I loved this album when it first came out, not least because it establishes it's credentials immediately and any lover of two-, three-, four-way harmonies knows that they are going to enjoy what's coming. "White Winter Hymnal", "Your Protector" and "Oliver James" stand out.
For the landmark punk / rock anthems on here, it’s a four from me. Also contains unremarkable tracks.
From “Natural Mystic” onwards, this is a mighty album, capped by the soaring title track. Life, love, liberation: it’s all here. Magnificent.
Holds up surprisingly well given its origins at the end of the 70s. What helps is the clear production, in turn allowing three very capable musicians to craft some excellent songs. Not all of the tunes have aged well but most have. Enjoyable for sure.
Cash was making waves many years before Rick Rubin showed up and this is a landmark album in more ways than one, as interesting sociologically as musically. Enormously enjoyable. And authentic.
Very angry bloke yelling for 20 minutes (after which I turned it off).
Monster production, grungy riffs and layers and layers of overdubbed angst. “Today” and “Disarm” two particular standouts.
Pleasant (and clever) enough pop tunes, with “Lovefoot” and “Losers” standing out. Also notable for Black Sabbath references and(!) an utterly bizarre cover of Sabs’ “Iron Man”. Didn’t see that coming.
Not in the top bracket of Zep albums but interesting enough all the same. Witness, for example, the foundations (“That’s he Way”) for the “acoustic sets” on future tours. Also notable for arguably Page’s finest solo on “Since I’ve Been Loving You” (and a low-key favourite of mine on “Tangerine”).
Peak Stones: what range; what swagger. And all against a background of tax-avoiding, organised chaos. Major contributions from Bobby Keys, Billy Preston et al. Magnificent.
I don't think Marc Bolan was ever taken as seriously as he wanted to be (partly down to his over-inflated sense of his own worth) but even so, this is a lively collection with Bolan's slightly fey and ethereal presence at the microphone coupled with a distinctive guitar playing style.
This, young listeners, was what all the fuss was about: Jagger and Richard emerging as a song-writing pair of immense significance on a landmark album for both them and popular music. With Brian Jones on marimba, dulcimer etc., etc..
(Shame about the casual misogyny).
I never really got Oasis, largely because they sound sooo derivative. Oh, and Liam Gallagher is a 24 carat prick (with what our German cousins would call a "Backpfeifengesicht". Look it up.).
Not totally without merit.
"Let's put on some Joy Division to cheer us up", said nobody ever. Nevertheless, this is a fascinating album: hypnotic, unsettling and oddly compelling with echoes of Velvet Underground, Kraftwerk and "Low"-era Bowie. It wasn't to last.
The first step on the road to 18-month residencies as Wembley Stadium. The template is established here: sensitively-crafted songs allied to soaring, U2-like playing. "Yellow" is merely the first of many highlights to follow in future releases.
A lot of electronic music, especially back in the 80s, left me cold (drum machines? Hate them) and I certainly didn't feel the same for Kraftwerk as these boys, and others, obviously did.
That said, "Joan of Arc" and, especially, "Maid of Orleans" stand up strongly and the experimentation with, for example, more "churchy" sounds (the album should be played loud) works well.
OMD hail from the North West of England, which also helps....
Well now, as someone who has (pretty much) avoided all things Smiths and Morrisey over the years, both this album and the one I "warmed up" with ("Meat is Murder") have come as something of a revelation. I don't think I could ever be a fan of the man's voice but there's enough musicianship and song-craft here to merit a decent rating. Viva mope-rock.
As Amazon may have said, “If you enjoy Tears for Fears, you might also like…”. Or may that’s a little too glib as this album has so much to offer: multi layered, richly produced and a showcase for multi-instrumentalist Mark Hollis. This is so much more than the earnest electro-pop I was half-expecting, what with its echoes of the likes of Astral Weeks and Sketches of Spain(!). Fine album.
Did the earth move for me…..? Well, no but I do enjoy a bit of Manc Motown from time to time and certainly Hucknall is much more interesting here than on, say, the mega-popular “Stars” years down the track. Top notch voice and at times genuinely soulful, which the production serves extremely well.
Love the “SF Sound”. And I love Janis, so everyone else just shut-up so’s I can listen to her. Oh, “I Need a Man to Love”, “Piece of My Heart”….that’s better.
Lovely heavy feel to the album as a whole.
Have awarded myself a solid two stars for playing this until the end.
A revelation when I bought it during my hard-rock years and a revelation re-visiting it now. The depth, the range, the legacy: remarakable.
Fabulous voice. Soul classic.
I actually saw Bruce Dickinson when he was the frontman of a long-forgotten band by the name of Samson (who were supporting Robin Trower, FFS!) and, to be honest, I / we thought he was a bit of a twat. But still, here he is doing his best Ronnie Dio impression and helping take Maiden from the vanguard of the New Wave of British Heavy Metal to new heights of success and fan loyalty. And the album? Well, the double-whammy of "The Number of the Beast" and "Run to the Hills" is huge fun but there is no escaping the silly lyrics and general campness of the whole enterprise. Ferocious riffing? Sure. Pounding rhythm section? Check. Radical departure into new musical territory? Not so much.
An acquired taste is Leonard. Although too often, unfairly, dismissed as a miserable git there is nevertheless a (to me, welcome) seriousness about Cohen’s work and although the voice may be lacking in range, his lyrics (frequently Dylanesque) and themes more than compensate.
“Diamonds in the Mine” is lively and enjoyable; “Love Calls You..” is vintage Cohen and “Famous Blue Raincoat” is a classic.
Also, the girlie singers and the childrens’ choir, in particular, work well.
And I bet this record is in The National’s Matt Berninger’s collection.
Well, this is interesting: gangsta-less rap. Refreshing and lively. Like it.
It has “Mother and Child…..” and “Me and Julio..”, so it’s already ahead of the game. The remainder is, as you would expect, lyrically clever and worthy of the listener’s time not least because it also features a passable Django Reinhardt impression on “Hobo’s Blues”..
Lyricist supreme and it’s all here: funny, ironic, acerbic and playful. Ry Cooder, too. Superb.
I think drugs may have been involved. Despite, or maybe because of that, it’s certainly a rather curious beast: my first thought was that Beck had travelled back in time, maybe accompanied by Nick Cave, to record it. But that wouldn’t fully explain the quirkiness, the weirdness, the pain. “Grey/Afro”, meanwhile, is a mind-fuck of epic proportions.
Trippy, man. And worth returning to, I feel.
“Welcome to the Jungle” sets the scene perfectly: chunky riffs and Rose in full Plant / Lee Roth mode. And young Saul can play a bit.
“Paradise City” is terrific and the album as a whole, just, well, rocks.
Don’t play it to your mum.
Pretty much new territory for me but highly enjoyable all the same. Top-class song-writing and a rich production, with “Yosemite” the possible standout track. Lana also channels her inner Joni on “For Free” and “Let Me Love You Like a Woman” is fabulous.
Bright and breezy offering from the Britpop era, with very British sensibilities and cultural references. Perhaps interesting in that context but the often mannered (/pretentious) vocals and the irritating spoken interludes give the reviewer little room for manoeuvre.
Well, they’re clearly cross about something but the serious point is that this a debut of some substance and there is definitely a time and a place for rap-metal. In that regard, this is a fine album most notably through its blending of anger and melody.
A jolly offering from the Swedish maestros. Whilst some songs feel every one of their 48 years, there are more than a couple of all-time pop classics, serving to edge the start-rating up to 4....
Mucho sonic experimentation, although something of a disappointment, the same way "Kid A" was in some quarters for those whose expectations had been raised sky-high by "OK Computer".
When it works, it works ("I Might be Wrong", "Pyramid Song") but when it becomes self-indulgent, it's a little alienating.
Overall: not uninteresting.
Stripped down sound, giving the lyrics some breathing space. Listenable for sure with terrific, hypnotic beats. All this and Ron Carter(!).
Excellent punk sensibilities with an ear for a melody - powerful combination, especially in the context of a strong set of songs. Good stuff.
Showcase for an astonishing vocal gymnast. The full 8 octave range is on show here, allowing Buckley to sound like Plant or Surkamp or even Nina Simone. Feel free to add more.
All this and one of the great cover versions.
Hmm, interesting inclusion. Starts with a medieval "Here Comes the Bride", or it least sounded that way, so could it redeem itself?
Their ability to rock is not in question, especially as a live act, and that is in evidence here ("Father to Son"), as is their apparent devotion to the overly-bombastic ("Father to Son"). I guess they were still finding their way. May's guitar tone would become legendary nevertheless and Freddie could hold a tune.
Not sure it's aged terribly well (and it's deffo over-produced). Would award **.5 if I could, so I've rounded that up.
Angst-ridden to the core but packed with excellent tunes. Sold a gazillion copies, apparently.
Side 1, with Brother Ray swinging with an impeccable group of jazz musicians (and arrangements by one Quincy Jones) stands in contrast to the orchestrated ballads on Side 2. Thing is, Charles handles it all with complete ease. Class.
A Neil classic. A Canada classic. A rock classic. And the only such record to feature a flugelhorn (may be wrong there).
The title track remains a haunting, unsettling listen. No less magnificent, though.
Easy listening this ain't. Profoundly discordant and disturbing, the album requires a combination of forced curiosity and willpower to get through. There is, however, no doubting the astonishing creativity on show here but I'm not convinced that 45 minutes couldn't be better spent.
At the same time.....when it IS a little more accessible ("Who Is It"), it can be excellent.
Really rather enjoyed this: quirky and adventurous. Beats are groovy throughout and I love the steel drums on the Caribbean-tinged "Boardwalk". Great cover art-work, too.
Some great recordings here, showcasing Nina's distinctive warbly voice and delivery alongside trademark yearning and pain. Nice mix of musical styles, too. The self-penned "Four Women" is a stand-out, as is "Black is the Colour..".
Also the source of notable cover versions down the track (including one of my personal favourite David Bowie numbers).
Would add half a * if I could.
Hm, of its time I guess. I'm led to believe that it was an influential album but accept that that passed (passes) me by. Started off sounding like a Velvet Underground tribute act but couldn't really hold my interest beyond that. Not for me.
Given the themes, this is actually quite absorbing and I guess if anyone was going to do this in the early 70s, it was Lou Reed. He is ably assisted by a team of distinguished personnel as he guides us through some dark places.
Is this why Bowie and Iggy were attracted to the place?
One last point: I could have done without the crying and screaming children.
Irresistible rhythms and flawless playing distinguish this recording above all else. It's polished and sophisticated and a joy on many levels. Superior offering.
Being a 30 year old Brit at the time of its release, the cultural significance of this album all but passed me by. Listening to it now, the stripped-down power is undeniable, a power underlying songs that are at times dark, humorous and cynical. And what great songs there are: "Teen Spirit", "Come as You Are", "Polly", "Something in the Way", "Lithium". Plenty of recognisable hard rock motifs along the way but the sum total is so much more. Landmark, milestone etc., etc..
Interesting. At its best ("The Seventh Seal", "Get Behind Me"), this is Baroque pop that soars but I also think it sails pretty close to easy-listening territory at times. Nevertheless, grown-up themes (the Prague Spring!) abound.
When he walked through the doors kicked in by the Punk revolution, Costello was clearly so much better equipped than many of his peers, not least as an excellent song-writer with a long exposure to many styles and genres. This all on display here with the added benefit of the excellent Attractions as backing. “Pump it up” and “..Chelsea” still sound suitably lively and fresh, despite their 46 years.
For many, mention of the year in question triggers a mental playing of this album's title track, so that counts for something. The music throughout is pretty good though, showcasing Prince's astounding versatility across multiple genres. Not sure it all stands up 40+ years on. Also, I don't need constant reminders that he likes (liked) to shag.
The 4 is 3.5 rounded-up.
I've always enjoyed Tom Waits', what, studied weirdness(?) and his singular ability to defy genre categorisation. There's a wonderful mix of the odd, the cynical and the romantic in his work, as Bone Machine showcases superbly well.
A mightly album from Neil and a magnificent mix of thoughtful acoustic and Crazy Horse work-outs. Up there with his best releases. Clear evidence, too, that he pretty much invented grunge.
In a train station not too far from here, there is a piano that anyone can sit at and play. Sometimes Monk sounds like the drunk guy who plonks himself there at 11.30 at night and hammers away. Grossly unfair, I know, but sometimes this record is a tough listen, unlike, for example, the be-bop offerings of Parker et al or the later genius of, say, Miles and Gil Evans. Technically, I have no doubt that this is all very impressive but it ain't always enjoyable. I will, however, persevere (I bought the damn CD, for Christ's sake...).
Quirky. Other worldly. Surreal. Psychadelic. Interesting themes. Science Fiction rock? Interesting.
Impressive first offering, beautifully produced and sung. Not really for moi, though.
Almost in spite of myself, I think this is magnificent; William Orbit’s soundscapes - with nary a musical instrument within earshot - married to Madonna actually sounding like a singer resulted in a milestone in electronica. Now, this is not the kind of stuff that I would / could listen to for more than a track or three but I was beaten into submission. “Frozen” is both beautiful and brutal, “Shanti…” is hypnotic, while the title track sounds like it was fuelled by the stuff von Braun pumped into the Saturn V. Peak Madonna.
Tina Weymouth was the most important Head. Discuss.
Well, here we are at “the Big Bang” of rock ‘n’ roll: so fresh, so breathless, so raucous. And if you can’t hear the future sounds of, say, Lennon and McCartney, then you need to listen again.
And what I really love about this album is how the fabulous backing really swings.
“Seminal” doesn’t come close.
Another joyous offering from the “Big Bang” period of rock ‘n’ roll, when blues and jazz (lovely sax on “So Long”) were colliding and all Hell broke loose. Play it loud and keep time….
The sound of a band becoming great. Where there had been hints before, confirmation duly arrived with this collection.
Strange hearing this album again for the first time in 40 years. I was a big fan back in the day but I'm not sure "2112" has aged that well. Side one is a tad pretentious but with some good rocking nevertheless; side two is not terribly memorable, Ayn Randisms aside.
Metallica are at that precise point on the spectrum where my tolerance starts to diminish. Rapidly. And it took me four "sittings" to get through this. Yes, an uber-chunky sound with pounding ryhthm and riffs that sound like they were played on a steam locomotive. Sadly, this often results in a rather plodding sound, albeit with the occasional respite ("Sandman" is alright but the lyrics are just plain daft). Elsewhere, "Don't tread on me" is silly (unless I'm missing some kind of irony). Some stuff would work very well at Guantanamo (what's that? It did.....?).
Easy. 5*. Fifty years old and still sounds amazing. Landmark, milestone etc., etc..
Sixty years old, this recording. Astonishing. Lennon and McCartney confirming that were destined for immortality with a collection of stone cold classics and other numbers that most bands would have regarded as their finest hour. Not these guys: the genius albums were just around the corner and this is a mere stepping stone. Also, ears pricked up in California at the sound of George’s 12-string..
Nope. Only has a star as this was the only way to move on. Horrible aesthetic.
I like Lorde, in my view a songwriter of not inconsiderable talent. Her insights often belie her lack of years, although not all the songs here succeed. Nevertheless, when they are good, they are very good indeed. Saw her perform a couple of years back: felt as foreign as a frankfurter among her more "typical" demographic.
Interesting. Wonderful to hear a harpsichord for one thing, alongside film-score-like soundscapes and hints of jazz lounges. But there's more: "Oompa radar" sounds like the soundtrack to a particularly unpleasant fairground ride. Like I said, interesting.
Of their time, for sure, but there are some excellent songs here, albeit with their influences front and centre. And I also think the band had a tendency to veer off into the self-indulgent. A star for each of the stand-out tracks.
Quite the debut and a milestone in terms of gender, playing and writing. Short and sweet 3 minute pop songs, including the fabulous "Our lips are sealed" (worthy of stars in its own right), built according to a decidedly punk ethos.
Not sure The Go-Gos have truly been given the credit they deserve.
From the opening riffs of track one, AC/DC were finally impossible to ignore and although tragedy was just around the corner, this is their landmark album. Dodgy lyrics aside ("Night Prowler" is particularly obnoxious), this is excellent stuff: solid rhythms, distinctive lead guitar and histrionic vocals. Nice, clean production, too.
See under Slipknot, below.
A magnificent meeting of Celtic and British traditional music and electricity. Utterly timeless with accomplished playing to boot. And, of course, Sandy.
