Easy 5/5. As released in '73, Dark Side is a masterpiece of the rock genre, blending psychedelic elements with masterful studio editing to create a near flawless concept album.
I like the elements of mysticism laced throughout, and initially I enjoyed Devendra's crooning voice - but I have to admit it ended up grinding on me around halfway into the album, notably when the instrumentation swelled and the backing vocals made the production feel messy. The guitar work is genuinely very enjoyable though, it bumps the album from a 2 to a 3 for me.
I can see how this type of album/music would make a huge splash in the early 90s - mashing up different elements of psychedelia and acid/house to create something (at the time) largely unheard of. I'd likely give four stars if listening when it first came out, but in 2024 it feels staunchly mid-tier.
Saw these guys in concert a few years ago opening for Tedeschi Trucks Band... they did nothing for me then. Vanilla southern rock. After listening to this album in full... still nothing. In no way does release deserve to be 90+ minutes long, it's incredibly same-y throughout. DBT essentially dedicated an entire release to outlining the story of Lynyrd Skynyrd. I understand that Skynyrd == southern rock, but my god, the idea of a band writing, recording, and releasing a double-side album about a wholly separate band (no matter the genre) feels kind of sad. Skip this and go re-listen to '(Pronounced 'Lĕh-'nérd 'Skin-'nérd)'
Very atmospheric album, which might turn off some listeners, but I don't mind it - feels like something that helped influence Damon Albarn to create Gorillaz. Overall a strange but fairly captivating listening experience, that holds up *reasonably* well in the mid-2020s.
Exceptional album, catchy riffs, solid drum grooves by Ringo
Heralded as the ushering in of the glam rock movement - and I can see why
So unbelievably funky
10/10 schizophrenic drumming
Tasty alt-rock goodness
Only 20 minutes, but what a crazy 20 minutes!
Very early/experimental shoegaze/noise rock. Cool but weird
Actually a fun Pixies listen front to back
Kanye is nuts but this debut album is quite good
Very experimental, which I respect, but it's not really my thing
I'm a gangsterrr I'm a straight up gee
Banger of an album. Interesting dichotomy between the late 80s rap feel of this album and Snoop's 'Doggystyle'
Odd but fun album
Hits hard
Solid punk record
Classic country at its finest
"Borderline experimental" - Jay Baumann
Absolute banger of a classic rock album
Pure, unadulterated Dylan
Keith Moon, what a legend
New wave's not really my thing but solid album nonetheless
Max Roach - blistering yet precise drum solos
Psychedelic goodness
Slick guitars, hard rock baybeee
\m/
Quality production and songwriting
'Killah' production and lyrical flow. I think I still slightly prefer Sour Soul tho
Good punk record but nothing that special IMO
Proto-Incubus feel, I like
feel-good classic country twang
Big Thom Yorke energy. Nice.
I mean, c'mon
A masterful blending of blues, rock, and jazz elements. Bonzo's cans are thunderous yet nicely balanced
Frank's singing wields a tapestry of emotions
A hauntingly beautiful vocal odyssey
Jimi Hendrix and Mitch Mitchell. Incredible stuff
Raw, with a twinge of melancholy, yet very soothing
A cool journey in early psychedelic/progressive rock
Fun alt-rock/Britpop
Groundbreaking work of 60s/70s psychedelia
Iconic 70s soul
spacey and quiet, then IN YOUR FACE. In a good way!
Upbeat UK new wave with fun Latin elements
What do you even call LCDS? Some fantastical blend of dance-punk; dance-rock; electronica; electronic rock; indie rock(?) Album hooks you with upbeat and irresistible dance elements "North American Scum"", Someone Great" and "All My Friends" are iconic classics
Southern rock with a tasty blend of punk/garage. Gritty vocals and gripping basslines
We're jammin mon!
Quintessential Dylan
Top-tier modern country. Not a single miss across the album.
Quintessential 2010s indie rock
A masterful follow up to 'Dark Side'
Meg White doing Meg White things. \m/
"joyous, rumbustious, and irresistible. . .a raunchy mix of demented gibberish, blaring sax, and explosive swing" Bobby Morris's drumming/fast shuffles are killer
UK punk fuck yea!
Listening to "I Am Stretched on Your Grave" when suddenly... funky drummer! This groove really is everywhere "Jump in the River" is a great night driving song Title track is hauntingly beautiful, carried 100% by the emotion in her voice
A powerful album with a haunting undercurrent throughout. RIP
Punk rock fuck yeah!
R L Y experimental 60s psychedelic rock/electronica. The intro track hooks you immediately with a weird collage of old-timey big band/orchestral sounds, which are prevalent across the album Released 1 year after Sgt. Pepper's was released - the resemblance is uncanny. But it strikes its own identity and doesn't mimic Sgt Pepper's
Early UK punk. Pretty cool but somewhat forgettable IMO
Sick flow
Proud Mary keep on rollllinnn
An interesting blend of songs whose inspiration was clearly drawn from several popular artists at the time - from The Beatles, Beach Boys, Jimi Hendrix, Stevie Ray Vaughan, Ray Charles, Rolling Stones, and others
"audacious, hypnotic and groundbreaking" Love Dave Mattacks's drumming and rhythmic intensity in the last song - a live version of "I'd Rather Be The Devil (Devil Got My Woman)"
African polyrhythms, rambling vocals and Haitian voudou - nice
Some of the quirkiest blues riffs I've heard in some time
Lots of hidden bangers. Amazing flow
Man's insane but this record is also insane
Brilliant vox (obviously) but for me I can't help but feel like it's missing a lot of OOMPH from a lack of low end in places. Could have been five stars otherwise
Bog standard 2010s rock, for better or worse
Gritty 70s blues
Nobody does sad dad rock like REM
Thom Yorke predicted 9/11!?!1 "The National Anthem" sounds like beautiful madness. Really dig the bassline "Morning Bell" - cool 5/4 groove
Experimental art-rock/pop. Eno's last "rock" release before diving further into the ambient & avant-garde genres (of which he is best known) which is emphasized in the notable differences in feel between side 1 (more rock-based) and side 2 (ambient/piano) "Backwater" - if Interpol was art-pop Nice to see Phil Collins lay down some drum grooves
Love the thunderous sound of the toms. The vocal/lyrical choice is whimsical and fun.
Just dripping with pure, unadulterated F U N K
A hauntingly beautiful capsule that portrays the wild decade that was the 1960s Joe fuckin Morello on "The 59th St Bridge Song"! Wish that tune was longer. Those jazz brushes are so tasty and iconic.
Reminds me a lot of Mdou Moctar - love the Saharan blend of blues rock
Cool concept album but not really my cup of tea
A delightful blend of Steely Dan and Carlos Santana
Gritty but gorgeous lyrical prowess by Crow
What's there to say that hasn't already been said about this album lol. It turned the music industry on its head overnight
da lime in dee co-co-nutt..
"crass materialism" and "simple pleasures". Also love me some sampling of Funky Drummer
Beautiful singing by a beautiful human. Nice drumming by session drummer J. Carrigan
"Less is more" production quality, which works great. Lyrics have a whimsical and lovely tone
Nobody does 'hopeless optimism' quite like early 2000s Radiohead. Love the continuation of heavy electronic/synth following Kid A, but with drums and bass. Drums go from a firm groove in one song to stuttering/providing ambient sounds in the next. Cool variation. Guitar in "Hunting Bears" has that North African desert feel, very Mdou Moctar. Nice.
Album goes hard ngl
Very experimental in terms of song structure, I dig it
"The Jungle Line" - what a mesmerizing song. TIL it's the first credited song to use a sample. The Drummers of Burundi/Bo Diddley - super cool. So many layers across this album, it'll take multiple listens to really appreciate it.
Wonderful late 90s britpop album, best enjoyed in the morning with a nice cuppa joe
"Eruption" - holy shit
A delightful foray across multiple genres of traditional Cuban music
Crude musicianship and youthful attitude. While a commercial failure, it was an influential precursor to the 1970s punk rock movement
Blistering heavy/death metal with tasty drum grooves and double bass
Timeless jangle pop/college rock. Whimsical tunes about love. Love the production style - 80s in the best way Riff on "Charlotte Street" is simple but hits just right.
A behemoth of a rock album. Kudos to Bonham for driving the recording direction in the stu
Tasteful blend of blues/folk/psychedelia/hard rock
UK punk meets country - an interesting blend but not quite my cup of tea
Feels quite reminiscent of early Beatles and Beach Boys, and it's a fun romp musically - about as 60s as you can get - but lyrically it's quite outdated. The album represents the 'good old days' the MAGA movement opines for, and I wouldn't call that a good thing..
Raw emotion and political messages. Last track feels like an electric shock after the smoothness of the tracks leading up to it.
Like Imagine Dragons makes music for car commercials, Norah Jones' debut album feels like it was tailor-made for Starbucks. But Jones' voice is silky and inviting, and the instrumentation is tastefully subtle - I can't hate it.
If 'minimalism' was a rock album. Didn't mind it at first but man this album really feels like it drags on. However "Intro" will always be a banger of a track. Bumped this review from 2 to 3 stars solely for that track.
Loud, boisterous, and immature... but it somehow works for what it is! Could make for good background noise while getting torched with the boys.
Beautiful singing and masterful jazz drumming from the legendary Roy Haynes
Not as polished as Nevermind but still an absolute masterwork of the grunge genre. Makes you wonder what could have been had things turned out differently.
Like a silky smooth cup of coffee on a rainy day. Masterful musicianship all around
An absolute masterpiece obviously, but as a drummer I have to highlight Bonham's drumming on "Four Sticks" - possibly the sole underrated track on the record. The 5/8 to 6/8 groove is slick as butter, and Bonzo maintains a consistent feel across the entire track - using four sticks, to boot!
A pleasant blend of English and French singing. Grooves and melodies are pretty hypnotic - a great first foray into this 90s alt-rock band.
A pity I didn't discover these guys at a younger age, as I probably would have been more open to the absolute insanity these guys bring in my teenage years. Then again, for my eardrums' sake, maybe it's for the best I didn't! While I don't see myself revisiting this one for a long time (if ever) I have to respect the sheer chaos. The groove feels like it's going in 10 different directions at any given time, but it somehow manages to hold on by a thread throughout
Beautiful album by an artist with a tragic ending. Makes me feel a sense of longing to go back to the late 2000s/early 2010s when I was young and the world still felt new and anything was possible.
To me, PJ Harvey feels like one of those artists that fuckin rock, but somehow I completely missed out on when they were at their peak. Standout tracks for me include "Kamikaze" - what a banger - and "This Mess We're In" - I'm a sucker for Thom Yorke, what can I say.
ABBA fucking rules! Impossible to be in a bad mood when listening. Aside from the obvious juggernauts on the album, I really enjoyed the instrumental title track 'Arrival'. Tastefully hypnotic
D.C. represent! Ignoring the fact that they moved to NYC right after forming, lol. Nothing revolutionary, but it's gritty and has great flow. Lots of great tracks to headbang to \m/
Very ambitious and gritty early 2000s rap album that surprises with a multitude of different genres. I'll listen to just about anything that Questlove touches
An interesting listen - it's certainly something outside my regular listening habits. Aside from Mdou Moctar, I don't normally find myself listening to artists from this part of the world. The album definitely shines when the songs don't feel over-produced and glossy, which some unfortunately do. The "King of Rai" definitely shines when the songs feel more like 'Rai' than anything else. I also have to agree with other reviewers and note my distaste for the "Imagine" cover. Oof.
Sly's music just oozes funk, and is perfect for listening on a hot, sticky summer day. Love the 13-min groove/jam "Sex Machine", especially the drum breakdown at the end.
Jimi and Mitch Mitchell, what more could you ask for? One could argue the sheer length of this double LP causes it to suffer from a lack of focus, but the style of blues emanating from Jimi's guitar is undeniably legendary. Really makes you wonder how his music/style would have continued to evolve were it not for his premature death.
This album takes me back to the mosh pits of my teenage years, back when life wasn't so messy. It's a blistering mad 21 minutes of in-your-face punk \m/
Ultimately a rather competent 1950s country album that provides a good listening experience, long as you're actively listening to the lyrics. The instrumentals are bright and cheery and do a good job setting the tone of the Appalachia/blues style of country on the record. But the lyrics ultimately round out the listening experience, and live up to the album's name - "Knoxville Girl" in particular is delightfully morbid.
Gotta love late 80s/early 90s hip-hop. Great flow and a surprisingly uplifting tone.
Yeah yeah yeah, "Free Bird" has been beaten to death - but for good reason. Putting myself in the shoes of someone in 1973 hearing "Tuesday's Gone", "Gimme Three Steps", "Simple Man" and "Free Bird" for the first time (and the subsequent mind-melting that would ensue), I have to respect the hell out of this record. A true titan of the southern rock genre.
Alright have a seat everyone, THE PROFESSOR is here to show us how it's done! RIP Neil you absolute legend.
A masterful album, but it requires active listening to truly appreciate the musicianship and the dance happening between all three performers.
I like the elements of mysticism laced throughout, and initially I enjoyed Devendra's crooning voice - but I have to admit it ended up grinding on me around halfway into the album, notably when the instrumentation swelled and the backing vocals made the production feel messy. The guitar work is genuinely very enjoyable though, it bumps the album from a 2 to a 3 for me.
I respect the hell out of it for what it is, but I don't think shoegaze is my cup of tea. Some of the instrumentation is preeeetty out there. Still, an interesting listening experience
Across the whole record, it feels as if there's something sinister lurking just beneath the surface. Hard to explain, but it works so well.
Bernard Purdie AND Steve Gadd on the same album, fuck yeah. I will note that the production quality can feel a bit too polished at times, but the musicianship is so good I have to look past that.
Fuck, this one was a slog. Not gonna knock the (seemingly vast majority of) people who really dig this album, but it's def not my cup of tea. Most of the tracks felt boring and meandering, some bordering on full-on obnoxious (looking at you "The Murder Mystery"). The instrumentation is simple, which is not a knock in and of itself - simple instrumentation can often times be a massive strength. But it didn't add anything for the vast majority of the album, only helped highlight the droning, crooning nature of the songwriting. The lyrics on the opening and closing tracks are undeniably great, though.
Hardly engaging, does nothing to challenge the listener. Was waiting to see if they'd throw any curveballs, but none ever came. It's background elevator music.
Beautiful vox and dreamy instrumentals. Really enjoyable listen. Also a cheeky lil' surprise cameo by Dave Matthews on "My Antonia" (uncredited, interestingly)
I once read a quote, which I'm paraphrasing: "Knowledge is knowing Meg White is a bad drummer. Wisdom is knowing Meg White is an amazing drummer." Having listened to this album in full, not to mention performing "Seven Nation Army" countless times on drums, I'm inclined to admit that wisdom wins out. The drumming is stupid simple, but it just works.
Some of the deeper cuts aren't so strong IMO but the singles from the album are indeed iconic to the vibe of the late 2000s/early 2010s.
Can't understand the lyrics, but that's hardly an issue when the sad girl vibes are immaculate. Love the mix of electropop and disco-funk.
Saw these guys in concert a few years ago opening for Tedeschi Trucks Band... they did nothing for me then. Vanilla southern rock. After listening to this album in full... still nothing. In no way does release deserve to be 90+ minutes long, it's incredibly same-y throughout. DBT essentially dedicated an entire release to outlining the story of Lynyrd Skynyrd. I understand that Skynyrd == southern rock, but my god, the idea of a band writing, recording, and releasing a double-side album about a wholly separate band (no matter the genre) feels kind of sad. Skip this and go re-listen to '(Pronounced 'Lĕh-'nérd 'Skin-'nérd)'
Some small obscure British boy band, I'm sure they won't amount to much
Absolutely essential 80s pop listening. The songwriting and production quality are immaculate.
Emmylou Harris has the voice of an angel - very similar to Dolly. I wonder if that's why Emmylou has managed to be more of an 'underground' country artist, in a sense. Interesting arrangement of covers and originals - no doubt a sensible choice for a major label debut album, but for me it holds the album at a 4/5 instead of a 5/5.
Easy 5/5. As released in '73, Dark Side is a masterpiece of the rock genre, blending psychedelic elements with masterful studio editing to create a near flawless concept album.
Wildly experimental album that feels somewhat disjointed at times ("Interstellar Overdrive" being on the same album as "Bike" is just crazy to me) but overall it was a really pleasant listen. As a drummer myself, J found Nick Mason's stylistic choices super interesting
The album is undeniably one of the most revered and important in rock n roll history, and "That'll Be The Day" is a certified hood classic, but as a drummer whose biggest influences are Bonham, Baker, and Mitchell (i.e. the guys who totally transformed the role and purpose of the drummer in a band) I can't help but feel a bit disengaged when listening to this record front to back. The songs feel a bit same-y at times, and the rhythm section stays in their lane throughout, doing nothing to make my ears perk up (as was the job of a 50s rock n roll rhythm section). That said, the 4/5 rating is based on my pretending that I'm listening for the first time in 1957, having no knowledge of the decades of rock/blues that came after this release. It's such a tragedy that Holly died so young, and we didn't get to see what the 60s and 70s would do to shape his musical sense and style. IMO one of the biggest "what ifs" in rock n roll history.
Knowing next to nothing about Nas (other than that he has been around as a rapper in the industry for several years) I went into this album completely blind, and was pleasantly surprised at the grittiness and raw emotion. Really made me feel like I was an up and coming kid in NYC during the 90s, when the city was undergoing such rapid change (for better or worse, depending on your perspective/upbringing). Hesitant to give a 5/5 since some of the tracks didn't stand out much, but overall it was a great ride.
Very well produced, but the meandering lyrics and limited instrumentation (while lovely) make it difficult to follow along unless listening very intently. The follow up to 1975's Hissing of Summer Lawns, I'd argue that 'Hissing' is more accessible than this album, but this album wonderfully encapsulates the meandering feeling of living life on the road - as Joni was doing at the time of 'Hejira'. Plus one extra star for album art penis. Nice.
70s alt/soft folk. There were a couple standout tracks, notably the vocals on "The Cavalry Cross", but as a complete package it didn't do much for me.
Well produced, and David is a great singer. But for me, the full album ultimately feels a bit bland and same-y
Flawless? I would argue no, but still a damn good debut. Certainly a landmark rock album that helped define the sound of the 60s.
Genuinely pleasantly surprised by this one. A beautiful and erratic cacophony of early 2000s electronic experimentation. Takes me back to a time when the internet was still the wild west, and society was still feeling optimistic about the future, coming out of the 90s but still pre-9/11. People might hate on the sampling style, which is undoubtedly experimental and pioneered the way for more modern sampling, but to me the album genuinely felt engaging and forced me to actively listen. Can't say that about a fair number of albums on this list that have felt mindless and disengaging throughout.
Technically proficient and produced to a sheen, but for me Steely Dan is missing a certain "grit" that I'd like to see associated with prog jazz/rock. Also no Steve Gadd, lame.
Early 2000s house, great for putting you in a trance on a long flight (can confirm). Though i recently had another early 2000s house album on this list, “Since I Left You” by The Avalanches, which IMO felt like the superior production
Beautifully sad & melancholic listening experience
I have nothing new to add to the conversation, other than that this was my first time listening to a Bowie album front to back, and that I didn't know the context of this album coming out only days before his death until I listened. That context aside, Bowie's swansong is a phenomenal listen. The lyrics and instrumentation are largely experimental (apparently Death Grips and Kendrick were major inspirations during the recording process), but the musicality has a distinct flow that keeps you hooked throughout. And the final track "I Can't Give Everything Away" hurts so much more after knowing the context of his imminent death... feels like his saying one last goodbye.
Never heard of this band/album before today, and IMO this record does a successful job at being weird and experimental, but not overly so to the point where it strays into the territory of being annoying. It's pretty out there, yes, but there is a tasty flow running underneath it all.
I can see how this type of album/music would make a huge splash in the early 90s - mashing up different elements of psychedelia and acid/house to create something (at the time) largely unheard of. I'd likely give four stars if listening when it first came out, but in 2024 it feels staunchly mid-tier.
As a drummer, this album is a masterclass in funk drumming/percussion. Alex Acuña and Manolo Badrena offer a thunderous and unrelenting performance, knowing when and when not to pull back the volume - while keeping up the intensity throughout. Jaco Pastorius's bass playing speaks for itself. The intro to "Rumba Mama" might be one of the most badass track intros I've ever heard.
One of the greatest soul albums, full of iconic tracks. Having grown up with the RedLetterMedia Mr. Plinkett reviews of the Star Wars Prequels, hearing "Shake" was a surprise, to be sure, but a welcome one (IYKYK). But unironically an amazing song with big, thunderous drums.
A true classic. The listener is immediately transported to a bygone era of classic cowboy heroes who go out into the Wild West with nothing but a six-shooter and a hunger for adventure.
While the songs feel a bit same-y at times, Billie's voice is angelic and has that iconic grit that can only be associated with her singing. Perfect for listening on a lazy, breezy Sunday morning - or while nursing a glass of whiskey in a darkened bar.
It feels wandering at times, which could perhaps be seen as a detriment. But Kate's singing is absolutely ethereal.
Early 2000s house, great for putting you in a trance on a long flight (can confirm).
An extremely listenable big band record. The nuclear fireball on the album cover really exemplifies the feeling in the 50s that the world could end at any moment. The music drives that feeling home: "screw it, let's party!"
- Bars/lyrics are significantly less mysoginistic and violent than the East/West Coast gangsta rap coming out at the same time (The Chronic, Doggystyle etc). IMO, that helps the record as a whole stand the test of time and encapsulate the black experience of the early 90s - Combine that with the slick beats/production and overall incredible flow, and it’s no wonder ATCQ is still one of the best known and respected rap groups of all time
I can practically feel Paul’s excitement to finally be free of the Beatles and be able to have complete musical control of a project in the songwriting structure of these tracks. It doesn’t always click for me, but still an excellently crafted album
This reminds me of Talking Heads, if they were actually an electro/80s punk band. The production is raw and in your fucking face, I dig it. I’d give five stars but I’m wondering whether the drums could have been better served by an acoustic drummer, instead of electronic
It's the fuckin' Boss, what else needs to be said?
Yeah yeah it's easy to meme on Oasis/Wonderwall, but as a complete package, this album actually kicks ass. The songwriting is smart, the production is crisp, and the instrumentation somehow feels grandiose yet intimate at the same time.
Ethereal singing and crisp, earworm-y 80s electronics? Hell yeah, must be ABBA.
Infectiously groovy
A 'seminal release of the post-punk era', which didn't particularly move me all that much, but I respect it for what it is.
Ahh Radiohead - the masters of making music that forces me to question every facet of my existence. This was my first time listening to this album front to back, and what a ride it was.
Essential piece of rock history that serves as a perfect introduction to progressive rock for the listener. Excellent songwriting all-around, and the guitar work is masterful.
Listened to this on a Tuesday morning, completely sober... yet I now feel piss drunk upon completion. It's overindulgent and in-your-face, that is probably more enjoyable to listen to WHILE piss drunk. There's some interesting songwriting choices being made, and thankfully at 35mins it doesn't overstay its welcome... but that was still grating on the ears in some places.
A lovely listen all around. Excellent drumming from low-key jazz legend Ben Riley
This being my first time listening to the Waterboys, I genuinely enjoyed elements of their music, notably the big, magnificent Celtic sound. As other reviewers noted, it almost feels like a Scottish crossover between Bob Dylan and DMB. I'll add that the repetitiveness of the vox and instrumentals at times reminds me a bit of the style of The War on Drugs. However, this American can only take so much big magnificent Celtic music at one time, and being a 90+ minute double album I fear this record gives the listener too much of a good thing. I'll note that my headphones died about halfway through the first side, and I used that as a worthy enough excuse to say "OK I think that's enough of that, moving on with my day"
First time I've listened front to back... what an emotional journey this album is. It offers the listener an introspective lens into Kurt's psyche, and is far and away the band's most intimate live performance. As another reviewer described it - with the 'death' of MTV coming not too long after this performance, and hindsight being what it is, this almost feels like a funeral procession for the network itself. There is a rawness to the sound as a whole that is, IMO, harder to find these days. Dave Grohl may be a cheating spouse, but he understood Nirvana's sound like no other - which is exemplified in his 'less is more' approach to the drumming in this performance. Also, his black turtleneck is legendary.
This Joy Division record connected with me more than the last one I got on this list ('Closer' from 1980) - something about the seemingly haunting/desolate sound just struck me. Ian's vox were giving me Interpol vibes which I rather enjoyed. Also, that last track opening with WEEEEEEEEE will never not be funny (look up 'Ian Curtis rides a rollercoaster' on YT)
While I am sick to death of the big hits off this record (shoutout to literally every cookie-cutter FM station playing Welcome to the Jungle multiple times a day for 20+ years), one cannot deny their importance in the overall history of rock n roll - there's a reason they're overplayed! Putting myself in the shoes of a listener in 1987, I cannot deny that these songs kick serious ass \m/ Slash managed to write one of the most instantly-recognizable guitar riffs of all time with Sweet Child O Mine - and I can fully understand and respect the fact that he hates it now. Everything outside of the big hits felt like a mixed bag to me - mostly padding, but with some interesting moments. By the time I got to the last track 'Rocket Queen' I was quite ready for it to be over.
The basslines are fuckin' RAW, and (in my opinion) are the highlight of this whole album. Some cool tracks in here, notably the jam on "Woodpecker from Mars". Also I wasn't prepared for a fairly decent cover of "War Pigs" immediately following. I've heard "Epic" a million times, and while it is an amazing song, I can't help but feel like its impact is dampened a bit when listening to the full album. It kind of blends in to the other tracks.
While the sound of mid-2010s indie rock/pop was done to death, and rightfully gets shit on from time to time, I'll give credit where credit is due when I believe it was done well - and IMO this album is one of those times. The electronic elements also give me Beach House vibes which I am absolutely here for.
Fun fem-fronted female rock
Like a hot cup of coffee on a crisp fall morning. Absolutely delightful folk/jazz record from a depressed Englishman
Noisy and passive garage rock. Some cool ideas scattered throughout
Early 2000s pop that feels inoffensive, but overall fun and very listenable. Very middle of the road. Getting the ever-so-slightest suggestion of Phoenix with that vocal sound.. take that as you will. I find it amusing that they list the last track on Spotify as "Contains Hidden Track 'Plans'". Lol, it's not hidden if you outright call it out, ya dinguses.
Classic gangsta rap that holds up in terms of production and flow, if not lyrically
Deeply enjoyable & listenable jazz music. Hell of a drum solo on "Blues For Huey" - mans was firing on all cylinders!
Absolute classic. Simply insane that Stevie himself performed all of the instruments on a majority of these tracks.
As another reviewer put it: "Sounds terrible - five stars". That's the wall of distortion/noise for ya, I guess. I probably would have connected with this album better if I listened to it as a teenager, but alas, at 31 years old I probably won't actively revisit it anytime soon. Pretty cool cover of "Just Like Heaven" though. What a ballsy way to end the song (and the whole album!)
Definitely feels its age, but mans got flow
AKA 'that album with the "Our House" song'. Some of these tracks are quite nutty, but overall it's a fun listen.
Certified funky fresh. This album fucks.
This being my third Joni album in this list, I can now say with confidence that I would 100% connect better with her music as a whole had I been born a woman. Her lyrics are intensely intimate and offer a window into her life experience of being a woman in the 20th century. Her lyrical style feels more like poetry than the more familiar rhyming schemes of most modern music, which I find admirable and hypnotizing - albeit, it requires the listener's full focus, which admittedly I did not provide (having it on in the background while working). That all being said, there really is no other artist quite like Joni.
All aboard the hippie love train
Eerily hypnotizing. Truly a unique listening experience.
As someone who has never really listened to Traffic - this felt like perfectly average 60s/70s rock. Neither overwhelming nor underwhelming… I am just whelmed
An impressive lineup of tracks in a tight 38 minutes, with a decent amount of variety and a wonderful performance by Bowie. Standout track for me has to be the finale "Wild is the Wind"
The duet with Kate Bush is divine
No idea what the fuck they're saying lol but goddamn this album goes hard \m/ Makes me wanna break stuff TIL the drummer on this record helped coin the term 'grindcore'
I recognize I'm in the minority who honestly can't stand VU and their songwriting + production quality/style. I acknowledge they are/were hugely influential, but I just cannot connect with it in any conceivable way. Clearly, I'm not the target listener for this type of music... I would not recommend ingesting this music if you're depressed or have a drug problem - it's only gonna put you in an even darker place.
Classic 80s synth pop that feels like a big bowl of ice cream - delicious to the taste, but filled with empty calories. That's not necessarily a bad thing, though.
Easily digestible 80s new wave. The big track “Brads in Pocket” is undeniably an ear worm, but I was impressed by the multiple genres and odd time signatures found on some tracks. Standouts include the “jungle” tom tom beat on Cuban Slide, and the reggae feel + tasty guitar solo on Private Life
Top tier music for sad bois and girls
As another reviewer put it: "I find it doesn't achieve the same effect on me as it did back in the day, but nevertheless it's still a great and innovative album." I'll second that opinion, as the album didn't truly 'wow' me (listening in 2024) but the songwriting is still excellent, and "Clint Eastwood" absolutely still slaps. I found myself giving "Double Bass" multiple listens - man, that one is DIRTY, in the best way possible.
Yeah, it's easy listening classic/dad rock, but in the year of our lord 2024 where music is increasingly curated for 30-second TikTok reels and our ever-shortening attention spans, I still can't help but respect the hell out of this classic record. That said - I had a rough night and I hate the fuckin' Eagles, man.
Truly horrible. Like if grindcore and jazz had a baby, born headfirst into a mountain of cocaine, then proceeded to light itself on fire. Five stars.
Blues-y as hell. "Loving Cup" probably my favorite out of the bunch.
A few days ago, this list gave me the 'Spy vs Spy' John Zorn album, a hilariously awful avant-garde 'jazzcore' performance (which I gave five stars because fuck it) I'm pretty sure this album by Charles Mingus is what Zorn heard in his head as he made his album. While definitely not avant-garde by any means, Mingus and his ensemble crash into the album with hurricane intensity, and rarely let up throughout the full runtime. The drummer, Dannie Richmond, commands the rhythm and urgency of the feel, while the horns (especially the muted horns) bring a sense of rawness and mysticism that immediately hooks the listener, and doesn't let go until the end.
Very atmospheric album, which might turn off some listeners, but I don't mind it - feels like something that helped influence Damon Albarn to create Gorillaz. Overall a strange but fairly captivating listening experience, that holds up *reasonably* well in the mid-2020s.
Angsty early 90s alt-rock by a hugely impactful band, who I admittedly never cared much for. Perry's voice can be grating at times, but it's no doubt one of the most iconic singing voices in the rock genre, and it is on full display here. The band as a collective unit is solid. TIL the back half of the album is a tribute to Perry Farrell's deceased girlfriend Xiola Blue, who died of a heroin overdose in the 80s. It was also credited as helping to inspire Nirvana with 'Nevermind' and ushering in the Led Zeppelin revival.
As someone who has never really listened to Traffic - this felt like perfectly average 60s/70s rock. Neither overwhelming nor underwhelming… I am just whelmed
Phenomenally dark & moody 80s pop. The entire album is a fun ride.
A fucking classic. Brilliantly dark and introspective.
Heavily experimental use of synth/electro sounds in the late 70s -- this feels like a concept album through and through. Can't say it holds up all that well 50+ years later, but I respect it for being different, and for serving as inspiration for other artists like Springsteen and Spacemen 3.
Absolute holiday classic from a convicted murderer
I’m one of the few people who really can’t stand the Velvet Underground, so seeing a Nico album initially filled me with dread. And indeed, it turned out to be some hippy-dippy music with a dark edge that I couldn’t really connect with. The whole performance feels like something I’d accidentally stumble upon at a small club or at a house show in someone’s basement - something I’d sit in and listen to a couple songs but would head out early. I’ll admit I enjoyed Nico’s performance, set against the minimal instrumentation, more on her own record than her collab with VU. That said, it still feels pretentious and unfinished, and it felt more and more like pulling teeth getting through the last few songs. I probably wouldn’t give it another listen unless I found myself in a pretty dark place mentally. Even then, there are better, sadder songs to listen to when depressed lol
Feels like a mournful ode to a country gripped by the turbulent and violent change brought on by the civil rights movement. The lyrics remain relevant as ever in this world of MAGA lunacy; definitely merits multiple listens. It’s far from perfect though, as the whole album instrumentally kind of just melded together. I personally would have appreciated another big hook or two to really grab me.
An absolute classic, and as other reviewers have stated, one of the most versatile albums ever made - perfect for any occasion, whether it be easy listening, study/work focus, musical inspiration, or background music for a party. Really makes you feel all of the things, 5/5
Utterly weird and whimsical psychedelic pop from… Brazil? Fck yeah. Albums like these are why it’s so fun being a part of this website - I likely never would have discovered this band on my own.
The album kicks off with the familiar titular song, then transports the listener into a fantasy setting with the next three tunes - which feel straight out of a tavern off the Kingsroad in Westeros, or somewhere in Middle Earth. Definitely a bold choice to put 3 songs in that slow, mystical style back to back in the top half of the album, but I’m guessing it was an intentional stylistic choice, which I can respect. In the next three songs, beginning halfway through “Bert’s Blues”, the style takes on a more upbeat feel- almost like The Doors meets The Beatles. Then, for the final 3 songs, the style reverts to a more stripped back, mystical feel. Overall it’s an album that’s very hard to pin down. It oozes 60s rock/folk psychedelia, and I wouldn’t be surprised if Jimmy Page or John Paul Jones heard the sitar & string elements sprinkled throughout and used it as inspiration for some of Zeppelin’s more mystical repertoire. I’m confident that biblical themes and Tolkien-esque folklore - as well as ample amounts of drugs - were consumed on Donovan’s part in the writing of the lyrics.
Pure, unapologetically in-your-face rock n roll! The instrumentation is fairly standard fare, but Justin Hawkins's lead vocals really kick this whole thing into the stratosphere - he really gives it 110%
An explosive, maniacally-charged debut album. Twisted and weird. Overall a fun listen, it's anything but boring (unlike *some* of the other records this website has fed me). And "Where Is My Mind?" is legendary.
Big, ballsy, unpretentious ROCK N ROLL with a timeless quality. Am I personally fucking tired of this album? Yes, but I'm not stupid enough to ignore how big of a seismic shift it made in the rock genre. As a drummer myself, I can't help but roll my eyes whenever I see "You Shook Me..." or "Back in Black" appear on a gig setlist. But at least Phil Rudd had the decency to make his drum parts stupid simple (not a dig at him - these songs call for stupid simple drumming, and by god he delivered).
What a fun listen! Seems like a band that knows not to take themselves too seriously, while still knowing the importance of high quality musicianship. Knowing nothing about this band apart from this album, I can tell they put on one hell of a live show.
Ambient and moody synth-pop. I'll admit I didn't initially expect much from this album, but was pleasantly surprised - it certainly cultivates a distinct 'mood' across the board. Would listen again.
Weird as fuck lol - for that reason alone, it's worth at least one full listen. Per the website's description: "The title is an allusion to the visual echoes of blocks of identical row houses in Baltimore, presumably reminiscent of the echo and reverberation that characterize dub." If only those same Baltimore rowhouses were still as alive, quirky, and vibrant as the bizarre vocals and instrumentation of this album. All that's left today are mostly echoes of what once was. However, I'd be lying if I said I'd ever be inclined to revisit this one. At best it's weird and experimental; at worst, it's meandering and grating on the ears. It holds up solely as a way of transporting the listener back to the late 70s to see what was weird and 'progressive' back then.
The lyrics at the end of "1999": "Mommy, why does everyone have a bomb?" OMG did Prince predict 9/11?!??1 Masterful album.
Legendary band, legendary album. The genre variety is surprisingly huge - almost to the point that it might warrant listening piecemeal as opposed to the whole album front to back, to properly engage with each individual style being thrown at you. Cool stuff.
A landmark release in the post-punk genre. I wanted to hate this - it's noisy, strange, and just all-around strange - but I just can't bring myself to, lol. Can't help but respect the weirdness and "no fucks given" aspect of the total sound. Also, I really want to know what kind of drugs they were using to come up with a song like "Fodderstompf" - like what the actual fuck lol.
"American Pie" == DUNE (first book) - A groundbreaking artistic work that firmly holds up to this day. Rest of the album == DUNE: Messiah - Competently and beautifully made, but basically an epilogue to the first book (song) It's yacht rock, but it's rather lovely yacht rock.
Wow, I really enjoyed this. Dreamy vocals and rock-solid instrumentation that delivers a modern bedroom/indie pop-meets-psychedelic listening experience.
Damn, what an excellent package this album is! Making your debut studio album a concept album feels like a risky move, but Janelle and company pulled it off rather flawlessly. There are so many different genres across this thing which helps keep things feeling fresh, and the instrumentation is crisp and tight - and Janelle herself brings her A game on vocals. The collabs with Big Boi and of Montreal also deserve a shoutout; both very nice additions.
Whimsical and gritty. Van might be a cunt IRL but this is still a great listen.
It's as if the migraine in my head came to life, started a band, and just decided to scream into the mic and trash all the instruments instead of creating a competent record. But I bet these songs would've been a fucking blast to mosh to in some dank basement venue back in the 80s.
Simple in its composition but raw and powerful in its execution - how can you not love Willie? Outlaw country at its finest.
Many people lament the drop in quality on the B side, but I can't help but enjoy the closing track "Toonerville Trolley" - it's just too much fun. That said, the title track is clearly the strongest. But overall it was a fun (if not a bit middling) collection of 60s psychedelia.
An irresistible listening experience. You can hear the pain and struggle of the entire African American community in the quest for civil rights behind Nina's gritty yet astonishingly beautiful singing voice.
I mean... it's fine. Some cool song variety. But "Imagine" just feels condescending in 2025, knowing what we do about how John and Yoko lived. I find the personnel on this album to be more interesting than Lennon himself lol. Legendary session drummer Jim Gordon (hope he doesn't go and do anything crazy like kill his mother with a hammer) and George Harrison ('All Things Must Pass' is still THE best post-Beatles release, fight me)
Sleazy, whimsical, and deranged all in one package.. certainly a fucking wild ride all around. The level of whiplash I received going from "It's Business As Usual" into "Miles" was comically high.
Maybe the lyrics don't hold up very well in certain areas, and yeah maybe she was a Trumper, but it's still a charming classic country album. In the words of a certain Christopher Nolan Batman villain: "That's a lovely lovely voice.."
I was surprised to get a decent amount of enjoyment out of this - maybe because there was no sign of "Rock & Roll All Nite" KISS has never felt like anything special to me, and without the makeup and eccentric outfits they likely would have just been yet another 80s glam rock band. But the songs on this one pack a nice punch, notably the opener "Detroit Rock City". I also wasn't expecting anything like "Beth" - I didn't realize KISS was capable of pulling off a rock ballad. That all being said.. I'm glad grunge came along in the 90s to wipe the slate clean from all the glam/hair rock of the 80s.
Bluesy as hell, really enjoyed this one front to back
Atmospheric and mystifying - super cool listen
Atmospheric and moody 80s synth-pop. Heavily driven by excellent lead vox.
Groovy as all hell - the musicianship is off the charts.
Man's got a voice fit for Broadway, and seems to try to incorporate a Broadway feeling/vibe into his vocal style - which doesn't always land (for me). I didn't NOT enjoy it, but probably wouldn't be pressed to revisit it anytime soon.
Equal parts gritty punk and bubble gum pop, really fun listen
This thing is HOT! Crazy to think that the label sat on this record for over two decades before releasing it, as it was deemed 'too gritty' at the time of recording. Sam's voice commands the crowd - you can practically feel the sweat flying off of him - and the band is relentless for the entire duration. I was fully transported into the rowdy Florida club where the thing was recorded for the entire 38 minutes. Definitely need to check out Sam's other records!
As another reviewer put it: "Outrageously beautiful and beautifully outrageous". I can see most reviewers didn't get much enjoyment out of this one, but something tells me Neil Hannon wasn't taking it too seriously - most evidently indicated by the iconic line “If you were a horse, I’d clean the crap out of your stable” It's nothing too memorable, but the instrumentation is solid and the whole package is a tight 30 minutes, which I appreciate.
'Prog country' with a droning voice and haunting feel
Groundbreaking punk album that feels timeless
Quintessential Springsteen. Workingman blues with steady beats (thx Max), blaring sax solos, and lovely piano ballads.
Bookended by two absolutely massive songs, with the rest of the album being completely serviceable. As a full package, it's not perfect, but probably the blues-iest and most enjoyable Stones package I've gotten so far on this list.
Early and influential country/rock
A whirlwind of an album dripping with visceral lyrics, hard-hitting guitar riffs, and raw GRIT. It feels unpolished, in the best way possible. 10/10 would have broken bones in a moshpit to this as a teenager in the 70s.
Masterful lyricism and simple but effective beats/sampling. Quintessential late 80s/early 90s hip-hop.
DEEP pocket, and political messaging delivered with style and grace
Before Elon Musk was “moving fast and breaking shit”, The Offspring did exactly that in the 90s - and this album is the perfect encapsulation of that. Except unlike Musk, the Offspring don’t completely fucking suck
Some people absolutely love Billy Joel, others completely despise him.. I don't have a dog in this fight. All I can say is that while yes, he hasn't always put out incredible music, this album strong from start to finish. It's chock full of superbly-written songs (many of his best) that put Joel's singing and piano abilities on full display. As a drummer, I also gotta give a shoutout to Liberty DeVitto for his fine performance across the album.
Dumb yet catchy early 80s pop-punk, with good hooks and a taste of the punk bands whose sound defined the late 70s. Nothing too memorable IMO but still a fun listen.
One of my favorite surprises on this list so far! Michael Kiwanuka blends multiple genres and uses beautiful lyrics and captivating instrumentation to touch on topics including perseverance, love, and social injustice. Totally worthy of its Grammy nomination for best rock album.
A fine performance from the King, as well as the backing band. But other than the bassline and overall energy on "I'm Movin' On" I found the album as a whole fairly vanilla in terms of songwriting
Oh they're GROOVIN on this one. My first full-length Zappa listening experience.. what a wild ride. As a drummer myself, the drumming on this thing is exceptional - incredibly musically interesting, strikes a nice balance of jamming and explorational while not feeling too 'jam band-y'. Not that I hate jam bands per se, but there is a sound/style they're typically associated with that I would have been disappointed to see on this album.
Pure, coked-up 80s babymaking music. Aww yis.
Getting a good laugh out of all the negative reviews on this site. Sure, it's nowhere near the best electronic/EDM music I've ever listened to.. but the beats are solid, with fun layering, and when listening I feel transported back to a rave club in the early 90s. With a tab of acid I'm sure it'd be even better.
Modern Coldplay is insufferable, but their debut album is the real deal. This coming from someone who could give less of a shit about most soft/alt-rock.
Not as groundbreaking as Pure Heroine, but still a fun 2010s indie pop record. Good production quality and an intimate vocal performance from Lorde
GOAT album by one of the greatest to ever do it. 5/5 solely based on the music and production. Michael himself gets a 0/5 for **allegedly** diddling those kids.
A monster of a prog rock double-album -- the musicianship is tantalizing, and rarely uninteresting. It does require attentive listening to properly enjoy, which is no small ask for a 90+ minute release. I'd argue that this cake is 90% cake, 10% icing... meaning that it's inherently progressive in nature, and lacks most pop elements that would draw in the casual listener. Some might consider that a drawback, but if you listen attentively, you gain a true appreciation for the songwriting variety and style. As a drummer myself, I'd consider this one of Phil Collins' best works - he is/was a true pioneer of the instrument.
Started off strong instrumentally - some cool ideas with the intros and outros - but by the middle/end of the album, their sound felt more or less like a clone of early Coldplay. And mind you, IMO early Coldplay is best Coldplay... but it's still a bit too similar for my tastes. But overall, not a bad listen, there's some pleasant ideas scattered about.
A live album that feels its length at certain instances, but is undisputedly a masterful live performance by one of the best jam bands of all time. Not everybody's flavor, obviously, but you can just feel how tight these guys are with one another on stage. Pretty awesome. "Whipping Post" is an all-time classic, but "In Memory of Elizabeth Reed" is probably my favorite. Lots of dynamic changes happening all over that song, keeps it feeling pretty fresh.
"GrEeN dAy ArE sELLoUtS" - morons This album kicks your teeth and doesn't let up until it's over. One of the all-time great pop-punk records
Power in numbers... more like, power in fuckin slick lyrics & flow, amirite? You can clearly tell this record is a product of late 90s/early 2000s hip-hop, but it also just has a timeless feeling to it.
This is straight up something you'd hear from a local punk band, playing a set in the corner of your favorite local pub somewhere in the UK. That's not necessarily a bad thing - there's great energy on this thing - but this kind of music does not lend itself well to studio recordings. Better experienced live, and while piss drunk... which is where my two-star rating comes from (listening to studio recordings while stone cold sober)
Your dad's third or fourth favorite classic rock album in his collection
This is the kind of quirky and eccentric rock that on the surface, should not work, but somehow does so exceedingly well. "Blister in the Sun" is timeless, and the whole album is a fun romp - albeit a bit exhausting when listened to all at once, at least for me.
Incredible listen from start to finish. "Black Magic Woman" has held a special place in my heart ever since I was first introduced to it while playing Guitar Hero 3 waaay back in the day... the closing jam "Gypsy Queen" elevates the whole song from simply 'pretty good' to f*cking outstanding. "Oye Como Va" is undisputedly one of the most well known and revered latin rock songs of the 20th century. Has a timeless feel to it - easily one of Santana's best.
Truthfully I was not excited for a David Bowie album today, as my mood wasn't feeling conducive to his brand of eclectic and bombastic pop/rock sound. So imagine my surprise when I found this album to be an unforeseen (to me) blend of Bowie's classic sound, and ambient/electronic sounds that give off a very haunting vibe. Coming off of hard drugs and collaborating with Brian Eno in France will do that to a man, I guess.
This man was an absolute titan is his day, and modern music owes so much to his creative and innovative musical ideas. It's no surprise that this album allowed him to burst onto the scene in the late 50s - it's absolutely bursting with energy and emotion. Richard's voice has a commanding presence, and you can truly tell how much FUN he was having. Would have been amazing to see him perform live in his prime. That said, I'm glad the album itself is only a half hour. As a drummer myself, I can only handle listening to so much 12 bar blues at a time, lol.
Infectiously energetic. Masterful performance from the Duke and the whole band. And Sam Woodyard rocking a double bass setup behind the drum kit - in the 50s! Wild stuff.
It's literally impossible for me (as well as probably thousands of other millennials) to rate this album with an objective lens, as we were subjected to listening to it literally countless times on car rides listening to FM radio - and there is a part of my brain that correlates these songs to the slow death of FM radio, and how it's JUST the same 10-15 songs which are played on the airwaves. But setting that aside... this is a monster of a classic rock album - and a debut album at that! Despite being played to death, I still found my adrenaline starting to pump while doing a full album listen - especially during the opening/buildup up "Foreplay". Yeah it's all a bunch of mid-70s rock cheese.. but who doesn't love cheese now and then?
Like the album title suggests, Carole King provides a rich tapestry of her musical and singing prowess. There is a beautiful softness in these songs, but don't be fooled - there's a sharp bite in her lyrical messaging just beneath the surface.
If I had a nickel for every YEEAAHHH BOOYYYEEEEE on this album, I'd have enough $$ to quit my job and retire in Monaco. The lyricism is hard-hitting and poignant, though the beats themselves aren't anything noteworthy. Definitely a 'you had to be there' kind of album - no doubt it was a groundbreaking release in the world of late 80s/early 90s hip-hop, but it doesn't entirely have a timeless feel to it.
Lol, lmao even at this website giving me this album on April 1. "April Fools, Lizzie's actually still alive!" I wouldn't go as far as calling this album a masterpiece (though plenty of others appear to do just that) but it is certainly an incredibly moody and atmospheric listening experience, and dripping with that quintessential 80s pop sound. Ideal for listening on a broody, rainy day.
Borderline masturbatory guitar work? Absolutely. Does it kick ass? Hell yeah \m/ While far from the band's best work IMO, the songwriting makes some interesting decisions (beyond just being basic 4/4 thrash grooves and power chords), which undoubtedly went on to inspire an entire generation of heavy rock musicians - not to mention Judas Priest, who went on to further refine the sound of 80s thrash metal.
Solid flow and lyrics, though I personally wasn't as gripped by this one as much as, say, early albums by A Tribe Called Quest. But still a very good representation of the best that early 90s hip-hop had to offer.
Oh look, the second Smiths album that's popped up for me this week on this website. The author must really have a hard-on for Morrissey. It's good. Or is it great? Or somewhere in between... fuck if I know. I was a twinkle in my mother's eye in the mid-80s, not listening to 80s Britpop doing mountains of coke in the club while questioning the meaning of my life.
Safe to say that the legend of Johnny Cash continues to carry the "Nashville sound" to this day - and a huge part of that legend stems from this album. Absolutely electric performance from Johnny and his band, not to mention a lovely duet performance with June Carter.
While some appear to have criticized Moby for simply collecting and repackaging samples with slick beats, I can't help but thoroughly enjoy the end result. I should note that I'm a sucker for this type of ambient/electronic music (huge fan of Röyksopp) and admittedly some of it does feel like background noise, but as a whole these vibes just speak to me.
50% British, 50% Invasion. 100% underrated
At times grating (that damn whining sound!) and forgettable, but there are some genuinely great decisions made in this thing. Probably need more listens and more drugs to fully understand the sound they're going for.
This album fucks.
Subjectively, not everyone's cup of tea. Objectively, one of the first-ever 'concept' albums - one that walked so that Sgt Pepper's could run. But don't tell Brian Wilson that, the poor guy has suffered enough! Wilson and the band generated a genuinely fresh sound on this thing, one that captivates the listener's attention with really interesting songwriting choices. Sure, there are parts that get pretty weird, but as a whole it's a big beautiful sound that helped transform the sound of pop & rock music for decades to come.
Weird, experimental and silly kraut rock, easily digestible for (most) listeners. The songs feel a bit rambling at times, but Holger is certainly some sort of mad genius. With this album, he took my already good mood, and took it to a good/silly/lighthearted mood, which I can't complain about.
This is clearly a deeply personal, brilliant work of musical genius - but probably NOT an easy casual listen for most (while sober, at least..). It feels droning and meandering, and Björk's vocals can feel disjointed and agonizing (no surprise given the circumstances of her life at the time she wrote/recorded it). Next time I'll try copious amounts of drugs and see if anything 'clicks' (?)
C.H. is a band I've slept on for some time... and probably will continue to sleep on after today, lol, but that's just my own personal taste. This is an excellent album - plenty of beautiful melodies, and the REM vibes are unmistakable. Just not something I'd typically go out of my way to listen to.
Pure 80s in the best way possible
Soulful and emotional, the production is pure Prince. However, I can't help but feel like some of the songs should have been cut from the final product... methinks it overstayed its welcome just a bit.
I can picture Gene sitting by a window on a slow, breezy summer day and lazily singing these songs to himself. With that mental picture, it's quite a pleasant listen.