Truly a great album without a single filler track. The Nirvana originals sound great in this format, a testament to Kurt Cobain’s song writing. Unexpected cover songs were expertly chosen and performed very well including Man Who Sold the World which is one my favorite covers of all time .
Definitely a vibe on this record - minimal, stoic, dark. A Forest is the standout track; the synths and guitars sound great, and the song has some memorable melodies and harmonies (which the album for the most part lacks otherwise). Ultimately - the album is just too one-note to make for a great album experience.
While I like the incorporation of dance music in the percussion, the overall mix is a terrible distraction. Everything is at a level 10 all the time.
Just a little bit of editing would be nice here too. So many of these songs stick around two or three minutes past their welcome.
The gospel-ish chord changes and backing vocals have a super hokey Rolling Stones Can’t Always Get What You Want thing happening. Doing that for one song would have been ok for me, but they go back to it again and again throughout the album.
And don’t get me started on the vocals…
It’s nothing more than a chintzy rock ‘n’ roll dumpster fire from a band whose mystique and lore always outshined their talent.
Timeless stories of the down and out sung only like Willie Nelson could. You’d know his distinct voice anywhere, and it’s prominently featured in the mix over the sparse but quite thoughtful instrumental arrangements. The production choices and quick sequencing of songs gives the album the feeling of a one-take intimate live performance.
It was recorded in 4 days, and it sounds like it unfortunately. There are several classic guitar riffs here and a few catchy melodies and harmonies. But - it just doesn’t add up to anything interesting within the blues rock format. It takes more than just adding a pinch of psychedelia to innovate. In 1967, other bands were doing the rock thing better.
American Gothic sounds like a low rent Neil Diamond starring in an off-Broadway production full of sea shanties. This album confirms for me that Bernie Taupin’s best work was mostly, if not exclusively, with Elton John. Only regularly laughing out loud sustained me through all 44 minutes of this thing.
My first listen to The Damned and damn if this album wasn’t the most fun I’ve had listening to a new band in years. Tons of catchy hooks here. But what kind of blew my mind was the eclectic mix of genres they dip their toe into throughout the album. I’ll be diving into their catalogue for sure. And this from a guy who thought he wasn’t a punk fan.
Perfectly inoffensive. Interesting? Not really. Memorable melodies? Nah. Going for the album though is outstanding production, every instrument sounds pristine as do the vocals. A lot of care went in to that as it also did into the thoughtfully performed accompaniments. Unfortunately, the songwriting just isn’t very good.
Other bands did the psychedelic thing better. Like A LOT better. If this is their response to Revolver, they fell way short in their reply.
13 year year old me in 1994 would probably have been into this record. But I never heard it or even knew of it back then. In 2024, 43 year old me listening to it for the first time just wants these guys to lighten the fuck up.
Raw, in your face beats, samples, and rhymes. Peter Piper is the standout track, making a Bob James sample an iconic part of hip hop. It’s Tricky and My Adidas are bangers too. From Rock This Way on though, the samples and beat programming become more and more clunky as you go making for a good but not great album experience.
Spanning multiple genres, Elvis delivers an electrifying vocal accompanied by razor sharp instrumentals. Every performance is passionately delivered. Had he trimmed the filler tunes (Tutti Frutti?!?!) and included Heartbreak Hotel, this would arguably be the most import rock album of all time that wasn’t made by four guys from Liverpool.
So pompous, so melodramatic, so grandiose, so misogynistic, so homophobic. And that’s just the vocal…. This is a something only a creepy uncle could love when he’s taking time off from making women feel uncomfortable…
A britpop gem. From here, Damon Albarn really comes into his own. Super clean production on this one as well. Everything shimmers and jangles along.
Cool vibe but every song sounds more or less the same and covers more or less the same subject matter. Just listen to “I’m a Lonesome Fugitive”, and then move on. You’ve heard the whole album.
In spite of sparse instrumentation (just a dude with his guitar for the most part), this album buzzes and jolts along at a frenetic pace through syncopated strumming, a deft touch with effects, and the occasional tambourine, handclap, or striking of a metal bar. The lyrics and vocals are passionate, witty, blunt, and dead serious.
Drawing from folk, psychedelia, classical, pop, and even a hint of mariachi, Love delivers one of the great albums of the late 60s LA scene. The interplay of acoustic guitar and drums, masterful orchestral arrangements, and lyrics that cast a skeptical sneer at the Summer of Love make for a most satisfying 60s rock album experience.
Not a big Syd Barrett guy…. Sorry…
A digital nightmare. Brilliant.
While it doesn’t reach the emotional heights of The Soft Bulletin,
Well produced. Pretty boring.
This was novel and fun in 1999. It hasn’t aged well to say the least.
Not perfect but close. The last 4th of album after The Day I Tried to Live could have probably been trimmed down to move me from a 4 star to a 5 star.
