Starting STRONG! Uriel told me about the missed beat that The Cars kept on "Just What I Needed," and I can never unhear it. The last song sounds like a tribute to Queen? Queen started in 1970, and The Cars formed in 1976, so I like to think there might've been some mutual influence.
Oh, man. While I don't love a big band, I can't deny the likely influence of Ray Charles on songs like "Under the Boardwalk" (1964) by The Drifters and "(Sittin' On) the Dock of the Bay" by Otis Redding (1967). I lit up listening to "I Can't Stop Loving You" in mono and found myself switching between each L/R earbuds to hear the different parts of the song. What a trip. I preferred Disc 1 to Disc 2. By the time I made it to the second half of the album, I couldn't help but wonder who hurt this man. Who broke his heart? There were at least a half dozen songs in a row lamenting a lost love, and it felt like a hasty breakup. 60s music tends to remind me of Christmastime, and it's not my favorite. But I did like the album, all things considered!
Groundbreaking, but not for me. Hell knows how many films Booker T.'s music has been featured in. How many times it's been used by other artists. Let's be honest, his version of Abbey Road is better than the Beatles performing it themselves.
Ugh, okay, so I knew "La Grange," but nothing else really stuck out. The album is inconsistent the whole way through. One song, it sounds like something that might breathe life into RHCP. And then he seemed to rip off "Proud Mary" by Ike and Tina Turner on another. Reviews cite ZZ Top as sounding "Black" for being rockers, which is all sorts of funky. Not a fan of this one so much.
White Louis is a national treasure, even though he (in part) ripped off Louis Armstrong. It took me 3-4 attempts to listen to this album because "Just A Gigolo" made me crack like a nut. He's hysterically expressive, and his unhinged usage of onomatopoeia and nonsense Italian gibberish is a class act. He's maybe less of a musical genius and more of a stand-up comedian caught up in the middle a swing dancing club. He could've been in Season 2 of "The White Lotus" for sure. Come to find out, he's the goddamn "Pennies From Heaven" guy! I about screamed! I went to NY for the first time this past fall, and my entire internal monologue was him going "SHOO- BEE, DO-BEE." Over. And. Over. I'd never felt more American in my life. Honorable mention: he did songs for "The Jungle Book." Who would've thought this guy proclaiming "I will be glad when you're dead!" about someone stealing his meatballs would write tunes for bears singing to children. The 50s were WACK AS HELL, but you can’t possibly listen to Louis Prima and feel an ounce of sadness.
Rod Stewart, how you have let me down. I LOVE "Maggie Mae." Don't we all? The rest of the album was surprisingly mediocre. He bust out with "Amzing Grace" at one point, and I physically recoiled and skipped to the next song. I'll stick to "Da Ya Think I'm Sexy" thankyouverymuch.
Black Sabbath does it better. What's rich is that I would rate this album higher, if it weren't for Robert Plant sounding like he's being kicked in the balls repeatedly. Can't stand the man's voice, even if the instruments are flawless.
Fantastic, no notes. I'd only heard "Get It On" before and will be listening to more T. Rex discography for sure.
I had high hopes after hearing "Girlfriend." The level of production is squeaky clean the entire way through and sounds like a French Lorde/Tegan and Sara/SOPHIE. I liked that this album featured both English and French versions, which is something I would like to see more often from multi-lingual artists. Impressive, but it doesn't keep it's momentum the whole way through enough to hold my attention the whole time.
What an unimaginable send-off! Imagine knowing you're actively dying and releasing a goodbye album two days before your passing. It gives me chills. You can practically hear Bowie slipping away in the opening track. His voice sounded more gravelly than usual. I was interested to find out that James Murphy, Kendrick Lamar, and other big names worked on this album. The context, Bowie's legacy, and his collaborators make the album. I genuinely don't think it would've charted otherwise, given how experimental it is.
Rocky Horror, but for nondescript jocks who like Hair Metal-adjacent "stuff." It's so obnoxiously testosterone-fueled that it's almost like a parody of masculinity. I'll settle for Gwar over this any day of the week. I either need stoner metal, doom metal, or for heavy metal bands to commit to the bit and make things campy.
4/5 for how much misogyny is interlaced throughout the album, but it's stellar otherwise. Practically a perfect album. Michael showed me "Under My Thumb," and it's been a constant jam.
This tickled an itch in my brain in the best way possible. What in the Arcade Fire/Rolling Stones/Joy Division??? It's like a blend of genres that I already like, and the soundscapes were a nice, unexpected touch.
This is like KAYTRANADA before KAYTRANADA existed. "Back to Life" will always be a banger. The whole album is seamless.
"Psychosocial" and "Snuff" slap, and I love the drums portions of most of these tracks.
This will always remind me of John's tape and making out on the bench seats in his car. Awkward now since Bob Marley is pro-Zionism. Oof.
"Born Under Punches!" Jesus christ... that might be one of the most memorable opening tracks of all time. I fucking love that song. "Once in a Lifetime" is one of the best songs ever made. I'd need to listen to the album in full a few more times for the rest to really grow on me.
Oasis, but if Matt Schultz from Cage the Elephant was the frontman. Not a single song I didn't like.
Intolerable. I can't do it. I fuckin' hate this album and had to quit the first song in. It's Vampire Weekend, but I can't stand their vocalizations even more. I remember renting this album from the library in high school because of its hype on Pitchfork or some shit, and it didn't click then. Instead, it gave me misophonia. Still does, apparently.
This album reminds me of my Pap, who I only recently realized groomed me throughout my childhood well into my teenage years, so... there's that. He used to hum songs like these incessantly. I can't possibly rate higher than a 3/5 for personal reasons. Gives me the ick.
This gave off some Santigold vibes the first song or so in. I enjoyed the personal and political commentary on overcoming personal circumstances while simultaneously tackling oppression.
I can respect this as a concept album, but it's not for me. Heaven & Hell is the exception, but I've never gotten into Wu Tang or their members' solo work. Granted this was made in the 90s, but the use of f****t and blatant lyrical sexism is jarring.
Nirvana influence! Okayyy! I liked it very much. I maybe expected a more grungier sound, but I think it's because Kurt covered so many of their songs. What really got me was featuring multiple of the same song titles with different renditions. I've never seen that on a studio album.
I'll get around to listening to this in full. It's just that I can't stand jazz.
Stellar. Like a psychedelic Queen, but less anthemic.
Surprisingly lousy and boring, even as background music. I like Beck, too, but this was a letdown.
4/5 only because I feel like this album is overhyped to the extent that most people automatically rate it a 5/5. "Lover's Rock" got on my nerves, but the rest of the album is solid. I prefer Combat Rock if I had to pick between that and London Calling.
Warm, soulful, amd intensely empowering. But I really need to research artists like Bob Marley and Lauryn Hill's reverence of Zion and whether it's at all related to uphold Zionism.
Maybe the only jazz I've ever genuinely enjoyed.
Badass...such a moving and eclectic way to stick it to oppressive government powers. I wish it was longer and want to listen to "Gentleman" next.
I completely forgot about "All of This and Nothing" and will be playing it on repeat. God, I love this album. So underrated.
Outside of "Brass in Pocket," I find the lead singer's cadence/vocal style irritating and sorta corny. Just average.
"The Weight" is a classic, and I dig the cover art. This album is what I picture every dad who was a teenager or in their 20s in the late 60s/early 70s adoring (and for good reason). Maybe not the greatest album ever, but it holds up well.
Here comes the Elvis slander: he's just some fella with wild hip gyrations, unnaturally jet black dyed hair, and a 4th grade reading level of lyricism. To me, he's highly overrated, and his music sounds like janky Christmas-adjacent. I disliked this album more and more as it progressed. Can we stop venerating him??
NEED MORE BORN SLIPPY. Where's the damn reissue??
I need this whole album played at some sketchy, dark warehouse show on repeat.
Just okay. Like a softer, more sentimental Fleet Foxes or Beirut. Sufjan is a bit too politely theatric for me, and the chorus parts of his songs can sound like seeing a small live stage performance. He's talented, but he doesn't do it for me.
White ska-adjacent Lenny Kravitz with a touch of B-52s.
Just alright. Your dad probably likes this, especially "Bad Moon Rising." The rest of the songs sound pretty much the same and sorta blur together.
Like Dido, but hornier. I'm admittedly a sucker for trip-hop, too.
