceable, but the constant vocal runs, falsetto, the backing vocals, and some of the production choices just aren't for me. That said, the production is exceptional.
Nothing about this was bad. Not even close. It just isn't for me. That's ok. I still respect the hell out of it, but I can't get there. Three stars.
Standout Tracks: Brown Sugar, When We Get By
Baaba Maal
2/5
So yesterday I said D'Angelo wasn't as relatable to me because his music is outside my cultural sphere.
If he's out of my cultural sphere, Baaba Maal is outside of my cultural world.
It's hard to know what to make of this or feel about this. Some of it sounds like the kind of thing you'd hear with the awfully general label of "world music." The droning vocal style of the first tracks can be very off-putting to western ears. But the further you get into it, the more it starts to liven up and become something a little more accessible.
I'm not saying the first few tracks were bad because they weren't accessible at first. I'm just saying that thankfully, for the album's sake, it picks up and becomes something a little more familiar. Do I think this album needed to be on this list? No, I don't. I'm honestly a little worried it's here as a token pick, one that the author's felt needed to be there in order to say that they were including "world music."
As an album, how is it? It's fine. Some of the songs are bouncy and fun, and some of them are a little boring. I hate to do this because I don't want to the western listener who dismisses this simply because it's different. I promise I'm not trying to do that. But I need to give it two stars because while I'm happy to have listened, I can't say I'll seek it out again, sadly.
Standout Tracks: Hamay Boiro, Daniibe, Gidelam, Ndelorel
Public Enemy
5/5
This is probably my favorite 90's hip-hop album I've had so far. It miiiiiiight just come in under "Ready to Die," but it's damn close.
I just tried to write about why I love this. I kept spitting out cliches and found that what I was saying couldn't really convey what I meant. So let me try again, albeit with some cliches involved.
This entire album almost feels like it's just on the edge of bursting at the seems with its chaotic energy, infectious energy, and sizzling production style. Everything about this feels like it was put together by a team that had a unite, cohesive vision and mission for what they wanted this album to be. It's smooth, yet hits so hard, so well-produced and yet feels like it's flying off the handle toward complete implosion the entire way through. It's a fascinating thing to listen to, and I absolutely loved it. On top of that, the political messaging here is, while not subtle, very well directed. They make no bones about how they feel in regards to certain topics, and they come at you hard and fast with those opinions. More power to them, honestly.
I sincerely hope there's another Public Enemy album on this list. I need for Flav. (I just checked and there's two more - amazing). Five stars. Give me more.
Standout Tracks: Lost At Birth, Nighttrain, Can't Truss It, How to Kill a Radio Consultant, Move!, 1 Million Bottlebags, More News at 11
Kanye West
3/5
If you want to know how I feel about Kanye West as a person and how I try to separate art from artist, please go back and look at my review of "My Beautiful Dark Twisted Fantasy." The short version: Kayne is a mentally ill person who seems to be completely rejecting whatever help he could be getting and has now gone off the complete deep end into fascism and sporting swastikas. I don't support him. I don't like him. And while this will likely influence my opinions of his music, I try not to let it.
Now, the album:
It's fine. There's some real great tracks here (see below), but it's far too long. And "Last Call"? Are you kidding me? What is that supposed to be? If I wanted to hear Kayne talk about himself for more than ten minutes I would just find literally any clip of him talking about anything, ever. That was some self-indulgent crap if there ever was some.
But man when this album hits, it hits so hard. It's a great mix of genres at times, and other times it just shows off this man's clear musical genius. The production is top notch ("Jesus Walks" in particular), and Kayne's ability to take a simple musical concept (a beat, a melody, or a lyric that he seems fond of) and build on it is on full display.
Look, I don't like the guy but it's so clear that he's immensely talented. It's such a damn shame to have to witness his decline in real time.
I could've done without the skits. Those were unnecessary. And, at least for me, it was mostly downhill after "Jesus Walks." That's basically half ot the album I'm saying wasn't amazing. Three stars, purely because what was good was excellent.
Standout Tracks: We Don't Care, All Falls Down, I'll Fly Away, Spaceship, Jesus Walks, The New Workout Plan
Joni Mitchell
2/5
There's a lot to love about this album. Joni Mitchell goes for a little more experimental sound here, delving further into jazz sounds while also exploring new genres and sounds. It really works in some places, and when it does it's great.
There are a few moments where it really borders on corny of having aged poorly. Beyond that, some tracks are what I'd classify as "beautiful but boring," a label I try to use for tracks or albums I appreciate for their beauty but that end up being just...boring. They're usually slow, don't change a whole lot, and have long and drawn out vocals. It's a bummer because that kind of stuff never really hits with me. And that's a lot of this album.
Really, all you need to know is that I liked the first two tracks of this album and then everything else was just ok. It had such a promising start for me, but really tapered off quickly. Bummer. Mitchell is so talented. I just wish this was more interesting and that more tracks sounded different from each other. Two stars.
4/5
Most people, like me, know War as the band that recorded "Low Rider." And most people, like me, know them probably only for that.
So I was then pretty intrigued to hear something else they'd done, a full album's worth of content, to see what they were all about separate from "Low Rider."
And man was it awesome. I'll never turn down some funky soul, some solid grooves, or some great horn solos. This falls into the same channel as Parliament or Funkadelic for me and I love it for the same reasons. I don't always love tracks longer than 10 minutes, but I'll almost always forgive it for funk music.
I don't have a whole lot else to say. This was a banger. Four stars.
Standout Tracks: The Cisco Kid, Where Was You At, City, Country, City
Fleetwood Mac
4/5
I should've figured there would be more than one Fleetwood Mac album on here. "Rumours" hasn't come up yet, and I'm really happy it wasn't the first of there's to appear, because I assume it will be better than this.
And that isn't to say this was bad. Not at all. I actually liked this for the most part. It's a great mix of styles and genres. The band ventures into country, folk, a little bit of glam rock (maybe...?), and more. There's upbeat, fun loving tracks and quieter, softer ballads. It's a good mix.
This has a lot heart, and is a good listen if you just want something digestible and with variation. It's a solid album by a band that was trying to follow up one of the greatest albums of all time. That's a tall order, and I don't doubt they felt the pressure. Does it live up to "Rumours"? I'll tell you that when I get there. For now, it's a solid 4 star venture.
Standout Tracks: Think About Me, Not That Funny, Sisters of the Moon, Angel, Brown Eyes, I Know I'm Not Wrong, Beautiful Child, Walk a Thin Line, Tusk
Spiritualized
3/5
I'll admit to never having heard of the Space Rock genre, or at least not being aware of it if I had.
I can see how it relates to prog rock, and how bands like Pink Floyd influenced it. This album in particular definitely catches some of the edge, humor, and psychedelic rock vibes of late 60's, pre-Atom Heart Mother Floyd. There's a lot to love in that era of Floyd, but there's a lot to forget and learn from as well.
Spiritualized seems to have learned some of those lessons and put together an album that takes that late 60's, "Saucerful of Secrets," "Set the Controls for the Heart of the Sun" Floyd sound and turn it into something that feels modern while still harkening back to a time the band members were probably children for.
Sometimes it's listenable, sometimes it's boring, most times it's just alright. I wouldn't recommend this to anyone who wasn't looking for something pretty niche, and I wouldn't be seeking this out again on my own. There is something, though that makes it endearing in its own way.
The major thing working against it is the fact that it's by and English band from the 90's, which really just makes me think it's here because of the author's bias more than anything else. So it gets three stars for being creative and different, but not because I think it necessarily belongs here.
Standout Tracks: All of My Thoughts, Electricity, No God Only Religion
Raekwon
2/5
Well, he was definitely right - this wasn't built for me.
People love Wu Tang. People look at Wu Tang as being some of the best to ever do it. I know next to nothing about them going into this. I've learned a lot about hip hop and rap through this project, which I love. But I don't think I was ready for this.
I honestly don't have much to say. Part of me wants to be really dismissive of this, but I don't think that's fair. Just because I don't relate to this on a cultural level doesn't mean it's bad. There is so much here I don't understand. Hell, I don't even understand the tone of this most of the time. It all sounds so serious and aggressive, but maybe there's humor in here for all I know.
I also found it kind of interesting that this was a solo album by a Wu Tang member, but features a ton of Wu Tang members anyway. Is it really a solo album then? I don't know.
I couldn't get into this. Doesn't mean it was bad, it's just my experience. Two stars.
Standout Tracks: Incarcerated Scarfaces, Guillotine (Swordz)
R.E.M.
4/5
I was pretty meh on the first R.E.M. album I got for this project, "Automatic for the People." I didn't really "get" that album, and was mostly bored with it.
This one felt different, and while I don't think I really "got" this one either, I liked it much better. There seems to be a more cohesive sound, both sonically and in attitude and message. This album feels more like an album "for the people" than "Automatic for the People," funnily enough.
It's dark at times, as though they're telling tales of either a grim past or grimmer future. Hell, there's even "It's the End of the World as We Know It (And I Feel Fine)." But there's more than just dread and foreboding on this album. There's politics, and there's even a little bit of optimism. On the whole, it makes for a well-rounded, cohesive album that actually makes me want to listen to more R.E.M. Go figure. Four stars.
Standout Tracks: Finest Worksong, Exhuming McCarthy, It's the End of the World as We Know It (And I Feel Fine), Fireplace, Oddfellows Local 151
The xx
2/5
Ok so yes from a technical standpoint, it's good. It's actually a really well-produced album.
But man is it boring. Every single song has the same vocal arrangements over and over. And like, it sounds good. But you hear it once, you hear it again, and then you hear it again and it gets old real quick. Some of the tracks really veer into more of a pop sound, which I really wasn't expecting. I didn't really care for it.
It seemed like there was a lot going on from an emotional standpoint in this album, and I just didn't care. Like I really didn't connect with it at all. Feels like another act that got two albums on the list because they're British. Sorry, but not really. I didn't need to hear this before I died. Two stars.
Standout Track: Dangerous
Tangerine Dream
3/5
Kraftwerk, is that you?
This reminded me a lot of the Kraftwerk albums on this list. And that isn't a bad thing. There's a lot to like in their work. The space-rock, prog-rock, synth-rock genre is wide and vast, and these two bands live in their own niches within it.
This was alright. There's a lot here that reminds me of early Pink Floyd stuff, and even some Dark Side of the Moon era stuff too. I also appreciate the fact that they didn't overstay their welcome. Each track may be long, but the entire runtime is less than 40 minutes.
Overall this was a fine album but nothing I'm going to remember moving forward. Ten albums from now I'll probably have forgotten about it. Rough. Three stars.
Standout Track: Mysterious Semblance at the Stand of Nightmares
The War On Drugs
3/5
This answers the question nobody was asking - what if Bob Dylan and Bruce Springsteen had a kid, and Bob taught the kid to sing and Springsteen taught the kid how to compose music.
But really, it feels like there's a line between influence and imitation. I refuse to believe that that is Adam Granduciel's voice, in the same way I refuse to believe that Josh Kizska had never heard Led Zeppelin until he hit high school. I mean it's possibly true, but come on.
All that being said, this is a cool meeting of heartland rock sounds, folk, and modern production quality. It was a little hard, at times, to move past the obvious influence/imitation of Bob Dylan, but after a while it was just part of the sound as a whole.
Off the bat I thought this could be a five-star venture. As it went on, I started to feel like there wasn't enough variation in the tracks. The more up-tempo tracks all sounded very similar to each other, and the slower ones were boring enough that I couldn't differentiate those much either. In all, it just kind of became two big sounds and I wasn't totally blown away by either.
It could've been great, it was just good. Three stars.
Standout Tracks: Under the Pressure, Red Eyes, An Ocean in Between the Waves, In Reverse
Aphex Twin
3/5
I expected a VERY different experience with this album. I assumed the title was a deception, or a tongue-in-cheek name meant to point out just how little ambience there would be in its tracks. I thought this because my only exposure to Aphex twin to this point was a song called "Come to Daddy," which is...very different from this.
As far as ambient music goes, this is very effective. I found myself often spacing out, letting my mind drift as I listened. As far as I'm concerned, that's what ambient music is supposed to be good for - going unnoticed. That made it a little difficult to select standout tracks, funnily enough.
This was cool, especially considering what I expected from it. I don't really know what else to say. It's always difficult to review instrumental albums, at least for me. Three stars.
Standout Tracks: Xtal, Ptolemy
The Young Gods
1/5
No. Nope. Noooooope. No thanks.
I'd like to believe that, had this been in English, I would've liked it better. I do not think that's true. This could've been in any language and I don't think I would've found much to redeem it. The genre isn't for me, the vocal style isn't for me, the weird shifts in genre and instrumentation from track-to-track are not for me. I wouldn't be surprised if there's something culturally specific to France here as well.
I didn't need to hear this once, and certainly not before I die. One star. Please never again.
Standout track: Rue des tempêtes
John Grant
2/5
Who is John Grant? Who are the Czars? What am I in for? I had no idea.
I really disliked so much of this. "Marz," "Where the Dreams Go to Die," "Sigourney Weaver," and "Outer Space" are really annoying. The lyrics are either trying to be funny (but fall flat) or are attempts at being insightful (which they aren't). And the way he sings the word "baby" and sings it over and over and over again in "Where the Dreams Go to Die" really just needed to stop but that song felt like it wasn't going to end.
I felt like, as a millennial, this was made by someone in my generation, for my generation. And I hated a lot of it. There's some good here, but I really didn't like a decent amount and it wasn't enough to elevate it past two stars. Definitely didn't need to hear this one before death.
Standout Tracks: TC & Honeybear, Chicken Bones, Silver Platter Club, Queen of Denmark
Public Enemy
4/5
I absolutely adored the first Public Enemy album I had on this list - "Apocalypse 91." It had so much of what I love about late 80's/90's hip-hop - killer beats that don't get old, great samples, energy, humor, a message, and a sense of importance without becoming self-indulgent or overly serious.
So I was and wasn't surprised at how I felt about this one. It at times felt much more experimental than what would be their next album in "Apocalypse 91." This one felt a little more frantic, a little more all over the place. It still has that same energy, though, and that same feeling that if left unchecked the entire thing would burst at the seams with just how much energy it has.
Aside from the classics "911 is a Joke" and "Fight the Power," I found it difficult to connect with this one or stay focused with it. Where the previous one grabbed me and didn't let go, this one grabbed me a little less tightly and was ok to let me go at times. I'm wondering that's due to the difference between a third album and a fourth album in a group's career, and the experience gained between the two.
All of that said, I still loved it and it's getting four stars from me.
Standout Tracks: Brothers Gonna Work It Out, 911 is a Joke, Pollywanacraka, Burn Hollywood Burn, Revolutionary Generation, B Side Wins Again, Fight the Power
Lou Reed
4/5
I found myself reminded a lot of David Bowie while listening to this album. Reed's previous album (and the other of his I've heard from this list) was produced by Bowie, and I'm not surprised that some of his influence carried over into this one.
This was cool. I appreciate that Reed doesn't just simply churn out a track list where every song sounds similar. I might not have loved every song, but at least he produced an album with variety in style, mood, and themes.
This album does what Art Rock does best - mixes genres, has some experimentation, and aims to be different in hopes of moving a genre forward. I don't think I had much an appreciation for Art Rock coming into this project, or at least didn't know that I did. But some of the best albums here are Art Rock albums, and I'm really appreciative that there are so many.
This gets four stars from me. I didn't love it all, but there's some great stuff here from an artist I knew nothing about coming into this project.
Standout Tracks: Lady Day, How Do You Think It Feels, The Kids, Sad Song
Thelonious Monk
5/5
I've said this before about jazz albums, but I find it difficult to review them. The ones on here are largely by jazz masters, so you know they're going to be good. You could probably swap out a lot of these albums with others from the same artists and not miss a beat. That's how good they were. Sure, some might be technically better than others (from a skills standpoint, I mean), and some might be more exciting or more expressive than others, or be in a sub genre of jazz you like more than others. But on the whole, they're all going to be good. Monk didn't produce bad stuff. Neither did Davis, Ellington, Coltrane, Basie, Rollins, Armstrong, etc. At least in my opinion.
So this is an easy five stars. It's Monk, what do you want?
Standout Tracks: Brilliant Corners, I Surrender, Dear
The Beach Boys
4/5
This is the Beach Boys? THIS? If you'd played me this, I never would've guessed. I mean, it still retains a lot of their original sound, and even some of the Spector wall of sound production elements. And of course, the harmonies are there.
But beyond that, I wouldn't have necessarily thought this was them. This is more experimental, more loose, more adventurous than I would've expected from them. This is kind of what I thought "Pet Sounds" would be, and I was really disappointed by that album. This is much better than any other Beach Boys album I've had so far, honestly. And the name, honestly, really sells it for me. Not a surf song to be found here, really.
The change in genre is welcomed. I can imagine that they eventually got bored of the surf rock pigeonhole they were stuck in and finally got a chance to branch out further than before. Like, way further. There are some clunkers ("A Day in the Life of a Tree" for one), but you're always going to get those, especially on an experimental album.
With the departure from their earlier sound came another departure - lyrical themes. They wrote about social issues ("Don't Go Near the Water" and "Student Demonstration Time") nostalgia ("Disney Girls (1957)"), and overcoming personal struggle ("Long Promised Road"). It's such a departure from their previous work, even further than "Pet Sounds" ventured, and I really appreciate it. This is the best Beach Boys album I've heard so far.
Four stars.
Standout Tracks: Don't Go Near the Water, Take a Load Off You Feet, Long Promised Road, Student Demonstration Time
Santana
4/5
It's so interesting how the generation that was all about free love, protesting intolerance, segregation, and injustices, and who sometimes won't shut up about how great they are is still also the generation that today is sometimes intolerant of the queer community. Carlos Santana said some offensive things about trans people a couple years ago at a concert. It got some attention, and he apologized. But still, boomers are gonna do boomer things. It's like Harvey Dent said, "You either die a hero, or live long enough to see yourself become the villain." But I digress.
I'll review this not for the artist, but for the art. Moving on.
You know I didn't realize for the longest time that the name "Santana" refers to the band, not the artist. The dude was so exceptionally good at playing guitar that his band was just his last name. I guarantee you most people could not name another member of the band, and instead thought he just chose to go by his last name.
He lives up to this though. He's become one of the all time iconic guitarists. This was the band's second outing, and they definitely did not suffer from the dreaded sophomore slump. This has two absolute classics on it in "Black Magic Woman" and "Oye Como Va." The rest are great as well, combining excellent guitar work, with an energetic and infectious rhythm section and good vocals. The vocals are just good because, let's face it, being the singer in a band named after the guitarist is a thankless job. Nobody is here for you and only notices you when you either fuck up or do something exceptional. But you aren't going to do anything to outshine the guitarist, soooo.....
This was a fun album. A mix of rock, jazz, latin music, all with the flair of a guitarist that had few equals. Four stars.
Standout Tracks: Black Magic Woman/Gypsy Queen, Oye Como Va, Incident at Neshabur, Se a Cabo, Hope You're Feeling Better, El Nicoya
Living Colour
4/5
Like a lot of people my age, I'm sure, I was introduced to Living Colour through Guitar Hero 3. I'd never heard of them, "Cult of Personality," or even the term "cult of personality" before that game. In all honesty, I never sought out any more information about the band or any of their music since then.
Until this. I regret not hearing more of them sooner. This album isn't perfect (at times feels a little too produced, a little too polished) but it really hits, man. I was struck by the sheer variety in sound here. You have hard-hitting stuff like "Cult of Personality," lighter, even poppier stuff like "I Want to Know," and bluesy stuff like "Middle Man." And that's just the first three tracks. Hell, there's a TALKING HEADS COVER on here in "Memories Can't Wait," which is a rare case of me liking the cover more than the original. There's even some schmaltzy, very 80's social message content in "Open Letter (To a Landlord)."
Elements of hard rock, funk, soul, blues, R&B, and even some jazz, all on one album from one group of musicians. I rag on albums for sounding so samey throughout their track list. You can't accuse this album of that. It isn't all perfect, but it's all definitely them. The genres shift, the sound and attitude do not. The personality is consistent. And to me, that's key to a great album.
I loved this. I want more of them. Four stars.
Standout Tracks: Cult of Personality, Middle Man, Funny Vibe, Memories Can't Wait
The Prodigy
3/5
Instrumental albums, club music albums, electronic music albums and everything beyond and in between are often challenging for me to review. I feel like sometimes the goal of the music is to be repetitive enough that you space out, allowing it to slip into the background and help you focus. Or that's unintentional and it happens anyway.
I don't know what the intent was with this album. Everything is certainly high energy enough that I could see it not intending to be ambient background noise. Rather, I think it was meant to be enjoyed on its own. But regardless, I find it difficult to review.
It's good. The loops (the album is built on them) are fun and addictive at times, necessary if you're going to play them over and over again. But is it something I'm dying to come back to? Did it encourage me to seek out more music in a similar genre or artist? No, on both accounts. So it gets three stars.
Standout Tracks: Their Law, Voodoo People, Speedway (Theme from Fantastic), 3 Kilos
Traffic
2/5
The first tracked grabbed the hell out of me and injected me with some great vibes on a warm, sunny LA afternoon.
It was kinda downhill from there. Not because the rest was bad, but because nothing could match that initial vibe. The first side of the album is so much different than the second. Also the less Steve Winwood sings, the better. I don't think his voice is particularly great.
This is such a mixed bag. The first half kicks the second half's ass. Why the title track is some weird ren faire folk song that sticks out like a sore thumb is beyond me. Weird choices. Two stars because it could've been so much better.
Standout Tracks: Glad, Empty Pages
Creedence Clearwater Revival
4/5
Everything I have to say about CCR, I pretty much said in my review about "Green River." They know who they are, they don't apologize for it, and they hit their sound hard every time out. Ever their covers ("Good Golly Miss Molly") are excellent and feel original. They feel like they were originally CCR songs. They're an excellent band that produced excellent albums and I really think you'd be hard pressed to find another band who was as consistent as CCR was. Four stars once again to the great CCR.
Standout Tracks: Born on the Bayou, Bootleg, Good Golly Miss Molly, Penthouse Pauper, Proud Mary
Aimee Mann
2/5
Aimee Man is one of those artists whose name I've heard for years and years but never (knowingly) heard any of her music. We all have those, right?
I wasn't intentionally ignoring her, I just never had a reason to seek her out. She's never mentioned much in terms of "great" artists. I couldn't even have told you what her genre was. Not sure I can now after listening, either. Pop? Pop rock? Soft rock? I don't know.
This was a very alright radio-safe pop rock album, is what I've come to. Catchy in all the right places, a nice clean sound that won't offend the ears, and a singer-songwriter with a voice so clear and listenable that while it might sometimes be a little annoying, you'll never feel the urge to shut it off completely because there's something pleasant about it.
I didn't remember much of anything about this album after the fact. It's been over a week since listening and I couldn't have hummed you any melodies. I couldn't tell you what any of the lyrics were, or what the songs were about. Except "Jacob Marley's Chain." Because that one is so drastically different than the rest of the album. You might say - "Can you remember any songs from an album you heard once a week later?" Well I could with Tracy Chapman's album, soooooo......
This is the most fine and most inoffensive album I could've imagined. And I really do not understand why it's on this list. Two stars. It wasn't bad. It was just bland.
Standout Track: I Should've Known
Deee-Lite
3/5
I'll admit that, after seeing the name of this band and the cover, I thought this was going to be awful. Like really not great.
But for what it is, it's fine. It's a very, VERY 90's sound that in some ways has aged well (since a lot of 90's stuff is now back in fashion, especially in music). For a dance album, it certainly is danceable. I do feel that, at times, the beats are a little too complicated to be truly danceable, but largely that isn't an issue (I also have very little idea what I'm talking about, really). But there is just something about this album that works, and I find it a little unexplainable. Not every track hits, but when they do it works. Maybe it's just the sheer amount of confidence that radiates off this thing, the sense that the people involved were going to be completely unbothered by what critics or the public said about it, they were just gonna do their thing. That demands some respect.
We have to talk about "Groove Is in the Heart." Talk about 90's. And the slide whistle? Really? But hey - it works and it's one hell of a track. What a great 90's bop.
I'm really surprised (pleasantly so) to be giving this three stars. A good time had by all.
Standout Tracks: Deee-Lite Theme, Good Beat, Smile On, Groove Is in the Heart
The Killers
4/5
COMING OUT OF MY CAGE AND I'VE BEEN DOING JUST FINE GOTTA GOTTA BE DOWN BECAUSE I WANT IT ALL.
Thanks for letting me get that out. Now I can really start the review.
Before this album, I think I could've named you maybe three Killers songs, two of which are on this album - "Mr. Brightside," "Somebody Told Me," and "When You Were Young." I'm really happy I know more than that now.
What a great album, both musically and lyrically. It's hard to tell how much of this is Brandon Flowers telling us about himself and how much is him creating and inhabiting different characters. I don't know how much that distinction really matters, but I do wonder.
The whole thing is full of themes of doubt, unreturned love, suspicion, violence, and disillusionment. Somebody more familiar with the climate in which this album was written and recorded could probably tell you that it's a product of its time. Not that I wasn't alive when it was released (I certainly was), but I just don't know the album well enough to know how it might reflect the times.
The variation in sound between each track is amazing. They aren't a one-trick pony like some bands whose entire albums sound the same, as though they're rehashing the same few riffs and sounds every track. That isn't the case here and I really appreciate it for that. No two tracks sound the same, and they even explore genres besides rock here, in their own way.
This has to go into the "relisten mulitple times once you've finished the project" pile. Hands down it belongs there. This is an easy four stars for me. Great album.
Standout Tracks: Jenny Was a Friend of Mine, Mr. Brightside, Somebody Told Me, All These Things That I've Done, Believe Me Natalie
Pantera
1/5
No
This is one of the newer metal bands I've heard from this list. I don't like metal in general, and I really didn't like this. I prefer the older stuff if I HAVE to listen to metal.
Somebody please tell me what is appealing about this genre? About the ridiculous singing voices? About the repetitive nature of the drum parts? Even the guitar parts? What's fun about all the songs always being at the same energy level and rarely dropping? I don't get it and I never will.
I have a rule that, unless I really hate an album, it has to get at least two stars because it's still a piece of art that someone worked really hard on, and I can appreciate it for that alone. I can appreciate the craftsmanship, the technical achievements, and production and see that it deserves two stars at a minimum.
But I hated this so it gets one star. Not sorry.
Standout Track: Mouth for War
Scott Walker
2/5
The first track really pulled me in. I loved the dramatic sound, the off-beat lyrics, and the high energy. So I was ready some a fun, quirky, theatrical, very British jaunt through 12 tracks.
Then the rest of the album happened. Ballad after ballad. Sure there were some moments of energy, but nothing that matched the first track. Sometimes things got a little more interesting in the slower songs. But it wasn't enough to get past the production choices. The theatrical nature of the album works in the first track and then quickly becomes grating and dated. It just gets boring after a while. What the hell is he even going on about?
I guess I just wonder who this is for? Like who is going to sit there and listen to "Windows of the World" and just eat that shit up? Please reveal yourselves, Scott Walker super fans.
I didn't hate this enough to give it one star, but it's close. Especially when the final, what, three tracks are these slow-ass ballads? Like way to go out with a whimper, dude. Two stars and it feels generous.
Standout Track: Jackie
Cream
4/5
An absolute classic of an album from a band that wasn't long for the world. Three absolutely amazing musicians that somehow produced a sound that made it feel like there were at least half a dozen. They were a supergroup, after all.
It isn't all amazing ("Blue Condition"), but man this album does just hit. The riffs, the solos, the jams. I don't know much about the lyrics. They seemed poetic enough. But if you're listening to Cream for the lyrics, well I don't think you're there for the right reasons.
I don't know what much else to say about this. It's simply amazing. The sound felt ahead of its time and yet so much of its time at once. I don't know how to explain it. I guess virtuosos are like that.
Four stars.
Standout Tracks: Strange Brew, Sunshine of Your Love, World of Pain, Dance the Night Away, Tales of Brave Ulysses, SWLABR, Take It Back
Beastie Boys
3/5
I absolutely love "Sure Shot." And "Sabotage." All time great songs, in my opinion. "Sure Shot" has an amazing sample, and "Sabotage" is one of the best fusions of rock and rap I've ever heard.
But this album does, on the whole, have the same issues I've had with previous Beastie Boys albums, and that is this:
Their voices are sometimes incredibly grating and obnoxious. Combine that with the vocal effects they put on some of the tracks for this album ("B-Boys Makin' With the Freak Freak," "The Update," "Alright Hear This," etc.) and I just can't get behind a lot of this. I also found it really strange that there were instrumentals on this album. Like, it's cool that they're trying to show that they're a band of musicians and not just rappers, but I don't think anybody is coming to a Beastie Boys album for instrumentals. They're great instrumentals, don't get me wrong. I just don't get why they're here, is all.
There is a lot like about the Beastie Boys. Their attitude and sense of humor can be really fun. The lyrics, where you can understand them, are sometimes absolutely top notch. And the way they mix genres is as smooth as anybody else who's ever tried it. So I want to like them so much more than I do. But I just find my self getting annoyed while listening, and that's a bummer. I hoped when listening to "Paul's Boutique" that they had better material to offer than what was on that album. They did, I just wish it was even better. Three stars.
Standout Tracks: Sure Shot, Sabotage, Sabrosa, Futterman's Rule, Do It, Ricky's Theme, Bodhisattva Vow
Deep Purple
4/5
I absolutely adore Deep Purple.
Well, I adore classic lineup Deep Purple. Can you even call them Deep Purple when they're missing Ian Gillan, Ian Paice, John Lord, or Ritchie Blackmore? Sure Gillan and Pace are with the band currently, but Lord is dead and Blackmore isn't with the band. No, Deep Purple isn't Deep Purple without these guys, and I won't hear otherwise.
I was surprised at how long each of these tracks was. I really didn't expect it to be any kind of jammy, especially given Gillan's vocal ability - let that man cook, if you ask me. But it was cool to hear these amazing musicians really get a chance to stretch their legs a bit. "Speed King" felt a little rehash-y of "Highway Star," and some of the tracks are simply too long. But "Child in Time"? "Child in Time" is simply incredible. And John Lord's work on "Flight of the Rat" is some of his best.
I'd really only heard one other studio album from Deep Purple before, and that was of course "Machine Head." It's hard to top that album, what with its classic tracks and cohesive sound (can you deny "Space Truckin"?). But this came much closer than expected and I really just wanted more. Four stars.
Standout Tracks: Bloodsucker, Child in Time, Flight of the Rat
Method Man
2/5
"What's that? Method Man, speak up! I can't hear you! Method Man - SPEAK UP!"
I could barely the hear man at times. I mean geeze what was that mix? And the bass - my god! I had it mixed down in my car. I can only imagine how it must've drowned out everything else with it at normal levels.
I've had two Wu-Tang-adjacent albums now (the other from Raekwon) and I just don't think I get them. The meandering lyrics that just go on and on, and the backing tracks are all similar enough that it's difficult at times to discern between the tracks themselves. There's no real hook, no chorus. Nothing repeats, so it's hard to follow in terms of structure. I dunno. If this is what Wu-Tang is, I don't think I like Wu-Tang. And that would be a bummer, given how much rap and hip-hop I've had through this list that I actually have come to adore.
Two stars. Please be more interesting next time.
Standout Tracks: All I Need, Meth vs. Chef, Release Yo' Delf
The Clash
3/5
~~~~~~~~~~~~~~!!400th Album!!~~~~~~~~~~~~~~
How quickly The Clash must've evolved as a band.
To go from this more raw, punk sound to the more refined, studio-driven sound of "London Calling" in just three albums and two years is absolutely insane. It's like The Beatles going from "Please Please Me" to "Revolver" in just three years. An almost entirely different sound.
But this is about their debut album. How was it? It was alright. There's a lot to like here, and you can see the beginnings of an excellent band here. Yes it's a little rough around the edges. But that tracks - it's an early punk album from early in that band's career.
It's a fun album, with just enough sneering, just enough sarcasm, and just enough musicality that it feels as cohesive as a punk album can. It's varied (not something punk can always claim to be), and it doesn't overstay its welcome at under 40 minutes. "London Calling" it's not, but it's still a great time. Three stars.
Standout Tracks: Remote Control, I'm so Bored with the USA, Hate & War, London's Burning, Cheat, Garageland
PJ Harvey
5/5
The cover for this album made me incredibly uncomfortable and not excited to listen to it. I thought it would be one of those albums that seems to go out of its way to make you uncomfortable, with song topics and lyrics that make you squirm and a sonic palette that makes the hairs in your ears stand on end.
That isn't really at all what I got, thankfully, and I actually ended up quite enjoying this more than I thought. It was much more...cohesive and interesting and engaging than expected. It has attitude, it has a little sneer, it's musical. "Dress" is an insanely catchy and fun tune. "Victory" feels like it could've been a Nirvana song. The overall sound is a little too clean in places to be grunge, but it definitely has grunge-adjacent sounds and sensibilities.
I don't know what else to say except that I loved it. The cover aside, the entire experience is such a cohesive listen. Each song is different from the last, while still also feeling like they belong together. The energy, the arrangements are amazing and I honestly was left wondering how I never heard of her before now.
Five stars, honestly. This is exactly what this project is supposed to do - introduce me to artists I didn't even know existed and now love.
Standout Tracks: O Sella, Dress, Victory, Sheela-na-gig, Joe, Plants and Rags
808 State
2/5
Electronic albums, as I've written before, are hard to review for me. As someone who didn't grow up with the genre, I'm so accustomed to having both lyrics and music to analyze, as well as musicianship and technical skill. I have a general sense of how difficult a part might be, how complex an arrangement may be, and more. But I don't really know how difficult it is to program a synthesizer, create a loop, or find good samples. I have no clue. So that's why I find it challenging.
As for this album...eh, it was good. "Magical Dream" is a little on the nose for an opener. There are some great grooves thereafter though. "Ancodia" and "Cobra Bora" are so easy to get lost in. The sax on "Pacific 202" is awesome. Not all of it works, but the grooves themselves, the rhythms and loops in each song, are great.
In the end, though, electronic albums always feel lacking in a certain substance for me, so I feel like I need to give it two stars.
Standout Tracks: Ancodia, Cobra Bora, Pacific 202
Iggy Pop
2/5
I was so ready for a rip-roaring, drugged-out, heavy punk album full of grit and sneer and chaos.
This really wasn't that, and I was honestly let down by it. I know this isn't a Stooges album, and that it's his first solo album, but still. This felt like it leaned more into glam, and even some new wave. I just don't think Iggy does those genres nearly as well as punk. It almost felt like he was trying to be David Bowie. So when I read that Bowie produced this album, well, it all fell into place.
Nobody does Bowie like Bowie, and this just felt like it was a cheap Bowie imitation. It isn't bad, because even bad Bowie is still good. But I really didn't care about any of the songs that much. It felt like Iggy was bored and so I was, too. Two stars.
Standout Tracks: Nightclubbing, Dum Dum Boys
Orange Juice
3/5
I literally had no idea that band named Orange Juice existed and, honestly, had really low expectations. From the name of the band, to the album cover, I just felt like this was gonna be a cheap inclusion, a band only included because they were at least somewhat big in the UK.
And there are parts of this album where I feel that way. "Mud In Your Eye," for example, just doesn't work for me. It comes across as just being a weird attempt a different genre that doesn't really work for the band. The more upbeat stuff, the stuff that feels more like most of the album - a post-punk, new wave sound that has somewhat simplistic arrangements and doesn't overstay its welcome on any track. "I Can't Help Myself" really felt like a Talking Heads song that they gave away. And that is by no means a criticism.
Sometimes the vocals are a little overly-British, too much for my liking. That Britpop voice shines through and it's really kind of grating. I've always felt that way though.
On the whole there's a lot to like, and I'd be open to hearing more of them. I do feel, though, that this didn't necessarily need to be on this list. I liked enough to give it three stars though.
Standout Tracks: Rip It Up, A Million Pleading Faces, I Can't Help Myself, Louise Louise
Ray Price
3/5
What in the Americana??
It may take a little getting past the baked-in hokeyness of 50's and 60's country, but if you, this is actually an enjoyable record. The songs do blend together a little, both in theme, lyrics, and sound, but it's alright. It's a really well-produced album. It sounds great and honestly feels like THE record you'd put on if you wanted to invoke this kind of sound and vibe. This is what country was before it became a caricature of itself. This isn't all about being lonely, women, trucks, horses, beer, being from a small town, working on the farm and/or ranch, or any combination thereof. Am I claiming that it's a deep record? No. But it at least feels a little more genuine and real than what we get today. I guess that's true of a lot of music though...
Anyway. I really found this to be perfectly listenable and not at all offensive. Kind sounds like a three star album to me.
Standout Tracks: Night Life, The Wild Side of Life, Pride, Are You Sure
CHVRCHES
2/5
I really just did not care.
Maybe it's an unfair prejudice, but it is a pet peeve of mine when an artist or band insists on having their name either in all caps, includes pronounced punctuation, intentionally misspelled words, uses symbols in place of letters, or uses some letters in place of other letters. Here, you have two of those offenses in one band.
Maybe I'm just an old man yelling at clouds here, but it just feels like a gimmick and gimmicks don't make good music. Not on their own, anyway.
But, ok. I don't like the band name. How about the music?
Forgettable. Both of their voices are so generic and bland. They don't really do anything with them that's memorable. The music itself is ok. A very indie sound, that feels very of the moment it was released. A lot of this reminded me of The Chainsmokers, and that isn't necessarily a compliment coming from me.
I dunno. I feel like I was supposed to love this. But I found it be pretty bland and forgettable. And that's a shame because I think they're better than that based on what I hear. But I'm left unimpressed and unmoved. Two stars.
Standout Tracks: Gun
5/5
Hell yes.
I have never heard of this band or this album. But I love me some 80's punk. This album absolutely delivers oh my god. This is just such a fun time. High energy, variation in sound from song to song (some going straight punk, others veering into new wave and post-punk), and awesome riffs that are just fun to listen to.
My one major criticism, and I hate to level any, concerns the vocals. They aren't recorded very well, aren't easy to understand, and frankly aren't amazing. I know punk isn't always concerned about anybody doing anything super well, so I can forgive it for that. But it did get kind of old when I really couldn't understand much of anything being said.
Overall though, I love albums like this for a few reasons. For one, I'd never heard of them before and loved it. That's kind of the point of this project. But also, early punk is just such a fun period because there was so much experimentation. X definitely went for it here, and killed it. Five stars.
Standout Tracks: The Once over Twice, Adult Books, Universal Corner, It's Who You Know, In This House That I Call Home, Beyond and Back
Little Richard
4/5
I mean come on.
Little Richard is one the originators of rock and roll, along side Chuck Berry, Fats Domino, and many other black musicians that eventually became overshadowed by white artists that appropriated the genre. So it's entirely appropriate that he have at least one album on this list, if not more.
Richard was the ultimate showman, never failing to bring his intensity and character to every performance. And I think that just listening to his music instead of seeing him perform it does an injustice to him as an artist.
One thing I loved, and love about a lot of early rock and roll, is the inclusion of the saxophone on many of the tracks. Nothing gets me going quite like a rock and roll saxophone solo, and I think it's a sorely missed part of the genre from the time it stopped being common to now. So this gets huge ups from me for that.
Overall, I enjoyed this listen quite a bit. However, and maybe its a symptom of the period the genre was in at the time (its infancy) but I did find that a lot of the songs did sound a little samey here and there. And his over-reliance on his trademark "WOO!" does get a little old after a while. But that's him, and you can't have Little Richard without the "WOO!"'s, so I'll let it slide. Four stars.
Standout Tracks: Tutti Frutti, Ready Teddy, Slippin' and Slidin', Long Tall Sally (The Thing), Oh Why? Rip It Up, She's Got It
Fred Neil
3/5
As far as folk and folk rock albums go, this is one of them.
I jest, slightly. But it's difficult for me to really parse out just how important this album is to its genre(s) because I know so little about the genres as a whole. I love Dylan, like some Neil Young, some CSN(Y), and adore Simon and Garfunkel. But beyond that I'm a little lost. So I suppose I can look at this as an album both contemporary to and preceding those artists.
Through that lens, I can see some influence and importance. But I also think there were artists doing it better at the time. Not that this is bad; it very much isn't. I just think this is one case where, having no idea who the artist is going into an album isn't helpful because I'm forced to make comparisons that are largely unfair.
In the end, it's a fine album and I'm happy to give it three stars. I just wish I had more to say...
Standout Tracks: That's The Bag I'm In, Ba-Di-Da, Faretheewell (Fred's Tune), Green Rocky Road
Green Day
5/5
Gonna get this out of the way - Green Day is one of my favorite bands ever and this is an easy five stars.
Alright, that's out of the way. If you want to read a gushing review, read on. But know that it comes from someone who grew up listening to them as his first band he felt was his, saw them on the American Idiot tour, and has seen them four more times since (including the most recent anniversary tour where they played it in its entirety).
I can't speak to how seminal this album was for the pop punk genre, or how I really connected with it on an emotional level or felt seen by it (I didn't). But I can tell you that it is an insanely listenable, very well-recorded, and dumbass catchy album. And I adore it with everything I am.
Each of the members is so clearly incredibly talented at what they do. The guitar riffs are aggressive but accessible. The bass lines (namely "Longview" and "Welcome to Paradise") are way more than just playing changes, they're a melody unto themselves. And, as a drummer myself, I have to just adore the drum parts laid down by Tre. I actually think it's some of his best work.
There are some mega hits here ("Longview," "Basket Case," "When I Come Around"). but I really love some of the ones people maybe don't know. "She," " Sassafras Roots," and "Coming Clean" are all songs in both lyrics and melodies, and delve into more personal, less generalized stuff. "Pulling Teeth" is a black humor song about domestic abuse that is also somehow incredibly likeable.
But "F.O.D."? That song fucking rocks. One giant middle finger to whoever you have in mind. The perfect closer, and one of my favorites from them ever.
I adore this album. It was predestined to get five stars, no question. One of their best, one of the best. Five stars.
Standout Tracks: Burnout, Chump, Longview, Welcome to Paradise, Basket Case, She, When I Come Around, Coming Clean, F.O.D.
The Monks
4/5
I had really high hopes for this album, given that it could not be found on any streaming service for some reason. The mystery, the anticipation, the wonder. Why was it absent from all major services? What was so controversial about it? So the intrigue was there, to say the least.
It was alright. Definitely didn't live up to the hype I created for myself. I can't deny that it's ahead of its time though. The entire thing reminded of one song in particular - "Hold Tight" by Dave Dee, Dozy, Beaky, Mick & Tich. Very similar vibe. 60's band ahead of their time, producing music that wouldn't necessarily have done well commercially, but definitely struck a chord with the right audience and is looked back on fondly and as progressive for its time.
Most tracks are under two minutes, so if you aren't thrilled with one it at least isn't sticking around very long. A lot of it feels like some joke I'm aware of but not entirely in on, like they know something I don't; like somehow the whole thing is a comment on something bigger than the band. I dunno. But there's so much influence here - punk, post-punk, new wave, and more. They're at times a harder version of bands like Talking Heads or Elvis Costello and the Attractions and a softer versions of early punk bands. Sometimes they strike a tone right between both worlds. Hell, there are even moments where I hear early Pink Floyd.
One criticism of the album might be that it does get a little repetitive at times. Certain staccato rhythms from the drums repeat themselves (1+2+3+&+4 or 1+2+3+&4+&, for example), and the talk-singing does happen more than a few times, making some songs feel very similar. But that isn't enough to diminish what was otherwise and enjoyable and interesting listen.
This is honestly such a fascinating listen, especially for an album from 1966. Four stars.
Standout Tracks: Black Monk Time, Shut Up, Oh, How To Do Now, Drunken Maria, Love Came Tumblin' Down, Blast Off
System Of A Down
3/5
Search the word "metal" on my history page and you'll find very quickly my opinion on metal. Generally, it's bad. Metal has mostly struck me as disingenuous, repetitive, and lacking any kind of dynamic variety. It is a one-trick pony and unless you REALLY like watching that pony perform its one trick...well there isn't much to see after you witness it once.
Enter, System of a Down and their debut record. A main criticism I've had of metal this point is that it hardly feels musical. Brute force and speed take precedence over musicality and musicianship.
"How fast can those double bass pedals go? Not fast enough!"
"If the guitar riff doesn't sound menacing, then it isn't doing it's job!"
"If the song title and lyrics don't at a MINIMUM imply impending doom (if not outright inform the listener that it's coming), then you're doing it wrong!"
You see where I'm coming from.
But this was so much different. I didn't love every minute of it, and I'm not even sure it got me excited to hear more. But goddammit at least it had some musicality to it. Sure, the singer's voice is at times more shouty and growly than I prefer. And sometimes it ventures into places darker than I'd like to go. But. you wanna what it does have? Authenticity, honesty, and musicianship. I can't hate anything that has that. Oh and variety. That's always welcomed.
I don't have a whole lot else to say other than that I just like this for the very fact that it's different than other metal albums I've heard to this point, and I sincerely appreciate it for that alone. Three stars.
Standout Tracks: Know, Spiders, Soil
Neneh Cherry
2/5
"Raw Like Sushi" is a very 90's name for an album that came out in the late 80's. It's obviously meant to imply authenticity and that you're getting a raw version of the artist. I just kind of rolled my eyes and put it on.
"Buffalo Stance" was a little confounding. What is a buffalo stance? I assume something portraying strength and defiance, but I don't know. It's a weird name for a song and I really understand why it's the opener for this album.
The album itself is fine. A pretty typical 80's/90's pop album, with all the production trappings and trimmings you'd expect. A lot of it seems to be spent on telling the listener who she is over and over again, ensuring that we understand that she's interesting or cool. It grows boring over time.
On the whole, it's a fine listen but largely forgettable. Two stars.
Standout Tracks: The Next Generation, Outré Risqué Locomotive
Nick Cave & The Bad Seeds
4/5
Holy shit the opener for this album is absolutely incredible. Is this finally the album that I really start to "get" Nick Cave and the Bad Seeds? For the first four tracks, it certainly seemed that way. The energy of three of the four first tracks was infectious, fun, and interesting.
Then it started to oscillate between high and low energy songs. Songs that dragged and dragged and songs that really hit you in the face with their attitude and energy. I really thought it would be a five star venture, but when it drags, it drags and I don't suffer that very well. So it ends up at four stars. Do I get Nick Cave now? I suppose so. At times it feels gothic, dark, and pessimistic, at times to feels heartfelt and longing, and I can appreciate it for its variety. I don't love him like some folks do, but I can see the appeal and his longevity makes sense to me now. He and the Bad Seeds started in '83 and they're still going today. That's meaningful, and it says something about their impact.
Standout Tracks: Papa Won't Leave You Now, I Had a Dream, Brother, My Cup is Empty, John Finn's Wife, Jack the Ripper
Bruce Springsteen
2/5
This felt a little too...clean for a Springsteen album. Not in lyrical content (he's never been particularly dirty as far as I can tell), but in production. Springsteen has grit, power, energy and a clean production value doesn't really convey that very well if you ask me. It softens him. Maybe that's just the phase of life he was in - no longer the gritty, working class rocker but instead something more mature. Sometimes more mature means boring, and the loss of edge. I think that's partially what happened here.
That doesn't mean what he's produced isn't meaningful, or that there aren't moments that really shine. That definitely wouldn't be true. But man are some of these songs on this 72-minute album snoozers. And the snoozers all sound a little too similar to each other.
I know this was a reaction to 9/11, and I know that probably explains a lot of the songs sounding a little dour. But I dunno...a lot of it just starts to feel kind of generic after a while. It feels like very safe radio rock, the stuff you'd hear on the soft rock stations. And that's a bummer, but it does make me wonder if my perception of Springsteen has been wrong this entire time. Ask me again later.
Two stars.
Standout Tracks: Lonesome Day, Worlds Apart, Further On (Up the Road), The Fuse, Mary's Place
Orbital
2/5
Ah yes, another instrumental electronic album.
I hate to say it, but at a certain point it's hard to differentiate between them, and it's always been difficult to decide what makes one better than the others. I just don't know enough about how difficult it is to make this kind of music, and what goes into it.
What I can say is that it seems to strike the right balance between being just obtuse enough in whatever vocal samples it includes without being so abstract that it's off-putting. So there's that.
But at the end of the day, it just kind of sounds like the rest of the them. And I hate saying that because I'm sure that really isn't true if you know enough about the genre. But that's the same with most music, isn't it? Two stars.
Standout Tracks: Philosophy by Numbers, Quality Seconds
Elvis Costello
4/5
Inject this directly into my veins.
Take the punk, new wave vibes of Elvis Costello but strip it down and add ton of naivety and grit, throw in a production quality that's maybe a step below what he'd achieve later on and you have a hell of an album. It mixes genres (pop rock, new wave, blues, punk, and soft rock) and energy levels, varies itself in themes, and always feels genuine. The production, a little rough though it is, does feel pretty appropriate for the entire venture.
There's something about the music this man created that really has stuck with me throughout this project. I haven't loved all of it ("Blood and Chocolate" didn't particularly blow me away), but it's always been interesting and pushed some boundaries. I'll never hate that, and I certainly don't hate this. Four stars.
Standout Tracks: Welcome to the Working Week, Blame it on Cain, Alison, Sneaky Feelings, (The Angels Wanna Wear My) Red Shoes, Less Than Zero, I'm Not Angry
Venom
1/5
This is why people think metal is a joke. Nothing about this feels genuine or authentic. This is all a performance. Every single song title invokes some kind of horrible imagery, and brings to mind images of despair, violence, or else some kind of twisted concept.
And I know, I KNOW, I can hear you saying - "but that's the point! It's supposed to be over the top, it's supposed to be shocking!"
Sorry, I don't care. When every song is just relentlessly about the same thing, and when the thing feels so goddamn performative that it definitely isn't authentic, I just don't care. I have no belief that the guys in this band are Satan worshipers. Like, sorry but I cannot imagine people living their lives like that. It's an image, and it's a really shaky one.
Maybe that doesn't matter to metalheads, but it's never sat well with me when a band writes lazy ass lyrics about worshiping Satan or whatever. Like at least try to be creative with your lyrics, regardless of the topic. One star.
Standout Track: Black Metal
Incredible Bongo Band
4/5
You gotta love when a band is straightforward about their identity, so much so that it's literally their name. Incredible Bongo Band is an incredible band that includes bongos as a feature of their arrangements. The album name, "Bongo Rock," tells you exactly what's on the album.
No false advertising, no weird image or facade of the group, no deviation from what they say they are. They are Incredible Bongo Band, nice to meet you.
But ok, points for being honest about your identity as a band. So what? How's them music?
Fantastic. I'm already a big jazz and funk guy. I love me some great grooves, cool musical attitudes, and some instrumental melodies and solos. And drums? Well I'm a drummer so I'm biased, but I love a drum-centric album.
This is amazing. Some great covers (In A Gadda Da Vida, really?!?), some cool originals, and some incredible bongos. I can't say a whole lot more. If you love jazz and/or funk, this is just a fun ride through some bongo-centric music. Four stars.
Standout Tracks: Apache, Let There Be Drums, Last Bongo in Belgium, In A Gadda Da Vida, Raunchy '73
Nick Cave & The Bad Seeds
3/5
I was caught a little off guard by the gospel aspect of this album. Maybe I wasn't listening close enough to the other Nick Cave albums I've had so far, but I don't remember them including a gospel aspect. Nothing wrong with that, but when it seems to come out of nowhere, I think it makes that it might be surprising.
Anyway, the music.
It's one of the more compelling albums I've heard from Cave and the Bad Seeds, musically. The entire thing feels like it has a sense of urgency, like he needs us to know something and know it now, like he needs us to act on that knowledge and act on it now. That alone can make an album compelling. Lyrically, I don't really relate to much of the gospel-themed lyrics. But the music, man. Some of it just really hits and lifts you up. I know that's a lot of what gospel is meant to do, and I've always enjoyed a good, fun-loving, feel-good gospel vibes song. And there's a handful of that here. Songs with ascending key changes, uplifting and soaring instrumentals, and layered and loud instrumentation. I can't hate that.
I don't really know what the album was about, much, if anything in particular. But it was good listen and I have no regrets. Three stars.
Standout Tracks: Get Ready for Love, Hiding All Away, Messiah Ward, There She Goes My Beautiful World, Supernaturally
Drive-By Truckers
5/5
Whoa
I'd heard of Drive-By Truckers only in passing for years but never, ever heard a single thing of theirs. At least not knowingly. So when this came up, I had no idea what to expect. But with the words "Rock Opera" involved, I was definitely intrigued. Some of my favorite albums (American Idiot, Tommy, Quadrophenia) are Rock Operas, so I was definitely interested to see a Southern Rock take on one.
And I was not at all disappointed. This is a masterpiece. What an intriguing approach to an album - explore the roots and identities of Southern Rock through the tragic loss of members of the genre's biggest and most well-known band, Lynyrd Skynyrd. Deconstruct the myth, explore the implications of the culture, and seek to understand the heroes behind those legends better. I couldn't have asked for much more, honestly. I didn't even know I wanted this but here it is.
But that's the lyrical content. What's the music like? It's amazing. It embodies the 70's Southern Rock vibes and arrangements, while still remaining grounded in it's more modern production and the goal of the album. It never ventures into parody or trying too hard to be something it isn't. The band clearly knows the genre inside and out, probably having grown up worshiping the figures they're singing about. This is an album that could only have been written by people who did just that. It's a work of passion, a work created by people who clearly have this genre and these stories running through the veins as easily as blood does.
I love this album, and I appreciate the band for being so dedicated and passionate about it to put this into the world. Also, the idea of a song where the Devil tells everyone in hell that George Wallace is coming is so delightfully diabolical and such a great takedown of an awful man that I can't help but love them for recording it.
If there's ever something you're that passionate about, something you know like the back of your hand with your eyes closed, please channel that into something meaningful. Write a personal essay, write a song, record a podcast, produce some kind of art to express yourself. The world is better when people are able to do that. It brings fresh, meaningful ideas to the world and helps educate others in perspectives they never would have otherwise accessed. That is what they did here, and it shows. Five stars.
Standout Tracks: Days of Graduation, Ronnie and Neil, Guitar Man Upstairs, Three Great Alabama Icons, Wallace, Let There Be Rock, Plastic Flowers on the Highway, Life in the Factory, Shut Up and Get on the Plane, Greenville to Baton Rouge, Angels and Fuselage
Frank Black
4/5
Funny that I get a Frank Black solo album before I get a Pixies album.
This was alright. I really felt a lot of different influences throughout, some of which I really didn't expect. I don't really know why it needed to be an hour long; I think he could've cut some stuff out it would've been a better album for it.
This really does feel all over the place in terms of sound and influence. Some tracks feel like frantic punk rock, with screeching vocals and a fuck you attitude. Others feel like he's trying to channel classic rock or something more straightforward. Others still feel almost folky in influence. And then also maybe some reggae? Oh and country?
Sometimes an album feeling "all over the place" can mean it's scattered and isn't cohesive. I'd argue that this album is somewhere in the middle. It's like a meeting of two minds, each struggling for control and influence. A frantic aggressiveness fights a more calm, almost reflective voice. Sometimes they meet in the same song, sometimes they alternate tracks. But they're always fighting, back and forth.
I wonder if this has anything to do with the title of the album. Teenagers are often just trying to find themselves, to figure out who they are. And they try on different personalities and styles until they do. Maybe that's what he was going for here - trying on different styles to see which one stuck best as a solo artist.
Or maybe I'm reading too much into it. Either way - four stars.
Standout Tracks: Calistan, The Vanishing Spies, Speedy Marie, Headache, Sir Rockaby, Freedom Rock, Space is Gonna Do Me Good, Pure Denizen of the Citizens Band
The Triffids
2/5
What is a Triffid? Is it even a real thing? Well, no they aren't. They're a fictional, predatory plant that could move around and kill other living things. They're from a 50's science fiction book called "The Day of the Triffids."
Now, I didn't know that without looking it up. And I don't think you probably knew that when you listened to this album.
I kind of think that's all I needed to know, really. I mean I didn't know that going into this album, and that's probably a good thing. I would've thought less of this album going in, and that wouldn't have been fair. But come on - to name your band after a fictional plant from an obscure science fiction book from the 50's? I mean you do you...
This felt like the most generic light 80's rock I have ever heard good god. None of the lyrics are that incredible or insightful, the production feels like two dozen other 80's albums, and it's just...boring. It feels so safe, so *nice* and just so boring. What's something new that this brings to the table? What does it do exceptionally well that it deserves to be here? I'd love for someone to tell me. Because what does feel edgy (and there's little of it) feels derivative and the rest? A snore. Two stars.
Standout Track: Calenture
Suzanne Vega
2/5
I can appreciate a classic singer-songwriter album. Nothing crazy in terms of arrangements, personal, introspective lyrics, and simple production.
Some of this was cool, some of it felt a little too forced or like she was trying too hard to be interesting. I'd be lying if I said that after a while, some of the songs started to blur. They're all guitar and vocals-driven, with the occasional synth. So that didn't help.
I'll be honest, a lot of this felt like you'd have heard this in the lobby of a dentist's office in the 80's or 90's, or in an elevator. Or as hold music on the phone with your insurance company. It's all a little too safe, a little too straightforward to be super interesting. And that's a shame because it's pretty clear that she's talented and has potential. I just didn't see it realized here. Two stars.
Standout Track: Neighborhood Girls
Lenny Kravitz
4/5
It feels like Lenny Kravitz should've been bigger.
Maybe it's because I really only know him from his cover of "American Woman," or maybe it's because his peak seems like it was when I was younger than ten. I don't know. But it feels like he should've been bigger. Maybe he was.
Anyway. This was a fun album. The production feels ahead of its time, honestly. For being of the late 80's, it shook all the familiar trappings of the rock production listeners had become used to - lots and lots of reverb, synths, and an attitude that meant taking yourself too seriously.
None of that is here, and I am 100% here for it. This feels like a party, and that Kravitz wants the listener there. There's some hard rocking dance music, some slow jams that last for five or more minutes, and some loud horns that (at least for me) really tie some of the songs together.
It isn't all great, but man is it a fun listen. It's soulful, it's rocking, it's spiritual, it's funky, it's immediate, and visceral. And I really, really enjoyed listening to this. And I can absolutely seen why it's on this list. What an album. Four stars.
Standout Tracks: Sitting on Top of the World, Let Love Rule, Does Anybody Out There Even Care, Mr. Cab Driver, Blues for Sister Someone, Flower Child
Pixies
3/5
"Throw all your clothes on second side of Surfer Rosa and you leave me with my jaw on the floor"
An ex-girlfriend of mine loved this album. She didn't love me, in the end, but she loved this album. I even bought her a copy of it on vinyl, even though she didn't have a record player. It was college, I was dumb. Don't worry about it.
I expected so much more from this album. To be fair, it got better the further into I got, but it still wasn't amazing. I don't know, I've heard this album held up as one of the best of it's era, and it didn't necessarily strike me that way.
The highs here aren't that high, and that to me is kind of all I needed to know once I was done listening. Sure, there's nothing outright bad here (though I do hate the way the line "Your bone's got a little machine" is sung), but some of it is definitely grating ("Break My Body," "River Euphrates," "I'm Amazed"), and some of it is genuinely amazing ("Gigantic," "Where is My Mind?", "Oh My Golly!"), but to me that just evens out to a pretty ok almost good album.
The attitude is there, the innovation is there, the purpose is there. I just didn't like it as much as I thought I would. A solid three stars.
Standout Tracks: Something Against You, Gigantic, Where Is My Mind?, Cactus, Tony's Theme, Oh My Golly!
The Rolling Stones
5/5
This was already one of my favorite albums, and I couldn't have claimed to be able to list every track on it, nor do I know all the song formats or lyrics. But even with just a few listens, this album is persistently and consistently one thing, at least to me: a party. You don't remember every detail of a party you attend, you don't remember everyone you met, all the jokes you heard, or all the drinks you had, but you remember that it was fun. And that's what I knew going into this one - it's a blast.
I don't think I'd listened to it in full in quite a while, but "Tumbling Dice," "Rocks Off," and "Rip This Joint" are among some of my favorite songs, probably ever. Listening to it again with fresher ears, I was really left wondering throughout - is there a skippable song on this album? I guess MAYBE "I Just Want to See His Face," but it's between "Ventilator Blues" and "Let it Loose," and helps to bridge the gap between the two pretty different vibes of those songs. So if you're listening in full, I don't think you skip it. It keeps things moving, isn't too long, and serves as a nice reset.
Maybe they could've done without the couple of old blues covers in "Shake Your Hips" (though the Stones' version is superb) and "Stop Breaking Down" (a track I first knew as a White Stripes song, oddly enough), because they aren't necessary to make this a great album. They might've been fun B-Sides. As they are though, they're great and I don't think the album is worse for them.
But ok, enough nitpicking. Let's talk about what's great.
The horns. If I have any non-sexual kinks, it's horns (specifically saxophones, but also trumpets and even a trombone) showing up in rock music, especially where you wouldn't expect them. And the use of horns on this album (namely in "Rocks Off," "Rip This Joint," "Sweet Virginia," and "All Down the Line") is absolutely sublime. The volume and depth they bring to the sound, and the vibe. For me, it's part of what separates this from previous Stones albums. Sure, they could be raucous and loud, but the horns make this a party. Like a weird mix of rock n roll and old New Orleans jazz, and kind of early fusion style of rock that really scratches a very specific music itch. I don't really know how else to explain it, but it's an x-factor for me, and I love it.
The back vocals, especially on "Tumbling Dice" and "Shine a Light," also really had a ton here. For me, it's another vital element that adds to the party atmosphere, as if the Stones invited some friends over and they're all there just to sing and have a great time.
I also gained a new appreciation for songs I didn't used to care much for, like "Loving Cup," "Happy," "Turd on the Run" and "Shine a Light." I think I previously dismissed them, maybe because they're later in the album and the tracks I knew had already come and gone. I don't know. But they're just as important to the overall depth and variety of the album as the more raucous songs here.
I think that's the word I'd use to describe this album - raucous. A raucous party, filled with good times and ton of people sounding like they're having a blast. And I have a blast listening to it. I think it's among the Stones' best records, and it is more than deserving of a spot on this list. It's incredible. Five easy starts. Love it to death.
Standout Tracks: Rocks Off, Rip This Joint, Casino Boogie, Tumbling Dice, Sweet Virginia, Loving Cup, Happy, Ventilator Blues, All Down the Line, Stop Breaking Down, Shine a Light, Soul Survivor
American Music Club
2/5
This was...just ok...? I don't really remember anything about it, honestly. It's really spaced out and sparse in parts. It has some really genuine moments, some moments that seem authentic and inspired. But I'm sorry - "You're so pretty baby/you're the prettiest thing I've known" is such a bad, corny ass line that it really set a bad tone for me and this album. There may be some cool moments but at its core, this is basic, boring overly-safe soft rock that somehow found its way onto this list. That doesn't mean it's bad for what it is, it's just boring.
Two stars.
Standout Tracks: Bad Liquor
Jane Weaver
3/5
What an interesting album. I heard a number of influences here (some 60's Pink Floyd, some 80's synths, some more modern production sensibilities), and it comes together to form this almost amorphous sound, like a ton of related (some closely, some tangentially) ideas presenting themselves on the same album. Each song is uniquely different from the last, but the do all sound like they belong together. The sound is cohesive. I really have to give her a lot of credit here - it's not easy to make an album like this where all the songs sound so different from each other and yet still have the album feel like an album and not a collection of songs. Even the more lo-fi (I say more lo-fi because even the lower-fi stuff isn't that lo-fi) stuff feels like it belongs, as it still carries with it that spacey, airy feel that brings the whole album together.
I'll admit that my first listen didn't garner the above reaction. My first listen was dismissive. The second listen though, that really brought it all around. I'm glad I gave it that, because it earned another star for it. Three stars.
Standout Tracks: Did You See the Butterflies?, Loops in the Secret Society, The Architect, The Lightning Back
Aretha Franklin
4/5
What is there to say that hasn't already been said so many times?
Aretha Franklin is simply the best to ever do it. The Queen of Soul, she comes at each song with an easy intensity that makes you feel as if she has always been doing this at the level she does it. The emotion, the power, the intensity that flows through her voice is unmatched by any other singer. It sounds effortless, natural for her to do it. Nobody did it like her.
As an album, this does suffer somewhat from feeling more like an amalgamation of songs by Aretha and less like a cohesive album. These songs could've been recorded over a couple of years and thrown together like a compilation album. I don't really know how these songs tie together except that they each show off her incredible vocal talent. I guess when you're Aretha Franklin, that's enough. What more do you really need?
The instrumental arrangements are stellar though. You have a couple of options when arranging and selecting songs for an album that revolves around showcasing the singer's talents. You can have the arrangements be sparse and out of the way, clearing the stage for the singer to shine. Or you can have them match her intensity, meeting her energy and adding to it, building on the already strong talent. This album smartly went with the latter, and it so much better for it. The entire thing feels energetic and fun, and the instrumentals compliment her vocals perfectly. At times, it's absolutely electric.
Overall, this album is an excellent showcase for the talents of one of the world's most gifted singers. Aretha Franklin was one of the most complete and talented singers of her time, and this album serves as a wonderful tribute to that immense talent.
Four stars.
Standout Tracks: Chain of Fools, Money Won't Change You, (You Make Me Feel) Like a Natural Woman, (Sweet Sweet Baby) Since You've Been Gone, Good to Me as I Am to You, Come Back Baby
SAULT
2/5
I think what I felt most from this album was disappointment, and some confusion stemming from that disappointment.
On the surface, this felt like it was going to be a big statement of an album, one born out of the social and racial turmoil that came out of the death of George Floyd in 2020, and the uprising of the Black Lives Matter Movement and its newfound prominence in our society.
The spoken word poetry in the first track gave me hope that I was going to get what I expected. It plays like a prologue to something significant, something that is going to explore the black experience in America, to analyze it and critique it, to help the listener understand it.
What I did get, though, was something a little more surface-level. Some tracks have more interesting or profound lyrics that try to cut into the thick of what I described above. But some tracks? Some of them feel like a series of songs that relies heavily on the repetition of certain phrases or lyrics. These phrases range from deep-sounding to bordering on obvious or not carrying a lot of meaning outside of the surface-level. I don't like saying this, as I really hoped for something different. It's entirely possible that I just don't and couldn't understand the significance of some of the words, seeing as how I am not a black American. But still, as far as my own experience can take me, I didn't understand or connect with this on the level I was hoping to.
Some of the tracks are boring, some of them are slow. I really hate to give something like this, something that is clearly deep and meaningful to its creators in both a personal and bigger way, a low rating. But I just didn't find it to be what I expected, and I didn't connect with it like I wanted to. Two stars.
Standout Tracks: Don't Shoot Guns Down, Monsters, Pray up Stay Up
James Brown
4/5
James Brown is an incredible talent, obviously. You don't get the nickname "The Godfather of Soul" without being good at what you do, and without being incredibly entertaining.
And yet I get the feeling that this was before a lot of that. He'd obviously been on the scene for a while, but so many of his most recognizable hits are missing from this tracklist, so I can only assume this is incredibly early in his career and not before he became known as "The Godfather of Soul."
Like so many other black performers on this list, I can only assume that just listening to him perform isn't getting the full experience. I love the Beatles, but they didn't exactly do a lot more than perform their songs on stage. Listening to them perform live is getting more of the picture than listening to James Brown or Little Richard. So I regret that this experience was one reserved exclusively for my ears.
But ok, enough qualifying the whole thing. How was it? It was good. He clearly had a following by this point, given the screams from the girls in the crowd. The band is excellent - tight, skilled, and staying out of Brown's way as he takes center stage. There isn't much to dislike about this album, really. Save for maybe its length. At just 31 minutes, I wish there was more. Brown is electric in his performance and getting more would have been a treat.
My real issue with this album, and it's not even about the album itself, is that this is the only James Brown entry on this list. I find that to be absolutely ridiculous. An artist so influential in so many different genres deserves to have more recognition here. Hell, The Who included two James Brown covers on their first album, Led Zeppelin sends up James Brown in their song "The Crunge," and James Brown may be the most sampled artist in hip-hop history. And yet we only get one of his albums here. That's a travesty. Including more James Brown allows listeners to better understand his influence on music as a whole and helps inform their listens of other artist's work in a whole slew of genres. So that's a huge miss right there if you ask me.
In the end, this is a great album. Four easy stars.
Standout Tracks: I'll Go Crazy, Think, Lost Someone, Night Train
Wire
3/5
I'll be honest - when the generate spat this one out, I thought it said "Pink Floyd" and I was pretty excited. I've been waiting for literally any Floyd album to pop up but I'm nearly 450 albums and that's yet to happen. So I was admittedly bummed when, after half a second, I realized that wasn't the case.
But that's not fair to this album, and I'll try not to let my disappointment in what it wasn't influence my take on it.
I've never heard of Wire. This album felt like a pretty typical proto-punk album, if only a little more put together than most. It was fine. Nothing really blew me away, and I wonder if this is an example of a band being big in the UK but not here, thus its inclusion by the editors. That's debatable, but as it is, I'm whelmed. Three stars.
Standout Tracks: Reuters, Three Girl Rhumba, Lowdown, Brazil, The Commercial, Mr. Suit, Strange
Brian Wilson
3/5
I don’t think, as someone who didn't grow up with the Beach Boys in the same way I did The Beatles (with parents who listened to the latter and not so much the former), have the context to understand why this piece is so important to so many people, and why it hits so hard for some. I used to think the Beach Boys were a gimmicky band. Even once I moved past that notion, I didn't and still don't "get" Pet Sounds. I wrote that in my review, but I don't understand how it competes with or why people compare it to "Sgt. Pepper's."
So with my ignorance acknowledged, I came to this album with an open mind, but also ready to be blown away based on people's reactions and feelings about it.
I wasn't blown away, but I also wasn't overly disappointed. This felt like something on the same level as Pet Sounds for me, something that I can appreciate for its quality of production, the vocal harmonies, and the intent of the creator(s). But I just don't get it.
I guess I need someone to explain to me what else the Beach Boys have to offer besides the harmonies. I'm not hating on them when I say that, I just don't understand the hype and need it explained to me. Maybe I'll never get it...
Anyway, the album. There's some beautiful stuff here, and knowing that Wilson saw this as a sort of redemption of material he really believed in does add to how I enjoy and view this album. "Our Prayer/Gee" opens the album and the harmonies there are stunning.
On from that, it does feel an awful lot like a Beach Boy's album, which I've never been totally on board with. The amount of whimsy and silliness in some of these songs (the slide whistle?) is kind of off-putting for me. It muddles the message, or at least makes it harder to understand what it's supposed to be. Like there's a whole song about a barnyard...? Ok. And vegetables? Like, ok man, cool. Whatever you say.
The production of each song is layered, with different vocal elements and instruments stacked on each other to create what is sometimes a really interesting collage of sound, and what sometimes falls flat for me and is distracting.
I know this was my album for this day because of Wilson's death. I can acknowledge the importance of this man, his music, but I still don't understand it.
Three stars. It wasn't bad, it was always interesting, I just didn't get it.
Standout Tracks: Our Prayer/Gee, Old Man Painter/You Are My Sunshine, Good Vibrations
Ash
3/5
When this one started, I was all in. A hard, fast, driving guitar sound with plenty of distortion and awesome solo work? Something that sounds like there's stakes, that something is imminent? Sign. Me. Up.
Then it kinda slowed down a bit, but the intensity kept up, and I was cool with that because there was immediately some variety. Then it even got a little lighter with "Girl From Mars." Then it just kind of wavered between the vibe of the second, third and fourth tracks the rest of the album. Less distortion, less urgency, lighter vocals, and much less at stake. It got a little too samey as it went on.
What really summarizes my opinion of this album though, is this: I thought it was good, I just didn't think it was super interesting. Like it had all the pieces of an album I should love, and that made it kind of uninteresting to me. Which is a bummer because there's a lot of potential here for something really cool hear. There were flashes of Oasis, The Beatles, Nirvana, Pixies and plenty of other influences from across decades. It just came together as something that I didn't quite love. But still, solid. Three stars. I just see some lost potential here and that bums me out.
Standout Tracks: Lose Control, Girl From Mars, Gone the Dream, Innocent Smile
Tom Waits
3/5
If I remember correctly, there's a lot of Tom Waits on this list. So after two of his albums, I know there's more to come, and I just need to find a way to be ok with that.
I can say this about him - he does his very best to be different, to be interesting. Sometimes it works, sometimes it doesn't, but he's almost the furthest thing from predictable or formulaic.
And sure, some of his stuff is just downright weird. That's ok! I like weird! I can get down with stuff that's a little off kilter or maybe is a little challenging.
But this was hard to listen to at times. When you're trying to be different, sometimes you just hit the weirdest notes because what else can you do? You just need to be different.
It's also weird to me because I do think he can actually sing, but sometimes on this album he just decides not to do it well? Not really sure what that's about.
Look, he's creative, he's smart, he's interesting. But I just didn't come close to loving this and it's gonna get three sad stars from me. Sad because man it could've been better.
Standout Tracks: 16 Shells from A 30.6, Frank's Wild Years, Down, Down, Down, Gin Soaked Boy, Rainbirds
Destiny's Child
2/5
It drives me crazy when albums put the best songs right at the front, when they peak immediately and then the rest couldn't possibly be as good. That's what this does. This starts strong and then fades as it went, pretty steadily. I mean, you hit us with "Independent Women, Pt. 1," "Survivor," and "Bootylicious" right away. It's going to be downhill from there no matter what.
That's not to say the three members of this trio aren't talented, they obviously are. The harmonies they produce here are at times stunning. Their voices individually are also beautiful. But when the second half of the album is a bunch of slower ballads that all sound kind of similar to each other, well... it's gonna get boring and repetitive pretty quickly.
And then you end with a song that is so self-congratulatory and circle-jerky like the outro, and I just don't get why the album is structured this way. Like I dunno, maybe I'm in the minority here, but I don't need to hear an entire track of the three members of the group talking each other up and thanking each other. I get that they want the listener to feel more emotionally invested with a track like that, but I don't care and never could. Sorry not sorry.
This started great, faded steadily, and ended with a snooze. Two stars. Very disappointed.
Standout Tracks: Survivor, Bootylicious
3/5
This is my third Blur album, and I think I can say that while I "get" them, I don't love them like some people really do. I'm not saying I'd be on the Oasis side of the rivalry between these two groups, but I don't think I'm necessarily team Blur.
They're ok. But each album carries with it this sense of...aloofness? I don't think that quite nails it. Let's just say that it's painfully obvious these guys went to art school. Their music has this smartness about it, a sense that they know more than the listener does and there's some joke that they're in on and the listener, try as they might, just can't be.
This could also just be a cultural difference in humor and taste. But I don't really get the jokes when they're there, and I honestly can't even always understand the lyrics anyway.
For me, this album follows the same blueprint as the prior ones - some catchy riffs and melodies, some offbeat lyrics and themes, some lyrics I simply cannot understand, and a sense that there's a joke I'm not in on. Three stars.
Standout Tracks: Advert, Chemical World, Coping, Turn It Up, Resigned
Ladysmith Black Mambazo
4/5
I'm ashamed to say that all I knew of this group was actually a parody that Jimmy Fallon used to do on his old Late Night show (you know, when he was actually funny). He and the Roots would come on and do a parody of Ladysmith, which at the time I didn't get.
So years later I realize that they're a real group that actually made some amazing music. Then I got this album, and everything finally fell into place.
There is not doubting how beautiful the vocals on this album are. It's incredible what some of these guys can do with their voices, and the harmonies are sublime. When they really get on a roll and layer the vocals so that each section is doing something different, it's just infectious.
The only knock I'd have to level at this album is that, despite the beauty of each track, it does become a little repetitive after a while. There's little variation in the arrangements, so it starts to feel like each track isn't too different from the last. I think part of this is my own cultural ignorance, but also partly true as well.
On the whole, I'd be happy to listen to this album any time. It's just a joy to listen to. I really hope they aren't signing about anything awful. Four stars.
Standout Tracks: Unomatemba, Lomhlaba Kawunoni (The Earth Never Gets Fat), Yibo Labo (These Are The Guys), Rain Rain Beautiful Rain, Wawusho Kubani (Who Were You Talking To)
Sugar
3/5
Who is Sugar? What does "Copper Blue" mean? How have I never heard of these guys? Is there a reason I got them on this, the Fourth of July? Is it because the album has the word "Blue" in it? I had so many questions.
Some of these were answered. Sugar is a alt rock band from the 90's that I had never heard of. They definitely seemed to inspire a handful of bands I know of from later on (namely Foo Fighters The Hold Steady). I hadn't heard of them until now because, well, I don't think they were as big as other 90's bands.
Some of this is fantastic. The constant and relentless guitar tones move through this album as slick as can be, as though they coated in oil. They exist on a different plane, almost underlying the entire album and creating a base for the rest of the song. It's almost as if, at times, they are one long tone present in each song, serving as a basis for the rest of the instrumentation.
Sometimes it works, sometimes it's tiresome. Then there's the songs that break that formula, and those were some of my favorites on the album. They aren't a one-trick pony, even if the first three or four songs might've made you think they were.
You've got some pretty driving rock in some parts of this album, stuff you could see yourself cruising down the freeway to. There's some lighter, more radio-friendly tunes too. It's a great mix, leaving something for every rock fan to like.
In the end, it's good. It didn't blow me out of the water, and I'm not rushing back. But for an album from a band I'd never heard of until now, it's pretty good. Three stars.
Standout Tracks: The Act We Act, A Good Idea, Hoover Dam, If I Can't Change Your Mind
Miriam Makeba
3/5
The fact that this album got a release in 1960 on a major label astounds me. A female African vocalist singing in a different language does NOT strike me as a profile that would attract a lot of labels in the late 50's and early 60's. Clearly RCA thought differently and signed her and supported her. I'm dying to know that story and how she got this deal.
I'm really glad she did though. While I didn't love the album as much as others, it was a good listen. Makeba has a great voice, very listenable and full of energy. The backing vocalists also work well with her voice, and they come together to form one voice at times.
I do think the album as a whole suffers from the era in which it was produced. It feels like it was produced to be a jazz album, with elements and some cliches familiar to that genre. That, plus what was considered standard at the time for album like this (the way the backing vocals were recorded sounds all too familiar, like something I've heard a thousand times in other pieces from the era). The tracks that are sung in African languages (there were three present, apparently) feel shoehorned into an American, western aesthetic, leaving me wondering if that was some sort of compromise she had to make or if that's what she wanted. I can't imagine she had too much control or say in those matters.
This was a wonderful listen. It's the birth of a legend's career, the coming out of an artist who somehow got a record deal with RCA at a time where racial discrimination was still firmly part of American culture. I'll need to read about her story, because I can only imagine it's interesting. Three stars.
Standout Tracks: Mbube, Where Does it Lead, House of the Rising Sun
Public Image Ltd.
2/5
I got a few songs into this album before I thought to myself "Man, this singer really sounds like Johnny Rotten...I wonder if he did anything before the Sex Pistols...nah this is just an imitation, a band that heard the Sex Pistols and wanted to pick up the mantle after their breakup. That's gotta be it."
Nah it's Johnny alright. And it's not great. While I don't disagree with a lot of what he has to say here, it's delivered in a package that feels performative and not completely sincere. He clearly has something he wants to say, so why didn't I care?
This isn't what the Sex Pistols were like. Gone is the sneer, the middle-finger-laced vocals, the raging guitar, the feeling that the whole thing could implode at any moment (much like the band themselves...). It's all replaced with this self-importance and the sense that he's just taking himself far too seriously. The only tracks that don't feel that way are the best two in "Annalisa" and "Public Image," though even those aren't enough to save the album as a whole.
This feels like a deliberate attempt to do two completely contradictory things. It feels like it was meant to be a statement, an attempt to one-up his work with the Sex Pistols and make us all forget about them, while also still delivering something akin to that. The result is this album, one that at times takes itself too seriously and then also brings back some of that Pistols energy were all know and love. I don't really know what he was going for here, and I wish it was better. Two sad stars.
Standout Tracks: Annalisa, Public Image
Hole
3/5
I forgot while listening that this is actually my second Hole album. The first was "Live Through This," which I gave a solid three stars. I'm glad that I forgot about that album though, because it meant I could go into this one without any biases.
The first track is one I recognized immediately from countless MTV and VH1 promos and ads from the 2000s. The number of times I heard that opening vocal in shows like "Rock of Love" and "The Surreal Life" is unquantifiable. It's a great track though, and it opens the album showing us that this band has something to say. Settle in, they tell us, because we're coming at the industry and culture and telling you what we think.
From the tone of "Celebrity Skin," I expected the rest of the album to follow the same kind of attitude - heavy, somewhat dark, and with the potential to go darker. But as it went, it revealed a slightly more radio-friendly tone than I expected it to. Certainly still off the beaten path for most mainstream listeners of the time, but I'm sure a lot of this found airtime on alt rock stations, whever Nirvana was being played.
This was cool. Definitely better than the last Hole album, for sure. Courtney Love's voice is expressive, rough, genuine, and yet can have a softness to it when it's called for. The rest of the band really holds it together, too. No complaints here. Three solid stars.
Standout Tracks: Celebrity Skin, Use Once & Destroy, Heaven Tonight
Big Black
2/5
Not a single idea of what this was going in.
Not a single idea of what this was going out.
Spotify labels this as a few things - noise rock, post-hardcore, no wave.
I don't know what any of those are. I guess I can infer what noise rock is, but what the hell is "post-hardcore"? What is hardcore, for that matter?
I'm not denigrating these genres when I say this, it's just the context I'm approaching this from. I don't know what to make these because I lack any experience with these genres.
I appreciated that the album seemed to take it down a notch (generally) as it progressed. It made it more listenable. But honestly, man, I really didn't enjoy this. It's just chaotic music with a guy screaming over it. I can't get there with this one, and I don't even really want to try. Two stars, simply for the benefit of the doubt that I'm missing something here.
Standout Tracks: Jordan, Minnesota, Big Money
The Temptations
3/5
What a decade did to the Temptations. Or maybe they were always this funky and cool, and I just know the hits that weren't. Don't get me wrong - I love "My Girl" (it played at my wedding, after all).
But man was this a great, funky time. Nothing like what I expected. Right from the get go, you've got the funk hitting you in the face with "Funky Music Sho Nuff Turns Me On." I mean come ON. No way someone could hate that. And then the white flight/Black Power anthem in "Run Charlie, Run"? Let's go. And let's not forget "Papa Was a Rolling Stone," a song I didn't even know was there's until recently. But I sure heard it a lot as a kid.
I read that they thought this would flop. I can see why, especially if it's as big a departure from their old sound as I suspect it is. But the sheer talent on display here from literally everyone involved is amazing. From the Temptations themselves, to the production, to the backing band, it's a great listen throughout.
I could've done without "Love Woke Me Up This Morning," or at least I could say that I won't listen to it again. It, "I Ain't Got Nothin'," and "The First Time Ever I Saw Your Face" all should not have been sequenced together. It slows down the album immensely in the second half and it's only redeemed at the very end by "Do Your Thing." I've always had a hard time understanding why some albums have such a clear divide between sides - a funky side and a ballad side, in this case. I guess it's to give the listener the option, base which side they listen to on their mood. Maybe it was intentional - they thought maybe people wouldn't like the new funky sound so they gave them another side of stuff more similar to what made them famous in the first place. I dunno, but it didn't work for me.
In the end, it could've been a four or even five-star venture. But as it is, it's three.
Standout Tracks: Funky Music Sho Nuff Turns Me On, Run Charlie Run, Papa Was a Rolling Stone
Fleetwood Mac
5/5
So we've finally arrived at "Rumors."
One of, if not the highest, rated albums according to users of this site. The holy grail. An album that even outside this project has gained such acclaim that it often lands at the top or near the top of best of all time lists.
I thought it was very good, and absolutely deserving of a spot of this list. After reading about its tortured recording process, I find it even more impressive. To produce such high quality music (both in composition and production quality) under such extreme circumstances (namely, the band's two couples splitting up during the recording of the album. And yet it produced such plucky and optimistic tracks as "You Make Loving Fun" and "Don't Stop." The latter of those two I'd heard plenty of times (probably as a cover) but never in a million years would've guessed that it was Fleetwood Mac's original. And it sounds so much better on this album than any other version I might've heard.
The real standout tracks of this album are "Dreams," "Go Your Own Way," and "The Chain." Each deals with the fallout of ending relationships, each ending, perhaps, for different reasons. Each, also coming from a different solo or combination of writers, perhaps reflecting the writer's position on the end of their respective relationships. What an amazing, personal insight into a band's dynamic. The raw emotion of each of those songs captured almost in real time, as each member of those two couples was having to adjust to life without their ex-partner. How rare that must be, and then to have it happen to exceptionally talented musicians all at once, I mean - wow.
I wouldn't be surprised if this record was driven by the feelings of betrayal, loss, anger, grief and pride that all come up during a breakup. And to have all of that happen during the recording process, and to have it all on tape is incredible. Rare. Likely never to occur again. We are fortunate to have this historical ledger, both because of its musical accomplishments, but also as a document of the human response to loss of love. What a masterpiece. Five easy stars.
Standout Tracks: Dreams, Go Your Own Way, The Chain, You Make Loving Fun, Gold Dust Woman
The Byrds
4/5
At times slow and introspective, at times jaunty and whimsical, The Byrds’ “Fifth Dimension” really leans into the psychedelia of it all. Jangly guitars, high thin vocals with nice harmonies to fill them out, and tight instrumentation bring this album together. Sometimes it really kicks into high gear, and it shines in those moments. “Mr. Spaceman” feels like a lost Simon and Garfunkel track, akin to “Mrs. Robinson.” Sometimes the album slows down, and while the variety is appreciated, the slower tracks were far less interesting to me.
Overall this is a fun time, showcasing what the band was all about - psychedelic music that sometimes had something to say and sometimes was just meant to be fun and inject some whimsy into life. It’s a great example of what psychedelic rock was all about, and it came out during that genre’s peak. Four stars.
Standout Tracks: I See You, What’s Happening?, Eight Miles High, Captain Soul
Fever Ray
2/5
Nah.
The first track had with its mysterious atmosphere and layered synths. But when she started singing on the second track…it started to go down hill. I love a great female vocalist, but her voice is just grating. Maybe it’s the style or genre, maybe it’s where she’s from, but I just couldn’t do it.
I’m happy to say that the instrumentation and musical ideas expressed here are innovative and interesting. I can definitely give it that. But I just couldn’t get into this past that. Not just because of her voice, either, but because I just couldn’t relate. This one wasn’t for me. Two stars.
Standout Tracks: If I Had a Heart, I’m Not Done
Sepultura
2/5
You honestly can go read any of my other reviews of metal albums to know how I feel about this one.
I just don't care, and I just can't get into it. It seems like demands these high stakes, and I just can't get there with it. I don't care, I don't believe anything about it is sincere and that it's all for show, and I just don't want to listen to it again. I didn't hate it enough to give it one star; I would if I genuinely understood it and still didn't like it. But I didn't, which leaves me thinking I must be missing something. And I probably am. Two stars.
Standout Track: Subtraction
Leonard Cohen
3/5
Leonard Cohen just seems like a really chill old dude. Which is funny because when he released this album he was 34 years old. Funny how that works.
This album has an old soul, much in the same way a lot of Bob Dylan albums do. Also similar to Dylan albums - Cohen can't really sing all that well. But that isn't the point of the album, much like Dylan albums. The point is the stories, the emotional release, the meaning of the songs themselves. The performance merely seems like a vehicle for those stories and meanings. You could probably recite some of these as poems and they'd work almost as well.
You'd need to listen to this again with some intent to really understand what he's going on about, at least for some of the songs. Some of them drag a little and need more attention, and some just seem a little deeper in their meaning. Either way, it could use another listen. As it is, though, I gladly give it three stars. It was enjoyable and definitely comes with a soul and a sense of understanding of the world that not many albums do, especially those produced by a thirty-four year old. I guess that's what you get from the world's oldest thirty-four year old. Three stars.
Standout Tracks: Story of Isaac, A Bunch of Lonesome Heroes, The Old Revolution, Lady Midnight
John Lennon
4/5
I've gone back and forth on this album many times.
After my first listen, as a teenager, I largely disliked this album. John by himself came across as avant garde for the sake of it, and annoyingly "Look at me, I'm so interesting and different! Look at all the pain I've been through!" As someone coming off a huge Beatles phase, I wanted more Beatles-esque, John-type stuff. Another "Come Together" or another "Julia," if you will. I didn't get that, and I didn't get this.
Over the years I softened quite a bit on this album. There's a lot of emotional honesty I wasn't ready for as a teenager. I didn't understand it, so I rejected it. But I've grown to love the emotional core of this album. It's John saying a lot of the stuff he felt in the Beatles late period, but felt he couldn't say as Beatle. Or at least, not in the way he'd like to.
Here he is so much more blunt. I mean, "Mother" alone screams (literally) emotional honesty. It's raw, it's painful, it's beautiful. Of course, "God" is the real treatise of the album. While I do look at it as being the naive treatise of a newly-minted thirty year-old, one that's so egotistical and arrogant and hopelessly unrealistic, it is, in the end honest. As honest as he could be at the time anyway. The rest is in a similar vein. Oh and there's also "Well, Well, Well."
Nowadays I look at this album as somewhere in the middle of my two opinions of the past. Not a masterpiece like some claim, not Lennon's best solo effort, but also not the off-putting mess I found it as a teenager. This is a great album, deserving of its spot on the list. Four stars.
"I seen religion, from Jesus to Paul"
Standout Tracks: Mother, I Found Out, Isolation, God
Nitty Gritty Dirt Band
2/5
I have a lot of questions coming out of this one.
Did it need to be two hours?
How much shorter would it have been had they cut most of the instrumentals?
How much shorter would it have been had they cut a lot of the useless studio chatter?
And
Who the hell do these people think they are?
I'm sorry, but even if you absolutely love this genre of music, I find it hard to believe that you would also just be cool with this album being more than two hours long. Like, it's an insane listen. You couldn't possibly keep track of this thing.
But let's take a step back.
My ire towards this album is probably largely undue. I don't know the genre well enough to properly criticize or review this album fairly. I guess if you know all the country standards, that makes it a little easier. But I didn't know any of these songs until the title track, which comes at the end. It was a slog at times, and it's really easy to get lost in the instrumentals. They were fine, but there's too many. They felt like complete filler.
This didn't need to be a triple album. I'm also left wondering if the band is even considered a standout artist in their genre. Their name feels corny and forced to me, but the musicianship is pretty incredible, I have to admit. The production, too, is stellar. But the content just isn't my thing. Make this a single album and I'm all for a fun country romp that ends after an hour. Double it in length, add filler in the form of studio chatter and instrumentals, and I'm out. Two stars.
Standout Tracks: Nashville Blues, Tennessee Stud, Black Mountain Rag, You Don't Know My Mind, Avalanche, Togary Mountain, Earl's Breakdown, Will the Circle Be Unbroken
Mott The Hoople
3/5
I'm not even going to ask what "Mott the Hoople" means because it's probably some weird British thing you just had to be there for in 1973.
These guys really loved, Bowie, didn't they? That, or I'm just not familiar enough with glam rock to separate Bowie's influence from the genre as a whole.
This was cool. I mean, I feel like I'd heard this album a few times before in other glam rock bands (Bowie, T-Rex, etc.), but it was still cool. It's varied in sound and in vibes, and I can see the genesis of a certain sound and attitude in both 70's music and later genres as well.
I liked this a lot more than I expected to, but how much did it do to separate itself from other glam rock offerings of the era? Just enough to earn three stars. It's a vibe.
Standout Tracks: All the Way from Memphis, Violence, Drivin' Sister, I'm a Cadillac/El Camino Dolo Roso
Christina Aguilera
2/5
*Sigh*
It is such a shame that someone with the voice of Christina Aguilera was signed by a label and paired with producers that influenced her to make a record like this. I look at her and I see a career that could've been in more authentic, meaningful music. Stuff that wasn't built for the radio and the charts. But here we are.
The sad thing is, I do think they people involved thought this was an authentic, genuine project. Look at the length. Anything over an hour in the pop or R&B genre isn't necessarily going for the charts.
But this was boring, man. Sure there's some great grooves here and there, but man is it just boring most of the time. The songs all sound the same, Christina does her ridiculous runs and vocal flourishes all over the place and in places that do not require them, and it just feels so samey most of the time. Again, some tracks break that rule. But for the most part, I just wanted to listen through it, not to it. And that's never a good sign.
I wonder if her later work is any better. Because this thing mostly falls victim to its time in terms of production and sensibilities. Bummer. Two stars.
Standout Tracks: Can't Hold Us Down, Underappreciated, Make Over
The Black Keys
4/5
I discovered the Black Keys in college. The mix of blues and rock reminded me of The White Stripes (don't tell Jack White I said that...) but with a higher production value and better instrumentation from the rhythm section (no shade to Meg White). I found, too, that the emotional core of the songs was stronger and more genuine (talk to me about "The Lengths"...)
This album was certainly their commercial breakthrough. And while it might sacrifice some of that authenticity for commercial appeal, it still is an excellent record. "Everlasting Light" is such an excellent opener, oh my god. What a song. Almost funky, definitely bluesy. Really sets the tone for the rest of the record. Hell, the album itself starts off really hot with that, "Next Girl," and the two singles off this one, "Tighten Up" and "Howlin' for You." Both of those last two are so incredibly singable and fun to listen to. Ear candy at its finest.
The emotional core of the album is about either wanting love ("Everlasting Light," "Howlin' For You," "The Only One") or the fear of losing or anguish from just having lost it ("Next Girl," "She's Long Gone," "I'm Not the One"). It's a fine balance, and then there's also "Ten Cent Pistol," which is a moody as hell and I love it. And then don't even get me started on "Sinister Kid." What an absolute banger. Moody, soulful, bluesy and just an absolute vibe.
What works here really works for me. What doesn't work so well is fine, but there are skips. I don't need to listen to the slower stuff. "Never Gonna Give You Up" is a fine track, as is "These Days." But they bring down the mood established by the majority of the rest of the tracks. I love this album, but it isn't a no-skip situation.
An easy four stars. I wish it could've been five, but I really don't like the slow stuff as much here.
Standout Tracks: Everlasting Light, Tighten Up, Howlin' for You, Ten Cent Pistol, Sinister Kid
Leonard Cohen
3/5
What a weird turn from the last Leonard Cohen album from just a few days ago. Of course a lot of that is because of the year in which it was released. Not even someone like Cohen, a man who'd been in the industry since 1967 and who had long since found his voice, could avoid the 80's sound. The synths, the reverb, the airy background vocals, the drum machines - it's all extremely 80's, sometimes comically so.
That being said, I do think he takes that sound and does the best with it. Leave it to Cohen to do that. The songwriting isn't his best. "Ain't No Cure for Love" doesn't exactly strike me insightful or deep, for example. This album strikes me more as about mood, atmosphere. That's where he uses that 80's sound most effectively (see the title track, "Everybody Knows," "Take This Waltz," for examples). Somewhat like his other album of his I had last week ("Songs from a Room"), I don't necessarily know what many of the songs are about, but it's the mood that draws you in here.
I didn't really know what to make of this while listening, but going back to it after the fact I really do see this as more of a mood album and it excels in that context. Three stars.
Standout Tracks: First We Take Manhattan, Everybody Knows, Jazz Police
Air
4/5
When this started, all I could think was "Man, this sure sounds like Pink Floyd's early instrumental stuff. The synths. The saxes. The vibe."
But as it went on, they developed their own sound and vibe. Sure, some of the track names are kinda 2000's cringe ("Clouds Up," "Cemetery Party," "Bathroom Girl") but I think they do kind of fit well with this alternative vibe the album gives off. And I can't think of anything better, so what do I know?
It was only after listening to it that I realized it was a soundtrack. What a movie it must be, then. I'm now curious to watch it purely because of the soundtrack. It makes sense, though, given the abundance of instrumentals. It would've been easy for the tracks to sound similar to each other, given that soundtracks often have themes and leitmotifs. But not this one, from what I could tell. That honestly made it passable as a regular release album and not a soundtrack.
This was a good one. A fun listen. Really creative stuff, and really changing the expectations for albums from this list. This is an example of the kind of album I wanted to discover from this project, and I'm very glad to have heard it. Four stars.
Standout Tracks: Playground Love, Clouds Up, The Word Hurricane, Dirty Trip, Highschool Lover, Dead Bodies
Teenage Fanclub
3/5
A Scottish alternative rock band from the 90's that I've never heard of? Yeah that description didn't really inspire confidence.
But you know what? This wasn't bad. A little generic at times, a little derivative at times, but still a good time. Certainly nothing here to be offended by, nothing to be upset over. Am I dying to listen again? Not really. Did I NEED to hear this before dying? No. But there are far worse albums on this list that didn't need to be, and I'm not upset over its inclusion. Three stars.
Standout Tracks: The Concept, I Don't Know, Pet Rock
Taylor Swift
4/5
I first listened to this album in its entirety in preparation for attending The Eras Tour with my wife. My wife, it should be known, is a big Swiftie. My goal was not to become one myself, but rather to have the proper context for the tour.
Well, I became one anyway. I'm not the most intense one you'll ever meet. I don't know insane bits of trivia, and I couldn't care less about her public or private life. And I do find her omnipresence in our culture to be annoying and redundant at times. But her music is, undeniably in my opinion, very well made. She has a unique sound, one that has evolved over nearly 20 years in the public eye. She has evolved as a songwriter, as a singer, and as a musician. She knows how to pick her collaborators, and she knows how to write a hit. I feel no shame and suffer no embarrassment in telling you that I not only respect Taylor Swift for her talents and performance ability, I also genuinely enjoy much of her music.
Below is the review I wrote when I initially listened to her discography up to "Midnights." I mostly stand by it today, so I figured I'd take the easy route on this one and reuse it here. But then I this preface, so here we are, I suppose.
~~~~~~~~~~~~~~~~~~~~~~~~~
A pop masterpiece. Even the songs I left out of my standouts are excellent. This was, by far, her most sonically consistent album up to this point in her career. Everything has this airiness, this light breathiness about it that is so consistent throughout. It unites the album and makes it feel more like a cohesive piece of art than anything she'd done before. The themes are a little more mature (not saying they ARE mature, but more so than prior albums which felt much more fairytale love song), the sound is more complex and produced, and the overall effort is to be applauded. This was the best album she'd produced at this point in her career. Very impressive. Hit after hit, you can't find anything wrong with it.
All of that applies to every song except "Shake It Off." "Shake It Off" does not belong on this album. At all. Sonically, it's completely different. Gone is the airiness of the rest of the songs. Gone are the more grown up themes. Gone are the more interesting, more mature lyrics. This song was written to be a radio hit. It was released as the lead single. It would have been better as a non-album single. Or a song she wrote for someone else. Or a vault track later on. It doesn't belong on this album. She chose this over "New Romantics," a track she left off the album entirely and saved as a bonus track???
I didn't much care for "This Love," "How You Get the Girl," or "Clean." But they're still good songs. I feel like "I Know Places" is an early look into what she would do on "Reputation," the subsequent album.
I find this to be an entirely enjoyable pop album that, while it doesn't have much new to say, really scratches that pop music itch we all have, whether we'd like to admit it or not. I'm happy to admit I do, and I'll scratch away all day. Four stars.
Standout Tracks: Blank Space, Style, Out of the Woods, Bad Blood, I Know Places
Tori Amos
3/5
From an album named for the singer's birth year (Swift's "1989") to an album released in mine. Feels fitting. Even more so when you consider that this album and Amos herself must've been influences on Taylor Swift. I definitely hear a lot of places where Swift, directly or otherwise, must've found influence both in lyrical content (personal songs about interpersonal conflicts and relationships) and in tone (especially in her more recent releases). I also thought a lot of Lorde during this album for similar reasons.
Now as for this album...it was alright. It definitely got better as it went on. Tori Amos undeniably has a great voice - powerful and strong when necessary, quiet and thinner when the moment calls for it. But "piano rock," as Spotify labels it, has never been my thing. A little too dramatic for my liking, a little too high stakes at times.
This is an album I likely never would've sought out, put on, and listened to in its entirety. And while I didn't love it, I do appreciate Amos for her obvious talent and can see why she achieved the fame she did. Some of the more bluesy and scaled back numbers were my favorites and will definitely be making the playlist I keep from the albums in this project. She's a wonderful talent who just made music that wasn't quite my thing. But I can appreciate that. Three stars.
Standout Tracks: Girl, Precious Things, Happy Phantom, Leather
Giant Sand
2/5
Who or what is a "Giant Sand"? Do you know? I don't know...
So then, what is this album? Why does it have an overture? Is it a musical? A rock opera? Should more albums have an overture? Is the overture actually an overture, with themes from various songs throughout it?
Answers:
I still don't know what a Giant Sand is
I don't know why it has an overture
This album is neither a musical or a rock opera
More overtures could be cool, I dunno
I don't think it's like real overtures
Glad we cleared all that up
This album sounded like a lot of things. Sometimes it felt like if Tom Waits chilled the fuck out and wasn't creepy or weird or sounded like a complete demon at times. Then it also sounded a little country...? It was a little psychedelic at times. Metal, hard rock, experimental, lo-fi and softer piano music are all things I heard on this album.
It would be easy it write this off as an experimental album, one without much direction or cohesiveness. You could say that the only real thread is the singer's voice, which is just ok and sometimes sounds a little out of tune. But I don't really want to do that because that feels too easy. Ultimately, though, I don't really know what else to say, other than that I liked what I liked from this album and really, largely was either ambivalent toward or just didn't like the rest.
Two stars. And I feel weird giving it that because I have five standout tracks from this one. But those tracks are exceptions, and I really don't think the album comes together as a whole.
Standout Tracks: Temptation of Egg, Wolfy, Shiver, Astonished (In Memphis), No Reply
Happy Mondays
2/5
I'll admit to writing this review three weeks after actually listening to this album, so my perspective has likely shifted since then. That being said, the fact that I don't really remember this album three weeks later, even after listening to samples on Spotify again, is telling.
Listening back, I find that a lot of the songs, at least at a glance, sound similar in tone. None of them come back to me as familiar, and I assume that's because of the similarities between them. To me, this comes across as a largely generic late 80's rock album by a band that probably had a much larger impact in the UK than they had here in the States. Sorry to all the Happy Mondays fans out there, but I just didn't get this one. Two stars.
Standout Tracks: Country Song, Wrote for Luck, Lazyitis
Little Simz
4/5
Thus far, British rappers haven't gone over well with me. Dizzee Rascal and Skepta have been the two that I've heard and both times I've read that the sub-genre of "grime" is attached to them. Yes, very appealing...
What I mostly didn't like about those albums was the cockney accents. My god the way some of those guys pronounce words, almost like they're whining or straining to get some of the words out, it's hard to listen to. Combine that with the tough guy front these guys put up and the whole thing feels very...well not authentic.
This felt different. This felt a little more genuine. The arrangements are definitely more engaging. Her voice and annunciation are waaaaay more listenable. Top all of that off with her excellent delivery, flow, and lyrics and you have a much more accessible album. it demands to be understood not just because Little Simz herself commands attention by grabbing our ears, but because the urgency of the tracks as a whole do as well.
But seriously - the arrangements are killer. The loops and beats here are so creative and different than most I've heard of an album from this genre and era. I'd happily listen to this again just as an instrumental album, honestly.
I was very pleasantly surprised by this, and I'm very happy to say I enjoyed it. Maybe all the rap to come out of the UK isn't so bad, after all. Four stars.
Standout Tracks: Offence, Wounds, 101 FM, Flowers
Alice In Chains
2/5
The number of times I have heard about Alice in Chains, only to realize that I had never knowingly heard any of their music is honestly pretty comical.
I've had mixed results with grunge and hard rock like this. Generally, I lean towards liking most of it (Nirvana, Pearl Jam), but when it gets a little too hard rock, that's when I start to fade with it. This comes in as being too hard for my liking. Too reminiscent of metal. I really don't like metal, as I've come to learn, and I really was hoping to avoid anything like it moving forward.
So from the first track I was biased, I'll admit. But for me, seeing track names like "Down in a Hole," "Sickman," "Rain When I Die," and "Hate to Feel," I just have a really, really hard time believing that anyone could be such a dark person to seriously create music on that level that I just tune it out. And I honestly tuned a lot of this album out, unfortunately. I hate saying that, but it's true.
Two stars. It wasn't poorly made, I didn't find it offensive, I was just happy when it ended.
Standout Track: Rooster
Radiohead
3/5
I guess you could look at my other Radiohead reviews to understand how I feel about them, because this album didn't change much for me. But you probably aren't going to do that, so I'll summarize it below:
Radiohead makes music that is sometimes obtuse, sometimes interesting, and sometimes both. Their music is sometimes challenging, and sometimes easy to understand. What it never does, though, is stray from any of those things. You hear a song, you know it's a Radiohead song. Maybe it's the unintelligible vocals. Maybe it's the guitars or synths. Maybe it's just the general vibes. I don't know. But you know it's them.
I could never hear another Radiohead album in my life and I would be 100% ok with that. I just don't get it. I never have. Thom Yorke may be singing the most relatable lyrics in the world and I'd never know it because you simply cannot understand him. The music is cool but it starts to sound a little samey after a while, album to album.
Three stars. It's perfectly fine and what I expected from a Radiohead album. Which isn't always a good thing.
Standout Tracks: 15 Step, Bodysnatchers, Faust Arp, Jigsaw Falling Into Place
The Smiths
3/5
I loved the last Smiths album I had. I was surprised, given how I've reacted to a lot of other British bands from the 80's to this point.
This was no different than the last one for me. Just a really competently put-together album with catchy melodies, great instrumentation, and a driving rhythm section. And a sax, I think, on "What She Said." (Nothing in the personnel notes I can find indicates that it's a sax, but who knows).
I never expected to give a Smiths album anything but 2 stars or fewer. I'm happy to have given one four stars and this one three stars. Who knew?
One thing I also didn't expect was for the title track to be a literal protest song against the meat industry. I guess I thought they were a little more cheeky than to be so upfront about something. But hey good for them.
Standout Tracks: The Headmaster Ritual, I Want the One I Can't Have, What She Said, Barbarism Begins at Home
Wu-Tang Clan
4/5
So, I've had albums from two Wu-Tang members - Raekwon and Method Man. I wasn't particularly fond of either album. They seemed meandering and self-indulgent. I went so far as to say about the Method Man album - "If this is what Wu-Tang is, I don't think I like Wu-Tang."
Turns out, those albums don't represent Wu-Tang as a whole. That much was clear from this album. While the solo material felt more like offshoots and indulgent side projects, this album (the first in the Wu-Tang discography) feels much more directed and cohesive.
This feels like a much more collaborative effort than anything else they might've done solo. And those solo albums weren't even necessarily solo (Raekwon had so many features from other members it was kinda crazy). I think because they had to make room for everyone to get lines in, and with more creative voices in the room, ideas get trimmed down to their core. The fat is removed and what's left is a true collaborative effort, both lyrically and musically.
Do I know a lot about what they're rapping about? Not at all. Of course I don't. I rarely do, especially with gangster rap. It's not relatable. I couldn't tell you if anything they said here was profound or not. But I did enjoy listening to it. The 90's hip-hop/rap sound never, ever gets old to me. And they pull it off exceptionally well while also dialing up the intensity higher than what I've heard to this point. Each one of them attacks the songs with an intensity and aggression that really cuts to the emotional core of the record. They're angry, they're intimidating, and they're great at what they do. Four stars.
Standout Tracks: Bring Da Ruckus, Can It All Be So Simple/Intermission, Da Mystery of Chessboxin', Wu-Tang Clan Ain't Nuthing ta F' Wit, C.R.E.A.M, Protect Ya Neck
Throbbing Gristle
2/5
I don't know what a throbbing gristle is and I don't think I want to find out.
I can only imagine how innovative this was in 1978. Not only because of its impeccable sense of tone, mood, and atmosphere. But also because of it's instrumentation. I'm only guessing, but 1978 feels like pretty fertile ground for experimental music like this.
That's pretty much where my admiration for this album ends. Innovative? Absolutely. Entertaining? ...eh. I can appreciate this for what it did for a genre and an instrument. I can appreciate it for how impressive it is to have been recorded in the era it was. But I would not choose to listen again, and I don't really think I needed to before I died.
In all, this is a fine example of an album that made the cut as an historical document, as a monument to progress in a genre, but not for the quality of its music. But that's just my take. Two stars.
Standout Track: AB/7A
The KLF
4/5
So this album was surprisingly hard to find. Sounds like the artist feels the need to remove some of their art from circulation from time to time, and replace it with updated versions of their own. I don't particularly love that, both especially but also for this project. It's their right as artist, but making it difficult for people to find your work isn't exactly helping grow your identity. Maybe they don't care about that. I ended up finding it on YouTube.
The album itself is a great listen. Great loops, intense feel, and good samples. It feels dated in places, but it also feels on the forefront of what would become that 90's club sound. It's a nice mix of club and hip-hop and rap. The vocals are some of the most dated-sounding, and yet they're still so much fun to listen to. Maybe that's nostalgia, maybe that's because they're genuinely great. Maybe it's both.
This album feels like a time capsule, a document from a time that is generally considered one of the most innocent and prosperous times in recent history. I didn't quite get the mix of live and studio tracks, but I will say that you could hardly tell which were live and which were studio. That's just how good the production value is here, and how good they were at what they did. Great listen. Four stars.
Standout Tracks: What Time is Love?, 3 A.M. Eternal, Last Train to Trancentral, The White Room
Frank Sinatra
3/5
I happen to love Frank Sinatra. I think his vocals, simple though they may sometimes be, are incredibly clear and filled with emotion. He may not have been the best vocalist ever to have lived, but he knew what was right for each song he recorded and performed. So the, it makes a lot of sense that he felt he could put together a series of albums for different moods, different situations, and different feelings.
I'll tell you that I don't always love his ballads. I think that, while beautiful, they don't always grab me like his other, more jazzy numbers do. I like the fun, swingin' sound of vocal jazz, not the overdone and drawn out ballads. They're often too slow and seem to demand that the listener take a journey with them. They're far from easy listening at times.
So an album full of these "adult contemporary" tracks, wallowing in self-pity and longing for a lost love didn't really appeal to me off the bat, even if Sinatra was the man behind it. But I do have to say, it's a great album. The production and arrangements of each track do feel somewhat dated (Nelson Riddle does have a very specific sound, doesn't he?), but they work because we know they're a time capsule. Overall I'd say the album has aged well enough, and is still worth a listen.
But as much as I love Frankie, as much as I love his voice and as much as I love Nelson Riddle, there are only so many ballads I can take before they start to blend together and the album starts to feel repetitive. And for that, the album gets a solid (but to me, disappointing) three stars.
Standout Tracks: Deep in a Dream, Can't We Be Friends?, When Your Lover Has Gone
Morrissey
4/5
Second Morrissey-related album in a week, and I can't say I'm complaining. Where once I thought that The Smiths and Morrissey would just annoy the hell out of me, I have grown to realize that I actually enjoy their music. This album was no different.
Smiths experts will be able to tell you the distinct differences between the band's work and Morrissey's solo material. I cannot. To me, this mostly sounds like another Smiths album. Again, not a complaint but definitely an interesting observation. Usually when an artist goes off on their own, they try for a different sound and to separate themselves from their prior work with a band. An image change. Morrissey doesn't seem to do that here. To me, the uneducated in Smiths lore listener, this is another Smiths album.
But hey it's a great time. He seems to have a knack for writing songs that have a certain knowing quality about them. Like he makes certain conceits to the listener. He knows he's singing a song for a listener and that they may not take it as seriously as he does. Does that make sense? I'm even sure what I'm trying to convey here. But there's a certain knowing about his songs that make them feel a little more accessible than I would've expected.
Some of this felt a little too poppy for me, but most of it was great. It has its own feel, and covers a spectrum of moods and topics that it comes across as earnest and real. This doesn't come across as the product of an artist wanting the spotlight for himself. This was the product of an artist who knew that he had more things he wanted to say and was at the top of his creative game and wanted to see what he could do on his own. And he did a great job. Four stars.
Standout Tracks: Alsatian Cousin, Angel Angel Down We Go Together, Late Night Maudlin Street, I Don't Mind If You Forget Me, Margaret on the Guillotine
Brian Eno
3/5
Brian Eno said that ambient music (as he coined it) is "as ignorable as it is interesting." He certainly nailed it. And I don't mean that as an insult in the slightest. I found this album to be quite good at what it does - being good background music that invites a sense of calm and introspection. I thought it excelled at that brilliantly. And I think that's the best way to review and talk about this album - through the lens of its purpose and intent. Eno set out to do something specific here. He set out to make an album that was ignorable while still be interesting. That sounds like an easy task, but I'd imagine it was actually quite challenging. I really think he nails the concept, and should be celebrated as having done so.
I wish I had more to say, but this isn't album that necessarily warrants or invites much deep criticism or analysis. It works, and that's the most and best I can say about it. Three stars.
Standout Tracks: 1/1, 1/2
The Divine Comedy
4/5
I gotta say, I really disliked the other Divine Comedy album I had earlier on in the project, "Casanova." I thought it was strange, somewhat tone deaf, and overall just a weird flop of an album that combined a lot of ideas and one persona into an album and just was off-putting.
This was very different. This was their follow up album to "Casanova," and the energy and feel is still light and fun, but feels tighter and more directed. Maybe I've heard more music of a similar ilk since and am more willing to buy into the concept and just go with it. Maybe I was in a bad mood the day I heard "Casanova." I don't know. But this was a great listen. Neil Hannon's voice is captivating. It walks the line of corny character actor and geuine performance at the same time and does so brilliantly.
"Everybody Knows (except you)" is insanely catchy and I could still sing it days later after only listening once. The string and horn arrangements are wonderful, and really had a fullness to the sound that ties the album together. I loved the guitar work too. I dunno what it is about the sound, but I adore it on this album in a way I didn't on "Casanova."
I really wanted to give it five stars. But I can't. It does meander a little bit for me ("Timewatching," for one) and it does feel a littttttle corny in places. I think that's a symptom of the era, the influences, and the genre. But still, it's there.
Overall, a very surprising four stars. I'd love another album just like this.
Standout Tracks: In Pursuit of Happiness, Everybody Knows (except you), I'm All You Need
Curtis Mayfield
4/5
There is just something so innately cool about Curtis Mayfield. He's slick, he's sly, he's cool. So from a personality standpoint, he had me from the word go. But then throw in the orchestration, the arrangements, and the sax, and you have an instant winner for me. I don't care who it is - give me an album like this and I will eat it up and ask for more.
This genre is so untapped for me. I haven't explored it nearly enough to full grasp on it, and I hope to god there's more funk on this list. Please. Give it to me. Four big stars.
Standout Tracks: Little Child Runnin' Wild, Pusherman, Junkie Chase, Superfly
Kate Bush
3/5
You good, Kate?
Honestly wasn't sure what to make of this for a while. It's got such a strange tone and sensibility to it. Weird synth sounds and sound effects, odd voices coming from Bush as though she were doing a character, and seemingly strange topics. Oh and the screaming on "Pull Out the Pin."
This felt more like an abstract art piece you'd hear as an installation in a museum and less like a pop music album. That isn't a bad thing. In fact, I found it refreshingly interesting than a lot of other albums on this list. It isn't formulaic. You can't predict what's coming next. And everything she puts into this helped to create a sense that this was a genuine, heartfelt expression of emotion and thought from Kate Bush. That is rarer than it should be from a pop album, and I appreciated it very much.
Is it my thing? Would I listen again? Probably not. But it held my attention for longer than some other albums and I applaud her for her innovative and creative approach to music. I'm sure it was seen as even more innovative and creative in its time. I'd be shocked if it didn't push boundaries in 1982. Three stars.
Standout Tracks: Sat in Your Lap, There Goes a Tenner, Pull Out the Pin
The Jesus And Mary Chain
2/5
A snooze fest, honestly.
I still don't know how to define "shoegaze." I'd never heard of the genre before embarking on this project, and I have had several albums that fall under that label since. I can't define it, I don't know its origin, but I know I don't like it.
This wasn't a whole lot different, except that it was largely boring. Vocals from a guy who sounded like he doesn't care about what he's singing and who was kinda hard to understand. Guitars soaking in reverb and pedal effects that they lose coherence and intrigue. Most songs were at the same tempo. The whole affair was just largely boring and felt like a slog. It's a bummer, because these guys are/were probably a solid act. But this album can't be the best representation of their work because it was a snooze fest. Two stars.
Standout Tracks: Down on Me, Nine Million Rainy Days, April Skies.
Throwing Muses
2/5
I'm going to put aside the fact that this album was a challenge to find (not on Spotify, not on Apple Music, and not on YouTube in an official capacity). It happens, and I get it. It's just annoying.
This felt like a cool post-punk album with just the right amount of weird. Plenty of attitude. Some grit. Some angst. There was a certain element of being above it all, which was a little off-putting. Like they knew something I didn't, or knew more than I do, and that I was kind of an idiot for not knowing what they do. Maybe that was just perceived, I dunno.
This entire album is just kind of there. Interesting at times, forgettable at most. I feel like it could've been so much more exciting than it was. Oh well.
Two stars.
Standout Tracks: Call Me, Hate My Way, Fear
The Cure
2/5
Noise. Just a shit ton of noise.
I honestly didn't know what to make of this album. I know I didn't really enjoy it for the most part, but I don't even think I "get" it. Like I can dislike something and still "get" it. But I neither like this nor "get" it. For one, the super whiny Brit Pop voice shows up again and I simply cannot stand that sound (look at "One Hundred Years" or "A Short Term Effect" for early examples of what I mean). I have a hard time imagining a record executive or a producer hearing that and thinking "Yup, that sounds great!" It makes me want to cover my ears and never uncover them.
I will give it this - this is far from the pop rock sound I know they eventually adopted as the 80's went on. This is original, uncompromising, and at least feels like an honest and genuine attempt at something different, something bold. But it really just wasn't for me. Like, at all. It didn't cure my distaste for this era of British rock. Two stars.
Standout Track: The Hanging Garden
4/5
I tell ya - I was ready to roll my eyes at this. I assumed it was a boomer fave, one that someone in their 60's would tell you was the best album from a band that never made it as big as they should've but that, in reality, was a just ok venture from a band that hit their peak early.
And you know what, a lot of that may be true. But it's great. They move through genres, adding and subtracting instruments and layers with confidence and skill. They went for a dynamic album - one that is bold and brash at times with loud arrangements and layer after layer, but that could also be soft and tender with just as much thought and precision put into simpler arrangements. They really show off a lot of skill here in that way.
I'm surprised this album, in this psychedelic genre, came about when it did. It felt like, by 1970, psychedelic rock was kind of on its way out. But even if its late for its genre and era, it's a hell of a listen. Fun, bold, and bombastic at its best. Four stars.
Standout Tracks: Prelude - Nothin' to Hide, Nature's Way, Animal Zoo, Mr. Skin, Space Child, When I Touch You, Street Worm, Morning Will Come, Rougher Road
Solomon Burke
3/5
I feel like this album falls victim to the same detriments that other soul albums of this era have, at least for me. Little Richard, James Brown, Sam Cooke and now Solomon Burke were all excellent performers whose albums I have been handed as part of this project. And in each of those cases, I have lamented that this purely audio experience cannot capture or represent both the impact each artist had on popular culture and music, nor can it demonstrate their insane performance skills. Burke has an ability to really reach, to wail and to pour all of his being into his voice. Simply hearing it is great, but to see the performance is to know it. And you don't get that here.
Should I hold that against the album? Is it the album's fault (or Burke's) that this was released at a time when music videos and live performances couldn't be viewed on demand? No, I shouldn't. And I'll try not to.
I could listen to Burke sing literally anything. He has such an infectious voice and soul about him. But beyond his voice, the backup singers are absolutely pouring out their souls into these tracks as well. And while they sound dated, the effect isn't lost. The band, too, is excellent. An album like this can't work without these elements. The one thing I would say that's a negative about all of this is that, after a while, the energy gets a little overwhelming. I wouldn't have minded a few breaks of slower songs in there to break up the energy. But that doesn't detract from it being a great album, because it is. Three stars.
Standout Tracks: Goodbye Baby (Baby Goodbye), If You Need Me, Can't Nobody Love You, Someone to Love Me
Motörhead
3/5
I wrote a review earlier in this project where I admitted that I once thought that Earth, Wind, and Fire were a joke but that the album I listened to convinced me otherwise.
Well, it has happened again. I thought Motorhead were all style and no substance. I thought there were some metalhead band that I would roll my eyes at and just wait for the album to end. I was entirely and completely wrong. This is awesome.
Were there like three songs that sounded like "Ace of Spades" (including that song)? Yes. Did it get a little repetitive after a while? I guess so. But man are these guys excellent musicians. And that is the core of this album for me. Each member demonstrated track after track that while they may not be singing about anything totally deep or super meaningful, they absolutely put effort into both practicing/being excellent at their respective instruments and at arranging their songs to maximum effect and to play at their strengths.
I'm not a Motorhead fan after this, but there is a newfound respect for them after listening to this. I hadn't heard anything else from them except "Ace of Spades," as I suspect many other listeners had not. But I'm happy to have listened to this and would welcome any other Motorhead albums should they pop up. Three stars.
Standout Tracks: Ace of Spades, Stay Clean, Iron Horse/Born to Lose, Bomber
The Kinks
4/5
So this is the version, the sound of the Kinks that people adore so much. Ok, I get it now.
This was such a fun listen. Such a light sound, such low stakes. But still driven and creative, different and off beat (not literally). Something about this album still sounds so fresh after nearly 60 years. "Picture Book" feels like an indie band could have recorded it today and it wouldn't be out of place.
There's so much positivity and good feelings on this album. It's relaxed. It's got a youthful energy about it that is infectious and keeps you coming back for more. I honestly would listen to this for a week and probably still find new things to like about it.
I do think it tapers a little near the end, personally. It peaks in the middle and starts to meander a little in tone and interest, at least for me. But that doesn't detract too much. Four stars. Close to five, but not quite there.
Standout Tracks: The Village Green Preservation Society, Do You Remember Walter?, Picture Book, Last of the Steam-Powered Trains, Village Green
Pink Floyd
5/5
Hard to believe that this is my first Pink Floyd album while doing this project.
I'm not at all a stranger to the Floyd. Along with Green Day, The Beatles, The Who, Blink-182, and My Chemical Romance (the latter two tragically left off this list!), the Floyd were one of my many phases I went through in high school (and I wasn't even a stoner; go figure). I poured over all of their music, but definitely fixated the most (at least in high school) on this album.
Listen to it once and you don't know what the fuck is happening, but you know you like the music. Listen to it dozens upon dozens of times and you maybe know some of what is happening (but not nearly all) and you love the music. Well, most of it.
The story is decent. The idea of building a metaphorical wall around oneself to block out all the influences that seek to bring you down is intriguing. The story (eventually) comes to its logical conclusion of the wall being torn down. But this only comes after my main gripe with the record - the weird, "I'm a fascist dictator now" part of the story. Yeah, I get that it was all in his head (I think), but I don't think it follows at all and I don't think it adds anything meaningful to the album. I mean, "Run Like Hell" is a great song and I love the guitar on that track. But it didn't need to be part of this arc. Suffice it all to say, the fourth side of the album (save for the final few tracks) really didn't need to be here. That, combined with Roger Waters's obvious and persistent need to remind us that his father died in WWII ("Bring the Boys Back Home," "Vera"), tragic though it is, also doesn't seem to serve the story much. It feels like the band, namely Waters, was struggling to flesh out a third act and this was the best they could conceivably come up with.
But even the best double albums almost always have filler. They can't all be bangers, as they say. The first half of this album is a stunner, the second half is strong, the final quarter is the weakest part of the whole venture. But it's still a masterpiece and I wouldn't trade it for anything. Five stars.
Standout Tracks: In the Flesh?, Another Brick in the Wall, Part 1, Another Brick in the Wall, Part 2, Mother, Young Lust, One of My Turns, Hey You, Nobody Home, Comfortably Numb, In the Flesh, Run Like Hell, The Trial, Outside the Wall
Jurassic 5
4/5
A great, smooth rap album. Reminded me a lot of Tribe. Makes sense, since they're contemporaries. Lots of jazz samples, brought in some funk and soul elements. This is the kind of rap I like, I've found. It has something to say, it takes itself seriously, and the people behind it are coming at it with an artist's approach. They're trying to make a statement that is damn satisfying to listen to, one that keeps the listener returning.
The entire thing is smooth, flows, and is a joy to listen to. The more of this, the better. Four stars.
Standout Tracks: This Is, Freedom, If You Only Knew, Break, A Day at the Races, Thin Line, Hey, I Am Somebody
Wilco
4/5
Gotta be honest - did not expect a double album from Wilco to slap as hard as this did.
The sheer amount of influences present on this album is crazy. Early on in this I heard some Exile-Era Stones, then later some Dylan, Beach Boys, Beatles, Neil Young and more. All with a twist of Wilco. I didn't know they had the kind of range to incorporate so many different influences and styles, but here we are.
What intrigued me most about this album, and maybe this is because of my unfamiliarity with Wilco on the whole, was the sheer amount of style, energy, and volume on this thing. The inclusion of horns (which is what really gave me the Exile on Main Street vibes) really took me by surprise. Do they normally do this? Are all Wilco albums bangers like this one? I don't know.
As with all double albums, the question arises again - could this have been a single album? Well, considering most of the tracks I favorited were from disc 1...yes it could've been a single album. The first half carries more energy, more gusto and more intrigue for me. The second half is just a different, largely calmer vibe. When presented with the two halves back to back, the second just felt lacking to me. It was still great, but nothing could beat the first half.
On the whole, however, I really enjoyed this, more than I thought I would. Four easy stars.
Standout Tracks: Monday, Outtasite (Outta Mind), Forget the Flowers, Red-Eyed and Blue, I Got You )At the End of the Century), Hotel Arizona, Someday Soon
Faith No More
2/5
An album that feels like a precursor to a few different genres and eras, and the stepchild of a few others.
A few things really held this album back for me.
1. The singer's voice. He sounds like a what a Muppet version of Tina Turner would sound like, if that Muppet were also a bird. I just couldn't not stand it. The texture and grit behind it works for some people. It really did not at all work for me.
2. It's too dramatic. Both the lyrical content and the arrangements. I just couldn't get with it. Everything felt like a big deal and I couldn't hang with that for a whole album.
3. The genre whiplash. One minute it's a fun, almost poppy rock song. The next it's heavy metal with some scream vocals. It's absolute whiplash and I couldn't do it. It works with other genre mixes (hip-hop and jazz, rock and funk, funk and soul, etc.) because they're closer and share more elements. The genres they chose to blend here (rock, metal, screamo, rap(?), and probably more) are dispirit enough that it just didn't work for me.
Overall, this was an interesting but otherwise tiring and laborious listen and I really wasn't moved by much if anything. Two stars.
Standout Track: From Out of Nowhere
Def Leppard
2/5
Really?
I'll admit up front that I have never liked what I heard from Def Leppard. Granted, I've judged this book by its cover for a long time. The name always seemed dumb. The era and genre combo they hail from (80's and rock) has rarely if ever been a combination I've enjoyed. And to throw on top of that - it's hair metal. I cannot stand hair metal. Hair metal bands present as more style than substance to me, and it always confused me when you'd see them in videos. The music comes across as hyper-masculine, but then they present as more feminine than what you'd expect. Nothing wrong with that, but it makes me wonder just how much thought was put into their image. So when I already see them style over substance, and then I see the style doesn't make sense, I just don't go out of my way to investigate.
There have been many instances during the course of this project where I have had my expectations defied, where I've been surprised by a band I previously had little patience for. This was not one of those experiences.
I did not enjoy this. It seems like they have three kinds of songs, and they cycle through all three over the course of this album. None of them feel particularly original or interesting, and they don't do or say anything new. I really don't understand why this album made the list when plenty of more culturally relevant and important albums were left off. Two stars.
Standout Tracks: Die Hard the Hunter
The Electric Prunes
4/5
From the very first second it was obvious how ahead of its time this album is. That sound, whatever it was, is incredible and unlike anything else I've heard from this era. I assume it's guitar feedback or something.
These guys were contemporaries of Pink Floyd, but I have no clue if they ever met or heard each other's music this early in their respective careers. If they didn't, it's an amazing coincidence that they produced seminal psychedelic albums in the same year.
This is psychedelia with pop sensibilities. Catchy melodies and choruses and, rocking guitars and tempos mixed with softer sounds that invoke either love song ballads or more folksy songs that make you feel like you're in the middle of the woods.
It doesn't all work, though. While some tracks soar and really hit the mark of their intent, others come across as the result of fun experiments in genre or otherwise just extended acid trips.
This works pretty well. The genre hopping is fun (mostly), the band clearly had a vision for each song and executed it with a "no half-measures" attitude. As far as psychedelic albums go, I'd assume this winds up somewhere near the top of some list ranking them all. For me, it winds up earning four stars.
Standout Tracks: I Had Too Much to Dream (Last Night), Train for Tomorrow, Sold to the Highest Bidder, Get Me to the World on Time, About a Quarter to Nine, Try Me on for Size
King Crimson
4/5
For years and years, I've listened to "21st Century Schizoid Man." I knew it before Kanye sampled it. I've loved that song for its in your face size of sound, its inventive recording methods, and its insane, manic instrumental interlude. It's an absolute thrill ride of a track and is an incredible way to open an album.
I actually thought to myself as I was listening to the opener that the next track would sound nothing like it. I was so glad to be right. It's almost a complete turnaround, honestly. No vocal distortion, no grand or in your face sound. Just a happy sounding, jazz flute, summer of love type sound. It's really pretty, and immediately shows this band's range. "Epitaph" is sort of in between. It doesn't go nearly as far as the opening track, but it does elevate the sound in terms of size and scale from "I Talk to the Wind."
"Moonchild" is overly long. It's a pretty song, but the instrumental half is meandering and unnecessary. I really didn't need it and the album isn't better for it, in my opinion.
The title track, though, is where it's at. What an incredible piece of music. It reminded me a little of "Shine on You Crazy Diamond" by Pink Floyd, which would come in the middle of the following decade. The chorus on this song is almost hypnotizing. I want to hear it over and over again and still have it feel new. It's at once soaring and almost triumphant while also being haunting and dizzying.
I really liked this album. I can forgive the second half of "Moonchild" but "Epitaph" is a snoozer for me. That brings it down to a still very solid four stars. What an album. And for the year in which it was released? I don't think anybody was doing anything quite this big or expansive in the late 60's. I'd be happy to be proven wrong.
Standout Tracks: 21st Century Schizoid Man, I Talk to the Wind, The Court of the Crimson King