Tago Mago
CanThis is about the trippiest thing I ever heard on headphones. There’s parts of this I’d gladly kick back to. Not the screamy parts though.
This is about the trippiest thing I ever heard on headphones. There’s parts of this I’d gladly kick back to. Not the screamy parts though.
Purple Rose of Cairo is my favorite movie. Hard to reconcile that knowing the things Allen has done. It’s still my favorite movie, and the best I can manage to do is call it that and give it four stars in tiny protest for an incredible film. Dark Twisted Fantasy is one of the best albums I’ve ever heard. Incredible. The lyrics are clever, the orchestration is intense and complex. I’m listening to Monster now. Layers and layers of incredible wit and genius. Four stars because it’s Kanye fucking West.
Doggystyle is like a walk through the most beautiful, vibrant and serene forest you ever walked through, except there’s all of this male genitalia you have to dodge to get through it. By the time you get to a Sukiyaki reference, that all falls away to gorgeousness. Lyrics are still hard to identify with, but it’s beautiful regardless.
I was ready to dismiss this album as an unwelcome defense of a South with the old references to Neil Young and for Northerners to stay out of Southern business. And maybe they just wanted to put a barrier for only the interested or committed to reach track eight “Three Great Americans,” which was a genuine education for me. I had no idea that Sweet Home Alabama was a character’s perspective, that Young loved the track, the deeper story of George Wallace, or the story of the singers themselves. And it brought me to a real appreciation of their histories, the storytelling and the artistry that went into this and the rest of the album. But why the hell would you stick this track so deep into the album? It clarifies everything? Almost seems like a “you don’t get to understand me till you see me at my worst,” which is shitty behavior whether that’s a Southern thing or not. Just throw it at the first couple of tracks and teach someone something. Damn. Otherwise, a great, epic album.
I kept one of the songs as a favorite, Saul to the Moon, which I could see doing for a moody drive at night. Very trippy overall. Plays better with headphones.
There’s Hallelujah, of course. The rest is ok. Gets fun when he plays the blues at the end.
Leads off with three well-known hits and a couple more. Most of the rest is noise except for the final track, “Bad Girl,” which seems like a warm up for the later “Tube Steak Boogie.” Other than that track, I wouldn’t go back to any of it as an album; they come up enough on my radio stations.
This is the first album of someone I already loved. Metropolis was a favorite album of mine, and I was surprised that both albums are over 10 years old. Anyway, I love when she’s telling a story. But Tightrope, which has OutKast’s Big Boi talking about MacBooks and NASDAQ, it takes me out of a future dystopia. Anyway, I liked the suite parts.
Enjoyed it overall, even if none of the deep dives added to what I liked about them. I could listen again.
It’s a light pink that gets repetitive. I went six tracks in and I don’t think it gets better. Not very good. Rather hear the Ramones or T Rex.
I enjoyed it. It’s a mood. I could come back to it.
Starts strong. Walking on the Moon is a great start to a workout. Kinda meanders. One song, I forget which, too lazy to look it up…starts with someone saying it’s bullshit…is just well, bullshit. I like this one for its hits and the title track. Not much else.
This is my first five-star. I always (perhaps irrationally) expect an album to tell a story. Marshall Matherd tells a hell of a story. I almost feel bad, but easily can imagine, Eminem compromising with record execs to make that disclaimer at the end. His non Stan role in Stan (a song that changed the language) is how I imagine him to be. And maybe that’s a character too. The others are sad detestable characters. But to condemn them is to condemn any other creator of well-crafted villains. I loved this album, and I’ll come back to it like a favorite read.
It’s fun, but I wouldn’t need to come back to it. I enjoyed the encore “Nutrocker” more than the main performance.
It was fine. I enjoyed what I was familiar with . The rest seemed convoluted or within a context deep in some memory hole.
This is like a book of poetry that you have to judge on a first read. I knew Susannah, and the last song was lovely. The rest deserves more consideration. But I want to read it more than I want to hear it.
I could just listen to this all day. Lovely.
Never heard of Ute. Notes hit sharp in the first track. Sounds like a cross between Barbara Streisand and Tori Amos. I see a lot of comparisons to Edith Piaf in notes. I get the overwhelming artistry in her work and that of the talent featured in the songs. I just don’t enjoy this. Feels overblown and too operatic without caring about the characters, like a Vegas or Lido show. If I want a dramatic German operatic experience, I’ll listen to Janelle Monet.
I love Hendrix, but he’s all over the place here. A couple of good deep cuts, classics. What’s with the applause?
So this is where Shameka comes from. I liked this more than I expected and will likely come back to it. Added Relay to favorites.
Exciting at first, but ultimately repetitive.
Surprisingly pleasant. I did not expect Bkack Sanbath to make good background music while studying Grimm fairy tales. So many decapitations in both….
Eh, it’s Buddy Holly, and not my favorite Holly. 26 minutes across 12 songs goes pretty fast. I have this on infinite playlist. So when the last song is followed by Chuck Berry’s Johnny B Goode, and it’s the best things far and away I’ve heard I. The last 27 minutes, it’s telling me to stop trying to justify Chriping as anything I’d come back to.
So this is where Birdland comes from. Otherwise, it sounds like a forgotten 70’s or 80’s film score. Unnecessary.
Never heard of them. A nice, funny, near Bowie experience. I’d listen again but probably not seek it out.
Started strong, Take Me Out is legendary, the rest is okay.
I know it’s Nico and the whole arty Warhol pedigree, and the influences on musicians I respect. But this was just awful. I don’t like her voice, nothing caught me in any of the songs, and reading she was likely incredibly racist. I don’t have anywhere to go with this.
I get that it’s rock, and I get that it’s noise. But I don’t get noise rock. Pass.
This may be my first five-star (I think Marshall Mathers got one also). I was familiar with the hits, but the whole thing is vivid and gorgeous. I will come back to Blue often.
The deeper cuts? Nothing.
I mean, a third of it is Papa Was a Rolling Stone, which is incredible. But the rest is more covers and nothing that grabbed me.
Not for me. I get why my kids would enjoy it.
It was nice of 1,001 to give me my own personal Jesus on Easter Monday. The rest is meh.
I adored this and her. It gets five stars just for the Betty Boop stuff at the end.
It’s okay. Feels like Happy Days interstitial music, and probably is. Love Hurts started here, and it’s a good version. Cathy’s Clown is better than I remember. If I want an immersive pre-Beatles moment, I guess I’d listen to this and Holly.
Really enjoyed it and added Gotta Get Up to my favorites.
I’m sure it was revolutionary and historically significant. I was just bored by it.
I…don’t get it. Sounds like pretentious electronic stuff. Bleh.
Best taken in small doses.
I love the hits from this album and overall enjoyed the deeper cuts.
I like the first song, but the rest kinda faded into more of the same.
I love CSN, but separately, Crosby’s rough work.
I love Alice Cooper, and I think this album was going for a theme of what happens in the absence of school. A critic on the Wikipedia article confirmed that. I get it. I don’t know if I’d come back to it unless I just wanted to hear more Cooper. I liked the West Side Story connection.
I enjoyed it. Between hits and deep cuts, it’s a consistent vibe I’d come back to.
Wanted to like it, but it just wasn’t enjoyable.
This is about the trippiest thing I ever heard on headphones. There’s parts of this I’d gladly kick back to. Not the screamy parts though.
Loved this. I could listen to Miles Davis all day.
Stand is always fun, but the rest doesn’t compare to Out of Time.
I don’t know music all that well, and certainly not ambient. To rate this, how do you tell where this ends and other ambient starts playing on an infinite list of similar music? Maybe this is one of the best 1000 albums because it innovated or otherwise opened the genre. But without researching it, why is it special?
I’m about 50 albums in and this is the first that I both never heard of and really enjoyed. I’ll be looking into more from this group.
I love Kate Bush. But the Pet Shop Boy rap stuff in the deeper cuts was distracting. Running Up That Hill gets regular play.
I love O’Connor’s voice and Nothing Compares is done so beautifully. The rest is fine but not anything I’d go out of my way for.
I get this speaks to an audience. It’s just not for me. The If I Were a Rich Girl bit was cute. Satisfaction? Bleh.
It’s fine, but not as profound as I think it is for others.
First 1-Star in 60 some random albums. This is a total energy suck. Maybe somebody gets a misery-loves-company boost(?) from this, but it just makes just wait for him to stop his warmly whining. And I’m an empathetic, professional Santa Claus. No. Aggressively no.
I do not need to hear we’re turning to dust repeatedly to start my morning. Lotta nihilistic stuff going on, 1,001. This is like Aimee Mann with an electric gimmick-obsessed producer. But the nihilism is worse. Hoping for Weird Al to compensate.
I really liked this. Had no idea what to expect. And yes, we all want to be cats.
Surprisingly enjoyable. The first track really kicks.
Boring. I get it, but not for me.
An amazing album. It’s like a photo album of despair and abuse. Wow.
It’s early Queen and Killer Queen is amazing. The theatrics, like in In the Lap of Gods, is fun. I might come back to it.
This was like a good brisket with an enormous fat cap you have to trim before you get to enjoy the meat of it. That opening long track was more endless than timeless. And I was ready to dismiss it. But the good non-experimental stuff was really enjoyable. I’d come back to everything except that stuff at the beginning.
Whiny. I get that people think he’s so important to their growing up. But I just waited for the album to be over.
I just feel bad for Björk going through the breakup while listening to this. I love that crazy whirling dervish of an Icelander. Go do your thing, Björk!
Duh….
Nothing remarkable. Not much reason to come back to it.
Bleh
My God, fans of the non-hit stuff must have been insufferable. The hits are great, but not the rest.
Oh my God is this a beautiful album. Easily the best one so far where I knew none of the tracks. Just plain gorgeous.
I’ve loved the first track back from High Fidelity. The rest is just kinda irritating.
Bunch a noise. Not going back to it.
Very familiar with this one. The deep cuts are tolerable. It’s like visiting an old friend.
It’s just an awesome vibe.
Liked it a lot more than I thought I would.
Less pretentious than Parsley Sage Rosemary and Time. Still, tough to get through some of the deeper cuts.
Amazing
Can’t get behind the lead singer’s voice. Waited for it to be done.
Lovely jazz from someone I hadn’t heard from before. I enjoyed it.
I really enjoyed this. Just a great 40 minute vibe. I’ll come back to it.
Hard to argue with so many classics. Unavoidable rather than seeking out.
Before knowing the backstory of Songhoy Blues, I just thought it was great guitar music and wished I understood what they were singing. Reading about them, it’s a must listen and I think they’re heroic. Preserving their culture with such a context is amazing. I love this band and will come back to it.
It’s okay. The Drugs Don’t Work connects along with Bittersweet Symphony.
Purple Rose of Cairo is my favorite movie. Hard to reconcile that knowing the things Allen has done. It’s still my favorite movie, and the best I can manage to do is call it that and give it four stars in tiny protest for an incredible film. Dark Twisted Fantasy is one of the best albums I’ve ever heard. Incredible. The lyrics are clever, the orchestration is intense and complex. I’m listening to Monster now. Layers and layers of incredible wit and genius. Four stars because it’s Kanye fucking West.
I generally like Beck. None of these songs are ones I’d come back to, but the vibe is good. I wouldn’t mind hearing it again.
Not great, like Papa Was a Rolling Stone, only they got distracted while writing the lyrics.
Boring, really. Never liked their hits and this just seems like overreaching 80’s synth stuff. Bonus star for a funny album cover.
Like jazz, I don’t have the sophistication to know why a particular rap song or album is especially good. I just really liked this album. I’d come back to it. Keep your eye on the sparrow!
Irritating. I won’t go back to it.
The hits are fine, but the deep cuts are bland.
It’s okay. I listened to the original recording because no one has 4 hours for the long version. Harmless.
It’s like two albums: one being greatest hits, the other being these long intro deep cuts. It’s lovely.
Amazing. Somehow like the Dead, but better. Love these guys.
I really wonder what it was like for people in 69 to hear such a dense album of hits with those harmonies as the Beatles were going away. It’s lovely. Only too familiar to get the five stars I use for the albums I come back to. They’re in heavy rotation everywhere else.
Liked it much better than expected.
Another band where the less you know about the members (John in this case), the better. California Dreaming is so damn powerful though. Cass deserved better.
I hate this band. I’m halfway through this, and it’s the worst workout experience I can remember. Horrid. I’ll update this if it gets better. But despite my option about most things, I have little hope for this. Screw you, Scritti Politi, you pablum spewing over produced 80-something-schlock muckers.
Brave guy. Not my kind of music, but I admire his courage.
Amazing stuff that almost feels like a snapshot of a much more complex several years in the 50’s for him. Weird, crazy genius. Love the music.
Loved it. Better than s& g
The album was only available, though I found the title single. I’m now a fan.
Doggystyle is like a walk through the most beautiful, vibrant and serene forest you ever walked through, except there’s all of this male genitalia you have to dodge to get through it. By the time you get to a Sukiyaki reference, that all falls away to gorgeousness. Lyrics are still hard to identify with, but it’s beautiful regardless.
He sure seems to like himself. I don’t.
It’s got a good cohesion to it. I’d come back to it.
Didn’t know what to expect, but I enjoyed this. Kept a couple tracks as favorites.
It’s a trip, it’s got a funky beat, and I can bug out to it.
The first track was amazing and I couldn’t help smiling long broadly, tapping my feet, and just being in the world it created. Then the rest of the album passed by being ok enough, but not nearly as strong as the first track. Overall, it’s fine.
Oh, you’re a trippy bunch. Not my thing, but cool.
Bleh. Hard to listen to. Pretentious.
Hits aside, it’s stale blues. I like their later albums.
Not bad. Had no idea China Girl was his. Ok as a one-timer.
I loved their two videos from 20 years ago (Yikes). However, the bulk of the album just seems like random noise. I don’t get it.
After the first two hits (of which “I Feel a Whole Lot Better” really clicks), it’s kinda bland. No great deep cut discoveries. The Bo Diddley stuff in Don’t Doubt Yourself, Babe is ok, but it’s still their voices. I’ll listen to Dylan or Petty first. We ain’t meeting again, guys.
It’s the Cure. Good for a specific mood, but there’s no “Love Song” on this album.
Unfairly gets four stars because there’s so much of this out there to stumble upon that I don’t need to hear the album for the few weak deep cuts. It’s amazing work.
Loved this. Had no idea what to expect, but these guys were fun. Definitely coming back to it.
Sounds like the Aquabats with whinier lyrics and less Mooncheese.
Surprisingly good. I enjoyed the North American track especially.
It’s got an interesting vibe, but not something I’d come back to.
Holy shit! I was already sold on Lupe Fiasco with three tracks favorited before realizing this is the guy that did Daydreamin’. Love, love, love this album. The orchestration is so rich, brilliant lyrics. This is a favorite.
I like the hits, not much else.
I love Rundgren, but this seems where the aperture of a film is a little too far back and Rundgren thinks it’s a good idea to show the behind the scenes crap. You like all those false starts and trail off in “Think of Me”? The whole album does that. Bleh.
Irritating.
Not his strongest album, but still pretty great,
It’s a vibe, and the urgency of the social issues is real. But it seems heavy handed. Like the ambiance of voices and the hits are great.
I was ready to dismiss this album as an unwelcome defense of a South with the old references to Neil Young and for Northerners to stay out of Southern business. And maybe they just wanted to put a barrier for only the interested or committed to reach track eight “Three Great Americans,” which was a genuine education for me. I had no idea that Sweet Home Alabama was a character’s perspective, that Young loved the track, the deeper story of George Wallace, or the story of the singers themselves. And it brought me to a real appreciation of their histories, the storytelling and the artistry that went into this and the rest of the album. But why the hell would you stick this track so deep into the album? It clarifies everything? Almost seems like a “you don’t get to understand me till you see me at my worst,” which is shitty behavior whether that’s a Southern thing or not. Just throw it at the first couple of tracks and teach someone something. Damn. Otherwise, a great, epic album.
I get that it’s experiencing the Autibahn in an album, like a long road trip complete with highway hypnosis. I just don’t know if that’s fun. Respect the artistry and the minimalist album cover.
Nah. Boring.
Love Dave Grohl. Good guy, good first album.
I knew nothing about rap/hip-hop until I started this project. And I’ve been exposed to much more gorgeousness than awful, and this is gorgeous. Weirdly, the Apple version is some kind of radio-safe version with silenced profanity. And it takes away from it. Beautiful album.
Sometimes I get in the mood for this sort of thing. It’s fine. I think it’s consorting with the devil was edgy at the time. Now it just seems juvenile. The music is great though.
Love White Stripes. Amazing album.
Deep lovely stuff that doesn’t murder anybody this time. Nice!
Noisy.
The hits are great, but by the time you reach “Something’s In The Water,”… I don’t know who enjoys that. Just seems cacophonous.
I’m glad Zappa showed up. I love this album so much. Inspired me to take on Joe’s Garage after. I’ll probably take a deeper dive.
Not available in the US on Apple Music. I found the specific track on an album called “3” and am rating based on that. It’s beautiful.
Not as strong as Autobahn, but good enough to return to.
Goes great, and then you reach Mother, and then…yeah.
Very sweet, kept a couple of tracks.
I like a lot of punk/post punk, but this didn’t do it for me.
Hard to get through a title like “Smack My Bitch Up,” but I have to sdmit the entire album goes good with driving on a highway. I’d come back to most of it.