Let's be honest: you're not here for tight lyricism or complex instrumentation. You're just here to rock out, and this album succeeds in that regard. A lot of the songs that I would normally consider bad were saved by their energy. Plus, the singers' accents lead to some unintentionally funny moments ("Texas Chainsaw Mass-a-cree" is one example). All in all, this album is a punk rock classic and I had a fun time listening to it.
Best song: Blitzkrieg Bop
Worst song: 53rd & 3rd
Underrated Gem: Listen to My Heart
Best Song Title: Now I Wanna Sniff Some Glue
Album Score: 6/10
I don't even like rap.
Album Score: 10/10
Best Song: i
Worst Song: You Ain't Gotta Lie (Momma Said)
I did not expect live concert albums to be a part of this list, but okay...
Being a live performance, there is a lot of extended jam sessions on this album. The most egregious example is Space Truckin', which lasts for almost 20 minutes. That being said, there is always something interesting going on in these jams that make them worth listening to, whether it be a seven-minute drum solo or a duel between a guitar and Ian Gillan's screeching falsetto. It may not be the most impressive thing out there, but it is definitely a good album to have playing in the background while doing other things.
Best Song: Child in Time
Worst Song: Lazy
Underrated Gem: The Mule
Best Guitar Impersonation: Strange Kind of Woman
Album Score: 8/10
For a rockin' punk band with an unsubtle political stance, this album is really, really boring. It's not bad, but I have absolutely no feelings for it whatsoever. At least this band would go on to make some actual great music.
Best Song: Janie Jones
Worst Song: Police and Thieves
Underrated Gem: idfk uhhh Career Opportunities i guess
Punk Reggae: Police and Thieves
Album Score: 4/10
5 albums in and I got someone I never heard of before. I must say, I am super impressed. If anyone tells you that modern music sucks, direct them to this album!
Best Song: I've Been Dazed
Worst Song: Piano Joint (This Kind of Love) - Intro
Most Likely to be Used in a Car Commercial: Rolling
Album Score: 9/10
Songs are definitely too long for my taste, but they're fine. Besides, this album gave us "Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)", so it can't be bad.
Best Song: Who Says a Funk Band Can't Play Rock?!
Worst Song: Cholly (Funk Getting Ready to Roll!)
Fried Ice Cream: A Reality
Available on Spotify?: lol no get real >:P
Album Score: 6/10
Very corny but very fun. Lauryn Hill has an amazing voice, she kills every RnB song on the album.
Also they censor every cuss word by backmasking the vocals WITH the instrumental, and that gets annoying.
Best Song: Ready or Not
Worst Song: Zealots
Most Epic Hood: New Jersey
Album Score: 7/10
Thirst half of this album did not leave a good impression on me, but that second half... goddamn! Adult contemporary still isn't my thing, but this album's second half might convert me one of these days. Overall, the album is perfectly decent, would be higher if that first half was better.
Best Song: Constant Craving
Worst Song: Wash Me Clean
Underrated Gem: Still Thrives This Love
Album Score: 6/10
Best Song: So Long, Marianne
Worst Song: basically everything else
Album Score: 3/10
A lot of these songs are great, but most of them just stick to the AC/DC formula with no big deviation. It's a fun formula, but I kind of wish there was more going on under the hood.
Best Song: Back in Black
Worst Song: Let Me Put My Love Into You
Underrated Gem: Shake a Leg
Most AC/DC Song Ever: Have a Drink on Me
Album Score: 7/10
Very great album, even if it drags a bit sometimes. If you'll excuse me, I'm gonna go gaze at my shoes now.
Best Song: Vapour Trail
Worst Song: Paralysed
Underrated Gem: In a Different Place
They Stole Taxman's Bassline: Seagull
Album Score: 8/10
Was gonna be unbiased for this album, but they ruined "Helter Skelter," so I gotta give them 1 star out of principle.
Album Score: 4/10
Best Song: Friction
Worst Song: Venus
Album Score: 7/10
Very grungy and slimy. I like it.
Best Song: Rooster
Worst Song: Untitled
Album Score: 8/10
Yep, this album is definitely white reggae. Not awful, but not fantastic either. Basically this album has "Message in a Bottle" and that's it.
Album Score: 6/10
This album is an absolue classic. Every song gives off massive good vives, and it feels like everyone working on this album is having the time of their lives. Even the more ridiculous songs like "(I'll Be Glad When You're Dead) You Rascal You" work because of Louis' infectious energy (plus it's funny how he giggles to himself partway through it). I had a huge smile on my face the whole way through, and if you hate this album, you might want to see a therapist.
Best Song: Just a Gigolo / I Ain't Got Nobody
Worst Song: Five Months, Two Weeks, Two Days
Underrated Gem: Whistle Stop
Shoobie Doobie Hooboy: Guaba Haba Zoozow
Album Score: 9/10
Coldplay's modern pop endeavors may not be the best music out there, but their older stuff still holds up for me. The first half of this album is amazing; the chord progressions and melodies are hauntingly beautiful at points. However, the second half is full of less exciting stuff. Not bad stuff, but it's nothing particularly notable for me. Will definitely be coming back to this one.
Best Song: The Scientist
Worst Song: Green Eyes
Underrated Gem: Politik
OH MY GOD I'M SO SICK OF CLOCKS! I HAVE TO HEAR THIS SONG EVERY DAY AT WORK, I CAN'T ESCAPE IT! MAKE IT STOP!!! FOR THE LOVE OF GOD, MAKE IT STO-!!!: Clocks
Album Score: 8/10
*insert Nostalgia Critic joke here*
Okay, so this album has a concept I like, and the story it presents is compelling and cool and stuff, but the songs themselves don't do much to stand on their own. A lot of these tracks I like in context, but I'm sure they wouldn't be very understandable taken out of context of the overall narrative (the ultimate cost of being a concept album). I guess what I'm trying to say is that I respect this album more than I like it, but I still think it's good all in all ("you're just another brick in the wall").
Best Song: Comfortably Numb
Worst Song: Bring the Boys Back Home
Album Score: 7/10
A timeless classic. Ray Charles has a fantastic voice and he effortlessly converts these country songs into beautiful swing and soul numbers. Fantastic all around!
Note for Spotify Users: Volumes 1 & 2 are combined into one album on Spotify, but only Disc 1 was on the original album.
Best Song: You Don't Know Me
Weakest Song: I Can't Stop Loving You
Album Score: 10/10
Best Song: Fame
Weakest Song: Can You Hear Me
Underrated Gem: Fascination
Album Score: 7/10
Southern rock at its finest. A few songs are simply decent rather than great, but it's still a fun time regardless.
Best Song: Free Bird (obviously)
Worst Song: Mississippi Kid
Album Score: 9/10
A decent mixed bag. At its best, it has some great proggy goodness; at its worst, it's just generic 80's dad rock.
Best Song: YYZ
Worst Song: Limelight
Rush's Favorite Time Signature: 7/4
Album Score: 6/10
Honestly, what is there to say about this album that hasn't already been said?
Best Song: Money
Worst Song: On the Run
The Lunatic: On the Grass
Album Score: 9/10
I'm finally returning to this website after over a year, and boy, what an album to return to!
This seemingly quaint and inconsequential collaboration between some of the most artsy Englishmen of the time (Soft Machine drummer Robert Wyatt, Pink Floyd drummer Nick Mason, "Tubular Bells Guy" Mike Oldfield, celebrated poet Ivor Cutler, prolific guitarist Fred Frith, etc.) has exceeded any and all expectations I had going into it. Each of the six tracks on this record create a vibrant and colorful picture of the ocean, delicately balancing the beautiful landscape of the ocean floor and the treacherous, stormy waters above. After learning about the making of Rock Bottom, it becomes very obvious that Wyatt's accident played a large part in developing the tone of this album. The marine environment this album resides in also doubles as an allegory for the emotional turmoil that he must have felt at the time (e.g., "Sea Song" includes references to seasonal depression, "A Last Straw" may imply a domestic argument), and many of the more avant-garde moments create an uncomfortable tension that further exemplifies this metaphor. Overall, Rock Bottom is a captivating and rewarding listen that I imagine will become one of t=my personal favorite records very quickly.
Standout Tracks: Sea Song, Little Red Riding Hood Hit the Road, Little Red Robin Hood Hit the Road
Score: SS
I'm wondering how the critics at the time thought this album would become a defining influence in popular music, but I'm not complaining. This is still a fantastic album that blends the traditions of its creators with the passionate energy of blues rock. What may come across as the trite, stadium-sized "alt-rock" of acts like X Ambassadors is transformed into a soulful, engaging performance by way of African polyrhythms and vocal stylings. In the second half, the band takes a slower, stripped-down approach and shifts its focus to a more folk-inspired sound. While I do enjoy the first half more, the entire project remains a great listen and neither side of the group overstays its welcome. If you're looking for a project that takes the elements of American music and makes something unique from it, I would highly recommend checking this out.
Favorite Tracks: Soubour, Al Hassidi Terei, Petit Metier, Desert Melodie
Score: A
In the final album of Nick Drake's tragically short career, his melancholy sound reaches its logical conclusion.
Compared to his first two records, Pink Moon is as lonely and as bare as ever. Almost zero studio overdubs this time around (with the obvious exception of the title track), consisting solely of Drake's poetry and an acoustic guitar. This lack of instrumentation, however, works to the album's benefit, allowing all the focus to be placed on the words and how they are sung. Each track contains subtle changes in mood based on how the guitar is played, which keeps the record from feeling repetitive despite the simple formula. And even if you don't like this type of album, it's only 28 minutes, so you won't have to endure it for long.
Standout Tracks: Pink Moon, Horn, Things Behind the Sun, Parasite, Free Ride
Score: SS
"The DJ's name is Premier, and I'm the Guru"
With Gang Starr's sophomore release, the duo ups the ante of their debut with a solid collection of tracks. Each beat that DJ Premier produced for this record is superbly mellow and understated, which is beautifully juxtaposed by the focused lyricism of "The Guru," Keith Elam. His rapping is rather complex for the time, employing internal rhyme schemes that could easily be written off as Guru just showing off, but he manages to come off as a smooth and refined MC. While this project is not as polished as their later works, and a few of the tracks can be seen as dated by today's standards, Step in the Arena still stands as a solid hip-hop record that I would recommend to anyone looking to get into the genre.
Standout Tracks: Step in the Arena, Execution of a Chump, Check the Technique, Love Sick, Just to Get a Rep
Score: B
Standout Tracks: Down to the Waterline, Sultans of Swing, In the Gallery
Score: C+
I guess Edwin Starr was wrong - War IS good for something.
For those of you who only know about this group from their single "Low Rider," you're not going to get the same style of music on this record. The World Is a Ghetto takes things in a more standard funk/soul direction, with lots of extended funk jams throughout. While the longer tracks can definitely drag on for some people, I think the tight musicianship helps to maintain energy as the tracks change in flow. This album is a fantastic funk classic that deserves more attention.
Standout Tracks: The Cisco Kid; City, Country, City; The World Is a Ghetto; Beetles in the Bog
Score: A+
With this being a list of "must-hear" records, I get how a country album can be seen as to plain and traditional to deserve a spot. That being said, Joe Ely's "Honky Tonk Masquerade" is well worth the listen for me. What can easily be ridden off as bog-standard country music is elevated by Ely's passion and charm, as well as a bright, sparkly production. There's also plenty of unconventional instrumental touches that break up the usual honky-tonk sound, such as an accordion and a Moog synthesizer (of all things!). Even if you're not the biggest fan of the country genre, I would still recommend checking this album out. You may be pleasantly surprised.
Standout Tracks: Because of the Wind, Boxcars, Honky Tonk Masquerade, Fingernails
Score: B-
So forward-thinking that it still sounds futuristic today.
Gary Numan had just discovered a Minimoog synthesizer sitting around in the studio before making this album, and his fascination with his shiny new toy creates a record like no other. Every track is thoroughly coated in the warm, spacey sound of the synth, while the limited composition and songwriting trap each song in a claustrophobic atmosphere. These two conflicting forces paint a picture of an advanced, futuristic fantasy world hiding a somber note of isolation and paranoia. Of course, with every song containing similar textures and structures, it can often feel like the whole project bleeds together, and no particular track stands out (except, of course, for the hit single "Cars"). Despite this, the album comes together into a mesmerizing proto-New Wave classic that convinced me to check out the rest of this man's catalogue.
Standout Tracks: Airlane, Metal, M.E., Conversation, Cars
Score: A-
"Come on, England!" *deepthroats microphone*
It sucks reading through all the negative reviews on this website where the only criticism is that "this bloke is annoying and stupid and misogynist and yadda yadda yadda." That's very clearly the point to this record and Ian Dury's whole schtick -- dirty rock n' roll where any semblance of modesty and chivalry are chewed up and spat out. The fact that songs this raunchy and nauseating are as fun and danceable as they are is a very concerning fact, yet that's exactly the type of music that tops the charts. The only thing that sets Dury's work apart is that he's being brutally honest about the type of person who writes these songs, and that makes for an unforgettable project. It's cheeky, irreverent, and very, very British. The only criticism I have is that his vocal performance is very inflexible, and it gets pretty annoying by the second half. Regardless, I believe this album is severely overhated and well worth a listen.
Standout Tracks: Wake Up and Make Love With Me, My Old Man, Billericay Dickie, Plaistow Patricia, Blackmail Man
Score: B+
I guess I'm just too old for this...
Standout Tracks: All the ones where Johnny does the funny beatboxing thing IDK
Score: E
They really should use the original album cover on this website; it'll be hilarious seeing people get jumpscared by the freaky faces.
A lot of the jazz records I see get praise from critics and music nerds tend to skew towards songs with fast tempos and/or complex improvisations. Compared to those albums, /Home Is Where the Music Is/ comes off as a breath of fresh air. This is a much more relaxed album where the ensemble chooses to vibe with each other and create a collection of mellow African-infused jazz songs. The tracks on this record are incredibly uplifting and life-affirming (this fact becomes much more poignant when you learn about Hugh Masekela's life up until this point), and this mood allows the album to be enjoyed by anyone regardless of their jazz experience. The fact that this is a double album, which would intimidate anyone including myself, doesn't really register when listening to this in full; everything on this project just flies by. I know a lot of folks on this website don't enjoy this as much as I do, and that's okay. I'll just be here having a grand old time with this album.
Standout Tracks: Part of a Whole, The Big Apple, Maseru, Blues for Huey, Maesha, Ingoo Pow-Pow (Children's Song)
Score: S
Another album everyone hates? This is gonna be fun...
It might just be due to the fact that I'm more in tune with music from other cultures, but I really enjoyed this one. The odd pair of Hindustani vocal traditions and downtempo "drum and bass music" is strangely captivating and creates an interesting atmosphere. The album does go on for a bit too long, as most 90's albums tend to do, and I don't think this style of music fully captures the grand ambitions that Sawhney had for this project. Nevertheless, I still appreciate it for going for an understated and intimate mood rather than an overblown one.
Standout Tracks: Broken Skin, Pilgrim, Serpents, Anthem Without Nation, Beyond Skin
Score: B-
Decent blues rock, it's got "La Grange" on it. Probably won't listen to it again but I didn't mind it while it was on.
Score: C
Mindless drivel and shallow hedonism have never sounded quite as grand and satisfying as this.
Standout Tracks: Hello, (anyway, here's) Wonderwall, Don't Look Back in Anger, Hey Now!, She's Electric, Morning Glory, Champagne Supernova
Score: S
The King continues to reign after 70 whole years.
When I first listened to Elvis Presley's debut LP back in 2024, I had a very dismissive outlook on the record. While I definitely had respect for Elvis for bringing rock n' roll to mainstream audiences and changing the face of music as we know it, I felt that the music hadn't aged as well as one would expect from the biggest name in rock music. However, after giving this record a relisten, I think I can finally meet the album where it's at and enjoy it for being a simple but effective collection of tracks.
There's a feeling of freedom on this record that just isn't present in the rest of Elvis' discography, which can easily be attributed to this being his first big release before his meteoric rise to stardom. As such, the album gives off the idea that Elvis is just hanging out in the studio, singing whatever songs he feels like and having a good time. All the tracks showcase his innate showmanship as well as a charming exuberance, whether he's charging his way through a rock n' roll standard or crooning a softer ballad. Some covers fail to match the original ("Tutti Frutti" is one such example), but the overall project is solid and very fun.
Standout Tracks: Blue Suede Shoes, I Got a Woman, I'm Gonna Sit Right Down and Cry (Over You), Blue Moon, Money Honey
Score: B+
Australian rock continues to be my favorite rock export with this Saints record. Mostly classic meat-and-potatoes punk rock with a few extra flourishes sprinkled throughout (e.g., the horns on "Know Your Product" and some mid-tempo tracks that sound like proto-R.E.M.). If you enjoy stuff like early Clash, give it a shot.
Standout Tracks: Know Your Product, This Perfect Day, Untitled, (I'm) Misunderstood
Score: B
Nice and relaxing, but I'm not going out of my way to listen to it again.
Standout Tracks: Love at the Five and Dime, One of These Days, Fly by Night
Score: C-
"I was born in the wrong generation, they just don't make real music like this anymore (ㅠoㅠ)"
I really enjoy these types of albums where elements of classic pop and rock music are updated and recontextualized for a modern audience. In this instance, The War on Drugs take the pained yet hopeful heartland rock of Bruce Springsteen (with dashes of Tom Petty, Bob Dylan, and a bit of U2 for good measure) and infuses it with neo-psychedelic elements and moody, introspective lyrics. Oftentimes, songs will end with extended dreamlike outros where you are simply left to sit and process the emotions of each track. As a result, a few songs and the album as a whole drag for a bit too long, but it is still a wonderful album.
In fact, the long runtime could work in the project's benefit in the right circumstance. I bet it would make for a great soundtrack during a long road trip, especially at night.
Standout Tracks: Under the Pressure, Red Eyes, Eyes to the Wind, Burning, Lost in the Dream, In Reverse
Score: A-
The Stones are back to doing blues rock, and they do a fairly good job. There's a charm to their stripped back approach, which allows plenty of tracks like "Parachute Woman" and "Jigsaw Puzzle" to shine. The big hit "Sympathy for the Devil" certainly deserved its iconic status, but I can't help but feel like it's missing something; I think adding an instrument or two would elevate it to a 10/10 classic. Overall a little shaky, but still a fine collection of bluesy tracks.
Standout Tracks: Sympathy for the Devil, Parachute Woman, Jigsaw Puzzle, Salt of the Earth
Score: B-
Some will consider this album to be the last great Beach Boys-related project (barring Brian Wilson's official release of "SMiLE" in 2004), and as much I hate saying it, they might be right.
Reminds me of the wacky stuff Brian was doing on "The Beach Boys Love You" around this time, but with much more accessible songwriting. Instead, the songs Dennis creates are closer to blues rockers and singer-songwriter balladry, with the occasional addition of horns, strings, and peculiar synth presets. If you're a fan of his contributions to an album like "Sunflower" ("Forever," "Slip On Through," etc.), this project will show itself to be a beautiful, uplifting continuation of the forgotten Wilson's musical style.
Standout Tracks: River Song, Thoughts of You, Time, Pacific Ocean Blues, Rainbows
Score: A-
Oi oi, this is a real "Up the Irons" moment, innit?
Listening to this album. you can tell that Iron Maiden had been through a lot before the making of their debut. The band is really in sync with each other, and it shows in the tight musicianship and how each band member will sync up with each other's parts to great effect. There are plenty of prog-like moments on this record where I'm able to see where the band will go from here, but they all just seem to be missing that final wow factor to make it a standout record for me. Not helping matters is the fact that Bruce Dickinson wouldn't arrive for a couple more albums; instead, the vocals are done by Paul Di'Anno, who does a fine enough job here, but lacks the power and charisma to push these tracks over the edge. Overall, a solid debut from Iron Maiden, even if I have a few reservations for it. If you consider it to be a must-hear classic, I won't argue with you.
Standout Tracks: Prowler, Phantom of the Opera, Iron Maiden
Score: C+
Every once in a while, I find myself scratching my head as to why Peter Gabriel is such a celebrated artist. From now on, when this happens, I'll make sure to put this album on to remind myself why.
While other pop stars shower themselves in excess and create the biggest, flashiest songs imaginable, Peter will often let the emotions bubble up slowly through understated lyrics and lush, sometimes ambient soundscapes. One might expect every track to be like "Sledgehammer" in terms of upbeat grooves and catchy hooks, which can definitely sour their opinion on this record, but I've come to appreciate the smaller moments on the record just as much as the bombastic moments. A lot of songs do wear out their welcome (only one song has a runtime below 4 minutes), but I would still recommend you give this album a shot to see just what ol' Peter Gabriel can do.
Standout Tracks: Sledgehammer, Don't Give Up (featuring KATE BUSH!!!), In Your Eyes, We Do What We're Told (Milgram's 37)
Score: B+
I generally don't have a problem with blues, but this album didn't really do anything for me. It may just be a symptom of the sterile late 80's production, but very few tracks had the trademark edge of the best blues projects. Easily the best part of this album is John Lee Hooker's performance; he still has the
vocal chops of a classic blues moaner. Very relaxed and inoffensive, but not the worst thing I ever heard.
Standout Tracks: The Healer, Think Twice Before You Go, Sally Mae
Score: D
Three of the greatest songwriters of the time come together like a folk-rock Voltron to create one of my favorite albums of the 60's.
This album starts off with an immediate bang; "Suite: Judy Blue Eyes" showcases both the incredible vocal play between the trio and Stephen Stills' skills as a versatile folk rocker who is willing to take songwriting risks. "Marrakesh Express" comes up next, a wonderful display of Graham Nash's strengths - he's a big ol' softy who excels at upbeat pop ditties and sentimental ballads. The third track, "Guinnevere," is written by David Crosby, who comes off as much more subdued than the other two; his songs are a little more bluesy with some abstract imagery. After this incredible three-track run, the rest of the album only continues to demonstrate the innate musicianship of each artist as well as their incredible synergy. Apparently this formula only got better when Neil Young was added into the fray, so if this album was already such a slam dunk for me, I can only imagine what a masterpiece CSNY's /Deja Vu/ will be when I eventually get to it.
Standout Tracks: Suite: Judy Blue Eyes, Guinnevere, Lady of the Island, Long Time Gone, 49 Bye Byes
Score: S
The perfect music to smoke that kush and space out to.
Easily the most common complaint I see for this album is the fact that every song is "too long." Of course, as someone with an unhealthy obsession with modern-day Swans, a band infamous for constantly releasing songs longer than 20 or even 30 minutes, the length of these tracks don't bother me as much as other people, so I feel more comfortable meeting this record at its level. The Grateful Dead as a band place more emphasis on the vibe of their music rather than any sort of deep lyrics or artistic grandeur, which serves as this album's greatest strength. Instead of creating some grand musical statement, this record is nothing more than guys being dudes and having a jolly ol' time jamming with each other. While I do prefer when my ridiculously long songs feature tighter performances and a sense of progression, the more casual feel of the Grateful Dead is still a worthwhile listen for me. Absolutely underrated by this website in my opinion, and I will most definitely consider myself an honorary Deadhead from this point forward.
If this is your first exposure to the Grateful Dead, I'd honestly recommend you just skip the opener "Dark Star" on your first listen and save it for last. It's not terrible by any means, but a 23-minute track that could come across as too relaxed and aimless can definitely leave a bad taste in one's mouth. Meanwhile, the two jams on side B are far more engaging and newbie-friendly.
Standout Tracks: St. Stephen, The Eleven, Turn On Your Love Light, Feedback
Score: A+
Not my favorite Bob Marley project, but I enjoy the laidback, "peace and love" approach to protest music this album goes for.
Standout Tracks: Lively Up Yourself, Rebel Music (3 O'Clock Road Block), Talkin' Blues, Revolution
Score: B-
What this album lacks in memorable melodies and riffs it makes up for in sheer speed and aggression. Quite possibly the heaviest album to be released by the Big 4 of thrash, and it earns its classic reputation big time.
Standout Tracks: Angel of Death, Piece by Piece, Altar of Sacrifice, Criminally Insane, Postmortem (really like the fakeout ending btw), Raining Blood
Score: SS
This was another k.d. lang situation; I wasn't feeling it for the first half, but I found myself enjoying it more by the second half. It doesn't reinvent the wheel, but they provide some solid tracks and they perform them with good energy.
Standout Tracks: Twice As Hard, Hard to Handle, She Talks to Angels
Score: C+
It's fascinating to hear this album and notice that, even though you would never confuse it for anything other than an R&B record, The Who seem interested in changing the formula in subtle ways to make this album truly their own. Maybe their guitars will sound a little heavier than usual, or perhaps they wrote a song that's more lumbering and sparse. Regardless, I think "My Generation" provided a great jumping-off point for the band and signaled their artistic growth through the rest of the decade into the 70's.
This album and The Beatles' "Rubber Soul" were released on the same day, and I feel like these two albums fall on opposite ends of the 4-star spectrum for me. "My Generation" provides enough creative material for me to call the overall project good at the bare minimum, whereas "Rubber Soul" has plenty of quality tracks, but it's just missing that last bit for me to call it a masterpiece. So when you check my profile and inevitably find that these two albums share the same score, it will at least make some sense to you.
Standout Tracks: The Good's Gone, My Generation, A Legal Matter, The Ox
Score: B-
A very mixed bag, but overhated for sure. Dion generally has a great voice, and this album is no exception. Unfortunately, infamous producer Phil Spector's "Wall of Sound" technique is incredibly hit-or-miss; some songs mesh with the production quite nicely ("Only You Know" and the title track, for example), but it ends up suffocating other tracks and leaves them feeling cloying and annoying. And then there's two songs on here ("Your Own Back Yard" and "New York Song") that apparently weren't produced by Phil at all, which allows them to at least have their own personality. I'll probably never listen to this again, but I can't say I had an awful time with this.
Standout Tracks: Your Own Back Yard, Only You Know, In and Out of Shadows
Score: C-
A bit of a step down from Soul Mining, but still pretty fun. Some tracks take a while to really get going, and the songs overall lack the punch of their debut. However, there are plenty of enjoyable moments throughout the record, especially towards the second half. "Sweet Bird of Truth," in particular, has some striking lyrics, and the Neneh Cherry's guest vocals on "Slow Train to Dawn" were a nice touch. Not too bad, all things considered.
Standout Tracks: Heartland, Sweet Bird of Truth, Slow Train to Dawn
Score: C+
