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.
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!