My 1001 Albums Journey

Album	You	Global	Diff
Yank Crime	5	2.7	+2.3
Scott 4	5	2.8	+2.2
São Paulo Confessions	5	2.83	+2.17
I Am a Bird Now	5	2.84	+2.16
Brown Sugar	5	2.91	+2.09
Desperate Youth, Blood Thirsty Babes	5	2.94	+2.06
Sheet Music	5	2.96	+2.04
Ghosteen	5	2.97	+2.03
I See You	5	3	+2
Fuzzy	5	3.01	+1.99

Album	You	Global	Diff
Never Mind The Bollocks, Here’s The Sex Pistols	2	3.46	-1.46

Artist	Albums	Average
David Bowie	8	4.38
Nirvana	3	5
Beatles	5	4.4
Bob Dylan	4	4.5
R.E.M.	4	4.5
Bruce Springsteen	3	4.67
Led Zeppelin	3	4.67
Black Sabbath	3	4.67
Jimi Hendrix	2	5
New Order	2	5
Deep Purple	2	5
Metallica	2	5
Pixies	2	5
Marvin Gaye	2	5
Kraftwerk	2	5
The Doors	2	5
Beastie Boys	2	5
Aretha Franklin	2	5
The Beach Boys	3	4.33
Prince	3	4.33
PJ Harvey	3	4.33

Herbie Hancock

4/5

As someone who only knew about "Rockit" before listening, this was an amazing experience. Herbie takes you on an audible journey that goes through several movements, and the only time the mood got questionable was the first minute of "Watermelon Man". But even that track settles into a chill groove. This is not an album for everyone, given that it's instrumental jazz and the first track is 15 minutes. But if you have the stomach for that vibe it comes with a strong recommendation.

Endtroducing.....

DJ Shadow

4/5

Having only heard about DJ Shadow before from his appearance in the DJ Hero video game, I can say this was an eye-opener. The way he weaves sampled words and instrumentals in new and meaningful ways such as Cliff Burton's bass intro from Metallica's "Orion" as a backdrop for a beat on "The Number Song" makes for an intriguing listen. Other cuts like "Organ Donor", "Midnight in a Perfect World", "Stem / Long Stem / Transmission 2" and the medley of "Napalm Brain" and "Scatter Brain" add to the wide range of tone and timbre Shadow can pull off. Granted, this album is not for everyone, as it's an instrumental album running a little over an hour, comprised heavily of samples, and has a few interlude tracks that don't add much to the overall package. But it is highly recommended for those who are into this style of music.

Axis: Bold As Love

Jimi Hendrix

5/5

Oh yeah, this is a bonafide classic. Perhaps not to the immediate smash that "Are You Experienced" was, but then you start digging deeper. Tracks like "Spanish Castle Magic", "Little Wing", "If 6 Was 9", the title track, and "Castles Made of Sand" showcase the rich blend of blues and psychedelia Jimi was able to conjure with his band. Granted, the album starts with the weird-ass spoken word intro that is "EXP", but it doesn't take long for Jimi's guitar to kick in and before you know it, you're "Up From the Skies." This album comes with a high recommendation.

Back To Black

Amy Winehouse

5/5

This was an amazing album. It's a throwback to the soul and R&B of the '60s but coming from a genuine place of passion. All of this is possible from Amy's charismatic voice, her lyrics delving into the conflicts and drama that can spur from a relationship, and the tight production chops of Mark Ronson and Salaam Remi. I've heard "Rehab" and the title track before, but the rest of the album is just as good as those two. Highly recommended if you haven't listened yet.

Either Or

Elliott Smith

4/5

I've heard of Elliott Smith before as an influential singer-songwriter, and that talent is showcased on this album. This is an easy-listening indie folk album that doesn't stretch itself too thin, complete with Elliott's whispery singing over some nice acoustic melodies. There are standout tracks like "Ballad of Big Nothing", "Angeles" and "Cupid Trick", though some tracks in the middle of the album admittedly run together and sound similar. Still overall, a pleasant experience from start to finish.

Synchronicity

The Police

4/5

I can see why this album is included on the list. The Police were a massive new wave and post-punk group in the late 70s and 80s, and their short catalog is considered iconic. Synchronicity, in particular, is stacked with some of their tightest and most poignant songs at their final hour, including the likes of both title tracks, "Walking in Your Footsteps", "Tea in the Sahara", and "Wrapped Around Your Finger". There's a problem though - "Mother" is on the first half of this album, and it is a blight. One of the few songs Sting didn't write, it's a creepy track where Andy Summers frantically sings about how "every girl becomes [his] mother in the end." I understand if Andy felt pressured by his mother growing up, but his struggle does not translate well into a song. If you end up listening to this album, feel free to skip the track; the rest is fine without it.

Tusk

Fleetwood Mac

4/5

This was the follow-up album to the smash hit that was Rumours, and as such there was more room to experiment. Thus, we got a double album where it starts getting weird on track two "The Ledge", where the guitar is tuned down an octave to sound like a fuzzy bass alongside Lindsey Buckingham's repeated utterance of the phrase "Someone oughta." In fact, the tracks written and sung by Lindsey tend to be the standouts on this album, including "Think About Me", "What Makes You Think You're the One", and the spoof on punk songs that is "Not That Funny." That's not to say I didn't appreciate contributions from everyone else. In particular, I consider "Sara" and "Storms" as well-penned songs from Stevie Nicks, and opener "Over & Over" from Christine McVie helped set the tone. But, I'll admit the album slows down on the back half, with songs sounding similar and it makes the album feels it's length before picking back up again at the end with the title track and "Never Forget". It's overall a solid album, and I can understand the creative freedom Fleetwood Mac had from their immediate success. Just could've been a little tighter.

Gorillaz

4/5

This was the debut album of Damon Albarn’s cartoon band, and in some ways they have outgrown the popularity of Blur. The appeal of Gorillaz can be drawn to how wide and varied the styles they can play, taking influence from alternative rock to trip hop and in-between. Tracks can take on a range of emotions from the melancholic “Tomorrow Comes Today” to the energetic “Punk”. The few guest appearances feel inspired such as Del the Funky Homosapien rapping on “Clint Eastwood” and “Rock the House”, as well as Ibrahim Ferrer’s cadence on “Latin Simone (Que Pasa Contigo)”. One’s enjoyment of this album can be attributed to how well they can tolerate the experimentation going on throughout this record, as well as Damon’s voice through his cartoon persona 2D. Because on some tracks like “Man Research (Clapper)” and “Sound Check (Gravity)” where he’s going into his high registers, it can make or break your experience. Still, it’s an overall fun time.

Chemtrails Over The Country Club

Lana Del Rey

3/5

This is the first Lana Del Rey album I have listened to, fitting before her headline performance at Coachella this weekend. On the surface, this is weirdly new to appear on this “1001 albums to listen to” list given that it's barely three years old. Then you look around and find that it was added to the 2021 edition of the list within months of release. All this to say that it might have been a presumptuous addition because this sounds to me like it does not need to be listened to before you die. Sure, there is some merit here with it being a baroque pop album that sounds aesthetically pleasing; a song like "Dark But Just a Game" is a good example of this style. But this album rarely leaves much of an impression, as Lana's wistful cooing and lyrical clunkiness don't work well, combined with Jack Antonoff's sheen pop production that does not mesh well here. There are times when the lyrical themes conflict with each other. I can't imagine Lana is "Wild at Heart" and wanderlust while embracing traditional ideals like standing by your man on "Let Me Love You Like a Woman". What surprised me was that this album ends with a cover of Joni Mitchell's "For Free" where Weyes Blood takes the final verse. Given her rich vocal timbre, it's as if she steals the show from Lana right at the end, which was probably not intended. Perhaps it could have been a ceremonial passing of the torch, but that wouldn't work because Lana followed up with another album the same year this dropped. I have to assume there's a better Lana album out there because this was not a good first impression. It's certainly not a must-hear.

Low-Life

New Order

5/5

Having only heard of New Order before from the singles "Blue Monday" and "Ceremony", I can say this album was quite the treat. It's good vibing post-punk complete with popping synthesizers, well-accented percussion from Stephen Morris, and Bernard Sumner's effortless vocal delivery. Tracks like "The Perfect Kiss", "Sunrise" and the instrumental "Elegia" pop off remarkably well, and the guitars get some time in the limelight on "Sooner Than You Think". Perhaps the songwriting and production are not consistently up to the high standard set by "Blue Monday", but there's no denying the group's performance is well done here. It's worth checking out if you're curious. Update 1/20/2025: I decided to revisit this album for its 40th anniversary, after listening to two hundred-plus albums and hearing "Elegia" during the funeral scene in Stranger Things. I will admit now that the production and songwriting on Low Life is just as good as "Blue Monday", and that every track popped off well. I can pick up more incredible guitar and bass lines, and Bernard's lyrics take a more striking melancholy. The lone exception of course is "Elegia", which is appropriately haunting as a tribute to fallen brother Ian Curtis, who fronted Joy Division before taking his life and the subsequent band became what we now know as New Order. I'm glad to have revisited Low Life as this album can go toe-to-toe with some of the best synth-pop albums I've heard thus far.

Music For The Jilted Generation

The Prodigy

4/5

From my understanding, this is a hardcore breakbeat album from a UK electronic dance group that is considered a pioneer of the big beat subgenre. That much is evident early on from "Break + Enter" with how hard the beat goes amidst synthesizer loops and samples of breaking glass. A lot of this album goes pretty dark with the sampling and beat intensity, to the point where it's closer to industrial than dance. That said, the 78-minute runtime is pretty daunting and requires being in a certain mindset. If you're into heavy rave music, then check it out.

The Velvet Underground & Nico

The Velvet Underground

4/5

I've already heard "Heroin" off this album, which serves as a prime example of the psychedelic rock on display. The tone can swing from easy breezy pop to uptempo rockers and lyrics of sexuality and drug use. Your enjoyment of this album may vary depending on how much you tolerate the experimentation and the vocals as Lou Reed's deadpan delivery and Nico's contralto singing are not everyone's cup of tea. For those who can handle it, it's a solid recommendation.

Songs In The Key Of Life

Stevie Wonder

4/5

For this review, I am looking at the original release of this album. I will not include the four-song EP "A Something's Extra" that gets tacked on to the end of the CD and streaming releases. That still leaves us with a double album that runs for about an hour and a half, and that runtime seems to be the elephant in the room here. As experimental as Stevie gets here, I don't think there's a bad or filler track per se, even though the baby recordings on the album cut of "Isn't She Lovely" are jarring and some tracks like "Another Star" and "Black Man" go on for longer than they need to. That said, I do not recommend marathoning this album in one session, because there is such a case for "too much of a good thing." Take a break between discs/records for this one. It belongs on this list, but only when approached with the right mindset.

Nebraska

Bruce Springsteen

4/5

This is one of the few times when Bruce Springsteen did not record with the E Street Band, as he chose to release the 4-track demos as they are. Not only that, but the tone is a lot more melancholy than previous efforts, where the lyrics revolve around characters who have been through rough patches in their lives as extreme as criminal behavior or mass murder, and then finding a turning point for themselves. This album is not for everyone based on the overall tone, and how naked it is with just Bruce and his guitar. Perhaps there could have been a drummer for the faster tempo tracks like "Johnny 99" and "Open All Night", but that wasn't Bruce's intent. As it is, it's certainly an interesting piece for the diehard fans and those curious.

Mask

Bauhaus

4/5

For this review, I'm looking at the original tracklisting of the album, without the CD reissue bonus tracks. Having heard "Bela Lugosi's Dead" and "Dark Entries" before, I know that Bauhaus are considered one of the progenitors of the goth rock subgenre. Their second studio album Mask was their attempt at expanding their sound, incorporating keyboards, funky rhythms, and saxophone. There is a wide range of tones throughout, from the somber "Hollow Hills", to the groovy "Kick in the Eye", and the rather ominous title track that closes the album. What pleased me the most was how good Kevin Haskins was behind the kit, with well-accented shuffle beats and the right amount of space for the percussion. Your mileage with this album will depend on how well you tolerate the experimentation, along with Peter Murphy's vocals as his delivery can get maniacal. If you're into the goth scene, it's a solid recommendation.

Melodrama

Lorde

5/5

After an unprecedented effect on the pop music landscape with her debut Pure Heroine, Lorde wanted to expand her artistic reach with her second album. Quite simply, that effort paid off in spades. From a production standpoint, it's impeccable as she made full use of Jack Antonoff as her producer this time. Together, they took the pop satire from her previous effort and added better framing, stronger melodies, and greater influence. Lorde's intense delivery is expanded here from soft coos to outright belting that opens her range. Peppered throughout are just enough discordant elements to add to the intensity, such as the horns on "Sober" or the unstable guitar on "Hard Feelings/Loveless". Enough is going on here musically to serve as a fitting backdrop for the loose framework in the forefront. Lyrically, this album was written based on Lorde's experience after her first breakup. The album opens with the one-two-three punch of "Green Light", "Sober", and "Homemade Dynamite", setting the stage for a reckless party where Lorde is acutely self-aware of how inflaming such an environment can be. She throws herself in too deep for the temptation of it all which makes the heartbreak on "Liability" all the more piercing. From there, that heartbreak is processed, from the separation felt in "Hard Feelings/Loveless", to obsession in "Writer in the Dark", to the reliving of memories in "Supercut". All for her to come around at the end with "Perfect Places", reaching a point where she accepts the consequence of the reckless love experienced, but is not one to abandon it. This album takes a deconstructive approach to pop music, then comes around and celebrates it much harder. It lives up to its title, but with enough sense of humanity that makes the trip worthwhile.

Young Americans

David Bowie

3/5

Bowie described this album as "plastic soul", which means soul music that is believed to lack authenticity. It's certainly not that often for an artist to be self-critical of their work within a year after its release, and he would later soften his stance while still aware that it was an attempt at soul music from a white man. Having listened to this album, that is exactly what we get. It's not a bad album, as it's aesthetically pleasing and bookmarked well enough by the title track and "Fame". Bowie was helped through the recording thanks to funk guitarist Carlos Alomar, saxophonist David Sanborn, backing vocalists Ava Cherry and Luther Vandross, and John Lennon. But at the end of the day, most of the tracks permeate with this sense of a white man trying to adapt to a style of music that he wasn't comfortable with. From a historical standpoint, this is one of the first notable instances of such a phenomenon. Young Americans as an album certainly has its place in Bowie's discography, albeit as an odd little phase. Make of that what you will.

Arrival

ABBA

4/5

Chances are good you've heard "Dancing Queen" before at a wedding or other occasion for hitting the dance floor. This is the album where that song comes from, along with other easy-listening pop tunes. It's a largely inoffensive record with solid production, though your enjoyment will vary depending on how much you can tolerate this style of music. If that sounds like your vibe, then check it out.

Coles Corner

Richard Hawley

3/5

I'll admit I hadn't heard of Richard Hawley before. He seems to be a prolific singer-songwriter, guitarist, and producer who's worked with artists such as Pulp, Arctic Monkeys, and Gwen Stefani. For this being my first album of his listening to, it's pretty solid. There's a bit of variety in the throwback sound employed here, from vintage pop to country and blues. It's well-crafted and easy to listen to, though its momentum slows down by the end with the ambient instrumental "Last Orders". It's pleasant to have in the background, though not many songs stand out.

Maxinquaye

Tricky

4/5

From my understanding, Tricky started as a member of Massive Attack, a group considered one of the pioneers of the trip-hop genre. He left them in the mid-'90s to pursue a solo career alongside vocalist Martina Topley-Bird, with this album being their debut. With that little background out of the way, I can say this album was a trip. Elements of psychedelic rock, R&B, electronica, and hip-hop are blended and weaved into this dark little package. Martina's smooth delivery and Tricky's off-kilter spoken rap balance out each other, only broken up occasionally by appearances from Alison Goldfrapp and Ragga, who also do an excellent job. Aside from the covers of Massive Attack's "Karmacoma" and Public Enemy's "Black Steel in the Hour of Chaos", this album lyrically taps into the psychological effects of recreational drugs and sexual paranoia. It's uneasy with purpose. With all that said, I don't expect everyone to enjoy this album. It's a slower and more ambient album than what someone would expect from a rapper. But if you're into that style, it's highly recommended. Update 4/21/2025: 200+ albums later, I went back to Maxinquaye after realizing I didn't really articulate any issues I had with this record outside of the general statement of not expecting everyone to enjoy this album. After all, music is subjective, and not everyone's going to have the same opinion. Upon relistening, I can better explain what stopped me from going head over heels for Tricky's debut. Let's start with Tricky himself, particularly his soft-spoken rap cadence throughout this record. Compared to Martina's well-sung delivery, Tricky comes off as vocally inferior on his own record, save for moments where he builds more strength in his flow, such as on tracks like "Brand New You're Retro" and "Suffocated Love". Add to that, as much as I commend the two of them for varying the styles and compositions employed in these tracks, the album does feel its length running at almost an hour. My engagement started to wane on the penultimate track "Strugglin'", which is probably an apt title given the stream-of-consciousness lyrics of a painful existence with the slow, spare percussive beat and the sample of a creaking door. Still, I do consider Maxinquaye to be a solid and innovative debut, as Tricky, with help from Martina and company, carved their own legacy in the trip-hop genre.

Halcyon Digest

Deerhunter

4/5

This seems to be a case where an album was added to the revised edition of the list within a couple of months after the album dropped. From what I can gather, they are an indie rock band that describes themselves as "ambient punk", and this fourth album of theirs is loosely based on the human tendency to re-imagine our memories to make them look better than how they played out. There is some well-accented percussion and guitar work to a fair amount of the tracks such as the singles "Revival" and "Memory", along the lines of psychedelic rock music from the '60s. Unfortunately, the album is bookended by tracks that lean more towards ambient shoegaze, which is an odd juxtaposition. It's a solid album overall for the psychedelia once you dig in.

25

Adele

4/5

There’s a good chance you’ve heard the opening track “Hello” before, which has become a hallmark in Adele’s catalog with the spare piano and touches of reverb that build into a choir echoing into the emptiness. There’s also a good chance you’ve heard the next track “Send My Love (To Your New Lover)” before, which is one of her weakest songs with the muffled stomp-clap beat that takes more focus than any semblance of melody. The fact these two are together sets the tone for how inconsistent this album is. It’s not a bad album, but it’s pretty apparent how each song has a different producer, which leads to different vocal effects and instrumental compositions across the album. Adele has been at her best when the production is dark and gritty, and that’s not always what you get here. This also translates to this album's vocal performance and lyrical themes, where it’s coming from a more mature perspective, reflecting on past relationships. She isn’t midway through a breakup like she was on 21, thus the framing would be different. But the songwriting hasn’t aged up with that maturity all the way through, and there is not as much raw power in the delivery. “Hello” and “Love in the Dark” are great songs, but you don’t quite get a “Rolling in the Deep” or “Set Fire to the Rain” here. Overall, it’s a solid album that will get a recommendation, as there are good selections to be had here. I wish it were a little tighter and more focused.

Sea Change

Beck

4/5

I've heard Beck here and there before, and this will make the first full album I sit down for him. It's a folk rock album where he croons along to his guitar playing and accompanying strings, with a very melancholic tone as he wrote these songs after he ended a nine-year relationship with his fiancee. The album is pretty well done, even if it goes longer than it should and won't be everyone's cup of tea. Give it a shot.

I See A Darkness

Bonnie "Prince" Billy

3/5

This is the first time I've ever heard of Will Oldham; likewise, this was the first time he published music under the alias Bonnie "Prince" Billy. From what I can tell, this kind of music can be described as "gothic folk", where dark and weighty lyrics are sung over haunting melodies. In that regard, the album is certainly well-crafted. I can see why Johnny Cash would cover the title track shortly after. There are just a few problems with this album - Will's warbly vocal delivery and the overall tone. This is not for everyone, given how bleak it comes off. If you're already in a bad or unpleasant mood, chances are good this album will not make it any better. From the right mindset, give it a spin.

High Violet

The National

4/5

I've heard of The National before, and this is the second album I'm checking out from them after First Two Pages of Frankenstein. It's the kind of indie rock and post-punk blend you would expect from such a reputable group, where rich poetry is delivered over fuzzy hooks, well-accented drums, and great grooves. I don't expect everyone to like this, given the genres they belong in and Matt Berninger's lower register. But if you're into that style of music, then it's a solid recommendation.

At Newport 1960

Muddy Waters

5/5

For this review, I'm sticking to the original track listing and not counting the bonus tracks from the 2001 remastered version. I'm already familiar with Muddy Waters as a blues legend, with this being a hallmark performance of his at the Newport Jazz Festival in 1960. This is peak Chicago-style blues for those who are into the classics, complete with an upbeat performance by Muddy and his live band. There's a reason why this album has been cited for developing the hard rock sound. Check it out.

Deep Purple In Rock

Deep Purple

5/5

Well, I'm going into this album already familiar with Deep Purple as one of the pioneering heavy metal bands. I've heard most of the tracks off this album before in pieces. Putting the pieces together, I will say this album kicks ass. Most of In Rock consists of hard rocking hitters one after another, from the one-two punch opening of "Speed King" and "Bloodsucker" to the percussive banger "Flight of the Rat" and the raucous outro "Hard Lovin' Man". The sole exception is the ten-minute epic "Child in Time". While the track is long, it's never boring as the band runs through multiple movements and never feels overwhelming until the appropriate climax. If anything, it's a standout song with Ian Gillan's vocal delivery and Jon Lord's organ playing. I'm comfortable giving this a high recommendation. It may not be Machine Head, but it does set the blueprint for albums like that.

Led Zeppelin

4/5

There's no denying this is a classic debut album from one of the most influential bands in rock history, stacked with heavy hitters like "Good Times Bad Times" and "Communication Breakdown" as well as inspired blues and folk covers such as "Dazed and Confused" and "Babe I'm Gonna Leave You". The only problem is that it's still a debut album where the growing pains are evident, as the second half of the album loses momentum on "Your Time is Gonna Come". However, it transitions nicely into the instrumental "Black Mountain Side" before picking things up again. Overall, it's a solid fundamental album for the genre, and as such gets a recommendation for those into rock and proto-metal.

Oxygène

Jean-Michel Jarre

4/5

From what I can gather, Jean-Michel Jarre is considered a pioneer of electronic ambient music, and this album is exactly that. Broken into six movements, Oxygène is a relaxing listen where the synthesizer hooks pop off and doesn't overstay its welcome. Some portions of the piece stand out like the keyboard swagger of Part V that's a toe-tapper. This is a niche album, where not everyone's on board for ambient music. It comes with a solid recommendation if you're curious about this genre.

Oedipus Schmoedipus

Barry Adamson

4/5

This is an oddity of an album, starting with the fact that I hadn't heard of Barry Adamson before. He's regarded as a musician, writer, composer, photographer, and filmmaker, who's worked with Magazine, Nick Cave and the Bad Seeds, and Depeche Mode. His solo albums tend to be described as soundtracks for imaginary films, and Oedipus Schmoedipus is no exception. Much like a soundtrack album, various styles are at play, ranging from funk, lounge, big band, and spoken word. Not all of it works, such as the dissonant nature of "Dirty Barry" with the horn blares and "It's Business as Usual" combining found audio recording with piano string manipulation reminiscent of Henry Cowell's "The Banshee". But it's at least kept interesting throughout the runtime, with the tracks aligning to how such a movie would sound. Overall it's a very niche album where I'm not sure of its inclusion on this list of albums you must hear before you die, but I don't regret listening to it once. In that sense, it's much like a movie you see once and probably not revisit unless you genuinely want to.

Surf's Up

The Beach Boys

4/5

Well, this is the first proper Beach Boys album I'm listening to. I've heard songs like "Surfin' USA" and "Little Saint Nick" in passing, though never cared enough to seek them out. I did not expect they would forego the whimsical nature of their surf rock '60s material for a more psychedelic prog-rock album. This is a strange album, where it takes twisted turns using Moog synthesizers, Hammond organs, electric guitars, and vocal effects while taking a crack at socially conscious lyrics for the time. It's not a perfect album, as not every experiment goes well. But, I'll be damned if I'm not impressed with the boys trying something different than what I expected. Give it a shot.

Meat Is Murder

The Smiths

3/5

Well, this is my first listen to a Smiths album. I've heard "How Soon is Now?" in passing, though I haven't bothered to seek the Smiths out because Morrissey is that big of an asshole to ward me away from his old band. Having listened to this, I can say he was the problem for The Smiths. Morrisey's baritone vocal style and excessive wordiness hold this album back. He comes off more as rambling than any typical vocal cadence. Only a few songs like "That Joke Isn't Funny Anymore" and "Well I Wonder" have enough space to allow him to sing, which does work. Lyrically, I will at least meet him halfway in that the songs against corporal punishment like "The Headmaster's Ritual" are generally good. Also of note are songs like "What She Said", "Nowhere Fast" and "That Joke Isn't Funny Anymore" where the contemplations of death carry a sense of empathy that you wouldn't expect from the man writing these songs. Unfortunately, that also brings us to the closing title track, which has a very pro-vegetarian stance that isn't for me. As someone who is a meat-eater, I can't speak for those who choose not to consume meat. However, I disagree with Morrissey saying that eating meat is "death for no reason" from an understanding of the life cycle and survival. Up to this point, I hadn't even gone into the instrumentation, which is the saving grace for this album. Johnny Marr is an excellent guitarist and songwriter, able to experiment with different styles from funk to rockabilly within the post-punk sense. Andy Rourke is an impeccable bass player who complements Johnny's work. Mike Joyce on the drums can keep it well-accented and does a superb job with the percussion arrangement for enough space between sections. Overall, it's a solid album from an instrumental standpoint that gets hampered down by the frontman. Not the worst, but I don't expect to revisit this anytime soon.

Master Of Puppets

Metallica

5/5

I remember mowing my neighbors' lawns as a teenager, blasting this album on my iPod. Every track hit hard as a kid getting into metal music, and I can comfortably say that sentiment rings true 15-ish years later. Back in the '80s, every member of Metallica brought their A-game. The guitarwork of James Hetfield and Kirk Hammett was impeccable and relentless, the late Cliff Burton's bass compositions came straight out of a classically trained mindset, and even Lars Ulrich's drumming was ferocious for the time. It's a testament to how they constructed a meaningful album with just eight songs. Each track goes through multiple movements that make you feel a wide range of emotions, from the opener "Battery" which eases its way into blistering riffage to the pulse-pounding stomp of "The Thing That Should Not Be", and even the instrumental "Orion" that showcased the song-crafting prowess of one of the best bass players gone too soon. There's a certain magic to Master of Puppets that's hard to replicate, even for Metallica themselves years later. This is worth the listen.

Imagine

John Lennon

3/5

This album has the unfortunate problem of being under the shadow of its overexposed title track, and the man who is considered by many to be the least favorite Beatle. I never hated John Lennon as a person or artist, but this is a case where the situation can go awry when one's ego isn't checked. In particular, the production throughout this album is rough, especially in the middle with songs like "It's So Hard" and "I Don't Want to Be a Soldier Mama" where the vocal mixing is all warbly, which does not work for John's already off-kilter delivery. That's before you get into the lyrics, where there are attempts at political songs but don't quite hit the mark or make a passive stance like with the title track that comes off as middling. There are some good songs here, such as "Jealous Guy" which paints a rather bleak picture of how hurt John must have felt to cause unintentional harm to others, and "Gimme Some Truth" and "How Do You Sleep?" which have some great slide guitarwork courtesy of fellow Beatle George Harrison. But those highlights are few and far between. Overall, this album's not bad, but I don't see myself revisiting it anytime soon.

Happy Sad

Tim Buckley

3/5

If that last name seems familiar, Tim is the father of Jeff Buckley. The apple doesn't fall far from the tree, as they were both singer-songwriters with an impressive tenor vocal range. Though I've heard Jeff's work in passing, I hadn't heard Tim's before. I will say this album is at least interesting, as it's a cross between psychedelic folk and jazz fusion, complete with songs spanning multiple movements and liberal use of the vibraphone. It's pleasant to have in the background, though conversely, it does mean little stands out except for how hard Tim goes off on "Gypsy Woman". It's a solid outing overall, give it a shot.

Guero

Beck

4/5

I've already heard the opening track "E-Pro" off the Rock Band 2 video game, and it's still a bop with the crunchy guitarwork over the sampled rhythm section from the Beastie Boys' "So What'cha Want." The rest of Guero continues down this path of alternative rock with hip-hop influences, sample use, and strong beats courtesy of the Dust Brothers. The momentum slows down toward the final two tracks, but overall the album was enjoyable.

The Gershwin Songbook

Ella Fitzgerald

3/5

This is an unfair inclusion in a list of albums to listen to before you die because this is a box set. It is a collection of 59 recorded covers of songs by George and Ira Gershwin, done as part of Ella Fitzgerald's ambitious attempt to cover the entire Great American Songbook canon. For my sanity, I listened to The Very Best of the Gershwin Songbook compilation which is 12 tracks for a runtime of 45 minutes. I will say, Ella's delivery and improvisation are remarkable over these well-constructed show tunes. Perhaps this compilation would have been a better inclusion than the 3-hour original box set. Alas, what we get is what we get.

Dookie

Green Day

4/5

Oh yeah, this is one of the landmark albums in the pop-punk genre, which makes sense for this list. Tre Cool's varied and kinetic drumming, Mike Dirnt's memorable bass lines, and Billie Joe Armstrong's very personal lyrics over power chords make this album work exceptionally well. If I had to nitpick aside from the off-putting hidden track "All By Myself", it's that Dookie is a genuine 90's album; a lot of the attitude and tone throughout these songs are of the time it's from. It is certainly one of the best representations of said time though, and as such still gets a high recommendation.

Wild Gift

X

4/5

I've heard of X before as an influential punk act, more specifically the songs off of their debut album Los Angeles. Much like that album, Wild Gift is a solid punk album with some rockabilly styling and pleasant vocal harmonies courtesy of John Doe and Exene. Just about every track stands out on its own, particularly in the middle with cuts like "In This House I Call Home", "White Girl", and especially "Beyond and Back" with how uptempo it gets. It would have been nice if Los Angeles was included on the list, but if you had to pick one album from X I'm cool with Wild Gift. Check it out.

My Life In The Bush Of Ghosts

Brian Eno

4/5

For this review, I’m sticking to the track listing of the 1981 second edition, with no bonus tracks factored. From what I can gather, producer Brian Eno previously worked with David Byrne on prior albums with the latter’s group the Talking Heads. This album marked the first time the two collaborated separate from that group. Inspired by Eno’s trip to Ghana for a West African music festival, this album takes sampled recordings from around the world and puts them over funk guitar riffs and percussive rhythms. All this to say that it’s a very ambient album, where the samples take the place of lead vocals. It helps that the instrumental compositions in the background get pretty groovy in places such as on “Help Me Somebody”. Sure, some recordings sound a bit dated, but they never feel overwhelming in the mix. Not a lot of tracks stand out, but again it’s largely ambient and meant for the whole experience. Overall, I enjoyed this album a lot more than I expected. Give it a shot.

Sign 'O' The Times

Prince

4/5

I will say I didn’t get into Prince’s music until after he passed away, and it’s a shame on myself because I’ve enjoyed what I heard thus far including this album. It’s not perfect, where Sign ‘O’ the Times is a double album (originally a triple album) that can sound dated in places with extensive use of a drum machine. But, I will say a lot of tracks stand out, from the simmering title track that opens the album before kicking into full gear with “Play in the Sunshine”, to the sensual “Slow Love”, to the swagger of the duet “U Got the Look”, and even the admittedly grunge-sounding ballad “The Cross”. Overall, it’s the kind of funky, groove laden, sexual 80s album you’d expect Prince to make, albeit a bit bloated. I’d divide your listening time into more than one session for Sign ‘O’ the Times, cause it’s certainly enjoyable when you’re not overindulging.

Harvest

Neil Young

5/5

Well, I’m already familiar with Mr. Young as a prolific singer-songwriter. I’ve also heard “Heart of Gold”, “Old Man” and “The Needle and the Damage Done” before sitting down for this album. Needless to say, the rest of Harvest is just as good as those three if not more. This is the kind of tightly constructed, well-written folk rock you’d expect from Neil Young, with a few surprises such as the symphony orchestra accompaniment on “A Man Needs a Maid” and “There’s a World”. There’s also a fair amount of electric rockers with “Alabama” and the closing waltz “Words”. Speaking on the former, I understand Neil has not looked fondly at “Alabama” with how the lyrics might not have been fully thought out, but I personally feel it’s aged better than the response we got from Lynyrd Skynyrd. I can see why Harvest is considered Neil Young’s signature album. This is exceptional.

Rage Against The Machine

5/5

Well, this album makes sense for inclusion on this list, given that it is one of the finest hours of funk metal that has gone on to influence several bands after. Every member on Rage Against the Machine delivers on their debut. Tim Cummerford’s bass slapping is infectious and has several moments. Brad Wilk’s drumming is well-accented, punches when needed, and makes use of a variety of percussive instruments, particularly the cowbell. Tom Morello’s guitar soloing and riffage are some of the most experimental sounds out there. Rounding it all out, Zach de La Rocha commands an excellent balance between rapping and harsh vocals. A lot of the songs are meaningfully constructed, where the riffs stick to memory and there are several movements and percussive breakdowns in between. As for the lyrics, I get that Rage might not be as beloved, given that they are a political band and the American political landscape has changed a lot in the past 30+ years. That said, it cannot be denied that a lot of the themes they touch upon are still relevant issues in the modern age, including the pursuit of freedom and justice, accountability, police brutality, racism and domestic abuse. Love it or hate it, there are reasons this album has maintained relevance to this day. Go into this one with an open mind.

Selling England By The Pound

Genesis

4/5

I've heard of Genesis before but only a few singles from the '80s and '90s. I hadn't ventured into their '70s catalog until now with this album. This is as genuine of a prog-rock album as possible, complete with various guitars, flutes, organs, and synthesizers. It's pleasant to have in the background, with notable passages here and there, and certainly with "More Fool Me" as the centerpiece. It's not an album I don't see myself revisiting as often, but I wouldn't mind if it comes up in rotation.

Exile In Guyville

Liz Phair

4/5

I'm at least familiar with Liz Phair, having heard her comeback album Soberish back in 2021. It was a decent experience from what I recall, but what we got here is her debut from when the hunger was fresh. From what I can gather, this album is framed with similar compositions and pacing to the Rolling Stones album Exile on Main St., which I unfortunately haven't listened to fully yet on this journey. Based on the songs I've heard off of Exile on Main St. thus far, there could be some merit to the comparisons. "6'1"" kicks the door down in the same way "Rocks Off" does, "Never Said" is as big and catchy of a single as "Tumbling Dice", and "Fuck and Run' does come off as a narrative flip of "Happy" where the woman is having trouble with finding a committed relationship. But I feel like there's more than just putting a spin on one of the Stones' classic albums. While it undoubtedly rocks, there's a lot more production techniques going on from the teamwork of Liz and Brad Wood that makes Guyville stand out, such as how the feedback of "Shatter" ebbs and flows in the background. Also lyrically, a lot of the content here is very transgressive, where Liz comes into a very male-centric scene with a lot of swagger in finding her place and exploring the various ways women have been taken advantage of in the past, with a bit of humor and wit thrown in. It's certainly commendable. I enjoyed this album a lot more than I expected. Guyville is one of those albums that is locked to a very feminist point of the early 90's, yet like other 90s classics this has stood the test of time. Check it out.

You've Come a Long Way Baby

Fatboy Slim

4/5

Well, I'm already familiar with Fatboy Slim as a big-beat producer, particularly for the songs "The Rockafeller Skank" and "Praise You" from this album that I've heard on alternative radio. Needless to say, the rest of the album is of similar quality to those two tracks. This is a very electronic album, where Slim experiments with beat loops, samples, and track manipulation to create fresh rhythms to groove to. Sure it's a bit repetitive and long, but that comes with the territory of the big-beat genre. If that's not your cup of tea, I get it. For everyone else, give this a shot.

Live At The Regal

B.B. King

4/5

It's another classic live blues album from one of the masters, and this time it's B.B. King at the Regal Theater in Chicago circa 1964. The show was pretty good, where the crowd got into it, and King himself had some nice banter in between songs. There are only a few nitpicks I had. I might be missing the context of a show intermission, but B.B. King was introduced again at the start of side two with "You Upset Me Baby." Also, the closing number "Help the Poor" wasn't as big of an ending as I would have liked. Still, I can see why this is considered a classic blues staple. Check it out.

Never Mind The Bollocks, Here’s The Sex Pistols

Sex Pistols

2/5

I've felt that the Sex Pistols have been long overhyped as a punk group. Their very formation resulted from manager Malcolm McLaren getting involved, which comes off as against the DIY understanding of punk music. I understand that for many people starting to get into punk music, the Sex Pistols may come off as a gateway band, not unlike the Ramones or the Clash. That notion has some merit, given how tuneful the band's song construction can be. Steve Jones came up with some catchy guitar riffs, while Glen Matlock, Sid Vicious, and Paul Cook were competent in the rhythm section. There is a backbone to this album. But that brings us to Johnny Rotten. McLaren picked Johnny as the vocalist for the group simply because he looked like trash, which was the image he had in mind for the group. Well, he didn't just look the part; he is trash. Johnny is such an irritable vocalist. There have been far better vocalists out there who can better snarl and have actual conviction than Johnny ever could. As for the lyrics, most songs tend to be pretty generic and try to be shocking or provoking for the time, and yes that includes the likes of the singles "Holidays in the Sun", "Anarchy in the U.K.", "God Save the Queen" and "Pretty Vacant." The one exception to this is track two "Bodies", which is an anti-abortion song that is absolutely disgusting. Hearing lines like "Dragged on a table in a factory" and "Throbbing squirm/Gurgling bloody mess" in the song's context makes my stomach churn, and I've listened to grindcore. I get why this album was included on the list. I also get why it can be considered influential. But holy shit, it's not good. Check out the singles if you are curious, but that's the best I can offer.

If You Can Believe Your Eyes & Ears

The Mamas & The Papas

3/5

Well, I've already heard "California Dreamin'" and "Monday, Monday" from this album. Aside from those two songs, "Go Where You Wanna Go" and "Somebody Groovy", there's not much here to write about. It's the debut album of a folk-pop group from the 1960s, complete with a couple of covers that don't add much to the overall product. The only other notable aspect of the Mamas and the Papas is what happened after their breakup, which you are free to check out and make of what you will. As for the album, take the singles and the rest can be skipped.

Rattus Norvegicus

The Stranglers

4/5

I've already heard "Hanging Around" and "(Get a) Grip (On Yourself)" as covered by other artists, and the rest of this album is just as sonically good as those two. This is a British punk/new-wave album with galloping bass, catchy guitar riffs, and plenty of organ melodies. The songs here have this driving groove to them, and Hugh Cromwell's low-register vocals are delivered in a campy fashion. There is admittedly a problem, and it involves some of the lyrics. I can recognize that as a product of its time, there are some songs like the opener "Sometimes" and "Peaches" where they come off as a bit misogynistic. It's something that unfortunately can't be ignored even if the instrumental compositions are well done. Thankfully, not every song is written in that manner, as the rest of them range from mundane urban living to spooky apocalyptic scenery. Overall, it's a solid album and is worth giving a chance.

Ambient 1/Music For Airports

Brian Eno

4/5

Well, I've already listened to the collaborative album Brian Eno had with David Byrne, and thus I get to hear one of his earlier solo works. This was the first album in a four-part series of ambient music where the intent was to make them meaningful with irregular patterns and various motifs. It's a pleasant album to listen to in the background while working, with enough going on to keep it interesting, and doesn't overstay its welcome.

Lost In The Dream

The War On Drugs

5/5

I'm already familiar with The War on Drugs as a heartland indie rock band from their later singles "Holding On" and "I Don't Live Here Anymore". The group was formed by Adam Granduciel and Kurt Vile in the mid-2000s, only for the latter to leave shortly after their first release. This is their third album, and wow Adam and everyone else who worked on this knocked it out of the ballpark. Lost in a Dream is an album drenched in a blend of washed-out shoegaze and mid-80s-inspired roots rock that's intricate in its song construction. It's filled to the brim with gorgeous melodies, and several instrumental moments that resonate like the guitar solo of "An Ocean in Between the Waves", the reverb guitar sliding of "The Haunting Idle", the synth crescendo and interplay on "Burning", and the saxophone that shows up on "Under the Pressure" and "Red Eyes". Seriously, "Red Eyes" is one of those immediate smash singles from this record that I couldn't believe upon first listening. Adam sings with a Dylan-esque delivery that maintains a balance between capturing an emotion without overselling it and holding it together on the edge of heartbreak. His vocals pair neatly with the lyrical content, where after a year of nonstop touring, his anxiety and depression bled into the words. He tries to hold onto fleeting moments of love before they fizzle out, even if it drives him near a breaking point. It's earnest yet self-aware enough to have some emotional stakes. He knows there will be heartbreak after heartbreak, yet he keeps looking no matter how much it'll hurt. This is a strong record through and through, taking the rock of the past with the melancholic lens of the 2010s indie scene. Give it a chance.

Paranoid

Black Sabbath

5/5

I've listened to this album before and it has aged like a fine wine. On their second album, Black Sabbath was able to perfect their formula for the early formations of heavy metal music. The songwriting and mix are impeccable so I can hear every member have multiple shining moments in the spotlight. Every track is a classic in its regard, even deep cuts such as the slow gaze of "Planet Caravan" and the short instrumental "Rat Salad." Iconic riffs are paired with timeless lyrics of destruction, be it of the world at large through war or of self by partaking in drugs. Maybe the sequencing of tracks could have been a smidge better like the drop in tempo from “Paranoid” to “Planet Caravan”, but that is a minor nitpick. If you've not heard Paranoid before, then please take the time to listen.

Mothership Connection

Parliament

4/5

Alright, this is a funky-ass album from one of the legends Parliament, complete with scratching guitars, horns, oily bass courtesy of Bootsy Collins, and a loose outer space narrative. Is it cheesy? Absolutely. But that's where the charms lie with how much charisma George Clinton and company can pull off with this collection of tunes about interstellar grooving that doesn't overstay its welcome save for the opening skits. It's a silly album with a lot of craftsmanship to back it up, I dig it.

3 Years, 5 Months And 2 Days In The Life Of...

Arrested Development

3/5

I've heard of Arrested Development as an alternative hip-hop group that was big in 1992 but fell off shortly after. They've since reformed with Speech as the sole original member in the lineup, and 3 Years is still regarded as their best effort. Listening to this album, I can see why. The skits, slow conscious rapping, sampling, and swagger are of the early 90s deviation from the rise of gangsta rap. I give them props for using live instrumentation in the song construction and Speech's ability to command the mic with his flow, even if the sound is stuck to a specific time. Lyrically, this album mainly addresses spirituality, civil rights, and the prevalence of street gangs. A fair amount of the songs pop off well including the singles, particularly "Tennessee" with how Speech reflects upon his upbringing and where he belongs after his grandma and brother passed. Other songs though can come off as either dated, a bit preachy, or in the case of "Natural" questionable with the sexual advancement. Overall, 3 Years is not a bad record and I can see how it paved the way for later conscious hip-hop efforts. Take the singles, and cherry-pick from the rest.

good kid, m.A.A.d city

Kendrick Lamar

5/5

For this review, I am looking to the original track listing, and not factoring the "Bitch Don't Kill My Vibe" remix with Jay-Z that is included on streaming services. Alright, it's time for K-Dot and his major label debut, executively produced by Dr. Dre. Billed as a "short film," good kid is a concept album about Kendrick's upbringing in Compton, with the prevalence of drugs and street gangs. Yet, such a summary doesn't do much justice, as there's a lot of introspection done on this album, exploring the expectations and transgression faced in a cruel, uncaring world. It's revealing the kind of storyteller and MC Kendrick could be in how he can twist and warp his delivery to fit a dark, swampy West Coast vibe that's well done in the atmosphere. Kendrick gets away with the 12-minute-long track "Sing About Me, I'm Dying of Thirst" on those principles from the perspective of different characters. Hell, this album interweaves audio recordings so well that the tracks feel incomplete without them, and every featured artist brings their best contribution including Drake which is a rarity for him. I know we still got To Pimp a Butterfly coming up next, but good kid is such a prime setup that it can't be ignored.

Abattoir Blues / The Lyre of Orpheus

Nick Cave & The Bad Seeds

4/5

Alright, I'm already familiar with Nick Cave and the Bad Seeds as an influential goth rock act, having heard select songs before including his 2013 album "Push the Sky Away". I will say here, this is technically a double album, but arranged into two different sounding albums. Abbatoir Blues contains more abrasive, rocking tunes, while The Lyre of Orpheus contains more chorus-driven ballads with some potent hooks. That's where I would recommend breaking your listening time into two different sessions, one for each disc. The other hurdle with this project is that the music better resonates if you're already familiar with Nick Cave's songwriting. How he touches upon themes of death, gothic tragedy, relationships, and religious imagery is established by earlier material. It doesn't work as effectively if say you're on this site getting daily randomly generated albums, this comes up and you hadn't heard of Nick Cave before. If you have the time, I recommend listening to a greatest hits compilation or playlist before approaching these two albums. For those already familiar with Nick Cave and the Bad Seeds, yeah these are two great albums. I admittedly got a bit more mileage out of the melodic nature of The Lyre of Orpheus, but both are worth your time.

Dummy

Portishead

4/5

This is my first time listening to Portishead. From what I can gather, they're considered an influential group in the trip-hop genre, alongside the likes of Tricky whom I’ve heard before on this journey. That genre is pretty much the vibe we get with this album. Beth Gibbons's sweet and sultry vocal delivery melts over the slow yet well-accented percussion and spare accompaniment from various live instruments, samples, and electronic programming. In a way, the album is cinematic in its overall presentation. Pair that with yearning lyrics, and the experience takes on a whole melancholic tone. I enjoyed this album overall, and I can see how later acts were inspired by it. There's a sense of it being simple but effective.

Metal Box

Public Image Ltd.

3/5

For those unaware, Public Image Ltd. was formed by John Lydon aka Johnny Rotten shortly after the Sex Pistols broke up. He recruited an old friend of his Jah Wobble as bassist and former Clash member Keith Levene as guitarist. Metal Box, subsequently known as Second Edition, is their second album, categorized by what they're getting away with as an "avant-garde" sound, with stream-of-consciousness lyrics, dub-inspired bass grooves, and an abrasive "metallic" guitar sound. Now that formalities are out of the way, my enjoyment was admittedly slightly better than the Sex Pistols' one album. Keith Levene's guitar playing may not be as hook-driven as Steve Jones's was, yet it's also weirdly hypnotic in its unorthodox behavior. The rhythm section shines here, where Jah Wobble's playing up and down bass is well executed, and the session drummers do a superb job with the beats. Once again, Johnny Rotten is the worst part of his own group. He's a terrible singer, but instead of badly snarking he's now badly wailing. Similarly, he hasn't improved much as a lyricist, though he probably got away with using abstract imagery under the guise of "avant-garde." Thankfully, we don't get a "Bodies" here. Also helping to ease things between are the instrumental tracks "Socialist", "Graveyard" and closer "Radio 4", which I admittedly found pleasant. Overall, it is technically a step up from Never Mind the Bollocks, but not by much. I can see how someone would classify this as a landmark album for post-punk. Just one more Public Image album on this journey, and then Johnny can fuck right off.

Yankee Hotel Foxtrot

Wilco

3/5

I've heard of Wilco before from a hipster music professor I had back in college. They're considered one of the more influential indie rock bands out there, with this album standing out due to its troubled release history which you're welcome to look into. I will say I enjoyed the album as a whole. It was an easy listen, with some light motifs on songs like "Karema", "War on War", and "Jesus, Etc." that stood out. It does overstay its welcome a bit on the closing track "Reservations", and some songs do run together. Still overall, it was a solid album to have going in the background while keeping the vibes interesting.

Night Life

Ray Price

4/5

I hadn't heard of Ray Price before. From what I can gather, he was notable for being one of the best baritone singers in country music and helped popularize the shift of the beat in country songs from 2/4 to 4/4 time. There's a bit more to the story though, as one of the members of his touring band that played on this album was a young Willie Nelson, playing bass and backing vocals. As for the music itself, this is the chill yet upbeat country music that would be expected from such a pairing. Every instrument has its moment in the limelight, and Ray's delivery is silky smooth. There were a fair amount of standouts from the opening title track to the end with "Are You Are". It was a pleasant listen and as such gets a solid recommendation.

Station To Station

David Bowie

5/5

This is a prime example of "It should not work, and yet it does." After the commerical success of Young Americans, and starring in his first film The Man Who Fell to Earth, David Bowie transitioned into a new persona that would be dubbed The Thin White Duke. This character would be the embodiment of one of the darkest times of Bowie's life, where his diet of red peppers, milk and cocaine contributed to an unhealthly and depressing lifestyle. In fact, Bowie was so drug-induced that he couldn't recall the recording sessions for Station to Station. I couldn't begin to fathom what he was going through at the time, let alone attempt to make a new album in that condition. That could've been a recipe for disaster, right? Yet in spite of the turmoil Bowie went through, this might be one of the best albums he's ever done. Six songs of various genres that end up somehow cohesive as he tows the line between drug-riddled and yearning for love. The ten-minute title track is ambitious in switching from a slow march to progressive disco at a different key and tempo, and it works. The singles for this album are superb, especially "Golden Years" with its uptempo groovy edge. Finally, the album closes on a cover of Johnny Mathis's "Wild is the Wind" and it might as well be one of the best vocal performances we ever got out of him. I'm not saying doing cocaine made this album work, and I'm certainly not going to endorse that notion. Rather, this album works in spite of Bowie's at-the-time addiction. I'm glad he sobered up after this and continued to be ambitious with his music, but I'm also glad this album exists as a sobering reminder.

The Dark Side Of The Moon

Pink Floyd

5/5

There’s two ways that one can go about reviewing this album - the easy way or the hard way. The easy way to review it would be to just say, “It’s Dark Side of the Moon.” That’s it. This album continues to garner accolades. It shows up on “Top Albums of All Time” articles from various publications. The individual songs and the whole have been covered multiple times (and yes, that includes the shitty Roger Waters solo de-make). Even if some people might prefer Animals or Wish You Were Here, Dark Side usually gets brought up when discussing the best albums of Pink Floyd’s discography. You could point to all that and get away with it. The hard way to review it is to sit down, listen in full with a fresh mind, and think critically about how this album works in relation to you the listener. For me, I know I just listened to this album a couple of months ago for the solar eclipse in Vermont, plus I watched a making of documentary about Dark Side last week. Regardless, I wanted to listen again in full and see if I can figure out why it works for me. What I can say right off the bat is how impeccable tracks flow from one to another. Whether it’s “Breathe (in the Air)” building up tempo to “On the Run”, or “Any Colour You Like” with the guitar bend at the end moving towards “Brain Damage” followed by “Eclipse”, the transitions are well executed. There’s even wonderful segues in the tracks themselves, such as the cashier sounds leading into the bass line for “Money”, or “Time” providing a neat callback to “Breathe (in the Air)” at the end. Hell, even the intro track “Speak to Me” serves as a pretty good overture. Every band member and session member perform exceptionally well on this record. My personal highlights would have to be Dick Parry’s saxophone solos on “Money” and “Us and Them”, as well as Clare Torry’s vocals on “The Great Gig in the Sky”. Lyrically, Roger Waters was able to craft a meaningful reflection on life as we are each day drawn closer to the end of our time. Is it a bit melodramatic? Maybe, yet it also can be viewed as a call to pursue something greater in our lives while we still can. Overall, I’m glad to have revisited Dark Side and thought more about how I view this album. At the end of the day, that’s the best we can do on this site, ain’t it?

Stankonia

OutKast

5/5

Alright, it's time for OutKast! I've already heard "Ms. Jackson" and "B.O.B. - Bombs Over Baghdad" before listening to this album, which I'll say right now are personal highlights. Going into Stankonia proper, this takes the funk foundation of acts like Prince and Parliament-Funkadelic and builds upon it with a lot of techno and hip-hop experimentation to bring the sound to the start of the new millennium. Andre 3000 and Big Boi share some fun, tongue-in-cheek lyrics with dashes of forward-thinking verses in between, all delivered on top of some exquisite production courtesy of Mr. DJ. It was even fun with the sound diving into funk metal adjacent territory with "B.O.B." and "Gasoline Dreams". Come to think of it, there are a lot of guest artists that bring their A-game here, including B-Real of Cypress Hill on "X-Plosion", Erykah Badu on "Humble Mumble", Cee-Lo Green on "Slum Beautiful", and a very hungry Killer Mike on "Snappin' & Trappin'". If I had to nitpick, while I'm cool with the interludes, there are a lot of them; roughly a third of the album's tracklisting. That said though, they're short, don't overstay their welcome, and it's admittedly funny that they end each with the crew shouting "BREAK". Overall, I had a fun time visiting Stankonia. Give it a chance.

1977

Ash

4/5

This was a surprising find, not gonna lie. We have here a well-done late-90s garage-rock album that takes the good elements of acts like Dinosaur Jr. and Sonic Youth with an Irish tint. 1977 is certainly good in the latter third, from the ruckus buildup and breakdown towards the end of "Innocent Smile", to the ending guitar solo of "Angel Interceptor", the surprisingly good ballad "Lost in You", and that bombastic closer "Darkside Lightside". It may be a product of its time, but like with Green Day's Dookie, this album is a good musical representation of that era. Give it a shot.

Elephant

The White Stripes

4/5

I'm well familiar with the garage rock duo that is the White Stripes, particularly for this album the sports anthem classic "Seven Nation Army" and the just as excellent "The Hardest Button to Button". Going through the rest of Elephant proper, the rest of the tunes are about the same level of quality as those two singles. I especially liked the seven-minute "Ball and Biscuit", along with the riffing deep cut "Hypnotize", "Little Acorns" with its fun little opening skit, and Meg White's ballad "In the Cold, Cold Night". It's amazing how much good song craftmanship Meg and Jack accomplished together. I don't quite think it lights my world or blows my mind away at any point, given my familiarity with their influences like Led Zeppelin and the Velvet Underground. But for what Elephant is, I thoroughly enjoyed it, and thus it comes with a solid recommendation.

Green River

Creedence Clearwater Revival

5/5

I’m finally getting to some Creedence Clearwater Revival. I've already heard about half of this album beforehand, and the rest of Green River is of the same good quality. The title track and "Commotion" are excellent openers, "Wrote a Song for Everyone" is a very potent lament, the succession from "Bad Moon Rising" to "Lodi" and "Cross-Tie Walker" is impressive, and the album ends on a good cover of Ray Charles's "The Night Time is the Right Time". I can see why John Fogerty considers this his favorite album from his time with the band; it's all killer and no filler. Check it out.

21

Adele

5/5

Well, I’ve already heard Adele’s album after this, 25. While I felt mixed on that follow up, here 21 ends up being overall powerful, from the singles to the deep cut ballads. The song sequencing is well structured, taking more cues from country and roots music, and consistently produced courtesy of guys like Ryan Tedder and Rick Rubin. The album follows an emotional journey that Adele went through post-breakup, with a lot of the immediacy and stakes present in the lyrics and vocal delivery. Each song hits from the opening one-two punch of “Rolling in the Deep” and “Rumour Has It” when the rage is seething in the immediate aftermath, to the complexity of the relationship painted in “Set Fire to the Rain”, to the yearning of what could have been in “He Won’t Go” and “Take It All”, and finally to the surprisingly potent cover of The Cure’s “Lovesong” that is thematically followed by such an impactful closer in “Someone Like You” in wishing the best to a now past lover. It is an amazing time capsule of such a hard time for her, and while she’s done some healing since, it’s impressive how she was able to capture what she went through. Give it a listen.

Tidal

Fiona Apple

5/5

I’m already familiar with Fiona Apple as a singer-songwriter, having heard her album Fetch the Bolt Cutters when it dropped in 2020. I very much enjoyed that album, and that same amount of enjoyment can be applied to her debut album as well. This can be attributed to how Fiona is able to take emotionally complex relationship drama drawn from her fraught adolescence, and make her stories accessible with well-written hooks. Add to that Jon Brion and Patrick Warner’s contributions on various instruments like the marimba and Chamberlin organ, and you got a piano-driven album with variance. Themes explored range from sexuality with “Criminal”, temptation with “Shadowboxer”, fantasizing with “The First Taste”, and even reminiscing about an ex-lover with “Never is a Promise.” There’s also no denying the impact of the wistful closer “Carrion”, where the relationship comes to a point where there is no saving it, as her love for her partner fades amidst the tickling ivories and jaunty guitar soloing. Overall, I enjoyed Tidal very much, as it serves as a good introduction to Fiona if you haven’t checked her out.

Shaft

Isaac Hayes

4/5

I’ve heard of Shaft as a blaxploitation film from the 1970s, however at this point I haven’t seen the film yet. Thus, it feels weird to me that Issac Hayes’s soundtrack is on this list, given its ties to a piece of visual media. Still, there seems to be a lot of appraisal for the soundtrack, historically signified as one of the first to incorporate a more funk/soul driven sound for a film. The question is, does it hold up on its own without seeing Shaft the film? The answer for me at least is somewhat. Obviously, the “Theme from Shaft” is the standout moment right from the get-go, and it gets a nice callback with “The End Theme.” Other notable tracks in between include “Ellie’s Love Theme” which oozes this sense of mystique around what sounds like catchy xylophone motifs, “Cafe Regio’s” with its epic guitar soloing alongside the horn accompaniment, “Be Yourself” with horn riffs for days, “Soulsville” as another finely sung piece from Isaac, and the 19-minute “Do Your Thing” that comes off as an extended jam session with tempo changes amidst guitar and electric piano solos. But going back to what has been stated earlier, this is nevertheless a soundtrack for a film, and it shows in places. The rest of the album can be described as either light motifs that last no more than two minutes, or like with “Early Sunday Morning” best serves as background music for certain scenes. Overall, Issac Hayes is a good composer in his own right, and I certainly look forward to catching Shaft the film sometime based on my enjoyment of the soundtrack. Perhaps Shaft is better served on a list of “films to watch before you die” to get both the audio and visual components together, as opposed to just the album separately.

The Rolling Stones

3/5

Okay, here’s the thing - I anticipated that there were going to be a few Rolling Stones albums on this list. With this debut album, each member is technically efficient in their respective right from the get-go, and on some level as a Stones fan it was cool to hear the humble beginnings of this group. But that leads us to an undeniable truth - that this is a debut album consisting mostly of cover songs of the blues artists they were influenced by early on in their career, broken up by two original songs that admittedly aren’t well remembered. Technically good and flattering, but not something worth listening to before you die given what the Stones have accomplished in the latter half of the 60s onward. I’d say this album is definitely for the diehard Stones fans - the ones who know what this band are capable of and want to further explore their roots. I know we got some true classics from them coming up on this journey, and this debut unfortunately doesn’t hold a candle to them.

Come Away With Me

Norah Jones

3/5

I’ve heard of Norah Jones recently, specifically that time she swept a good chunk of the 2003 Grammy Awards with this debut album of hers. I get that dependent on who you are, the Grammys can be taken with a grain of salt, but still for the artist’s recognition it can be validating and Norah continued to be appreciative throughout her career. As for the album in question, it’s a pleasant acoustic pop album with touches of soul and jazz. Norah has a very sultry mezzo-soprano voice, and she seems to know her way around the ivories. The guitars and backing instrumentation provide nice compositions for the ambience, and it all makes for smooth easy-listening background music. Unfortunately, background music is about the highest praise I could give this debut. Aside from a few songs like the opening single “Don’t Know Why” and “Painter’s Song”, a lot of the songs are structured so similarly to the point where the music goes in one ear and out on the other. It’s not a bad album per se, as it’s apparent early on how good of a singer-songwriter Norah is. I certainly don’t regret listening to it, but I also don’t think it left as much of an impression as I’d have wanted it to.

Jazz Samba

Stan Getz

4/5

It’s not often that the album is well advertised in the title. In this case, Jazz Samba is a subgenre in of itself, combining Brazilian samba with American jazz, particularly the bebop style, to create a sound that taps into both rhythm and improvisation. This album fits that description to a T. I appreciated the technical craftsmanship that saxophonist Stan Getz and guitarist Charlie Byrd accomplished with their respective solos. The manner in which they play comes off as very free flowing, near effortless. Pair that with the especially good rhythm section, where the tempo and structure evokes a range of emotions throughout this album, from danceable like with “Samba de Uma Nota Só” to somber and reflective with “Samba Triste.” I’m not sure how well this album can be retained in memory, given the improvisation side of jazz that doesn’t follow closely to set patterns. But for what it’s worth, I had a fun time with this album as it gets a solid recommendation.

Bluesbreakers

John Mayall & The Bluesbreakers

4/5

I’ve heard of John Mayall and the Blues Breakers before. In fact, I discovered the opening track “All Your Love” earlier this year as part of my journey in learning to play the guitar. I enjoyed that song, and the rest of the album follows the same quality. It’s a good blues album that’s carried by Eric Clapton’s guitar work, though John, the rest of the Breakers, and the session horns also do a brilliant job with the instrumentation and delivery. There is one glaring issue I have with this album, and it’s how similarly structured the songs can be. I get that comes with the territory of blues music, but once you’ve studied the blues bars you pick up on them rather quick here. Not helping matters is that some of the riffs sound similar to other works around the late 1960s, either by coincidence or perhaps as small nods. Also, yes I’ve read the lyrics to “Little Girl” and they are a bit creepy, but I chalk that up to songwriting of the time. At least the female referred to in song is 18 years of age, it could have been worse. Still, I had a good time with this Blues Breakers album, even if Eric Clapton is a piece of shit.

The Stooges

4/5

Not only am I already familiar with the Stooges, but I’ve already listened to this debut album of theirs before. For what’s it worth, they were able to deliver a righteous rock sound that acts as a precursor to punk music. I’ve always enjoyed Iggy Pop’s abrasive yet controlled vocal delivery, and it’s well complemented by Scott Asheton’s punching drums, and the excellent bass and guitar work of Dave Alexander and Ron Asheton. Songs like “No Fun” and “I Wanna Be Your Dog” exemplify a simple yet aggressive approach to songwriting. The only song that doesn’t quite fit the vibes for me was the ten-minute “We Will Fall” that gets weird in movements, though I’m willing to give some slack cause it’s a debut album where the group will still defining their sound. Overall, a fun time and highly recommended.

Rust Never Sleeps

Neil Young & Crazy Horse

4/5

This is the second Neil Young album on my journey, following Harvest. Plus I’ve already heard acoustic opener “My, My, Hey, Hey” before. Rust Never Sleeps is Neil’s second album with the band Crazy Horse, with half of the songs left over from writing sessions for their first collab album Zuma. The vibe I got from listening to this album was that it was meant to be a more experimental affair for Neil, particularly in how varied the lyricism can get. Some songs are statements Neil made in relation to his career and the lasting legacy of rock and roll music, like with the bookending songs “My, My, Hey, Hey” and “Hey, Hey, My, My” as well as “Thrasher”. Other songs paint well-written stories of tragedy like “Pochahontas” and “Powderfinger”. Then there’s “Ride the Llama” which is about travelling in space and rocking out with aliens. Needless to say, this album gets wild in places. Add to all that, Rust Never Sleeps is split between acoustic pieces on side A, and the fuzzy guitar-driven rockers on side B. Side B in particular has been cited as influential to the grunge movement of the early 90s. For as much as I appreciate the variation in songwriting and volume, I don’t think this album is as strong as Harvest. Not every experiment is a success if songs like “Ride the Llama” and “Sedan Delivery” are to go by. Also not helping matters is the inconsistent production quality given that some songs were recorded live and others were overdubbed. It is rather noticeable on the ears. Still for what’s it worth, I had a fun time with Rust Never Sleeps as this album gets a solid recommendation.

Blunderbuss

Jack White

4/5

I’ve heard at least one album with Jack White on this journey already, as part of The White Stripes. This is his first solo album after the group’s breakup, and it becomes apparent that Jack had been greatly affected by not only his split rom former bandmate Meg White but also his divorce from Karen Elson. Throughout a fair amount of these songs, Jack makes clear that he’s not that sympathetic of a character, showcasing in the lyrics how damaged his views on love became, and characterized by the female vocals supporting him. It’s not inherently bad on the surface, but it might be uncomfortable given how frequent he plays the “evil woman” tropes here. However, even if this album is lyrically difficult, the music is still pretty good. There’s solid guitar work, tight melodic compositions, and a fair amount of genre hopping between garage, blues, folk and even touches of hip hop done well to keep it varied. In particular, I enjoyed the rocking “Sixteen Saltines” that continued the bombast of past White Stripes hits, along with well done acoustic ballads like “Love Interruption” and the title track. Overall, Blunderbuss is a hard pill to swallow lyrically, but worth checking out.

Bad

Michael Jackson

4/5

Alright, first Michael Jackson album on this journey. I’ve already heard the title track, "Dirty Diana", "The Way You Make Me Feel", "Man in the Mirror" and "Smooth Criminal" before. Surprisingly, that's only half the singles. After listening to the album as a whole, it’s apparent that Michael wanted to take certain elements from Thriller that worked and turn them up a notch - more rock, more R&B, more dance, and make the lyrics more about world issues while still including the romantic songs. It’s ambitious and for what it’s worth the album is mostly good in what it sets out to do, as there are a lot of pop bangers which is why most of this album got the single treatment. The ones that didn’t become a single simply don’t work effectively - “Speed Demon” for its lyrics about going fast can’t get out of the mid-tempo range, and “We’re Good Friends” doesn’t leave much of an impression even with Stevie Wonder on board. The other problem that does hold Bad back is the dated sound. You can tell it’s late 80s cheese with the digital synthesizers that fill up the room. I can tolerate it to an extent, but it does make the project feel fixed to a time. Still overall, Bad is a solid album and a noble attempt at trying to follow up Thriller. Give it a chance.

Ready To Die

The Notorious B.I.G.

4/5

Alright, we got the debut album from the Notorious B.I.G., shortly before his demise. I will say after listening to Ready to Die, I do appreciate Biggie's flows and charisma, as they carry a lot of songs alongside the beats from the various producers. Songs like "Juicy", "Everyday Struggle" and "Big Poppa" carry this ethereal coolness even with the touches of dark lyricism drawn from Biggie's rough upbringing. That said, one of the problems I found throughout this album was the egregious amount of sampling used here. Almost every track has various sound effects going off that interrupt the immersion for me. I get if they were trying to add context like with the guns going off on "Machine Gun Funk" or ringtones when a pager is brought up in a verse, but those kinds of sounds could've been left to the listener's imagination. Similarly, some of the skits have not aged well. Again, it was probably meant for the context of this album, like the intro track sequencing Biggie's life from birth to gang violence or the contemplations made on "Suicidal Thoughts". But that said, I could've done without hearing Biggie getting sucked off at the end of "Respect", cause I otherwise liked that song up to that moment. Production issues aside, I get why this is an influential hip-hop record from someone in their prime gone way too soon. It is worth a listen if you're curious.

Slayed?

Slade

4/5

Well, I'm already familiar with Slade, having heard the two songs of theirs covered by Quiet Riot. In fact, one of those songs "Mama Weer All Crazee Now" is on this album. It's clear from listening to Slayed? that this is pure 70s hard rock bliss, where Noddy Holder delivers powerful snarly vocals while the rest of the band plays well for raunchy party anthems. It's the dumb kind of fun if the sound and misspelled song titles are to go by. If you can get into that mindset, then absolutely give it a shot.

Fromohio

fIREHOSE

4/5

On the surface, I hadn't heard of fIREHOSE before. But I ran a quick search and found out that this band was formed by bassist Mike Watt and drummer George Hurley after their previous band Minutemen abruptly ended with the death of their frontman D. Boon. They ended up recruiting a Minutemen fan Ed Crawford as their new frontman and guitarist after he persistently wanted to join. I already heard Minutemen's well-known album "Double Nickels on the Dime" before this journey, so I figured we would get the instrumental precision of that group with a different vocalist. While we end up with touches of the styles they usually mix with like jazz and funk, this album is not in the ballpark of hardcore punk that Minutemen were. If anything, it's more in the vein of the early experimental alternative rock that was prevalent in the underground of the late 1980s. Not only do Watt and Hurley continue to shine in the rhythm section, with Hurley getting two excellent drum solo tracks, but I was impressed by Crawford's guitar work and vocal delivery on songs like "Time With You", "Some Things" and "Understanding" where he feels in tune with everyone else especially when he gets to solo off as well. The only drawbacks to be had here stem from the experimental nature of this album where not everything works. I enjoyed parts of "If'n" but the stop-and-go nature of that song prevented any meaningful buildup. Also, I don't feel I got much of a lasting impression from the closer "The Softest Hammer" even when they were trying for a more ethereal vibe. Still, I'm genuinely amazed by fROMOHIO as this niche experimental alternative album that maintained some accessibility. This was such a good find on this list, check it out!

Odelay

Beck

4/5

Well, I wasn’t expecting to be finishing all the Beck albums on this journey within the first 100. Odelay seems to be the album that got Beck widely recognized, which makes sense for the late 90s mass appeal as the sound is alternative rock with hip-hop influences, sample use, and strong beats courtesy of the Dust Brothers. I know Beck and the Dust Brothers would team up again on Guero, and my enjoyment of Odelay is about the same as that album. I will give the slight edge to Odelay for getting more varied in the style attempts from jazz fusion on "The New Pollution" with the clavinet to world music on "Derelict" with the tables and even punk on "Minus". Also, there's no denying that "Where It's At" is a bop. Overall, a solid fun album. I'm glad to wrap up my time with Beck on this one.

Siamese Dream

The Smashing Pumpkins

5/5

This is another album that I got a physical copy of and thus am familiar with. However, before I dissect right away into this, I checked the background of how Siamese Dream was made in order to help build context. This album was created out of pressure. Members of the Smashing Pumpkins were already dealing with their own problems after putting out their debut - depression, broken relationships, substance abuse, etc. Then they got moved to a major label and the public starts setting expectations for their next album after how well Nirvana did with their second album Nevermind. I can’t fathom how badly everyone must have felt during the writing and recording for this given these factors. In spite of the obstacles, they were able to craft a successful album out of it. Yet, it should be noted that despite expectations, this is not quite the same sound as Nevermind. If anything, Siamese Dream sounds closer to a mix of shoegaze and alternative rock, with hints of heavy metal in between. Sure, Billy Corgan worked alongside Bitch Vig to produce this album after the latter worked on Nevermind. But after the two cleaned up the sound and engineer Alan Moulder - who previously worked on My Bloody Valentine’s Loveless - did the mix, the resulting textures are much warmer. The instrumentation does punch when it needs to on songs like the opener “Cherub Rock” and “Quiet”, but more often than not groove back into this pleasant dreamy atmosphere such as on the closer “Luna”, “Disarm” and passages of “Silverfuck”. All of that accentuated by Billy Corgan’s whispy vocals that I know aren’t gonna please everyone, but to me toe the line on effortless yet forceful. As for the lyrics, after a bout with writer’s block, Billy penned songs that were cathartic for what he was going through. This mostly included songs about the brief breakup he went through with his girlfriend and future ex-wife Chris Fabian, though there were big exceptions to that theme. “Spaceboy” was written as a tribute to his half-brother Jesse, albeit with more abstract language that paints the anguish Billy was going through and looking to connect with family in that moment for a sense of comfort. “Today” is a rather bright song about depression and suicidal thoughts, which again he was going through at the time so in that spur of the moment it could be felt that maybe today is the greatest day, cause it can’t get much worse, right? Finally, as my favorite song on the album, “Cherub Rock” serves as a big old middle finger to the music industry, for all the needless pressure and societal expectations placed onto him and his group as they’re just looking to be let out of that discomfort and find some breathing room. Overall, there’s no denying Siamese Dream is one of the biggest albums of the ‘90s, in spite of what the band went through. At the end of the day, that’s a dream worth enjoying.

Club Classics Vol. One

Soul II Soul

3/5

I hadn't listened to Soul II Soul before, though I found that they were nominated as Best New Artist for the Grammys in 1990. After listening to this album, I feel that their recognition made sense for the time. This debut album is easy to listen to R&B and dance, with occasional record-scratching and various vocal leads. It's not bad, as there are a couple of genuine bops like the opening single "Keep On Movin'" and "Back to Life" with how it transitions from acapella to full-on groove. However, not every track pops off well, and the production quality is inconsistent such as how "Feeling Free" was recorded live instead of in the studio. Again, it probably made sense for 1990, but decades later this Soul II Soul does not feel like it needs to be listened to before you die.

The Who Sell Out

The Who

3/5

I was initially looking forward to this album, based on how much I've enjoyed listening to "I Can See For Miles." But as soon as I started playing the opening track "Armenia City in the Sky" with its laden overdubs, I realized how trippy of a psychedelic rock affair this might be. It probably wouldn't be too out of left field, given how experimental rock music in the late '60s were. Then towards the end of that song and into "Heinz Baked Beans" I realized the album title and artwork weren't just for show. The Who Sell Out is an honest-to-God concept album of songs played on a made-up station called Radio London, with adverts of real products that the band recorded and spliced between songs. Even the album version of "I Can See For Miles" has a commercial tacked on at the end for a Charles Atlas exercise program. I'm not a fan of the radio station concept album format. It's not the first time I've heard this format - The Weeknd's Dawn FM comes to mind. But this kind of framing hurts the replayability factor as the listener has to deal with the literal breaks in between to remind the audience that it's a radio station. At least with Dawn FM, the framing was a station being listened to in transition to the afterlife, which at least sounded interesting and lent itself to the narrative the songs build onto. The Radio London framing done on The Who Sell Out was done to take the piss on how big the band was getting at the time. At best, it was probably some fun jest the lads were having in the studio at the listener's expense. At worst, they faced lawsuits after the album was released, as the companies behind the real-world products they were making fun of caught wind. It sucks because outside of the framing, the rest of the album is a decent if not great psychedelic rock album for the time. I certainly enjoyed songs like "Mary Anne with the Shaky Hand" and "Sunrise" as fun one-off songs. But at the end of the day, there's no denying that The Who Sell Out may very well be near the bottom of their discography.

Live And Dangerous

Thin Lizzy

4/5

Alright, let's get the technical nitpicks out of the way. This is a live album where there's uncertainty with which show each song was recorded, along with how many overdubs were used to polish up the sound. I don't mind the need for a little cleanup after recording to make the final product sound good, though it does come at the expense of some audience interaction not coming through as well. That said, Live and Dangerous is still an amazing album from the Irish hard rockers. As expected, most of the songs performed live sound just as good as their studio releases, with some sporting instrumental breaks like the saxophone solo during "Dancing in the Moonlight" or the drum solo for "Sha La La". However, there are a few highlights I want to bring up to illustrate why this album is considered well-regarded. In particular, there's the live performance of "Still in Love With You" - a much slower ballad than the original from Nightlife, enhanced with the epic guitar soloing of Scott Gorham and Brian Robertson. Later, there's the transition from "Cowboy Song" to "The Boys are Back in Town" off the same chord, making for a one-two punch. Finally, there were two new songs at the time, "Are You Ready" and "Baby Drives Me Crazy," that were never seen in a studio release. The former is such a fast infectious rocker of a tune, while the latter features the audience chanting "Baby" along with Lynott and harmonica soloing from a young Huey Lewis. If those moments don't sell you on Live and Dangerous, I don't know what will. Because it was either this or Jailbreak making the list, and I'm glad to get some Thin Lizzy representation here.

Born To Run

Bruce Springsteen

5/5

Alright, here we have the first album from The Boss to achieve mainstream success. I gather that it was a rather lengthy process to perfect his sound during the recording sessions. Hell, six months were spent working on just the title track. Suffice it to say, all that hard work paid off in dividends. Born to Run contains some high-caliber piano-driven rock tunes, where Bruce was able to capture the essence of working class people trying to find their escape. Credit is due to him and the E Street Band for crafting and producing some true bangers on this album, and not just the singles. Even deep cuts like “Backstreets”, “She’s the One” and the 9-minute closer “Jungleland” prove to be exceptionally constructed with a sound that’s timeless. If you haven’t already, give Born to Run a chance. I get not everyone’s fond of Springsteen’s music, but if there was at least one that deserves its place on this list, it would be this one.

Elvis Presley

3/5

Okay, I get why this album is on the list. Elvis Presley was proclaimed the "King of Rock and Roll", one of the first white males to achieve commercial success, ushering that genre to a white audience. Much's been said about race relations in popular music, which I encourage you to look into. Elvis's debut album accomplished what it set out to do - making covers of African-American tunes to present to the larger masses. It's certainly important for historical purposes, but as an album to listen to it leaves much to be desired. After all, this is a debut album consisting of mostly cover songs. There are some fun songs here like his cover of "Blue Suede Shoes" and the original song "One-Sided Love Affair". The rest either pale in comparison to the original such as with Little Richard's "Tutti Frutti", or don't bring a lot of energy like with Roy Hamilton's "I'm Gonna Sit Right Down and Cry (Over You)". Also, with the original songs from the respective artists being more available nowadays, Elvis's renditions are more reliant on how he was a performer. The album is not bad, and it makes sense why it's on the list. But there ain't much to revisit here.

Tellin’ Stories

The Charlatans

3/5

I hadn't heard of The Charlatans prior. They seem to be another Britpop group, and this fifth studio album would be the last with their keyboardist Rob Collins, who died in a car accident partway into recording sessions. Keyboard duties were passed on to Mark Duffy to help complete the album. After listening to Tellin' Stories, I can say it's a fine album for the genre, as the Charlatans took a more bluesier approach than their contemporaries with the guitar riffs amidst the electronic loops. The singles are generally good, and they even add some interesting instrumentals with "Area 51" and the closer "Rob's Theme". Unfortunately, it does not leave much of an impression. Most songs tend to go in one ear and out the other, aside from the ones mentioned earlier and "You're a Big Girl Now" where the lyrics did not sit well with me. In particular, the line "Leaders and your disused milk/Will quietly pass you by" made me wince a bit. Overall, it's not bad as the Charlatans attempted to carve out their niche. Take it or leave it.

Sgt. Pepper's Lonely Hearts Club Band

Beatles

4/5

Finally, a Beatles album on my journey. This is not only an album I've listened to before but one of the most notable. There's been plenty said about Sgt. Pepper's Lonely Hearts Club Band through the decades since its release, with the big takeaway being just how experimental and pivotal it was for popular music during the counterculture of the late 60s. It's hard to imagine how many mainstream groups before 1967 had songs like "A Day in the Life" with its swelling crescendo or "Being for the Benefit of Mr. Kite" with its Hammond organ-driven carnival madness. It's a good kind of weird, and the boys have taken full advantage of different instruments and studio techniques since they stopped touring. Other highlights include the comb and paper on the instrumental breaks of "Lovely Rita", the clarinets on "When I'm Sixty Four", the tambura and congas breakdown for the final verse of the otherwise uptempo "Getting Better", the harpsichord used throughout "Fixing a Hole", and the Indian instrumentation and overtly spiritual lyrics of "Within You Without You". That all said, my main criticism of Sgt. Pepper is the replay value. The album is bookended by interlude pieces of the boys identifying as Sgt. Pepper's Lonely Hearts Band and the songs in between are performances from said band. It adds to the overall weirdness, and the opening track and reprise are well executed, though those songs do not get a lot of repeat listens out of me because they serve as loose narratives that segue into their respective next tracks. Also, while I appreciate the song construction and finality of "A Day in the Life", the high-pitched tone and spliced studio chatter at the end come off as a weird afterthought and don't meaningfully contribute to the overall track. Overall, there's a reason why this album usually gets brought up when discussing the Beatles. It's one of those records that in its drug-induced madness helped widen the landscape for popular music. Give it a chance.

A Northern Soul

The Verve

3/5

Have you ever struggled to connect with an album? Because I'll admit I have struggled with this one. A Northern Soul is the second studio album from The Verve, a Britpop group I've heard of from "Bittersweet Symphony". That track is from their follow-up Urban Hymns, with other notable hits like "The Drugs Won't Work". I point this out because I'm trying to reason why this album is included on the list in addition to Urban Hymns. If I had to figure out why I can't connect, perhaps it has to do with the fact that A Northern Soul sonically makes it apparent how the band was going through chaotic turmoil during the writing and recording sessions, as they strayed away from their early psychedelic roots for more straightforward alternative rock. The genre shift is not inherently a bad fit for them, but outside of "History" as the standout single, they don't offer many hooks or melodies that could be retained in memory. As it is, this album only makes me feel like Urban Hymns should have been the one contribution from The Verve on this list, because I don't see myself coming back to this.

Catch A Fire

Bob Marley & The Wailers

4/5

I've heard of Bob Marley and the Wailers before, particularly the song "Stir it Up" from this album. As a reggae staple, they're generally pleasant, and I enjoy the rollicking guitars and meaningful song construction. They sound more involved than what could be pigeonholed as background music, especially with the large lyrical depth ranging from love like "Stir it Up" to political injustice like "Slave Driver". The only problem I have is the similar sound and tempo carried across most songs, though that seems to be par for the course with the reggae genre. I will give them credit for some variance such as the slow burn intro to "No More Trouble" and the slide guitar work done on "Baby We've Got a Date (Rock it Baby)". Overall, Catch a Fire was an enjoyable listen for its style. If you are into reggae or curious about the genre, then give it a listen.

Blonde On Blonde

Bob Dylan

4/5

I was already familiar with Bob Dylan as a folk legend who pivoted towards rock halfway through the 1960s. I saw that this album was the third of a trilogy where he was making that rock pivot. Yet, I was unprepared for the twisted marching band sound of the opening track "Rainy Day Women". That was surprising, but still pretty good. The rest of Blonde on Blonde might not have the same initial shock value as that first track, but it's still got a lot of good folk-rock songs that occasionally dip into blues. Tracks like "Stuck Inside of Mobile with the Memphis Blues Again", "Just Like a Woman" and "Obviously Five-Believers" are well executed by Dylan and the session musicians, as he delivers lyrics exploring difficult relationships and double entendres, all culminating into the 11-minute closer "Sad-Eyed Lady of the Lowlands" in dedication to his first wife Sara Lownds. There are only two contentious points to be had with the album. First is the overall length, clocking in at over 70 minutes where a break in between was necessary. Second is Dylan's vocal delivery, which is a make-or-break deal for getting into his work. I enjoyed Blonde on Blonde as a whole, and look forward to checking out the other two albums in this rock trilogy.

Songs Of Leonard Cohen

Leonard Cohen

4/5

I'm familiar with Leonard Cohen as a poet turned folk singer-songwriter, having heard "Hallelujah" before. This is his debut album, and I must remind myself of that because it's impressive how good he was at this early stage. There's something magical about Leonard's soulful low-register delivery, as he croons his way through songs of yearning not for love but friendship or fond memories. Likewise, his acoustic guitar work is spectacular, like on "The Stranger Song" where he pulls off some nifty tremolos. There is a contentious point with Leonard Cohen's early work in that they tend to consist of minimalist compositions. That is why his debut album is largely him with his guitar save for a few tracks with drum, bass, and background vocals. Could there be more involved to engage the listener more? Perhaps. But that said, this is still impressive with just his presence alone. If you are curious, give it a chance.

Horses

Patti Smith

4/5

I'm a little familiar with Patti Smith from her contributions to the likes of Bruce Springsteen and Blue Öyster Cult. She's a singer/songwriter/poet who's considered an influential underground artist, with Horses being her debut album. Listening to this album, Patti's style is more "art punk" than "punk rock" with the added poetry and improvisation. For example, songs like "Gloria" and "Land" are medleys with covers interlaced between free-form compositions and spoken word. They still generally rock but take a more off-the-cuff approach to how they're presented. Other songs tend to experiment with style shifts such as reggae with "Redondo Beach", proto-punk with "Free Money" and "Break it Up", jazz with "Birdland", and the somber requiem closer of "Elegie". Patti's lyrics range from past experiences with family members to dedications to deceased musicians she knew like Jim Morrison and Jimi Hendrix, all well penned. The only aspect of this album holding it back is how bizarre and esoteric it can get at times. It's probably a bit over-ambitious for a debut album. Also, the spoken word could have been integrated better in some tracks. Still, I enjoyed Horses overall and give it a solid recommendation for those curious. Update 1/28/2025: I ended up listening to Horses again after over 200 albums into my journey to see if this album has grown on me. I will say my issues with this album were not well-articulated for the time. To say a debut album was "over-ambitious" does admittedly come off as a backhanded compliment. I was thinking about the song "Birdland" at the time when I was trying to figure out why this album wasn't immediately clicking for me, and now I realize that the challenge is kind of the point. Patti Smith's lyrics are meant to be a challenging listen, where her integration of poetry and musings on sexuality, death, and emotional connections are written in such a mostly abstract manner that still leaves enough breadcrumbs for the listener to follow along if they're paying attention. This sort of close listening is not a habit I usually do when I'm working in the office. If anything, my problem now with Horses is how the instrumentals sound basic for some songs. Again, Patti's words are more the focus without being overwhelming in the mix, but it would be nice for moments such as "Birdland" and "Break It Up" if the rest of the group could match the energy and intensity of her words. Still, this is rather impressive for a debut album from such a prolific singer-songwriter and I'm glad to have revisited it.

Be

Common

4/5

Let’s get the elephant in the room out of the way - this album was primarily produced by a young Kanye West, save for two tracks produced by the late J Dilla. In fact, Kanye himself appears for two choruses and a verse. I’m fully aware of the fall from grace Kanye has been through over the years, where his cult of personality has gone largely unchecked as he now reps fascists and the music becomes an afterthought. That all said, I can recognize that at one point in time, the man cared about the music, and once had the ability and capacity to self-edit and produce something of good quality. That I can take away from this album. Now with that out of way, I hadn’t heard about Common before. He’s a Chicago rapper previously known for his collaborations with No ID, The Roots and Erykah Badu. Be is his fifth album, and his first under Kanye’s label GOOD Music. A fair amount of publications tend to acknowledge this album as one of his best works, and I can see why. Common’s flows are impeccable throughout this album, as he pens and weaves his way through socially conscious lyrics that deal with themes of poverty, spirituality, love, racism, and finding optimism in hard times. Occasionally, a track or two will throw in some wit, such as how he claps back against rappers who don’t offer anything meaningful to say on “Chi-City”. Overall, it’s Common finding his pocket to express what it is to “be” in the moment, in the now. All this set to a backdrop of soulful yet punctuated music, sampling R&B of the 60s and 70s recontextualized into something new. Honestly, I have only a few nitpicks for this album. John Mayer does not offer much on his guest appearance in “GO!”, where he just sings the word “go” throughout the song. At least John Legend offers the whole chorus on “They Say”. Also, the version of “The Food” that appears on this album is a live performance from the Dave Chapelle Show. While they do nicely transition from that to the next track “Real People”, they probably would have been better off using a studio version. I had a fun time in general with Be, and give it a solid recommendation.

Low

David Bowie

4/5

While I am familiar with some of David Bowie’s work, I hadn’t listened to anything off of this album until now. Time to fix that. Despite how amazing Station to Station turned out, Bowie was still struggling from his cocaine addiction at the time and it took a toll on his mental health. As a result, he left Los Angeles to move back to Europe, and caught up with Brian Eno. Also tagging along on this journey was Iggy Pop, who was also looking to clean up from his drug addiction as well. Both him and Bowie ended up working together on the former’s album The Idiot, co-mixing with producer Tony Visconti over in West Berlin. Bowie was so infatuated with the area that him and Iggy decided to move there for a while to kick their drug habits, escape the spotlight and work on new material inspired by the German experimental music scene at the time. Thus, the so-called Berlin Trilogy began, with Low being the first of this string of albums. With all that background established, I can comfortably say I enjoyed this rather off-kilter record. Make no mistake in that this album is strange by Bowie’s standards up to this point. Most of Low works in how he allows the other instruments to shine. In fact, the second half is electronically-driven ambience, where Bowie lends his vocal cadence as another instrument to be painted into the scenery. Songs like “Warszawa” and “Weeping Wall” work wonders in this lane, compilmented by the synthesizer work done by Bowie and Brian Eno. There are still tracks where Bowie delivers lyrics, either contemplative about the addiction he battled on “Sound and Vision”, or as more free-form and fractured like on “What in the World” with Iggy on backing vocals. These words may not be the focus of the album, but are a welcoming touch nonetheless. The only problems here are with the first two tracks “Speed of Life” and “Breaking Glass”, which are more like fragments of songs that don’t get fully realized here. They’re not bad tracks, but they could have been fleshed out more. In fact, “Breaking Glass” would later get reworked on a subsequent tour. At the end of the day, Low is still an amazing album, and quite the pleasant surprise for me as a fan of Bowie’s other works. I can see why this album would later be considered influential to the post-rock genre, and it shows in spades. Give it a shot.

A Night At The Opera

Queen

5/5

If there would ever be a Queen album for this list, it must be this one. Arguably the band's best album, A Night at the Opera is the culmination of efforts made by a group of young lads who were cutting ties with their greedy former studio Trident and abusive former manager Norman Sheffield, and making a grand statement for themselves. The recording and production of this album was the musical equivalent of putting all the chips in at the poker table, and man did they clean house. Every song on this album is amazing across various styles, time signatures, movements, and other experimental choices. From the sea shanty "'39" to the musical hall pieces "Lazing on a Sunday Afternoon" and "Seaside Rendezvous", from drummer Roger Taylor singing on "I'm in Love with My Car" to guitarist Brian May singing on "Good Company", from the door-kicker "Death on Two Legs" to the grand finish "God Save the Queen", from the short and sweet "You're My Best Friend" to the 8-minute epic "The Prophet's Song", it all works wonders. Finally, there's the crown jewel of this album - "Bohemian Rhapsody". This is not only one of the best songs the band ever wrote, but quite frankly one of the greatest songs of all time. It's not simply that everyone knows it but this song transforms one's sense of what can be accomplished. Back in high school, I remember studying this track for a project - the poetic verses of a man put on trial, the various movements from acapella to full-on hard rock, the use of panning and other studio effects, the soaring yet disparate vocal delivery from Freddie Mercury. There was a lot to be learned from this song alone, and it tells a lot about how Queen wanted to make an imprint with A Night at the Opera. If you haven't already, give it a listen.

Private Dancer

Tina Turner

4/5

I am familiar with Tina Turner as the so-called "Queen of Rock 'n' Roll" after launching a solo career post-divorce. In fact, I've previously heard "What's Love Got to Do With It" off this album and enjoyed that. After listening, I can say that the rest of Private Dancer mostly live up to the same quality as that track. Tina showed off her pipes on this album, as her charisma and delivery carry these songs while playing across 80's rock and R&B styles. "Show Some Respect", the title track, and "Better Be Good to Me" make for an excellent showcase of what she was capable of with outside songwriters lending their hand. My only complaints are with the dated production - not helped by the multiple producers involved for inconsistent quality, and that nearly half of these songs are covers. Granted, she does pull off unique spins on the Beatles' "Help!" and David Bowie's "1984" which work, but the rest of them don't quite live up to the bar set by the original tracks. Overall, I had a fun time with Private Dancer, and give it a solid recommendation.

The Infotainment Scan

The Fall

4/5

For this review, I'm only looking at the original LP tracklisting and not including the bonus tracks on the CD edition of the album. This is the first I’m hearing of The Fall. They’re a late 70s English post-punk group that shifted their style over the years towards alternative rock, with the sole consistent member being vocalist and lyricist Mark E. Smith. The Infotainment Scan is their fifteenth album, taking on a more accessible sound by incorporating more standard grooves and electronic elements. I will say the big hurdle I found with this album and by extension The Fall is Mark’s vocals. They’re an acquired taste to say the least; he reminded me of Iggy Pop with more slur in his delivery. Adjusting to his vocal style is a make-or-break moment for this group, and there is no blame if you can’t get into them. As for me, I was able to adjust and find the ramshackle delivery combined with the abstract lyricism to be decent if not outstanding. As for the rest of the band, they do a great job of packing a punch. In particular Craig Scanlon’s guitar riffs and Simon Wolstencroft’s drum work bring the necessary drives for these tunes, complimented by Steve Hanley’s bass work and Dave Bush’s electronic programming. Songs like “Glam-Racket”, “It’s a Curse”, “Past Gone Mad” and their cover of Steve Bent’s “Lost in Spain” have this manic energy that’s very potent and danceable. My only complaint is with the album closer “Light / Fireworks”, where Mark is given the focus for the first half of the song without much accompaniment before the song switches through different movements without any cohesion. I understand if it was keeping with the off-kilter vibe, but it didn’t leave a good final impression for me. Still, I had a mostly enjoyable time with The Infotainment Scan, which is more than what I expected initially. Go into this one with an open mind.

McCartney

Paul McCartney

3/5

Not only have I listened to some of Paul McCartney’s solo work before, I remember hearing “Maybe I’m Amazed” which comes from this eponymous album. The McCartney eponymous albums have a reputation for compiling songs where Paul recorded all the instruments. In this case with the first one, aside from a few harmony vocals from his then-wife Linda, Paul hashes it out on his own. I respect the hustle, and it’s quite the achievement for how many songs turned out as well as they did. The aforementioned “Maybe I’m Amazed”, “Junk” and its singalong counterpart, “Teddy Boy” and “Momma Miss America” are all great examples of the songwriting and commitment to the craft that Paul was capable of on his own. That said, it does feel like the second half of the album shines brightest, whereas the first half features some song fragments. Tracks such as “The Lovely Linda”, “Valentine Day” and “Hot Sun/Glasses” contain some great ideas that could have been fleshed out more for another minute or two. I understand Paul was very eager at the time to get his solo work out to the public, at the expense of competing with the release of Let it Be, but who knows what could have been had more time been dedicated to these few tracks. Still, I nevertheless commend the man on getting this album out and giving the public a taste of what Paul was capable of without the other Beatles involved. I can see how it achieved later recognition as one of the first big lo-fi records and how influential it was to indie music. Give it a spin.

All Things Must Pass

George Harrison

4/5

For this review, I am not looking at the bonus tracks on disc one of the 2001 remaster. Also, based on George Harrison's documented intent of treating the Apple Jam as a bonus disc, it is not included in my analysis. That leaves us with a double album running about 78 minutes of material George had worked on since 1966, fleshing them out after the Beatles broke up. It says a lot that most of these tracks turned out as good as they did. There was always something magical around George's songwriting contributions to the Beatles songs he led, which naturally translates well into his solo work. Aided by the Wall of Sound production chops from Phil Spector, the result is amazing. I previously heard the title track, "My Sweet Lord", "What is Life", and "Wah-Wah" before listening to the full album, all of which I enjoyed. Now I can add the likes of "I Dig Love" with the slide guitar work, "Behind That Locked Door" as a loving ode to Bob Dylan for encouraging George to continue his craft, "Run of the Mill" as one a few songs taking aim at George's former bandmates, and the closer "Hear Me Lord" where he seeks forgiveness from whatever deity would answer him. There was a lot of growth George displayed in the lyrics, spiritually in his quest for enlightenment from a higher power and physically in the relationships he gained or lost at the time. My only problem with All Things Must Pass is the nagging feeling that some songs could have been cut, though given how most of these songs turned out it's hard to tell where to cut. The only exception to that notion is that there was no need to have two different versions of "Isn't It a Pity" here. One version would have sufficed. Nonetheless, I enjoyed this album as it gets a solid recommendation. As with other double albums, I'd recommend breaking up the listening time into two sessions with a good break in between.

There's No Place Like America Today

Curtis Mayfield

3/5

I’ve heard of Curtis Mayfield before as an influential soul artist, having heard the title track to the Superfly soundtrack before. Not only is this album emblematic of that style, but it’s a slow burner as he kept the tempo slow and the space breathable for the instruments. Curtis carried a nice sultry delivery to complement his lyrics involving racial prejudice and economic disparity. The only exception is “So in Love” which was a nice funky jam. What does hold me back from outright loving this album is the slower tempo does drag the momentum by the end, and there could have been a little more variance in the songwriting. It’s not bad but songs tend to blend together in places, even for a short runtime. For what’s it worth, There’s No Place is a solid in-and-out adventure for the kind of conscious soul music Curtis was pushing at the time.

Court And Spark

Joni Mitchell

5/5

I am familiar with Joni Mitchell as an influential folk singer-songwriter and have heard a few songs from her in the past. However, I had not heard anything before from this album. Court and Spark takes the folk-rock music she had been known for before and infuses it with elements of jazz. The result makes for an overall exquisite listen. Joni got creative with the song structures, where the tracks don't always fall into the standard verse-chorus-verse structure and instead play around with bridges and refrains to give more depth and expression. This more obtuse approach to songwriting is complemented by song transitions throughout the album such as towards the end from "Trouble Child" into "Twisted" with the trumpet soloing. These kinds of structure tweaks made for an engaging listen. Lyrically, this album touches upon the pursuit of love and a simpler life, while also giving some fun caricature moments such as the prostitute's plight on the rocker "Raised on Robbery" or the experiences of Joni's music agent friend David Geffen on "Free Man in Paris". The words come off with a sense of whimsy and the stories told feel lived in. I was very impressed with Court and Spark, and give it a high recommendation.

Paul Simon

4/5

I have been listening to Paul Simon's solo work for the first time this year, and the timing could not be better for his second studio album. I heard the reggae-leaning “Mother and Child Reunion” and “Me and Julio Down by the Schoolyard” before the full listen. This self-titled album carries much of the same folk songwriting sensibility Paul had in Simon & Garfunkel, albeit while experimenting with some stylistic changes here and there. I already mentioned the reggae track, but there are also blues tracks towards the end, Latin music like on “Armistice Day” with the percussion switch up and saxophones, and smooth jazz like on “Run That Body Down” with the use of double bass and a vibraphone. All the while Paul sings about drugs, adolescence, and his troublesome marriage with then-wife Peggy Harper. The only complaint I had with the album is there wasn’t much variance in the folk guitar dynamics for some of the songs. It does come across as similar in the soft acoustic vibe outside of the style shifts mentioned previously. Still, I had a pleasant time with this album, and give it a solid recommendation.

Pet Sounds

The Beach Boys

5/5

Let me start with the notion that no matter what I say, this album has already cemented its place on this list. Pet Sounds is considered the definitive Beach Boys album, which is ironic given how little it has to do with their previous work's "beach" aesthetic. It is also considered one of the best rock records of the 1960s and has gone on to appear in multiple publications' best-album lists alongside the album it inspired - the Beatles' Sgt. Pepper's Lonely Hearts Club Band. Every other music critic has and continues to praise it, including on this site. That all cannot be denied. Yet, there is a part of me that can't switch my enjoyment of Pet Sounds from a good album to an amazing album like other people have. Perhaps it's how I've just gotten into the Beach Boys this year, and do not carry the nostalgic sentiment others have. Maybe it's my gripe with this group's harmonized vocals, which sound dated and cheesy, even if I can accept they were a part of their identity early on. It could even be that I've only spent one day with this record, and it hasn't grown on me with time yet. Whatever the case, even if I can't go over the moon for Pet Sounds, I can still recognize it as a great record. I respect the hell out of Brian Wilson for taking over most of the lyric writing and song arrangements. His work made for a unique-for-the-time progressive pop-rock sound bolstered by Phil Spector's "Wall of Sound" production, where the lyrics capture the essence of coming-of-age and the ins and outs of teenage romance, at times with a dark turn. "Wouldn't It Be Nice" is an infectious opener that I still have playing in my head as I write this review. "God Only Knows" is an amazing song for its baroque style. Their cover of the traditional "Sloop John B" fits nicely into the loose narrative. They break up the flow nicely with two instrumentals. I could keep going on, but you get the point. Pet Sounds is a great record, and I'm sure in time it will grow on me. God only knows. Update 6/12/2025: Originally, I was going to revisit Pet Sounds next year for the album's 60th anniversary. But given Brian Wilson's passing yesterday at the age of 82, I felt a need to revisit early. I will say I have grown fond of the Beach Boys' work, especially Brian Wilson, from both a songwriting and production perspective. In fact, I would like to make a correction from my previous review above, as Brian Wilson produced the album himself, taking inspiration from the "Wall of Sound" technique Phil Spector had been known for, creating such rich sonic textures. This album sounds timeless in part because of that approach. Along with that correction, I also want to highlight how much I've grown to appreciate the vocal harmonies of the group, elevating these introspective lyrics to another level. This is especially true for the songs where Brian takes the lead, including "Wouldn't It Be Nice", "I'm Waiting for the Day", "I Just Wasn't Made for These Times", and the closing solo track "Caroline, No". Of course, the rest of the band did a phenomenal job with their respective tracks, particularly Carl Wilson on "God Only Knows". Not to mention, the instrumental breaks in the title track and "Let's Go Away for a While" offer some nice orchestral arrangements to add variety to the overall package. In my original review, I opened with the sentiment that Pet Sounds has and continues to be praised by music critics around the globe. Now, I can finally add myself to those ranks.

Brilliant Corners

Thelonious Monk

4/5

I hadn’t heard of Thelonious Monk before. From what I gather, he was a jazz pianist and composer with a unique improvisational style. His compositions featured dissonance and multiple key switches, silences, and pauses in his playing. Brilliant Corners is his 11th studio album and is mostly comprised of his compositions, save for one cover. On a fundamental level, I appreciated the technical expertise of Thelonious and his backing band. Songs like "Pannonica" and "Bemsha Swing" showcase the piano and horns able to flourish and swing in a manner that's accessible yet still proficiently played. There's a certain eloquence that's evoked, and I enjoyed it for the most part on this album. The biggest hurdle to be had with Brilliant Corners is side one. The opening title track was compiled from multiple takes as it turned out to be a complex piece, and it shows as the focus hops from one instrument to another without much cohesion. Following that up with the 13-minute "Ba-Lue Bolivar Ba-Lues-Are" added to a challenging listen from the get-go, though that piece sonically coalesced better over its movements. I had a pleasant enough time with Brilliant Corners as a hard jazz album. It was a nice experience to have it in the background and reflect. Give it a chance.

Boston

5/5

It's Boston, the debut album of the band Boston, from the town of Boston, Massachusetts. I kid, but it's funny how such a name gimmick sticks. What also helps is that this album slaps. Every song is a banger, including the non-singles "Hitch a Ride", "Something About You" and "Let Me Take You Home Tonight". What works for these songs is the excellent guitar playing from Tom Scholz and Barry Goudreau, Brad Delp’s soaring vocals and how they’re layered in the mix, the melodic song composition in how they’ve nailed the verse-chorus-verse progression to a tea, and the production which sounds pristine for being recorded in a basement. Now, there’s undoubtedly going to be some questions that need to be addressed. Starting with, has this album been overexposed due to non-stop rock radio syndication, and repeated usage of songs in licensed media such as films, TV shows, and video games? Yes, although that's an external factor and byproduct of this album's greatness. Does this album get cheesy as hell at times? Oh yes, but I consider it a part of the charm and it doesn't overstay its welcome at 37 minutes. Did this band peak with their very first album? Absolutely yes. They did have other successful singles afterward, but this was the best full album experience we ever got from Boston. With all those questions answered, if you feel this is not an album for you after listening, then that’s fine. Music is subjective, and everyone’s opinion is going to be different. All I ask is to give it a chance.

Brown Sugar

D'Angelo

5/5

I've heard of D'Angelo as a singer, songwriter, and multi-instrumentalist who helped pioneer the subgenre of neo-soul. This album as his debut will be my first listen to his work. What I will say is that most of this album is filled to the brim with smooth-sounding sex jams and ballads, with a dash of religious imagery from his Pentecostal background. The one exception is the opening title track which is a pretty clever metaphor for smoking marijuana. All these songs are well-delivered from D'Angelo's buttery vocals and paired with his excellent production chops alongside a few co-producers. He can sell the vibes akin to Prince and Smokey Robinson, even going as far as bending the latter's song "Cruisin'" in his favor. While there isn't a bad song on here, Brown Sugar can get a bit repetitive with its themes, lyrical content, and slow-tempo song structures, save for again the opening title track. Though I'm sure this album will grow on me in due time, as it's genuinely impressive for a then young and hungry D'Angelo. Give it a taste. Update 2/10/2025: I came back to Brown Sugar after listening to over 200 albums on this journey, and can confirm this debut grew on me. Even if a lot of these are love songs, I've noticed more variance in the angles of a relationship that D'Angelo approaches. At the very least, I'm surprised I didn't originally mention "Shit, Damn, Motherfucker", which is a tale of finding his girl in bed with another guy, and straight-up murdering the two. That one's become a favorite of mine. Also, even if there's a generally slower pace with the notion of these being "slow-jams", I'm finding more details in the instrumentation that I hadn't noticed before such as the drum loop of "Smooth" or the horn motif on "When We Get By". After hearing both Sign O' the Times and 1999 in Prince, I've come to appreciate the sound and production quality D'Angelo cultivated from what was popular with 90s hip-hop at the time and bringing those vibes into soul music, thus the birth of neo-soul here alongside other emerging acts like Erykah Badu. It was a smart move on his part to bring in personnel from A Tribe Called Quest on this album. D'Angelo proved to be a player from day one here, and yeah I'm glad to have dipped into that Brown Sugar again.

Kings Of The Wild Frontier

Adam & The Ants

4/5

For this review, I'm sticking to the original LP tracklisting, and not factoring in the B-side tracks and second disc of the super deluxe edition. I hadn't heard of Adam and the Ants before, and that album artwork already gives me quite the impression. This group went through a near complete lineup change before this album, along with a style shift from post-punk to new wave, with the sole consistent member being frontman Adam Ant. Kings of the Wild Frontier gave me similar vibes to The Stranglers concerning the manic energy that Adam and the rest of this group exerted in their songs. From the get-go on "Dog Eat Dog", the Burundi drums kick in as Adam howls and belts his way through, complemented by catchy guitar hooks. It doesn't take long before lyrical themes go off the rails, from talking about the uprising of ant-people to pirates and Native American tribes. It's fun in its lack of cohesion with good riffs and percussion, though this band kept at 100% chaos and doesn't give a break to change up the style, so be aware of that. Give it a spin.

Astral Weeks

Van Morrison

4/5

Full disclosure - this was one of those albums I needed to listen to a second time with the lyrics on hand to put my thoughts together. One of the biggest hurdles with Van Morrison is that his talk-singing delivery is very warbly, often to the point where some words sound incomprehensible and I had to double-check what he sang. That said, Astral Weeks is still gorgeous despite his singing. All the instruments coalesce under Morrison's command with his acoustic guitar for a progressive folk style that paints wonderfully with the rather impressionistic lyrics of love and spirituality. Whether it's Larry Fallon's harpsichord work on "Cypress Avenue", the brass accompanied bombast of "The Way Lovers Do", or the gentle sway alongside the string arrangements of the title track and "Madame George", the atmosphere of this album evokes a sense of wonder and curiosity that's astonishing. If you're like me and your prior experiences with Van Morrison were "Brown Eyed Girl" and his anti-lockdown antics during the COVID-19 pandemic, this album will at least be a pleasant surprise even if it takes more than one listen.

Hot Rats

Frank Zappa

4/5

I’m familiar with Frank Zappa as an influential musician and composer, whose work tends to be either improvisational or satirical. His second studio album Hot Rats leans towards the former, as he went about writing as if it were a soundtrack for a movie. The album certainly gives that impression of a movie. Starting at the opening credits bombast of “Peaches en Regalia”, we are then introduced to our main character “Willie the Pimp”. This is followed by an action-packed sequence in “Son of Mr. Green Genes”. We have a middle act breather where revelations come about in “Little Umbrellas”, leading to the climax of “The Gumbo Variations”, and followed by the closing credits roll of “It Must be a Camel”. Not only does this album capture the whimsy and excitement of such a movie, but it’s also well executed as Zappa, Ian Underwood and the other session musicians worked wonders for a mostly instrumental jazz fusion album, save for “Willie the Pimp” with the gravelly voice of Captain Beefheart. The only complaint I have is just how long the climax went for “The Gumbo Variations”, clocking in at nearly 13 minutes. It’s certainly well composed but feels like it goes on for longer than it should. Still, I enjoyed this movie of an album and wouldn’t mind rewatching it again in my ears. Give it a chance.

Red Headed Stranger

Willie Nelson

4/5

I've heard a fair share of albums and songs from Willie Nelson before, and cannot deny he is one of the greatest country artists to walk this earth. Red Headed Stranger is considered one of his greatest albums, conceptually written around an earlier song from Arthur "Guitar Boogie" Smith that Nelson would cover for the centerpiece here. Throughout my listening, there is a calming and comforting nature as Willie strums away on his guitar and sings with a warm vocal delivery about a preacher who has a falling out with his wife, murders her, and then finds love elsewhere. It's amazing how he tied a few cover songs like the aforementioned "Red Headed Stranger" and Fred Rose's "Blue Eyes Crying in the Rain" into a rather dark narrative that works. The only problem with this album is one drawn from having listened to Willie Nelson many times - songs tend to sound the same. Save for the cover of L. Wolfe Gilbert's "Down Yonder" as performed by Willie's sister Bobbie, most of this album is the laid-back outlaw country style that folks who have heard him perform here and there would be familiar with. Not helping matters is how half of the songs here don't crack the two-minute length, and that there are two reprises of "Time of the Preacher" in the middle of the album. Still, if you're into Willie Nelson and don't mind how similar his songs are, then this is an enjoyable listen all the way through. Give it a chance.

xx

The xx

4/5

I've heard of The xx as an electronic indie rock band comprised of guitarist/vocalist Romy Madley Croft, bassist/vocalist Oliver Sim, and drummer/producer Jamie xx. All three members have gone on to release solo efforts, some of which I've listened to prior. This would be my first listen to them as a group, checking out their debut album with former member Baria Qureshi on the keyboards. This is minimalist yet introspective indie pop music with influences from R&B that can be compelling in the right setting. From the epic intro track to cuts like "Shelter" and "Infinity", there's a melodic tightness from the instrumentation with electronic touches sprinkled throughout, as the group channels their collective shyness into a commanding yet thorough examination of relationships and losses gone through at such a young age. The only track I didn't care about much was "Fantasy". That song was primarily sung by Oliver, whose baritone vocals felt inferior to Romy's mezzo-soprano. The lyrics about an unrealized love interest don't quite strike me and the synth drone throughout the two-and-a-half minutes doesn't offer much as it ends abruptly. But that's the only blight on this solid debut. Even if I am aware that other indie pop groups would come afterward into the 2010s to muddy the style of this album, there's still a place for The xx here as they carved out quite the niche in their early 20s. Give it a listen.

Yank Crime

Drive Like Jehu

5/5

For this review, I will look at the original tracklisting and not include the bonus tracks with the 2003 re-release. I had not heard of Drive Like Jehu before today. They seem to have been a short-lived post-hardcore punk band from the 90s that released only two albums, with Yank Crime being the second. Listening to it, I was blasted away by the melodic guitar hooks, Mark Trombino's pounding percussion, and Rick Froberg's commanding vocal style. Adding to that experience were odd time signatures and more complex rhythmic structures akin to math rock. Then you get into the lyrics, and Rick gets visceral in his writing as topics range from fractured relationships on "Sinews" and "Do You Compute?" to self-destruction on "Golden Brown" to ecological disasters on "Here Come the Rome Plows" and "Luau". There's a great deal of poignant angst that comes across in the words and the sonic noise that carries them. I get that this abrasive style of music is not for everyone, but Drive Like Jehu delivered in spades within the short time they had together. It's apparent how later acts like At the Drive-In and Deftones took note of these guys. Give it a spin.

White Blood Cells

The White Stripes

4/5

After checking out the follow-up Elephant, this will be the second White Stripes album I've listened to on this journey. I've already heard the first two songs before - "Dead Leaves and the Dirty Ground" and "Hotel Yorba" - and between those two and "Fell in Love with a Girl", this album starts pretty strong for the garage rock revival that the pair were going for at the time. As far as the pacing goes, I think this album drags a bit toward the end, particularly the instrumental "Aluminum" which I did not care for with the distorted wordless screaming over the droning guitar riff. There are fun tracks sprinkled throughout like "The Union Forever", "Offend in Every Way" and "I Think I Smell a Rat", but at the same time, this effort could have benefited from a trimmed-down tracklist. White Blood Cells may not be as strong as Elephant would follow, but it is still a solid album and gets a light recommendation if you're curious.

If I Should Fall From Grace With God

The Pogues

4/5

For this review, I am only looking at the original LP tracklisting, and will not factor in the bonus tracks with the 2004 re-release. I've heard of the Pogues before, particularly their song "Body of an American". They represent the niche subgenre of Celtic punk, which I'm glad got representation on this list. The only other groups I've heard of before in this style are the Dropkick Murphys and Flogging Molly. If I Should Fall from Grace with God is the Pogues' third studio album, and is often considered their best work. I can see how given the fine balance they strike between fast-tempo rollicking guitar-driven tunes with bleak lyrics related to their Irish background. They even threw in some additional styles to boot with excellence, such as the Middle Eastern vibe of "The Turkish Song of the Damned" or the Christmas folk ballad of "Fairytale of New York". That said, this album is rather long for this style of music and my enjoyment started to lower towards the end. Not helping matters is that they close out on "Worms", an arrangement of the traditional "Hearse Song" that ends on a rather odd note with its slow stomping beat, bellowing vocal delivery and the trombone alternating on two low notes. Still, I had an overall fun time with this album, and it comes with a solid recommendation.

Violent Femmes

5/5

I’ve heard of the Violent Femmes before, specifically the song “Blister in the Sun” which I consider a bop. That song happens to be the first song of their self-titled debut right here. Much like the aforementioned song, this album is filled to the brim with folk-punk tunes, where the acoustic guitars are rollicking and playful alongside well-accented percussion from Victor DeLorenzo. Gordon Gano wrote in such a manner that this album maintains a high energy throughout its runtime. The only song I didn't immediately gel with was "To the Kill", though with a second listen I came to realize that the tonal dissonance throughout song is still mildly cohesive in its structure and actually pairs well with the perverse lyrics of the narrator thinking about killing. There’s a such a twisted fun nature throughout this album, and I have no doubt in giving this one high remarks. Check it out.

Idlewild

Everything But The Girl

4/5

I hadn't heard of Everything But the Girl before. They are the musical pair of Tracey Thorn and Ben Watt, and their style is called sophisti-pop. The subgenre emerged from the new wave of the 80s, using electronic keyboards, synthesizers, perfectionist recording, and most importantly atmosphere. Understanding what sophisti-pop is helped me understand why I enjoyed this album. The production is pristine even if dated, as Ben and Tracey trade sultry vocals as the session musicians create the necessary ambiance to make this album pleasant to the ears with just enough flourishes to keep it an engaging listen. I get that this style of music might not be as energetic for everyone, but I can walk away from meeting this album halfway and enjoying it. Give it a chance.

Songs Of Love And Hate

Leonard Cohen

4/5

Well, this is the second Leonard Cohen album I've listened to on my journey, after hearing Songs of Leonard Cohen. My feelings towards this album are about the same as they were for his debut, if not more. There are some improvements from Leonard's first album. He gets more abrasive in his vocal delivery on some songs, accompanied by more female background vocals. His guitar playing has improved, incorporating more syncopated patterns such as on "Avalanche". The lyrics invoke more historical and cultural references in the context of relationships, such as the lament of Joan of Arc's burning at the stake on the closing track or the small allusions to Scientology and Christian biblical readings on "Famous Blue Raincoat". The only track that seemed a bit of an odd inclusion was "Sing Another Song, Boys" but that's only because it was recorded live at Isle of Wight Festival and was not recorded in the studio like the rest of these songs. Ultimately, Songs of Love and Hate showcased that Leonard found his pocket and refined his sound. It's certainly worth a listen if you're curious.

Kala

M.I.A.

3/5

I’ve heard of M.I.A. before as a rapper/singer/producer, born under the name Mathangi "Maya" Arulpragasam. In fact, Maya’s big song “Paper Planes” is off of this album Kala. This is her second studio album, named and themed after her mother and the struggles she went through. I will say this album is very experimental, for better and worse. She plays through a variety of world music styles with a heavy amount of sampling, and the result varies for every song. Some songs are good - the aforementioned “Paper Planes” with the samples of gunshots, cash registers and The Clash’s “Straight to Hell”, “Come Around” with its sole Timbaland production credit, “Jimmy” with its electronic disco melody, and “XR2” with its rave music groove. Other songs are terrible - the first three tracks of this album spring to mind, especially “Bird Flu” with its egregious bird noise samples. Then there are songs that fall somewhere in the middle for me - “Hussel” and “Mango Pickle Down River” have solid melodies, though nowhere near as engaging as the preceding “Jimmy”. Also, I couldn’t ignore how “20 Dollar” sounded like an electronically-filtered hodgepodge between New Order’s “Blue Monday” and the Pixies’ “Where is My Mind?”. There is one unifying element throughout this album - Maya’s vocals. I’ll admit, I do not like her vocals and delivery - it’s not for me as it doesn’t come off as raw or emotionally drawn as it should. Not helping matters is that she has a very minimalist lyrical style, which combined with the experimentation can distract from whatever messaging she may have been trying to convey. At the end of the day, it’s certainly not a boring album. You will be engaged through the whole listen, regardless of track-by-track quality. But I don’t see myself returning to this anytime soon.

Hot Buttered Soul

Isaac Hayes

4/5

This is the second of two Issac Hayes albums I've listened to on this journey, having heard the Shaft film soundtrack. My enjoyment of Hot Buttered Soul is admittedly greater than that of the Shaft soundtrack, partly due to what is advertised on the tin. Issac's vocals were hot and buttery, as he worked his way around the keyboard while the session musicians played effortlessly to create this luscious psychedelic soul sound. There may be only four songs, and three of those four run over nine minutes, but it never felt long for the most part because the song construction felt meaningful, as the album ebbed and flowed with a serene audible tide. The only exception to this feeling was the eight-and-a-half-minute introduction to the cover of Jimmy Webb's "By the Time I Get to Phoenix". I understand if Issac wanted to tell the story behind that song, though it does hurt the replay value. Overall, this was a pleasant album to have going on. It's worth checking out.

1984

Van Halen

5/5

Van Halen is one of those bands that don't need much of an introduction, as they were one of the biggest hard rock and heavy metal acts from the late 70s into the 80s. They had an impressive run of albums in their first stint with frontman David Lee Roth, with 1984 being the one where tensions were highest. Guitarist Eddie Van Halen wanted to incorporate more keyboards into their sound. In contrast, David and their producer Ted Templeman wanted the band to stick with their formula. Not helping matters was that the band's label had them pump out another quick album in Diver Down with a subsequent tour to boot, exhausting members. Out of all that turmoil, 1984 came out and it was surprisingly good. I can't think of a bad song off this album, as it was banger after banger in terms of the cheeky 80s hard rock they came to be known for. The synthesizers were a welcome touch on "Jump" and "I'll Wait", Alex Van Halen's drum solo opening "Hot for Teacher" is wildly impressive, and the rest of the album is filled to the brim with guitar-driven kick-ass cuts like "Top Jimmy", "Panama" and "House of Pain". Sure, there is the intro title track that noodles around with the synths, but it's only for a minute and doesn't take long before you're "Jump"-ing right into the album proper. I know Van Halen would continue onward with another singer after this, but if 1984 was a swansong album for the first David Lee Roth era then boy what a closer. Check it out!

Truth

Jeff Beck

4/5

I'm already familiar with Jeff Beck as a legendary guitarist, and this album marks his solo debut after exiting the Yardbirds. It's a solid album with a mix of original songs and covers. Jeff's guitar playing is the big highlight followed by Rod Stewart's showmanship on the mic. Ronnie Wood on bass and Micky Waller on drums provide a meaningful rhythm section. There's some fine playing here with the likes of the cover of "Shapes of Things" from Jeff's prior group, the cover of "Greensleeves" and "Beck's Bolero". The only songs that felt odd were the cover of "Ol' Man River" with the crackling stereo panning in the mix, and "Blues De Luxe" where audience reactions were overdubbed - a choice Jeff later regretted. Overall, it's a solid album from a respectable guitarist early in his career, with just enough flourish to work a bit past an average debut album from the 1960s. It's worth a listen.

Imperial Bedroom

Elvis Costello & The Attractions

4/5

I'll admit while I have heard of Elvis Costello as a singer/songwriter/producer, I've only heard one song each from his solo career ("Veronica") and with his backing band the Attractions ("Pump it Up"). This would be my first full album listen to his work. Imperial Bedroom is his sixth album with the Attractions, expanding on their new wave sound to incorporate more orchestral instrumentation and ornate production. It becomes apparent out of the gate with tracks like "Shabby Doll" and "Man Out of Time" that Elvis was striving for perfection with this album. That makes for an experience that can come off as overwhelming at times, particularly with the number of studio overdubs Elvis added such as the vocals layered on the chorus of songs like "Shabby Doll" and "The Loved Ones", the unusual piano passages spread throughout the album, and the odd instrument choices like the harpsichord and mellotron that Steve Nieve contributes. I think I only started getting into the album's groove by the end of side one with the horn-accompanied "...And in Every Home" and realized how rich of a baroque pop style Elvis went for. Imperial Bedroom is certainly an album that rewards the listener with revisiting to pick up on other added details in the mix. I'd say go into this one with an open mind.

Desperate Youth, Blood Thirsty Babes

TV On The Radio

5/5

Not only am I familiar with TV on the Radio as a post-punk and art-rock outfit, but I've already heard "Staring at the Sun" from their first EP Young Liars that shows up again here on this debut album. Desperate Youth, Blood Thirsty Babes works effectively because the group took their dark and atonal sound and transformed it into a cohesive and melodically arranged set of tunes. It might take a bit to get going on the first minute of the opening track "The Wrong Way", but once the drums kick in, the band settles into their weird sonic pocket. There's a comforting feeling from Tunde Adebimpe's laid-back vocal delivery, which made the acapella track "Ambulance" and the third verse of "Poppy" personal highlights. Pairing that with the droning guitars, Martin Perna's saxophone work and minimalist drums resulted in an eclectic and hypnotic style, culminating in the crescendoing closer "Wear You Out" with the added flutes. This was an amazing debut from TV on the Radio. It's worth checking out if you're curious.

Seventeen Seconds

The Cure

4/5

I’ve heard of The Cure before as a pioneering post-punk outfit. In fact, I've heard the single "A Forest" before from this second album of theirs. Seventeen Seconds gets very bleak and atompspheric in its style. That much is apparent from the opening instrumental “A Reflection” with its spare piano and guitar arrangements. Then “Play for Today…” kicks in with the well-accented percussion from Lol Tolhurst. From there, the album is set in tone as driven by the drums, with Simon Gallup’s thoughtful bass lines, the occasional keyboards from Matthieu Hartley, and Robert Smith’s subdued guitar riffs and dreary yet passionate lyrics and vocal delivery. All of the members are synergied in this dark manifestation that’s well-executed. My primary complaint with this album is that the production can be uneven at times. Songs like “Secrets” and “Three” could have benefited from Robert’s vocals being pushed more front in the mix. Also “The Final Sound”, while serving as an ominous piano piece in its dissonance, is cut rather short as it sounds like the composition could have been gone on further. Still, I enjoyed Seventeen Seconds in its strange etherealness. I’d give it a solid recommendation, though with a caveat to not listen to this if you’re feeling sad or depressed as this album is not intended to make your day any brighter.

American IV: The Man Comes Around

Johnny Cash

5/5

Johnny Cash does not need any introduction as a country legend, nor does his cover of Nine Inch Nails' "Hurt" which is so transformative that Trent Reznor no longer considered it his song. The rest of American IV is on par with that song - a collection of mostly covers and re-recordings from an elder statesman on the brink of death. The only newly written song included is the title track "The Man Comes Around", which would be one of his last. A lot of guest musicians make impressive contributions to this album. John Frusciante of the Red Hot Chili Peppers reworked Depeche Mode's "Personal Jesus" on a popping acoustic guitar riff accompanied by Billy Preston's tingling piano play. Fiona Apple's backing vocals come off haunting on the chorus of Simon & Garfunkel's "Bridge Over Troubled Water". Nick Cave shares a rather somber duet with him on Hank Williams' "I'm So Lonesome I Could Cry". Hell, even Don Henley brings out a good rendition of the Eagles' "Desperado". Of course, Johnny Cash himself brings enough dark crooning energy with his guitar to bring bravado to the likes of The Beatles' "In My Life" and the traditional "Danny Boy". Throughout the album, his son John Carter Cash, and renowned producer Rick Rubin were able to mix these songs effectively to bring out the best of everyone involved. I'll admit that I'm usually not a fan of cover albums unless the renditions transcend the original works. Johnny Cash did just that in spades. This is absolutely worth checking out.

Bad Company

4/5

I'm familiar with Bad Company as a '70s hard rock supergroup. The title track of this self-titled debut album is still a staple on classic rock radio stations. The rest of this album is on par with that title track. It is a collection of blues-influenced rocking tunes, carried largely by Paul Rodgers' bold tenor vocals. Sure, the lyrics aren't as deep, as is typical for this territory, but it has a charm, especially with the mellow closer "Seagull" that mixes it up at the end with the acoustic guitar. It's certainly worth a listen.

The Soft Bulletin

The Flaming Lips

4/5

For this review, I'm not factoring the Mokran remixes for the singles "Race for the Prize" and "Waitin' for a Superman" tacked on at the end of the worldwide digital release. I've heard of The Flaming Lips as a psychedelic rock band, though mainly from a few songs from their album Yoshimi Battles the Pink Robots. The Soft Bulletin is the album before that when they started incorporating more catchy melodies and intricate arrangements in their sound. I can see why comparisons have been made to Pet Sounds, concerning the embellished symphonic touches the group accomplished with multiple MIDI keyboards. That's before we get into the splashes of electronic elements courtesy of Michael Ivins, paired with Steven Drozd's syncopated drum work that brings about an atmospheric sound that makes me feel like I'm on a journey through space. That said though I understand if this style of music is not for everyone. Alongside that notion, Wayne Coyne's higher-register vocal delivery can make or break your experience though to me at least it fits the progressive pop-rock style similarly to Jon Anderson's vocals for Yes. At the end of the day, it's a solid album from an experimental band refining their sound to make it more enjoyable for the masses. It's worth a listen.

Here Are the Sonics

The Sonics

4/5

I've heard of The Sonics before as a pioneering garage rock group. From this debut album, I had already heard singles "The Witch" and "Boss Hoss", along with their cover of Richard Berry's "Have Love, Will Travel." The rest of Here Are the Sonics is on par with the songs above. This is a collection of hard-rocking tunes and covers where grainy production is a feature. In particular, I want to highlight Gerry Roslie's vocals, as his conviction to belt and scream with such power won me over on most of these songs. Add to that, Gerry was also impeccable behind the piano, complimented by Rob Lind's prominent saxophone play. The only cover I didn't care for was Rufus Thomas's "Walking the Dog". Their rendition was played at a mid-tempo pace and sung by a different vocalist who did not have the same presence as Gerry did behind the mic. If you dig the later garage rock sound and style of acts like The Stooges and The White Stripes, you're in for a treat with these forebearers. Check them out.

Natty Dread

Bob Marley & The Wailers

4/5

This will be the second Bob Marley album I will have reviewed after Catch a Fire. It is also the first Bob Marley album of which "The Wailers" are in name only, after Peter Tosh and Bunny Wailer left due to disagreements with their producer Chris Blackwell. I will say I enjoyed Natty Dread slightly more than Catch a Fire, if only because the lyrics feel more cohesive and poignant. The album is more politically charged because the lyrics are meant to be empowering for the general population. This includes calls for unification such as in "So Jah Seh", sparking a revolution such as in the aptly named "Revolution" and "Rebel Music (3 O'Clock Roadblock)", a profound warning about a nation's hunger issues on "Them Belly Full (But We Hungry)", and a celebration of the Rastafari religious movement Marley belonged to on the title track. The cherry on the top would be the most known track off this record "No Woman, No Cry", where there is sentiment found for one's upbringing in an impoverished community and the friendships forged in tough times. As much as I still feel new to reggae music with its slower tempos and laid-back vibes, I certainly enjoyed how good Natty Dread was. This album comes with a solid recommendation.

Revolver

Beatles

5/5

This is the second Beatles album I’ve gotten on this journey, after Sgt. Pepper’s. Oddly enough, Revolver is the album preceding that one. At this point, the boys were just about done performing live as a band. They started ramping up their studio production tinkering to create an innovative soundscape inspired by LSD trips, Eastern philosophy, and avant-garde music. There’s the horn section on “Got to Get You Into My Life”, the string octet for “Eleanor Rigby”, the back-masked guitar solo of “I’m Only Sleeping”, the Indian instrumentation on “Love You To”, the tape loops assembled for “Tomorrow Never Knows”, the list goes on for what they achieved. I know these tape effects and instrument choices will be used more frequently by artists in the future, but the Beatles did a lot to make well-structured music with these new-at-the-time methods. Adding to that, the song structures are a lot more varied on this album. A fair amount of tracks are idiosyncratic - the out-of-tempo count-in to “Taxman”, the switching between 4/4 and 3/4 time on “She Said She Said”, and the syncopated drum pattern of “Tomorrow Never Knows” as a few examples. These variations are complemented by more normally structured songs that serve as good palate-cleansers like “And Your Bird Can Sing” and “Yellow Submarine”. As for the lyrics, Revolver largely deviates from the Beatles' prior work of mostly love songs. Instead, the themes range from isolation in "Eleanor Rigby" and "And Your Bird Can Sing", to drugs in "Got to Get You Into My Life" and "Doctor Robert", to other assorted topics like taxes and sleeping on "Taxman" and "I'm Only Sleeping". There's a great deal of variety in the emotional delivery throughout the album, whether a song evokes sadness, joy, angst, or bliss. Honestly, I couldn’t think of a bad or middling track off this album. Each song brought something unique to the table, as every band member was on their game lyrically and sonically. I know they would continue to experiment on Sgt. Pepper’s and onward, but Revolver became a high mark to surpass.

Eliminator

ZZ Top

4/5

I'm well familiar with ZZ Top as southern blues-rock legends, and this album Eliminator includes some of their biggest hits - "Gimme All Your Lovin'", "Got Me Under Pressure", "Sharp Dressed Man", and "Legs". The first half of this record sandwiched by those tracks is a solid collection of bonafide rockers that keep a good generally fast tempo with delicious guitar riffs from Billy Gibbons. Even "Thug" mixes it up with a slower tempo complemented by a slapping bass solo from Busty Hill. But then comes "TV Dinners", a novelty song where the double entendres with microwavable meals are clunky at best. By the end of that track, the momentum is lost, as the rest of the second half devolves into more overt sexual lyrics that end up even dumber by comparison. The only track in this batch I'm partial to is "Dirty Dog" as it tries to get the tempo going again and the guitar riffs again come in clutch. There is another problem with this album that becomes more noticeable in the back half - the drum machines. This was a calculated approach by Gibbons, as he was informed by pre-production engineer and co-writer Linden Hudson that many hit songs at the time had a tempo of about 124 beats per minute. Thus, the decision was made to use drum machines to keep at this new pace. While it does mean the songwriting is improved as the group focused more on timing, that left Frank Beard in an awkward spot as the band's drummer who is not actually drumming on this album. Personally, I prefer live drums in hard rock music, especially regarding ZZ Top's previous material. I still generally enjoy Eliminator as an album. It's a fun guitar-driven romp that's only dated by some production and lyrical choices. Make of that as you will.

Opus Dei

Laibach

3/5

For this review, I will not include the bonus tracks from the CD version. This is one of those days where I think to myself, "I would have never sought this out if not for the album generator." Laibach is a Slovenian/Yugoslav group that are considered pioneers in the martial industrial subgenre, which is to say industrial music with a militaristic beat and politically provocative lyrics. After listening to Opus Dei, I can hear the influence these gents must have had on Rammstein and the like. Right out of the gate with their German-sung cover of Opus' "Live is Life" with the bombastic horns, I couldn't help but laugh at the sheer absurdity this was. Then they have the hutspa to go into another cover, this time of Queen's "One Vision", where with the German translated lyrics and militaristic composition it becomes clear how they approach the song from a darker angle and I dug it. Alas, the novelty started to wear thin by the time they've finished the second cover of Opus' "Live is Life". I have nothing against any member of the band; they all played pretty decent. The problem is the idea of using industrial music to focus solely on parodying authoritarianism and militarism limits the scope of what could be accomplished, at least in the case of this album. Opus Dei was a surprising listen, and certainly one of the more batshit inclusions on this list that I'm at least glad to have checked out. I don't expect this to be everyone's cup of tea given the group's image and style, but for those who dig industrial music or militaristic camp Laibach paved an interesting niche path.

evermore

Taylor Swift

4/5

Full disclosure - I used to be a Taylor Swift hater. While I was lukewarm to “You Belong to Me” and “Love Story” early on in her career, I did not enjoy her transition to full-on pop as the singles that got big were obnoxious to me (e.g. “I Knew You Were Trouble”, “We Are Never Getting Back Together”, “Shake It Off”, “Look What You Made Me Do”). For a couple of years, I never sought her out as a result of that shift. Then the COVID-19 pandemic happened. I remember switching to working from home, and after exhausting the music I usually listen to, I was itching to check out other artists and expand my horizons. That’s when I noticed Taylor decided to surprise release an indie folk album called folklore. I was curious, checked it out, and I came to realize I was wrong in dismissing her so easily. Don’t get me wrong; those aforementioned pop singles still weren’t great. But approaching Taylor’s music from a different lens and with a bit more understanding, I came to appreciate her songwriting and attention to detail. In a sense, folklore helped me come to terms with who Taylor Swift is as an artist. So color me surprised that folklore isn’t included on this list, but rather the “sister album” evermore. I put “sister album” in quotes because while the two have similarities in producers, guest collaborators and content, evermore is admittedly closer to the country/folk songs off of Red. I have to assume it’s because Aaron Dessner of The National took a more hands-on approach in the production of this album compared to folklore, with Jack Antonoff only having credits on “gold rush”. That does mean the guitars are warmer, the bass is more supple, and there’s more oomph from the keyboards, at the sacrifice of some electronic touches and swell that could have elevated this album a bit. The one really noticeable drawback though is the clattering percussion on “closure”, which does not fit with the spare piano arrangement. Another complaint I have are with the guest collaborators. The HAIM collab murder ballad "no body, no crime" should have had more detail in the danger and stakes. Also, while the collabs with Bon Iver on the title track and The National on "coney island" were solid, neither of those two tracks were anywhere near matching the gravitas of "exile" off folklore. That all said, the biggest draw for a Taylor Swift album is the writing, and she does continue the loose fictional narrative weaving from folklore. She’s able to build off old relationship drama with a keen eye on the emotional nuance for both parties involved. It’s why “champagne problems” is such an early gut punch where she abandons the boyfriend who is on the cusp of proposing to her but never quite “got” her, or why “‘tis the damn season” and “dorothea” share this conflict of the girl who chased dreams out to Los Angeles that never quite stirred her soul to the same extent versus the guy she left behind who holds the key to her heart, or why “cowboy like me” focuses on the love of two con artists paired in their unique wiliness. But then you also got the agonizing “tolerate it” where the more experienced lover withholds affection from her, which bleeds into the implied fractured relationships on “coney island” and “happiness” where there’s a real sense of vulnerability in the scenes painted, framed by Taylor’s recollection of her grandmother on “marjorie”. Sure the stakes across these songs are generally smaller like it was on Red, and the more I think about it this album is just Taylor coming back to her comfort zone of being the everywoman, but these songs do work as a necessary catharsis as she tries to close the doors on her past and move on; emphasis on “tries to” as we know she’ll continue with Midnights onward. At the end of the day, evermore is a solid album that does feel like a necessary transition period for Taylor. Some individual moments are great, and the album is consistent enough for what it is. Personally, I probably would have picked folklore for the list as the songwriting and production were much more elevated with that prior release. But still, evermore is a good album, and it will certainly be appealing to those who look for a more grounded connection in the music.

Gunfighter Ballads And Trail Songs

Marty Robbins

4/5

For this review, I will not be factoring in the bonus tracks included in the CD reissue. I’ve heard of Marty Robbins before as a country singer-songwriter, often cited as a pioneer in the subgenre of outlaw country. The one song I knew from him prior was “Big Iron”, which not only serves as a strong opener to this album but it has since gained a wide resurgence in popularity from its inclusion in the Fallout: New Vegas video game soundtrack. I’d say the rest of my enjoyment with Gunfighter Ballads and Trail Songs is about on par with that opening track. Marty had such a knack for effortlessly crooning and singing baritone whilst strumming away on his guitar, as him and his backing band run the gamut through tales of the Wild West with a fair amount of cover songs played decently. Probably the only complaint to be had is that the album is rather one-note. Most of these songs are standard tempo and sticking to the Wild West aesthetic. It’s certainly pleasant to listen to, though outside of “Big Iron”, “El Paso” and his cover of Curley Fletcher’s “The Strawberry Roan”, there’s not much else here that uniquely stands out. Still at the end of day, I had a good time with Gunfighter Ballads. If you like your country western, or need a good soundtrack for traversing a retrofuturistic nuclear wasteland, then this album comes with a strong recommendation.

My Beautiful Dark Twisted Fantasy

Kanye West

3/5

I've already said my piece back on Common's "Be" about how Kanye once cared about creating and producing music, unlike these days putting the music second to repping fascism. I wanted to give this album the benefit of the doubt from when and where Kanye was. The problem is this was when Kanye started to spiral. Back at the 2009 VMA Awards, Kanye stole the microphone from a then up-and-coming Taylor Swift to instead say Beyoncé had the greatest music video. I can understand to an extent that he was still deeply affected by his mother’s passing, and had overworked himself to the point of making such a public stunt without common sense. It’s not a perfect excuse and doesn’t detract from how he was perceived as an asshole, but it is a reason. After that botch, Kanye proceeded to isolate himself to Hawaii to work on this album alongside those he felt close with, exploring what he perceived as the dark underside of fame alongside the id of his ego. In essence, Kanye wanted to show the monster he became, for better and worse. My Beautiful Dark Twisted Fantasy was a frustrating listen for me. There are elements to each of the songs that I like, but there are also enough glaring missteps and a general lack of focus to keep this album from coalescing into a meaningful theme or driving mechanism in the dissection of Kanye’s insanity. We start and end with two excerpts in Road Dahl’s rework of the Cinderella folk tale as read by Nicki Minaj with a fake British accent and the sampled Gil Scott-Heron’s “Comment #1”, without much in the way of connecting the two pieces. In between, Kanye does his best to come off as hedonistic, such as the sexual advances in “Devil in a Dress” and “Hell of a Life” along with more general musings on “Power” and “Monster”, but at best these explorations come off as hollow and token. There isn’t much in the way for someone to connect with Kanye’s purported dark side as he can’t fully embrace it. Not helping matters is that Kanye’s flow and lyrics can get choppy and distracting from what’s being conveyed. Nowhere is this more evident than “Runaway”, the song that many a Kanye fan has claimed to be his best song and the centerpiece of this album. In a way, it almost works - the spare piano motif coinciding with the industrial drum pattern and Rick James sample, the light and elegant strings that add contrast, Pusha T’s verse, and even the chorus and lead-up to Pusha T are well done. The problem with that track and by extension this album is what Kanye chooses to say and sing that can’t match the tone of his production and the general themes he tries to communicate. I understand from the chorus that the idea of “Runaway” is that he is a broken man who can’t change and that it would be better for the loved one in the relationship to keep their distance from him. Unfortunately, that message is not received well by Kanye’s verses, particularly in his enunciation of “She find pictures in my email/I sent this bitch a picture of my dick” that’s flat-out embarrassing and takes me out of my focus. Not even a three-minute piss-poor vocoder solo at the end can save that shit. That is the crux of My Beautiful Dark Twisted Fantasy, where Kanye’s flow and awkward lines get in the way of his messaging. Whether it’s taking cheap shots at the writers of South Park and Saturday Night Live, or the thin connection between getting “blackballed” to his “black balls”, his words distract from and hamper what could have been otherwise decent tracks with top-notch production, potent choruses from guests, and eclectic sample choices. Kanye’s lyrical pitfalls also led to some of the rapper guests like the aforementioned Pusha T, Jay-Z, and Rick Ross outshining the man in their respective verses. Granted, not every guest was good as I once again bring up Nicki Minaj for the intro to “Dark Fantasy” and her over-the-top verse on “Monster”, as well as Cyhi the Pyrnce’s lazily written verse on “So Appalled”, but they are noticeable cracks in the frame. I’ll freely admit I haven’t felt this infuriated by an album on this journey since the Sex Pistols’ “Never Mind the Bollocks”. In no way do I see myself revisiting this anytime soon, as I await the other two albums on the list from this man. In a way, Kanye somewhat accomplished what he set out to do by showing off his inner demons. Unfortunately, I don’t think that’s paid off well if history is a good indicator.

Boy In Da Corner

Dizzee Rascal

4/5

I've heard of Dizzee Rascal as a British rapper and MC, having listened to his song "Fix Up, Look Up" on this debut album. He's been credited as a pioneer of grime music which is electronic dance music with rapid syncopated breakbeats, an aggressive or jagged sound, and an emphasis on emceeing with lyrics revolving around gritty depictions of urban life. Boy in da Corner pretty much fits that description. These songs deliver fierce manic energy, as Dizzee spits bars out of necessity to shed light on the seeded underbelly of his upbringing and London neighborhood. Complementing him are the driving beats, guest performers, and electronic experimentation that give the music a heightened sense of immediacy. Sure, some of the lyrics are either dated such as bringing up the Nokia phone or Sean Diddy Combs on "Stop Dat" or tied to Dizzee's British dialect such as referring to drug dealers as "shotters" on "Brand New Day". But there's no denying he had hunger at a young age and that translated well into a commanding presence. In that regard, Boy in da Corner gets a solid recommendation for those curious.

Garbage

5/5

Well, I've already heard this self-titled debut from Garbage before this journey. They're a 90s alternative group where three of the members - Butch Vig, Duke Erikson, and Steve Marker - have had prior experience producing for various artists. The three recruited Shirley Manson for vocal duties, and together they sought to blend pop music with different genres. The result heard on this album is that each track feels unique in its mix. From the laid-back trip-hop of "Queer", to the straightforward electric grunge of "Only Happy When it Rains", to the groovy drum-and-bass of "Stupid Girl", the band built a rich soundscape of tunes off of samples and loops brought to their jam sessions. All the while, every member plays effectively; Butch with his driving beats, Steve and Duke with their good guitar hooks, and Shirley singing the lyrics the band collectively penned from shared dark experiences. I understand that not everyone may be into the genre-hopping style Garbage employs, as the quality can vary track by track. I also realized by "Not My Idea" that Shirley Manson's contralto vocals are an acquired taste as she can teeter between sultry and discomforting. But make no mistake, Garbage is not "garbage", as easy a joke as it would be. They're a fun group with a bit of edge to their pop to make them stand out. This debut album of theirs is worth a listen if you're curious. Update 4/7/2025: I ended up relistening to Garbage's debut over a hundred albums later in my journey. Upon reflection, I realized that I didn't have much of an issue with this album per my original review. Sure, it might sound a little dated, but the variance in song structure paired with the synth textures, distorted guitars, layered production, and Manson's vocals balanced between vulnerable and fierce culminate in an atmosphere that was enjoyable all the way through. There's an argument to be made that Garbage peaked with their first album, but even then, what a high peak to come off of.

Black Sabbath

4/5

For this review, I am looking at the North American edition of the album, which swaps out the cover of Crow's "Evil Woman" with "Wicked World" in the standard tracklisting. After hearing Paranoid on this journey, I guess I'm back once to the album that proverbially rang in metal music as we know it. Starting with the pattering rain and the chiming of the bells followed by that iconic doom guitar riff to the title track, the mood of Black Sabbath's debut album settles into that sinister vibe. Indeed, this starts well with the title track and "The Wizard" which establish the doom-driven tone. Then I realized that the album could have been tighter in comparison. "Behind the Wall of Sleep" and "N.I.B." are strong songs individually, but a noodly bass solo from Geezer Butler loosely connects them. It's not badly played, but the songs should have been sequenced better. A similar case happens when linking "Sleeping Village" to their cover of The Aynsley Dunbar Retaliation's "Warning" by Tony Iommi holding onto a single guitar note. Again, not bad but it could have been more meaningful. I only have this notion because I've listened to other Sabbath albums in the past, including again Paranoid recently, and the song compositions were more compact and got to the necessary beats than the slow-burn moments on their debut. It's still getting a solid recommendation from me, and it is worth seeking out if you haven't. Given the other Sabbath albums on this list and their discography, this debut holds a more historical significance.

1999

Prince

4/5

This is the second Prince album on my journey, after Sign 'O' the Times. I will say my enjoyment of 1999 is about the same as that album. This was the album that defined the "Minneapolis sound"—funk with an emphasis on synthesizers, loud guitars, drum machines, and faster rhythms. Suffice it to say, the sound is very much of its time. 1999 starts well with the title track leading into "Little Red Corvette" as a fine-rocking tune. Then afterward, tracks such as "Let's Pretend We're Married" and "D.M.S.R." come off as extended jam sessions, which I didn't mind. I'm certain the stretched-out duration of some of these tracks coupled with the dated sound can make the album feel its length on occasion though not to the same extent Sign 'O' the Times felt. Nevertheless, Prince wrote such wonderous sex jams with charisma and played nearly every instrument to great effect, making the experience remarkable. 1999 is another funky and sexual 80s album by the legend himself. It is certainly worth a listen.

Pink Moon

Nick Drake

4/5

I've heard little about Nick Drake going into this album. From what I gather, he was an acoustic guitarist who released three solo albums and sadly overdosed at 26 years old. He sounded like someone dedicated to his work, often spending long nights writing songs and experimenting with his guitar techniques. That level of commitment shined on his final album Pink Moon. With just himself and his guitar save for some spare piano on the opening title track, Nick created this inviting, intimate atmosphere as he sings softly in his baritone range. I understand if it may be easy to paint the lyrics with the foreknowledge of the bout with depression Nick was going through at the time. Still, for me, the vivid imagery evoked in these songs gives off something more whimsical and adventurous. I listen to songs like "Road" and "Things Behind the Sun" and find myself in an exploratory mood, finding what lies out there in the world with a sense of curiosity. Aiding that emotional drive is the intricate guitar picking Nick pulled off here, which is more advanced than the typical singer-songwriter. I understand if a man with his guitar isn't always the most engaging music to listen to. Not to mention, a fair amount of these songs can come off as short and could have afforded to expand the individual narratives told. Nevertheless, there is something magical that resonates with Pink Moon, and it absolutely should be listened to.

Gasoline Alley

Rod Stewart

3/5

Okay, I know I do like Rod Stewart's smoky vocal delivery, and Ronnie Wood is a decent guitarist in his own right. But I have to ask - why is this album on the list? Gasoline Alley is an equal mix of cover songs and original compositions, which seems to be a recurring theme with some albums on this list. While there isn't a bad song here, and there may be some novelty in hearing Stewart play the likes of Elton John's "Country Comfort" and the Womacks' "It's All Over Now", there isn't much of an identity or uniqueness to this album in comparison to other such works of the time. What is especially egregious in hindsight is that the follow-up Every Picture Tells a Story is also on this list, which seems to me like the one Rod Stewart solo inclusion needed. This album may not be terrible, but I don't consider it an album to listen to before you die.

Who's Next

The Who

5/5

I am looking at the standard edition tracklisting for this review, as no deluxe editions were needed. After being underwhelmed by their proverbially titled Sell Out album, The Who wowed me with this album. Created after they tried and failed to follow up Tommy with another rock opera album Lifehouse, the group salvaged some of the leftover songs to make a project that could stand well on its own. Every band member got to shine on Who's Next. Many songs like "Baba O'Riley" and "Won't Get Fooled Again" were excellent showcases of Pete Townsend playing the synthesizers, popularizing their incorporation into rock music. Keith Moon behind the drums was excellent as expected, though he allowed enough space when the atmosphere needed to be emphasized. John Entwistle played well on the bass as needed, having some standout rhythm-carrying moments such as on the bridge of "Bargain". Roger Daltrey commanded behind the mic for half the album, though Pete also shined with the likes of "The Song is Over" and "Going Mobile", and likewise John with his track "My Wife". Throughout, Glyn Johns was superb in his production role, focused on getting a good-sounding performance out of the band to breathe life into what Pete Townsend originally demoed. As a result, there is a great sense of depth and dynamics throughout the runtime making The Who's music feel more grandiose than what was expected for a hard rock sound at the time. Honestly, my only nitpick is the songs could have been rearranged in a different order for a better flow, such as placing "The Song is Over" as the closing track, which it would have been on Lifehouse. Again, that's only a nitpick on what can otherwise be argued as one of The Who's best albums alongside the likes of Tommy and Quadrophenia. Who's Next is absolutely worth your time.

Golden Hour

Kacey Musgraves

4/5

I’ve been listening to Kacey Musgraves a bit this year, between “Blowin’ Smoke”, her duet with Zach Bryan “I Remember Everything”, and her recent album Deeper Well. It is only fitting that I get to check out her breakthrough album. Golden Hour is a good pop country record in its own right. I enjoyed Kacey's expressive charisma, as her vocals come out clear and layered well in the mix, with only a few touches of reverb and a bit of vocoder on "Oh, What a World" that never came off as obtrusive. The instrumental arrangements are similar to traditional country songs but with more languid grooves, which makes for an overall pleasing listen. There are some standout moments such as the stripped-down piano ballad "Rainbow", the key shift on the bridge of "Space Cowboy", and the keen touches of pedal steel, harmonica, and banjo on "Oh, What a World". I also dug that from a lyrical standpoint, while there is a fair amount of love and affection on display, there's also an underlying melancholy that lurked - the breakup on "Space Cowboy", the cold loneliness of "Lonely Weekend", the lingering feeling that the happiest moments don't last long enough on "Happy & Sad", and the acceptance of imperfections from a partner on "Wonder Woman". Yet for as much as I enjoyed Golden Hour, I don't consider it as lyrically deep or as genre-bending as it might have been marketed. I'll admit, I've been listening to indie country for a couple of years now outside of this journey, and I know other women out there who have made more compelling or experimental country music yet haven’t gotten the same amount of attention as Kacey has—Karen Jonas and Emily Scott Robinson, to name a few. Even Kacey herself has done better in the past; I think back to "Blowin' Smoke" from her debut Same Trailer, Different Park and that song had more sarcasm and wit in the lyrics that the songs on this album don't quite match. Not helping matters are certain percussive and melodic elements that are awkwardly blended, like the staccato piano and guitars that lead into "Butterflies" or the blown-out guitar solo of "Velvet Elvis". At the end of the day, I still consider Golden Hour to be an enjoyable record. Sure, there may be some missteps here and there, and it's not as ambitious as it was hyped up to be, but still a fun album that I can see myself revisiting. I'm glad for Kacey's continued success, and I hope that rings true for other up-and-coming country women out there.

Dusty In Memphis

Dusty Springfield

4/5

I heard of Dusty Springfield as a blue-eyed soul singer with her distinct mezzo-soprano singing voice. Earlier this year, I listened to her cover of Classics IV's "Spooky" which was pretty well done. This album of hers Dusty in Memphis was about as good as that cover was. Her voice carries throughout this album, elevating the songs with the lustrous instrumentation from the session musicians while Jerry Wexler cleaned up the sound nicely. Some of my favorite tracks were the ones that took more style deviations, particularly the anthemic Southern country tune "Son of a Preacher Man", and her cover of Michel Legrand's "The Windmills of Your Mind" which kicks up the tempo towards the end, and the sitar cadence of "In the Land of Make Believe". I understand that not everyone is into this style of music, with the performance relying solely on the singer with the instruments serving as a backdrop for her not helped by the number of covers present on this album. But Dusty in Memphis was a good outing, and in some respects, I can see how this album and by extension, Dusty herself inspired later female singers such as Adele and Amy Winehouse. Give it a spin.

Diamond Life

Sade

4/5

I have heard of the band Sade, but I have never listened to them before. They are a group whose style blends soul and sophisti-pop, formed by singer Sade Adu, saxophonist/guitarist Stuart Matthewman, and bassist Paul Denman, with Andrew Hale on keyboard duties. Diamond Life is their debut album, and I will say it is pretty good for what it is. This is the kind of sensual music where Sade Adu's sultry contralto voice carries most of the tunes, with the rest of the band providing good soul/light jazz instrumentation to neatly back her up. It does help that the band does flourish when it needs to, particularly with the saxophone solos on "Smooth Operator" and "Love is King." If I had to complain, there's not much variation in the lyrical content. This is mostly a collection of love songs, where Sade Adu plays coy with the love interest while also observing relationships that fall apart such as on the track "Frankie's Love Affair." I will say there is a nice deviation in "When Am I Going to Make a Living", wherein she sings about surviving on the fringes of a livable wage. Given that Sade Adu squatted early on in her career, this song does come off as drawn from personal experience. Overall, it's a solid debut album from a group that would go on to influence the neo-soul sound. I'll give it a solid recommendation.

Rock 'N Soul

Solomon Burke

3/5

I've heard of Solomon Burke before as one of the founding fathers of soul music. I've already heard "Cry to Me" from this album, which is such a powerful song about feeling down and lonesome. As much as I generally enjoyed the rest of Rock N' Soul, it's clear that "Cry to Me" was a hard track to follow up from. Throughout this album, the general style tends to be swinging soul music with lyrical themes of love and relationships. While there isn't a bad song on here, and Solomon did his best to sell each track with his belting tenor vocals, most of this album tends to feel repetitive with the instrumental structures and lyrics. There are some other personal highlights besides "Cry to Me", such as the up-tempo cover of Woody Guthrie's "Hard, Ain't it Hard", the slowed-down crooner of "Just Out of Reach (Of My Two Empty Arms)", and the playful guitar line of "Won't You Give Him (One More Chance)", though those standouts moments for me were few and far between. I'm still glad I listened to Rock N' Soul and enjoyed Solomon's work. This album made the list for historical significance, and as such I can live with that and cherry-pick the songs I want to revisit.

Rid Of Me

PJ Harvey

4/5

I've listened to PJ Harvey's music before, both the song "Good Fortune" and her recent album I Inside the Old Year Dying. She is a singer-songwriter who genuinely tries to make each album unique in its musical style. For example, Rid of Me takes a more aggressive approach to songwriting compared to the preceding Dry, complemented by Steve Albini on production. From the onset of the title track, PJ plays around with the intensity of the sound, teetering between the quiet storm of the verses into the loud and abrasive chorus. This experimental attitude carries throughout the rest of the album, effectively using distorted guitars, banging percussion, odd time signatures, varying dynamics, and PJ's artistic lyrics in her off-kilter delivery that blends well into the constructed madness. Even the cover of Bob Dylan's "Highway '61 Revisited" is manic in its presentation. I get that Rid of Me's abrasive nature might not be a sell for everyone, as the overall experience can come off as esoteric. Given PJ's tendency to change styles with each album and her rejection of the notion that the lyrics have much to do with her personal experiences, the mileage one can get can vary from album to album. That said, I can walk away having enjoyed this album, value its inclusion on the list, and find myself revisiting the songs here, even if I can't extrapolate meaning from every song's lyrics and structure within a day of receiving it from the generator. I'm sure this album will grow on me, but for the time being it is still getting a solid recommendation for those adventurous.

Bossanova

Pixies

5/5

It is rather fitting that I get to check out my first album from the Pixies on this journey the day before they release their next album, The Night the Zombies Came. Their third album Bossanova, while not as much of a standout compared to the preceding Doolittle or Surfer Rosa, is still a fun and weird album in its own right. Continuing to blend elements of surfer rock into their spaced-out alternative sound, vocalist/guitarist Black Francis wrote and crafted songs with the band that illicit this sense of tempered chaos. From the opening instrumental "Cecilia Ann" into cuts like "Dig for Fire" and "Is She Weird", there is an otherworldly quality to the tracks that allowed the Pixies to have fun in their slightly bizarre ways, filtered through the reverb production of Gil Norton. While I look forward to checking out the new album from the Pixies along with their first two albums on this journey, I certainly enjoyed Bossanova in its own right. I can see this album growing on me. Give it a chance. Update 3/24/2025: I listened to Bossanova over a hundred albums later, especially after listening to Doolittle for this list. This album grew on me, where I picked up more jaunty hooks and riffs and my appreciation for each of these tracks improved on the revisit. I feel like I was used to the maniacal screaming of "Debaser" opening Doolittle and I looked for more of that chaotic energy going on here. Yet there is enjoyment to be found in the more quiet, surfer-esque style here that continued their songwriting success paired with Gil's production. While the lyrics are mostly nonsensical ranging from Francis Black's ex-girlfriend to aliens to the Havalina which is a wild boar, the instrumental arrangements and vocal deliveries worked wonders in the wackiness of it all I honestly didn't mind it. It's funny how that can work.

Music for the Masses

Depeche Mode

4/5

I will not be factoring the bonus tracks from the CD release for this review. I've listened to Depeche Mode, from singles such as "Personal Jesus" and "I Just Can't Get Enough" to their recent album Memento Mori. I generally enjoy their brand of electronic music with dark undertones, and Music for the Masses is a good representation of that style. This album will ebb and flow in its twisted madness. The first half lures in with songs that have a driving beat amidst the spare guitar riffs and lush electronic elements such as "Never Let Me Down Again" and "Strangelove" all the while David Grahan commands in his baritone voice with occasional assistance from Martin Gore's soft tenor as they wallow in their perverse views of relationships and desires. Along the way though, the beat becomes sparing as the song structures become more atypical - the subtle synth orchestration on "Little 15", the respiratory breathing used as a focal point for "I Want You Now", segueing into the dirge of "To Have and to Hold", culminating in the spare piano riff of "Pimpf" that builds into a more sinister presence with the operatic vocals, organ arpeggios and clashes of cymbals in the distance. I wouldn't call this experience bad so much as unsettling on purpose. A means to deliberately discomfort the listener and make them question what they heard, to explore deeper and find what lurks within. I enjoyed Music for the Masses in its perverse manner. I understand not everyone will enjoy it, given the reliance on dissonance and the macabre in Depeche Mode's music on display here. Nevertheless, this album is a worthwhile experiment for those curious.

(What's The Story) Morning Glory

Oasis

4/5

While the world prepares for Oasis's reunion tour next year, this will be the first album I get from them on this journey. Of their first two albums, (What's the Story) Morning Glory is the more popular one in the Americas; an observation I have made from how many times I've heard "Some Might Say", "Champagne Supernova" and especially "Wonderwall" growing up. I will say there is some credence to the lasting popularity of this album. Sonically, the group channels their various influences—particularly the Beatles—in creating a vibrant and psychedelic Britpop sound, cranked up by the use of brick wall mastering, that feels anthemic and full of vivid imagery. Sure, some of the songs are straightforward fun rockers like "Some Might Say" and "Roll With It", but Noel Gallagher varies the songwriting to draw from personal experiences or emotions. Whether it's the somber reflection on his mate Richard Ashcroft of the Verve on "Cast No Shadow", the necessity to look forward on "Don't Look Back in Anger", or the use of words to paint a scene even if no meaning could be found on the closer "Champagne Supernova", Noel did an excellent job of penning these songs for people to connect with, propelled by Liam's well-projected vocals, Paul Arthurs's superb guitar play, and the complimenting rhythm section of Paul McGuigan and Alan White. That all said, this album is not flawless. Where the first half shows strength in composition, the second half falters. The two untitled interludes known as "The Swamp Song Excerpts" could have been combined into one instrumental blues jam session. Also, "She's Electric" does not evoke the same power and dynamic range as other tracks have, even if it tries to be cheeky by borrowing the same outro from The Beatles' "With a Little Help from My Friends." Still, Morning Glory is a fun album that serves as a shining example for Oasis and the Britpop sound of the 1990s. I don't expect to look back in anger at this one.

People's Instinctive Travels and the Paths of Rhythm

A Tribe Called Quest

4/5

Alright, I get to check out A Tribe Called Quest's debut after the group was inducted into the Rock and Roll Hall of Fame. After listening to People's Instinctive Travels and the Paths of Rhythm, I can see how they were considered pioneers in the conscious hip hop I've come to appreciate. Ali Shaheed Muhammed worked wonders on the programming and turntable to create strong and accessible hooks amidst all the experimentation. The jazz-influenced style served as an eclectic backdrop to rap, accentuated by Q-Tip's clean production and sample choices. As for the wordplay, Q-Tip, Jarobi White, and the late Phife Dawg struck a balance in poetic wordplay that comes off as a conversation where thought and expression were valued over machismo. I am genuinely impressed with their flows early on in their career. That said, as much as I enjoyed the album, I still had in the back of my mind that this is a debut album and it shows in places. For one, this album is a bit longer than it needs to. Not that any one song was particularly bad, but the opportunity was there to tighten the overall experience. Especially where attempts were made to connect songs with short interludes led by Jarobi where it seems like they had a loose concept for the album but never coalesces into a truly meaningful or engaging narrative to tie it together outside of the funkiness. Still, I had a good time traveling through the paths of funk and rhythm for Tribe's debut. This debut gets a solid recommendation, and I look forward to checking out Low End Theory later on this journey.

A Short Album About Love

The Divine Comedy

4/5

I hadn't heard of The Divine Comedy before. From what I can gather, they are a chamber pop group from Northern Ireland, whose sole constant member is frontman Neil Hannon. What I will say about A Short Album About Love is that I can accept it for what it is—a farce. Think about it—Neil was able to pen seven songs with various jokes themed around the pursuit of love, with Joby Talbot's orchestral compositions ebbing and flowing in the background. I couldn't help but laugh at some of these lines like addressing the obliviousness of the partner on "Everybody Knows (Except You)" with "I told all of my friends again and again and again/I drove them 'round the bend, so now you're my only friend", or how one of the various allusions the narrator could make to show their affection on "If..." was "If you were a horse/ I'd clean the crap out of your stable/And never once complain." He's taking the piss and I can accept that as the intent. I wouldn't say this album is all that mind-blowing in its execution, given how prevalent comedy music acts have become since. Plus, I can accept that humor like music is subjective, and not every line will land well. Regardless, I had fun with this album, and it is indeed short as it does not overstay its welcome past half an hour. Give it a shot.

What's Going On

Marvin Gaye

5/5

I remember first listening to What's Going On three years ago for the album's 40th anniversary. I can tell you from my experience then and now is that this album, even if it came from a time long before I was born, still resonates. There were protest songs here and there before Marvin Gaye and the Funk Brothers wrote and recorded in 1971 - you had the likes of Creedence Clearwater Revival's "Fortunate Son", Buffalo Springfield "For What It's Worth", and the various acts of the Woodstock festival that protested the Vietnam war. What's Going On was also written as music in protest of that war, with the narrator as a veteran coming home to find is country in turmoil. But much like those great protest songs that have long endured, the language that Marvin and his songwriter collaborators conveyed are more universal and can be applied far beyond their time. Whether it is the pause and reflection of their surroundings on the title track, the despair at the destruction of the environment on "Mercy Mercy Me (The Ecology)", or the plead for compassion during hard times on "Right On", the narrator encourages people to be aware of the issues that are impacting the world they live in. Helping the message get across is Marvin's smooth vocal delivery that gets the word out in a manner that never felt overbearing. Pairing him with the Motown soul instrumentation that has aged like a fine wine resulted in an experience that feels timeless yet poignant. All this to say What's Going On deserves its place on this list, and I for one am glad to have revisited it. This album can be comforting during trying times, and I hope people continue to learn and spark conversation to better themselves and the people around them as music like this can inspire to.

Electric Warrior

T. Rex

4/5

I've listened to T. Rex before as a pioneering group for glam rock, punk, post-punk, and alternative rock. In fact, "Bang a Gong (Get It On)" from this album Electric Warrior is one of a few songs that still gets radio airplay. My enjoyment of the album as a whole is about the same as my enjoyment of that track. There's no denying that Marc Bolan was a fun guitarist, whose riffs were simple yet effective. I can point to the likes of "Bang a Gong (Get It On)", "Jeepster", and "Rip Off" as rocking tunes that were well-played. Not only that but the rest of the album varies in composition, including ballads such as "Cosmic Dancer" and "Girl", and slow-burners such as "Planet Queen" and "Monolith". The rest of the band complemented Marc's guitar playing, particularly Bill Legend's pulsating drums. Yet for as much as I enjoyed the album, I can't help but shake the feeling that there are some drawbacks to the overall experience. As much as I can compliment Marc as a guitarist, his softer singing amidst the louder instrumentation does not sit well in the mix. Not helping matters is the general slow to mid-tempo rhythm of these songs, making the experience feel longer than it is save for the rocking tunes mentioned above. Still, I enjoyed Electric Warrior for what it is as a blueprint for the glam rock movement and other such subgenres to come. It has its place on this list while still being fun in its own right.

The Bends

Radiohead

5/5

Full disclosure - I've already listened to Radiohead's entire discography before this journey. When I checked the list of Albums to Listen to Before You Die, I was not surprised that over half of their albums were included across all editions, starting with their second album. Building on the success of Pablo Honey, the band further collaborated and refined their alternative rock sound with a greater emphasis on songwriting. The result of those sessions was The Bends, an amazing album. The Bends eases in from the get-go with "Planet Telex" with the whoosh of the processed drum loop into the layered guitars, accented percussion, and Thom Yorke's expressive delivery. That sense of vivid experimentation carries throughout the rest of The Bends, where Ed O'Brien's various effects compliment Jonny Greenwood's lead guitarwork, and the rhythm section of Colin Greenwood and Philip Selway provide the necessary grounding and driving force. All the while, the words coming out of Thom's mouth tend to use striking imagery to illicit certain emotions, whether it's the dread of plastic products and what consumerism does to people on "Fake Plastic Trees", the angst of the remarks at someone else while doubting oneself on "Just", or the quiet worry of being left behind on "High and Dry." It may not be the most profound songwriting out there but it gets the job done and carries the mood through to the solemn closer that is "Street Spirit (Fade Out)". I genuinely enjoyed The Bends front to back and highly recommend it. I know that Radiohead will continue to experiment with OK Computer onward, but this album is where the band found their sound.

Document

R.E.M.

4/5

I've listened to R.E.M. before as an influential band on the alternative rock scene. I've heard the singles off this album, Document, and I consider them to be the highlights. The rest of the album is good, but I'm not quite over the moon about it as I would have liked. On a technical level, everyone in the band played well. In particular, Bill Berry's kept a driving rhythm on percussion, Pete Buck's guitar hooks were catchy, and Michael Stipe's off-kilter baritone vocals were complemented at times by the harmonized background vocals on songs like "It's the End of the World As We Know It (I Feel Fine)." My hang-up with this album comes from the lyrical content. I can tell from songs like "Exhuming McCarthy" and "Welcome to the Occupation" that the band tried to provide political commentary concerning the Reagan administration at the time. The problem is the imagery of the words is just opaque enough that the messaging doesn't work effectively. There might have been an attempt at balancing out the silly and serious tones with these songs, and as a result, it only felt serious to me with "Finest Worksong" and "The One I Love". I still enjoyed Document even if the songs didn't coalesce into a more meaningful impact. Regardless, the band still played well on this album, and as such it gets a solid recommendation from me.

Shleep

Robert Wyatt

3/5

I hadn't heard of Robert Wyatt before this year. He started as the drummer and singer for the bands Soft Machine and Matching Mole before he broke his spine from an accidental fall. That drastic event led to him embarking on a solo career for the next 40 years, a decision that I absolutely respect him for. As for how much I like his music, that's hard to discern because Shleep being my first album to listen to from him doesn't exactly enthrall me. Shleep is a progressive, experimental, art rock affair in that the compositions are mostly improvisational, there's an influence of jazz rock and psychedelia, and the lyrics are abstract. Needless to say, this is a challenging listen. The second track "Duchess" might as well be a litmus test for the listener's enjoyment. I didn't hate this album for what it is, and there are some excellent songs towards the end such as "A Sunday in Madrid" and "Blues in Bob Minor" where there were melodic hooks, driving beats and guitar flourishes to provide some distinctiveness. But aside from those tracks and the neat guitar solo on "Alien", the rest of the album tended to go in one ear and out the other for me. Again, I don't think Shleep is a bad album, and I'm sure someone more into art rock will find pathos in it. As for me, Robert Wyatt seems like a gentleman I respect, even if I can't connect well with his music.

Me Against The World

2Pac

4/5

Given that I've already received an album from The Notorious B.I.G. on this journey, it only stands to reason that I should also receive one from 2Pac. Two sides of the same coin - up-and-coming gangsta rappers taken far too soon. The only question would be which album represented Tupac Shakur on this list. Given the enduring popularity of All Eyez on Me's title track, "How Do U Want It" and "California Love", I figured that album would have been here. Instead, we get the arguably next best one. Me Against the World was released while Tupac was incarcerated for various assaults he was involved in. There is no denying the man was far from a saint. Rather than ignoring his troubles, Tupac faced them head-on in this album. From opening on his contemplation of death to street violence in "If I Die 2Nite" and the title track, to the struggle with his inner demons on "So Many Tears", to the sensitivity and appreciation towards his mother on "Dear Mama", 2Pac tries to reconcile with himself given his rough upbringing and the injustice he bore witness at the time not just for himself but for other black Americans growing up in a gang-influenced world. In that sense, your mileage with this album will depend on how much you are willing to accept his self-reconciliation. I can accept it, acknowledging the man's flaws without being quick to dismiss him. Helping to get the messaging along is 2Pac's impeccable flow alongside the smooth production, eclectic samples, and guest appearances. The only time the music felt weak was on the flat hook of the closer "Outlaw". Otherwise, the rest of the album carried the G-funk styling of the mid-90s. Certainly a product of its time, but still well-produced in that regard. Overall, I had a reasonably good time with Me Against the World, and as such give it a solid recommendation.

Layla And Other Assorted Love Songs

Derek & The Dominos

4/5

Ahh, yes, the one album we got from Derek & the Dominos. This was the short-lived blues-rock side project of Eric Clapton and the people he played with in the ensemble version of Delaney & Bonnie. Of course, most people knew this group for Clapton alone after his time spent in Cream and Blind Faith, and based on the marketing and title of this album those same people largely knew the one song "Layla." To be fair, "Layla" is an iconic song. Its straightforward rocker movement segues into the lamenting piano-driven second movement, with Clapton's lyrics of unrequited love aimed toward George Harrison's then-wife, Patty Boyd, even if it was later found that he just wanted her because he wanted what George had. As for the rest of the album marketed as the "Other Assorted Love Songs", it's a pretty decent blues-rock affair, with a mix of original songs that continue the narrative of Clapton's profession of love towards Patty alongside covers of various blues standards. The group played well throughout, as each song works on its merits except for the cover of "Little Wing" which can't quite hold a candle to the serene nature of the original Hendrix version. My main problem with the album is that it is too long for its sake, clocking in at over 76 minutes. When I got to "Layla" on my listen, I was like "FINALLY!" because I knew the end was near. At that point, I didn't care about Bobby Whitlock's solo piece "Thorn Tree in the Garden" because the album was practically over for me. Suffice it to say that some songs should have been cut from the final product. Layla and Other Assorted Love Songs proved to be a decent album for me, even if it was largely known for the song and that Eric Clapton was a bit of an asshole back then. It is certainly worth a listen.

The Man Machine

Kraftwerk

5/5

Here's a fun story: I took a "coding music" class during my senior year of college, where I learned how to make my own electronic music and the history of the genre. One of the artists talked about in that class was Kraftwerk, and I heard "The Robots" off this album, The Man Machine. I enjoy that song for its driving beat, the minimalist vocoder vocals, and the mixture of synthesizer loops and electronic keyboard strokes that interweave to create a mechanical atmosphere indicative of the titular robots. That sentiment of the electronically driven atmosphere is carried throughout the rest of the album. The song compositions expand upon various loops and rhythms to generate a sound and style that invokes the given lyrical theme, oft divided between the advancement of machinery on the title track and "Spacelab" and the glitz and glamour of city life on "Metropolis", "The Model" and "Neon Lights". I don't think I have much to complain about with The Man Machine. It's well-produced and well-executed in its intent like you would expect a machine to do, and it does not overstay its welcome at 36 minutes of runtime. Perhaps not everyone is on board with the minimalist nature of this album and electronic music in general, but I cannot deny the enjoyment I have in what it accomplishes with so little.

Since I Left You

The Avalanches

4/5

For this review, I will not factor in the second disc of remixes with the 20th-anniversary edition. I have heard of The Avalanches before as an electronic group. I remember listening to their third album, We Will Always Love You, and liking that release. However, it was only today that I learned the subgenre they belong to, called "plunderphonics". The compositions are entirely composed of samples merged and twisted together, such that fragments barely resemble the original piece and create a new whole. It's a similar type of song construction that DJ Shadow implemented for Entroducing, which was my second album on this journey. In that sense, I enjoyed The Avalanches' debut album, Since I Love You, as much as I did Endtroducing. Drawing back to that subgenre definition, I enjoyed how the samples were used to create these new danceable sounds and atmospheres, and how the tracks interweave from one into the next. Some personal highlights include the string samples and youthful vocal snippets on the opening title track, the swaying beats, wind instruments, and electronic loops that move to a 3/4 time signature in "Two Hearts in 3/4 Time", the drums from Vaughan Mason and Crew's "Bounce, Rock, Skate, Roll" paired with the filtered female soprano vocals and synthesizers on "Electricity", and the horns and driving percussion paired with the twisted sample of a comedy sketch on "Frontier Psychiatrist". However, as much as I enjoyed the creativity on display and the interconnected nature of the songs, the album does drag in places, particularly between "Flight Tonight" and "Electricity," where the disco styling can feel one-note in its direction. The songs in this lull may not be bad, but they are not as ambitious as those I previously highlighted. Still, I recognize why Since I Left You is a pioneering album in its niche. In that regard, it comes with a solid recommendation. Update 5/13/2025: I decided to revisit Since I Left You upon nearing 300 albums into my journey, and I realized what didn't work for me with this record. It's the overall length of the album that I feel is a problem, running at a little over an hour. Contrary to the perceived lull in my initial review, there isn't a bad track on this album per se, and I do appreciate how each track in its intriguing sample manipulation neatly flows into one another. But after a while, it does start to drag a bit from my perspective. Again, I still enjoyed this album despite the length. It is a pioneering album for plunderphonics, one that certainly demands attention from the listener but is rewarding for all the little details and nuances that can be picked up in the construction.

Gris Gris

Dr. John

3/5

I've heard of Dr. John as a New Orleans R&B singer, songwriter, and artist. He grew up listening to jazz musicians like Louis Armstrong and King Oliver while also taking an interest in the practice of voodoo hence the stage name and concept around his debut album Gris-Gris. I will say this is an album I respect more than I like. I appreciate the boldness of mixing the swampy R&B grooves with psychedelia to create a distinct sound and Dr. John knew how to write and sell his gimmick. There are even a few songs in the middle such as "Mama Roux" and "Danse Fambeaux" that are genuine bops in their swagger. But, I can't deny the hurdle with settling into this album's oddball groove, as the first two tracks "Gris-Gris Gumbo Ya Ya" and "Danse Kalinda Ba Doom" come off as more concerned about the outlandish presentation than the execution. Thankfully, this album does not overstay its welcome at 33 minutes, and the session musicians played well enough to make the voodoo pastiche palatable. Gris-Gris was certainly an experience, and I could see why it made the list because there ain't much else sounding like it. I'd give it a listen once through and cherry-pick your favorites.

The Slider

T. Rex

4/5

It's weird—I got Electric Warrior ten days ago, and now I have the following album from T. Rex. After listening to it, I can comfortably say that The Slider treads the same ground as Electric Warrior. It's pretty evident in the overall sound and compositional style that Marc Bolan found a formula that worked and stuck with it. For sure, there are some bonafide rockers like "Metal Guru" and "Buick MacKane" alongside a few genuinely good ballads like "Ballrooms of Mars" and "Mystic Lady". But there ain't much here that is innovative in relation to the previous album. If you enjoyed Electric Warrior or glam rock in general then you'll enjoy The Slider. That is about as reasonable of a recommendation as I can make.

Illmatic

Nas

4/5

Well, this is a long time coming. Of the "greatest rappers" out there, I hadn't listened to Nas until now. I've heard of him before as an East Coast rapper, and the reputation of his debut album Illmatic eclipses the rest of his discography. I just never sought it out until this journey, and after listening I can see the hype. What Nas accomplished early on with his lyrical flow and storytelling on this record established the standard to which we hold rappers today. He employed a lot of intricate wordplay and rhyming schemes that utilized some vivid imagery to paint his upbringing in the streets of New York, where drugs and violence were rampant at the time, as well as his understanding of hip hop's history to push the narrative forward. I can point to lines from the get-go "Musician, inflictin' composition of pain/I'm like Scarface sniffin' cocaine/Holdin' an M16, see, with the pen I'm extreme" ("N.Y. State of Mind") or "King poetic, too much flavor, I'm major/Atlanta ain't Brave-r, I pull a number like a pager/‘Cause I'mma ace when I face the bass/40-side is the place that is givin' me grace" ("Halftime") and recognize the degree to which Nas articulates in a manner that I can follow along as if we're in a conversation while still trying to up his own game. The various people involved in the production, such as Pete Rock, DJ Premier, Large Professor, and Q-Tip, helped accentuate Nas's lyrics. They each brought an eclectic mix of samples and thumping beats to keep pace and bring out the vibes with elements from jazz, funk, and soul. Some personal highlights include the Hammond organ prominent throughout "Memory Lane (Sittin' in da Park)", the swirling mix of horns on "It Ain't Hard to Tell", and the eerie electric piano sample for "Represent". That said, as much as I recognize this is a landmark album in hip-hop music, I still found the album dated in some of the language Nas used. There are lines such as "I'm out for dead presidents to represent me" ("The World is Yours") and "Versatile, my style switches like a f-----" ("Halftime") which were probably notable for the time but haven't aged well as the years went on. Especially where I can see how Illmatic influenced later albums that I've already listened to on this journey such as Kendrick Lamar's good kid, m.A.A.d city, and Common's Be which have a more refined sense of wordplay and more polished production. I respect Illmatic for what it brought to the rap game. This is one of those albums that walked for others to run, while still being enjoyable. As such, I can recommend it to those curious about what came before.

Get Behind Me Satan

The White Stripes

4/5

All right, this is the last album from The White Stripes and Jack White, in general, on my journey. I have heard "Blue Orchid" on the Guitar Hero 5 soundtrack and still consider it a bop. How does the rest of Get Behind Me Satan stack up? Well, it's rather interesting in contrast to the opening track because this album is a largely piano-driven affair. Songs like "My Doorbell", "The Denial Twist", and "White Moon" were written around simple but effective piano lines from Jack alongside Meg's pounding beats, leaning more into their blues-rock roots. In that regard, this album has a more nostalgic feel than previous efforts, and I respect that. There are still a few deviations that led to an uneven experience. Some are fun like the raucous buzzing guitar riffs of "Instinct Blues" and "Red Rain", or the folk adjacent adventures of "Little Ghost" and "As Ugly As I Seem". The one off-putting track for me just happened to be the second track "The Nurse" with its use of marimbas in the hook and spare off-kilter bursting guitar and drumwork. Overall, I had a good time with Get Behind Me Satan. One thing I can take away from this journey is that Jack White is consistent in his work, and much like his other works here, this album is getting a solid recommendation from me.

Dry

PJ Harvey

4/5

This is the second album from PJ Harvey I got on my journey, after listening to Rid of Me last month. Since each album in her discography has its unique musical identity, I will judge this album on its merit rather than in comparison to her followup. In the case of her debut album, Dry is a blues-adjacent alternative rock affair with pummeling drum beats and clean production courtesy of Rob Ellis. The song compositions are straight and hit between the eyes, with the fury of a young and hungry PJ who put everything on the table from the get-go in her songwriting. There is some genuine transgressive angst in her delivery as she belts out her words that tackle relationship norms of the time, coupled with excellent work on the guitar and violin. I'm not quite over the moon yet for this album, as not every song is memorable except those with good hooks like "Dress" and "Victory". But there's no denying that PJ Harvey put an insane amount of effort into her debut and it showed in spades. Give it a listen.

Fear Of A Black Planet

Public Enemy

4/5

It was a matter of time before I checked out an album from Public Enemy. I have a soft spot for them, as they're one of the first and most prominent hip-hop groups to put the lyrical focus on racism and media scrutiny in America. I already enjoyed "Fight the Power" and "Welcome to the Terrordome" off this album Fear of a Black Planet. How does the rest stack up? I can walk away with the acknowledgment that this is one of the definitive Public Enemy albums that can't be ignored, and that starts from the lyrics. Chuck D's flow is strong on this one, where the words coming out his mouth are at a rapid-fire pace on beat while still able to be clearly understood, which is important when getting his point across about the societal issues facing African Americans and the group's perceived image at the time. Though thankfully Chuck doesn't take all the spotlight, as Flavor Flav owns with his funky delivery on "911 is a Joke", and Big Daddy Kane and Ice Cube join them for "Burn Hollywood Burn" who brought a lot of lyrical fire to the table. As for the background sounds accompanying these words, The Bomb Squad employed a variety of samples over a drum machine to give each track its distinct and danceable composition. Whether it's the "Get down" refrain from Kool & the Gang's "Jungle Boogie" on "Welcome to the Terrordome", or the refresh given to Edwin Starr's "War" on the spiritual sequel "War at 33 1/3", this is an eclectic mix of funk and audio samples to make each song feel unique. However, the amount of sampling they got away with is a double-edged sword. For as much as these audio excerpts getting recontextualized can make a song unique, there are instances where it can be too much that it becomes distracting. From the broken-down ending of "Power to the People" to the instrumental "Leave This Off Your Fu*kin Charts" leading into the chopped vocals of "B Side Wins Again" and the radio archive interlude "Incident at 66.6 FM", it can be sensory overload at times. Not helping matters is that this album goes for over an hour, and its length can be felt in places. Still, I had a good time with Fear of a Black Planet despite how crazy its sound got for its time. It is worth a listen.

Machine Head

Deep Purple

5/5

I know earlier in my journey, I praised Deep Purple's In Rock as setting the blueprint for the group's later output. Now we got the arguable best of those albums. There's not much here I can say about Machine Head that hasn't already been talked about over the years. Every track is an absolute banger, including the deep cuts like the swaggerous "Maybe I'm a Leo" and Jon Lord's fuzzed-out Hammond organ introduction into the titan instrumental showcase "Lazy". Every one in the band shared the spotlight and exemplified their musical strengths, from Ian Gillan's high vocals from the get-go on "Highway Star" to the rapid-fire percussion of Ian Paice on closer "Space Truckin'" and of course Ritchie Blackmore's iconic riffs and soloing all throughout. Deep Purple would continue as a group through various lineups and some excellent songs to be sure. But it can't be denied that Machine Head is their magnum opus, and absolutely earned its place on this list.

Hounds Of Love

Kate Bush

5/5

Like many people, I first heard of Kate Bush when her single "Running Up That Hill (A Deal With God)" saw a resurgence in popularity after being used in the soundtrack for the show Stranger Things. I genuinely enjoyed that track and was amazed to hear it on modern-day pop radio, what with its percussive gallop, the accompanying synthesizer made to sound like a cello, and Kate's profound lyrics about having man and woman "swap places" to understand one another better and bridge the gender divide. It was extraordinary to experience, and after listening to Hounds of Love, I can say that specialness extends to the rest of this album. Starting on side one, Hounds of Love is front-loaded with the pop bangers Kate crafted and self-produced. Each of these tracks is accompanied by pounding drum beats, light synthesizer motifs, Kate's soprano vocal delivery that's as comforting as a pillow, and some commanding distinct elements. Whether it's Kate's crooning dog barks on the title track, the full band accompaniment on "The Big Sky", the somber piano and theremin on "Mother Stands for Comfort", or the string arrangement on "Cloudbusting", these songs offer a unique perspective into the eloquent soundscape created. If this album were just side one, it would have been a standout in my book. But, the addition of side two takes it to the next level. Kate has spoken about how side two, The Ninth Wave, is comparable to a film, wherein the tracks tell a larger narrative about a person lost in the water and the arduous journey of getting back to land. Without giving the full story away, this is some of the most ambitious work I've heard in a pop record, as Kate took full command of this narrative in evoking her nightmares and invigorated spirit in the lyrical imagery. Accenting the story are various musical elements that help paint the scene, including the tense string accompaniment to signify the coldness of the water in "Under Ice", the vocal effects to represent the character's subconscious in "Waking the Witch", and the Irish folk swell of "Jig of Life" for the character's increased adrenaline. It is a narrative that captures the sense of one's survival in a turbulent situation and what goes on in their mind, executed rather beautifully. Hounds of Love is an outstanding album, and I'm glad Kate Bush has seen renewed popularity in recent years. This record stands among the greatest of them all.

Channel Orange

Frank Ocean

4/5

I had the unfortunate introduction to Frank Ocean when he self-sabotaged his headlining performance at Coachella last year. Thankfully it wasn't streamed at home, but hearing about what happened made me feel bad for the people who paid to see and support him. I understand that the man is reclusive, and has a history of this behavior, but there was an opportunity to be there for his fans. With that anecdote out of the way, I went into Frank's debut album channel ORANGE with an open mind. What I found was that I genuinely appreciated the sprawling, eclectic alternative R&B sound that he played with. The man was influenced by the likes of Stevie Wonder and Prince in his tenor delivery that can hit those falsettos, lyrics that deal with unrequited love in a rather descriptive and metaphorical manner, and the mixture of jazz, funk, and psychedelia in the instrumentation and production. Frank knows how to command a narrative and make the experience engaging, most notably in the 10-minute "Pyramids" with its extended metaphor of Cleopatra and the pyramids of Egypt to describe a pimp falling in love with a sex worker, over multiple movements that build into a sensual club beat ending with spacious guitar soloing from John Mayer. Frank also made the most of his guest features with Earl Sweatshirt's excellent bars on "Super Rich Kids", Tyler, the Creator's production and John Mayer's continued guitar noodling on "White", and André 3000's verse on "Pink Matter". Yet as much as I enjoyed this album's sprawling nature, it goes on longer than it should. At the very least, I would have cut out the interludes in the first half since "White" is the only one that genuinely contributed to the overall tone. That said, I'm glad to have tuned in to channel ORANGE and come to appreciate Frank Ocean, after that unfortunate first impression. Give this album a chance.

Only Built 4 Cuban Linx

Raekwon

4/5

I will not include the "North Star (Jewels)" bonus track in my review of Raekwon's debut solo album. That still leaves an album that is 69 minutes long, albeit one filled to the brim with excellent wordplay from Raekwon and his Wu-Tang Clan brother Ghostface Killah. The two have amazing chemistry throughout these tracks, trading bars about their rough upbringing in Staten Island. Along with them, other Wu-Tang members old and new hop in on a few tracks to good results, and even Nas as a non-affiliated guest dropped a dope verse on "Verbal Intercourse". Aside from the long runtime, my only complaint is the album's dated feel. That sentiment includes the early Wu-Tang Clan production style courtesy of RZA, and some lyrical choices that haven't aged well such as Ghostface Killah's verse on "Verbal Intercourse" with the line "Flashbacks of the day room, mop wringer style/Your f----- ass got bashed trying to turn the dial". It's an unfortunate byproduct of what was considered acceptable language decades ago. Still, I had fun with Only Built 4 Cuban Linx as my first exposure to anything related to the Wu. It's worth a listen.

Done By The Forces Of Nature

Jungle Brothers

4/5

I hadn’t heard of the Jungle Brothers before. From what I gather, they were the first hip hop group to work with a house music producer, establishing the progressive rap sound that would be identified with the likes of De La Soul and A Tribe Called Quest. In fact, members of those groups showed up on the penultimate track of this album “Doin’ Our Own Thang” alongside a young Queen Latifah, since they all knew each other from high school. The rest of Done by the Forces of Nature is a collection of funky hip hop tunes with solid production, eclectic sample choices and Afrocentric lyrics that are largely about having a good time but also meant to empower black people and spread that positivity to those marginalized. I’d say my only complaint with this album is the runtime. Clocking in at just over an hour, it does run long enough where halfway through songs start to blend into one another with little distinction, save for one or two songs with samples I recognized. Overall, I did have a fun time with Done by the Forces of Nature, and can appreciate how far intellectual rap has come from roots like this. In that regard, it is getting a solid recommendation.

Hypocrisy Is The Greatest Luxury

The Disposable Heroes Of Hiphoprisy

2/5

I hadn't heard of the Disposable Heroes of Hiphoprisy. From what I gather, they were a short-lived hip-hop ensemble, with Michael Franti on vocals on production, and Rono Tse on percussion and programming. They only worked together on two albums before splitting up - this album Hypocrisy is the Greatest Luxury and a spoken word album with William S. Boroughs. After listening through the former, I can see why this group was short-lived. The main problem with this album is that it's a hip-hop album where the lyrics and delivery are lackluster. Michael certainly had the populism in mind with his aim towards America's problems at the time including racial disparity, the backward outlook of the conservative George Bush administration, and the United States' involvement in the Gulf War and other such atrocities. But Michael's flow is stilted, where more often than not he has to pause himself to stay on beat. Not to mention, the nuance is belittled to the point where there are names roped in that add to the clunkiness such as "Nintendo casualties of the ratings war" or "Well, the only cola that I support/Would be a union C.O.L.A. (Cost Of Living Allowance)". I will say the production at least salvages this album a bit, as the duo with help from Mark Pistel were able to reasonably mesh chopped-up samples with the industrial beats. However, I find it irritating how most of this record is stuck in the mid-tempo range, where it feels long and songs run together. By the time I got to "Socio-Genetic Experiment", it dawned on me - these guys seriously thought they could be the next Public Enemy. Michael Franti is just a poor man's Chuck D. without the sharp lyrical wit and the ability to keep in a pocket, and the production, while solid, can't match the tenacity of the Bomb Squad. I genuinely feel disappointed in Hypocrisy is the Greatest Luxury. It's a political hip-hop album that was not inspiring or thought-provoking to someone like me who would share the same viewpoints, and that's a shame. Decent production is not enough for me to recommend this.

Buena Vista Social Club

4/5

Alright, this album is one of those enriching experiences of a culture different from my own. In this case, the Buena Vista Social Club was a Cuban musician ensemble organized by World Circuit executive Nick Gold, with their sole album produced by guitarist Ry Cooder and directed by bandleader Juan de Marcos González. Together, they recruited a dozen veteran musicians to record a collection of songs in the style of Son cubano, a popular dance genre with a call-and-response structure and a clave rhythm. In that regard, this music was well-executed as the Spanish guitars act as a superb driving force with the percussion following suit, while these gents sang fondly of romantic passions with vivid imagery. Also in the mix are two instrumentals "Pueblo Nuevo" and the title track which are dedicated to popular locations in Havana, adding to the experience. I wouldn't say this album lit my world on fire, as it feels like I'm seated in a Cuban restaurant while a band plays off in the distance. But the fact that they captured that essence is astounding. Buena Vista Social Club knew what they wanted to accomplish by bringing awareness of their culture to the larger world, and they did just that. I absolutely would recommend giving this a listen with an open mind and feel free to follow along to translated lyrics if you wish.

Bryter Layter

Nick Drake

4/5

The last I heard Nick Drake on this journey was his final album, Pink Moon, all by himself. Here's the album prior, Bryter Layter, which is his last with backing musicians, in this case, members of the folk-rock group Fairport Convention, guitarist John Cale, and session musicians for the Beach Boys. I appreciate the instrumental accompaniment on this album, giving some weight to Nick's acoustic songwriting. Personal highlights include Robert Kirby's lush string arrangements on select songs, the alto saxophone soloing from Ray Warleigh on "At the Chime of a City Clock" and "Poor Boy", and the drum and bass that hold the foundation. Nick's vocals and intricate guitarwork are still the main focus, and the mixing on this album keeps that in check as the other instruments only compliment him lightly. Lyrically, Nick still used vivid imagery to paint a scene that invited the listener to explore and reflect on himself and what could have been. While the album may not have the immediacy and intimate details of Pink Moon, it's still plenty ambitious in its balance between melancholy and search for happiness. I can read into songs like "One of These Things First", "Fly" and especially "Northern Sky" and recognize the genuine effort Nick was making for himself at the time. Overall, I had a pleasant time with Bryter Layter. I get that Pink Moon is the more popular choice of Nick's albums, but this one still carved its unique path. I'd give it a solid recommendation.

The Scream

Siouxsie And The Banshees

4/5

For this review, I will not include the bonus tracks "Hong Kong Garden" and "The Staircase (Mystery)" from the 2006 reissue. I've heard of Siouxsie and the Banshees as an influential band in the post-punk and alternative genres. I certainly respect that the Banshees' debut album The Scream is considered the genesis of several later acts. After giving the album a couple of listens, I like it albeit with some caveats. Let's start with the positives. I genuinely enjoy the melodrama in Siouxise Sioux's vibrato vocal delivery, where she commanded attention with near-operatic wails. She's backed up well by John McKay's crunchy guitar riffs, Kenny Morris's pounding tom-tom-focused percussion, and Steven Severin's elegant bass. Songs like "Jigsaw Feeling", "Carcass", and "Mirage" pop off well early on in the album given how synchronized the band was in their unorthodox mannerisms. That said, not every song on The Scream is great. It took two minutes for this album to get going with the intro track "Pure" taking a while to crescendo. Halfway through, "Metal Postcard (Mittageisen)" kills the pacing starts. I understand if they were going for a more mechanical-sounding presentation for a track about the metal aesthetic, but I find it a slog. By the time that song is over, the album has difficulty getting its momentum back, even with fun tracks like "Nicotine Stain" and the seven-minute closer "The Switch". Overall, I enjoyed The Scream and what Siouxsie and the Banshees brought to their table with their sound. It can be a difficult listen, but one that is worth the effort.

Sulk

The Associates

3/5

For this review, I will only examine the original UK and Canada release and ignore the bonus tracks from the 2000 remaster. I can't say I've heard of The Associates before. They were a short-lived Scottish post-punk and synth-pop band from the 1980s, apparently cited as an influence by acts like U2 and Björk. After listening to their commercial breakthrough Sulk, that legacy has some merit, even if I struggle to connect with this album. There is a haunting atmosphere evoked by Alan Rankine's spare synth-keyboard play and Billy Mackenzie's wailing somber vocals. This style may be stuck in the 80s, but it makes due in the darker pastiches of that era. Songs such as "No" and "Gloomy Sunday" make the most effective use of that dreary ambiance before the synth club booms kick in the latter half with "Party Fears Two" and "Club Country" that are danceable in their macabre mannerisms. Yet as much as I respect Sulk's style, it does not have much memorability. Aside from the above songs, most of this album tends to be homogenous in its presentation, going in one ear and out the other. It's not the worst experience out there, but it does leave me desiring more hooks or cohesion. At the end of the day, this album is a product of its time with some good moments. Whether it belongs on this list is subjective, but for now, I'd give it a listen and cherry-pick your favorites.

Rum Sodomy & The Lash

The Pogues

4/5

For this review, I will not factor in the bonus tracks included with the expanded edition. I already heard the other Pogues album on this list, If I Should Fall from Grace with God. Now here's the prior album, Rum Sodomy & the Lash, and it's yet another fun Celtic punk romp. I enjoyed Rum Sodomy & the Lash slightly more than If I Should Fall From Grace with God as the former is not as long, and there wasn't an odd piece like "Worms" was. But at the end of the day, it is a neat mixture of traditional Irish songs and original tracks with their brand of rollicking guitar-driven madness, especially for cuts like "Wild Cats of Kilkenny" and "Sally MacLennane". If that sounds up your alley, then by all means check this album out.

Aladdin Sane

David Bowie

4/5

Well, it was a matter of time before I started getting David Bowie's albums out of chronological order. After my run through Young Americans, Station to Station, and Low, I get to go back and check out Aladdin Sane. After the success of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, Bowie was able to write and record one more album with the Spiders albeit under a different persona from Ziggy. This time he was Aladdin Sane, a rather witty-punned name for a man who embodied what Ziggy would have been like if he went to America and embraced the glam rock and urban decay rampant at the time. As a result, the album of his namesake becomes a good, sometimes great, schizophrenic experience. Continuing from where Rise and Fall of Ziggy Stardust left off, there are a fair amount of delectable rockers here such as opener "Watch That Man", "Drive-In Saturday", "Panic in Detroit" and "The Jean Genie" which share Bowie's knack for writing songs with strong hooks in observance of the surrounding culture. In addition, there are some songs such as the title track, "Cracked Actor", "Time", and "The Prettiest Star" that show cracks in the foundation, where the sprawling madness takes over as Aladdin is found struggling with the glitz, glamour and the death and destruction of oneself in dealing with vanity, violence, and anxiety. That said, as much as I enjoy Aladdin Sane in its insanity, it's also a double-edged sword in that the overall album feels less cohesive. Between the maddening deep cuts and the more straightforward hits, not to mention the cover of the Rolling Stones' "Let's Spend the Night Together" that's not doesn't capture the same highs as the original, there isn't much in the way of tying it all together. This is certainly the point if you think about the Aladdin Sane persona and what it represents, but the tracks don't coalesce as well as they should. I still enjoyed Aladdin Sane for what it is as a Bowie fan, and highly recommend it. Even if the album is a mess, it is still iconic in its insanity.

Green

R.E.M.

4/5

This is the second R.E.M. album on my journey after Document, and I admittedly enjoyed this more. The song compositions are tighter with more hooks popping off. From the get-go on songs like "Pop Song 89", "Get Up" and "Stand" there is an immediate energy that resonates in how they parody pop song tropes. Complimenting that is Michael Stipe's abstract lyricism which captures the tone of the given song while coming off as self-reflective. Even the attempts at political commentary are better here than on Document because the few times they have a crack at it, they used particular imagery and lines to express their perspective on the given event. They reflect on the Vietnam War in "Orange Crush" with a focus on the Agent Orange chemical, the line "to serve your conscience overseas" to imply American political influence in combating the perceived threat of communism in Asia, and the commentary and soldier march in the interlude to evoke the wartime scenery. "Turn You Inside-Out" takes a simpler but striking approach to highlight the influence and culpability of major corporations and the protestors' involvement with what they have in choice, heart, tool, etc. to exercise their protest of said corporations. That said, there are a few songs on this album that aren't as strong as the rest. "The Wrong Child" and "Hairshirt" are slower and lighter-fare songs that for me aren't as compositionally or lyrically tight as the rest of the album. Not bad, but they could have been better. Green marked quite the improvement from Document for R.E.M. and as such it comes with a high recommendation.

Call of the Valley

Shivkumar Sharma

4/5

Thank you everyone on the reviews page for this album for directing me to YouTube instead, as the purported release on Spotify is a re-recording by Shivkumar Sharma's son Rahul. With that established, Call of the Valley is a collaborative album between three prominent Indian musicians: music director and flutist Hariprasad Chaurasia, slide guitarist Brij Bhushan Kabra, and santoor player Shivkumar Sharma. All three rose to prominence by introducing their particular instruments into the pantheon of Indian classical music, as exemplified by this album which is an instrumental suite following a day in the life of an Indian shepherd from Kashmir. The ambiance is impeccable as an introduction to Indian classical music for a Western audience. The big three musicians are excellent in their play, but I should also credit Manikrao Popatkar on the tablas, particularly on passages of "Ahir Bhairav/Nat Bhairav", "Rag Piloo" and "Rag Des" that bring up the intensity and complement the santoor and guitar interplay. My only complaint is that aside from certain melodic frameworks used to identify different parts of the day following the shepherd's day, there isn't much else distinct between tracks. It's effective in the atmosphere, but the album can't quite go beyond that notion. I enjoyed Call of the Valley for what it is as an introduction to world music, and in that regard, the album secured its place on this list. Give it a listen.

Twelve Dreams Of Dr. Sardonicus

Spirit

4/5

I will not be factoring in the bonus tracks included with the 1996 reissue for this review. I've heard of the band Spirit for their biggest single, "I Got a Line on You," though that came from their second album. Instead, we have their fourth album, Twelve Dreams of Dr. Sardonicus. Based on my prior experience, I figured we were getting a straightforward 70s hard rock record, and it started in that manner from "Prelude—Nothin' to Hide" through "Animal Zoo." Then the album got weird. The backmasked instrumentation transitioning into a xylophone piece on "Love Has Found a Way" marked this album's ventures into psychedelia and I was here for it. The experimentation continued with the funky horn arrangements on "Mr. Skin" and "Morning Will Come", the ethereal instrumental "Space Child" with the guitar delay effects, sprawling synthesizers, and commanding piano lines, and the buildup into "When I Touch You" with that reverbed guitar hook. When this album cooks in its progressive compositions and songwriting, it cooks. What connects these tracks are Randy California's excellent guitar work, Jay Ferguson's jazz-influenced vocal lead with occasional harmonized vocals, and John Locke's superb piano play. Call me genuinely surprised by Twelve Dreams of Dr. Sardonicus. It might not be the most mind-blowing experience given that it's still indebted to 70's progressive rock styling and limitations, but it showcased a lot more to this band than a simple hard rock love song ever could. Give it a shot.

Histoire De Melody Nelson

Serge Gainsbourg

3/5

I'll admit this was a difficult album to digest. For context, Serge Gainsbourg was a renowned French singer-songwriter known for provocative releases across numerous styles. He became the artist's favorite, and countless musicians consider him an influence—Beck, Pulp, R.E.M., Arctic Monkeys, Massive Attack, Portishead, and the list goes on. For this list of albums to listen to before you die, it does make sense to include at least one from this guy, especially if it is an album that has become one of the most critically acclaimed in French pop music. Also, to this album's credit, the style and production are top-notch. The avant-funk compositions where the rollicking guitar and complementing rhythm sections, complete with Serge and Jane Birkin's sultry hushed vocal deliveries made for such a delectable listen that transcends its time. Sonically, this album slaps, and it almost made me wish the runtime was longer than 28 minutes to continue further in this soundscape. I say almost because now we get to dive into the "fun" part of Histoire de Melody Nelson - the lyrical content... I had to check the English translation of these lyrics after reading the synopsis of this album's concept because it was shocking. This is the story of a man who nearly kills a teenage girl - the titular Melody Nelson - by hitting her with his car, is enamored with her to the point where he decides to take her virginity, and then said girl dies in a plane crash the next morning. The man can't accept what happened and proceeds to search for whatever remains of her body. The only saving grace for this kind of twisted tragic love story is that it is well-established that the male protagonist is a narcissist - he had no care for his reckless driving, he possessed an uncontrolled desire for this girl, and then later after she dies he compares his loss to that of the cargo cults of Melanesia as a self-centered justification to go off and find her remains. In that respect, Serge understood how to make a provocative piece that doesn't misconstrue what is considered morally acceptable. Though that does put this album at odds with the replayability - how willing is one to go through this story again knowing the circumstances and what's to come? I will say this - Histoire de Melody Nelson is an album that belongs on this list for its significance in the pantheon of French music and its large influence across the board. It does deserve to be listened through at least once to appreciate technically and understand the complex nature of its story. Whether you choose to keep coming back to this album is your decision. I don't see myself coming back anytime soon, but I can walk away and acknowledge its importance. Make of that what you will.

Green Onions

Booker T. & The MG's

3/5

I've heard the title track to this debut album from Booker T. & the MG's, as "Green Onions" is one of those songs that's become an American ballpark stable. I've gone to baseball games where this song gets blared out of the speakers between pitches, and it's always a nice addition to the ambiance. As for the rest of the album, it follows suit of the title track as an instrumental R&B album. Most of the tracks are covers of blues and R&B staples with the vocal duties taken over by Booker T. on the Hammond M3 organ. Is it a decent album where all the instruments play well to capture the vibes? Yes, with the organ playing, the minimalist rhythm section accompaniment, and Steve Cropper's rollicking guitar licks. But it doesn't transcend past its "decent" quality. It is still another debut album from the 1960s mostly comprising cover songs. Green Onions the album is enjoyable for the moment, but outside of the title track, it's not as necessary to seek out.

The Fat Of The Land

The Prodigy

4/5

After getting Music for the Jilted Generation as album #11 on my journey, I was curious about the follow-up, The Fat of the Land. After listening to it, I'd say they're about the same quality. There are notable differences between both albums. In the case of Fat of the Land, it's brighter in tone such that more of the songs are danceable in structure. From the get-go with "Smack My Bitch Up" into "Breathe" the rave party vibe is very much present. Adding to that atmosphere is a more varied vocal presence. Whereas before Jilted had the one song "Poison" with vocal contributions, now nearly every track has a notable performer behind the mic, with the big presences here being the returning Maxim Reality and Keith Flint. Both the vocals and the tone contribute to a more palatable experience for newcomers to the big beat scene, compared to the darker and manic nature of Jilted. That said, Fat of the Land is still longer than it should be. For sure, it's less than the runtime of Jilted, but the pacing bogs down toward the middle with the nine-minute "Narayan". That song tried to add ambiance with the drone and chants but was hampered by its drawn-out buildup and Crispian Mills' flimsy vocal presence. Also not helping matters is that this album ends on a cover song, in this case, a techno version of L7's "Fuel My Fire". It's not bad, but "Climbatize" felt like the proper ending in focusing on Liam Howlett's programming chops. Overall, I still had a good enough time with Fat of the Land. Between this and Jilted, The Prodigy cemented themselves in the pantheon of 90s electronic music, that much is evident.

Scream, Dracula, Scream

Rocket From The Crypt

4/5

I have heard two songs from this album from Rocket from the Crypt before. What I did not know before is that frontman John Reis founded this band and Drive Like Jehu at the same time. I already enjoyed Yank Crime from the latter on this journey, though I did temper my expectations here from my understanding that these are two different kinds of punk bands. Where Drive Like Jehu was a post-hardcore outfit with visceral lyrics and complex rhythmic structures, Rocket from the Crypt is the more straightforward "party-vibe" punk band with angsty lyrics, popping guitar riffs, big hooks, and liberal use of horns. I can see why these guys toured with Rancid back in the day. Also like with Rancid, this album goes on longer than it should. I started feeling the length around "Misbeaten", track 10 of 14. That track and a couple of others would have been better left on the cutting room floor. Still, I had a pleasant time with Scream, Dracula, Scream! It's a nice party album to have on during the day and gets a solid recommendation.

Every Good Boy Deserves Fudge

Mudhoney

3/5

I've enjoyed a few Mudhoney songs in the past, and I understand their importance in the foundation of the grunge genre. That said, this is my first full-album listen to them and I'm unfortunately not that impressed with Every Good Boy Deserves Fudge. Aside from a few decent jams with "Let It Slide", "Good Enough", "Thorn", "Into the Drink", and "Fuzzgun '91", there isn't much here that catches my attention or can be retained well in memory. I know these guys are technically proficient, and I certainly don't mind Mark Arm's abrasive vocal delivery, but the song construction on this album doesn't illicit much in the way of distinct hooks and the lyrics admittedly get repetitive in the nihilistic nature. Also not helping matters is the low-quality production that comes off as muted without any means for the percussion or the fuzzy guitars to have any punch, which is what you should have for garage music based on my previous listening to The Stooges, The Sonics, and The White Stripes. I really wanted to like this album, because I get why Mudhoney is important to grunge and alternative rock, and again I've enjoyed songs from them in the past. But I'm sorry, this did not click for me as well as it should. Cherry-pick your favorites and go from there.

The Atomic Mr Basie

Count Basie & His Orchestra

4/5

I can't say I've heard of Count Basie before. From what I gather, he was a renowned jazz pianist, organist, bandleader, and composer who led his own innovative orchestra for fifty years. The Atomic Mr. Basie is one of several albums he recorded with them, and it was a delight to hear. They let out the bombast from the get-go with "The Kid from Red Bank" with its big band swing style. Throughout the album, the blaring horns, piano arrangements, and accompanying reeds and percussion coalesce into an active lounge sound. Sure this style was declining in post-World War II America but the orchestra wanted to go out on a high note. Aside from a few lulls in the compositions, I was thoroughly engaged. I'm glad this list included a good album to represent swing music because The Atomic Mr. Basie delivered that experience.

Rumours

Fleetwood Mac

5/5

I’ve already heard Tusk on this journey, and going back to the album prior fits like a glove. Before I dive deep into Rumours, I will acknowledge that this album has been considered overrated by some people, and not everyone carries the same enthusiasm for the heartland rock style of Fleetwood Mac. After all, art is subjective, and therefore opinions are going to be different amongst everyone. This is from my perspective why I consider Rumours is an amazing album, and more than justifies its placement on this list. For starters, much like with David Bowie’s Station to Station which I covered earlier, this is an album that works in spite of the trouble brewing behind the scenes. Every band member in Fleetwood Mac was going through heartbreak at the time, in addition to extensive touring, extensive cocaine usage, tabloid interruptions, and the drive to follow up their successful self-titled album. Yet despite those mounting issues, the band were able to come together and craft an album that maintains strong instrumentation, vocal presence, and production quality. In some cases, the band went above and beyond, such as Lindsey Buckingham changing his guitar strings every twenty minutes to maintain a bright acoustic sound on “Never Going Back Again”, or the layering of clean and distorted guitars for a fuller experience on “Go Your Own Way”, or even the audio splicing of several tapes together to create “The Chain”. Also even though the relationship drama was touched upon in some songs like “The Chain”, “Dreams”, and “Go Your Own Way”, as well as the drug usage on “Gold Dust Woman”, there are also a number of tracks that take a more optimistic outlook. This sentimentality is apparent in “Don’t Stop” and “You Make Loving Fun”, but it also carries into Christine McVie’s solo piece “Songbird” about the sacrifices one makes in the pursuit of love, and “I Don’t Want to Know” with the prospect of reconciling one another after going through a rough patch. Even the pair of “Dreams” and “Go Your Own Way” maintain a more positive-leaning sense of moving on after a relationship is over. That is all to say why I personally enjoy Rumours and why I accept this album in its legendary status. To each their own, but I can come to understand why this one is well-regarded. Finally as a side-note, I can't believe it took me over a decade and a half to notice the pair of balls dangling from Mick Fleetwood's pants. Thank you to the person who wrote the top comment at the time of writing for pointing that out.

Tres Hombres

ZZ Top

4/5

For this review, I will not consider the live tracks added to the expanded edition from 2006. Well, I’ve already heard the other ZZ Top album on this list Eliminator two months ago, and Tres Hombres is easily the better of the two. This decision boils down to the live percussion, more laid-back compositions that maintain emphasis on the guitar riffs, and less embarrassing songwriting. This album is straightforward Texas blues rock affair, and sticks in that lane without much deviation. If you’ve heard the single “La Grange” before, then you have a good idea what this album sounds like. It’s not mind blowing, but it’s efficient in its execution, from the one-two punch of “Waitin’ for the Bus” and “Jesus Just Left Chicago”, into cuts like “Beer Drinkers & Hell Raisers”, “Master of Sparks”, “Precious and Grace”, and “Move Me On Down the Line”. Tres Hombres is an overall fun album that doesn’t waste time. Give it a listen.

Fred Neil

4/5

I hadn’t heard of Fred Neil before. Apparently he’s a pioneering folk musician, though only achieved notoriety for others covering his songs and being influenced by him. I saw that he was looked up to by the likes of Tim Buckley, Joni Mitchell, Stephen Stills, and David Crosby. After listening to this self-titled album of his, I can certainly hear the legacy. This is folk album led by acoustic guitar with prominent harmonica accompaniment that’s well-played and pleasant to have in the background. You get a good sense of the musicianship from the personnel involved with Fred. This is especially the case for the eight-minute instrumental closer “Cynicrustpetefredjohn Raga” in which they took their folk-rock instruments and created an Indian-esque classic instrumental piece of improvisation. Pairing with the good instrumentation are the lyrics in which I get a harrowing sense hardships endured. Whether it’s the narrator being lost in their thoughts on “Everybody’s Talkin’”, the yearning for escapism on “The Dolphins”, or the lower-class and poverty imagery on “That’s the Bag I’m In” and “Everything Happens”, these songs invoke the feeling of being down on your luck and looking for something better in life, even if the framing is rather simplistic. While I get the pathos of this album and it’s well-played, it doesn’t quite go beyond being a decent record. It’s still a 1960s folk record, complete with grainy production that can feel muted in places, and a couple of cover songs added for a longer runtime even if I think they did well with the traditional “Sweet Cocaine”. Still, I had a pleasant time with Fred Neil’s album, and I’m glad to have enjoyed it beyond the historical significance of his influence.

A Christmas Gift For You From Phil Spector

Various Artists

3/5

Here we go, the Phil Spector Christmas album. I heard about this album on the r/1001AlbumsGenerator subreddit and how it’s picked for a project’s first Christmas if it hasn’t been chosen already. I also heard about this album’s unfortunate associations, that it was released on the same day as the assassination of John F. Kennedy, and that the man behind the production Phil Spector would later be convicted for the murder of actress Lara Jackson. This is on top of it being a Christmas album, which in of itself is a novelty limited to a specific window of the year for a specific audience celebrating that holiday. With all that said, this album is fine for what it is. The selected acts do a solid enough job with their renditions of these Christmas classics, aided by the Wall of Sound production Phil was known for to make these songs come off brighter. In some cases, these renditions became staples of their own such as The Crystals’ cover of “Santa Claus is Coming to Town”, Darlene Love’s original “Christmas (Baby Please Come Home)”, and The Ronettes’ covers of “Sleigh Ride” and “I Saw Mommy Kissing Santa Claus”. Come to think of it, I consider the Ronettes to be the best act on this collection, given the harmonious vocals that they shared alongside the tight compositions. That said, again it is a Christmas album which is a novelty that doesn’t get sought after beyond the last two months of the year at best. Not helping matters is the fact that not every song on here has exactly aged well in the pantheon of holiday music. I can’t imagine how often people seek out “The Bells of St. Mary”, “A Marshmallow World”, or even “Parade of the Wooden Soldiers”. Also the sign-off at the end from Phil over “Silent Night” is a bit creepy, not gonna lie. Still, I get why this album is special for the time of year when holiday spirits are bright, in spite of some unfortunate circumstances outside of the actual music. I’m at least glad to have listened to it during the appropriate season.

Sister

Sonic Youth

3/5

I will not include the CD bonus track "Master-Dik" for this review. I know I’ve listened to Sonic Youth before as an influential experimental noise rock band. Though I’ll admit, I hadn’t heard anything from this album until now. After listening through, Sister left me feeling that it was more of a transitional album. While I’ll admit that noise rock is not my forte and the blaring fuzzy sound can get homogenous in places, I can recognize where the group were working in more traditional song structures and implementing other instruments like acoustic guitars and Moog synthesizers. Songs like “Catholic Block”, “Beauty Lies in the Eye” and “Pipeline/Killing Time” pop off well in their droning yet melodic sensibilities that aren’t overwhelming. There are moments where I can hear the stylings of what Sonic Youth would become from Daydream Nation onward, and it’s cool to hear the formation of that sound. The songwriting potential may not be fully realized yet on Sister, but it’s still a nice listen through for those curious.

On The Beach

Neil Young

4/5

Alright, this is my third Neil Young album on this journey after getting Harvest and Rust Never Sleeps. I will say I like this album, even if I feel that the overall tone is slower and more laid-back than what I’ve previously heard from Neil. From what I’ve read about the recording sessions, musician Rusty Kershaw was sharing with Neil and his mates a concoction of sautéed marijuana and honey. That and Neil’s insistence on using the rough mixes resulted in On the Beach sounding overall mellower, albeit with a few sparks of abrasive energy on opening single “Walk On” and “Revolution Blues”. It’s not a bad fit for Neil, as he still maintained a strong sense of songwriting, ranging from lashing out at corporate industries on “From the Turnstiles” and “Vampire Blues”, to taking on his critics on “Ambulance Blues”, and more introspective muses on “Walk On”, “See the Sky About to Rain” and “Motion Pictures”. It just would have been nice if there was more immediacy in the performance and tighter compositions. Still, I had a good time On the Beach, and I look forward to the next Neil Young album I get.

Disintegration

The Cure

5/5

After enjoying Seventeen Seconds on this journey, I checked out one of the arguably best Cure records they've made. Despite the successful string of pop ventures as the 1980s went on, the band was going through a series of mounting tensions including Lol Tolhurst's alcoholism and Robert Smith's anguish at the realization that he was about to turn thirty years old and death loomed near amidst the fame. The result was the former getting ejected from the band for his alcohol-induced erratic behavior, and the latter secluded himself during the writing of the next album and captured the dismay and depression he went through at the time. Thus, Disintegration is a return to the gloomy aesthetic from early in the band's career, while continuing the refined sense of production courtesy of David M. Allen. What we have here is a beautifully atmospheric record, where every band member shines in the ethereal darkness - Simon Gallup's impeccably plucky basslines, Porl Thompson's guitarwork made more delectable by the drone and delayed effects, Boris Williams's commanding percussion, Roger O'Donnell's glistening synth keyboards, and Robert Smith's melancholic vocals. All along the way, Rob maintained a lyrical balance between seeking affection on cuts like "Lovesong", "Pictures of You" and "Lullaby", to somber introspection on "Untitled" and "Plainsong", to full-brimmed anguish on the likes of "Prayers for Rain", "The Same Deep Water As You" and the title track. I consider every song on this album to be a worthwhile inclusion, where each has a natural buildup of the composition before Robert sings. While this album is long due to this slow buildup approach, it never felt like a second was wasted. What more can I say about Disintegration; this album is an absolute delight in that the band channeled their demons into a haunting yet serene experience.

Heroes

David Bowie

4/5

After the succession of Young Americans, Station to Station and Low, followed by the detour of Aladdin Sane, I am chronologically back on track with Bowie. "Heroes" is the second of the Berlin trilogy, and the only one of the three to be completely recorded in Berlin. The title track is already a classic in my book, but how does the rest stack up? I like it, though it has some notable ups and downs compared to the preceding Low. Both albums are structurally similar in that the first half included more conventional songs while the second half included more synth-driven instrumentals that Bowie composed with Brian Eno. The songs in the first half are generally fun, such as the abrasive "Beauty and the Beast" and "Joe the Lion" with the swampy bass grooves and heavy guitars, and the space-age sounding "Sons of the Silent Age" with the ethereal atmosphere created from Bowie's wistful singing of psychotic withdrawals and spare saxophone play. But then the second half instrumentals don't feel as engaging as the ones on Low. There are a few good ideas like the use of koto on "Moss Garden" and the driving groove of "V-2 Schneider", yet those moments are counterbalanced by the nothingness of "Sense of Doubt" with the repeated piano motif and whooshing synths, and the elongated drone of "Neuköln". Bowie's vocals come back at the end on "The Secret Life of Arabia" to end on a nice, funky note. It helped that I understood Low before going into "Heroes," as the two go hand in hand concerning album structure and delivery. It's certainly an intriguing continuation of Bowie's work with Eno and producer Tony Visconti, and as a result, it comes with a solid recommendation.

Fire Of Love

The Gun Club

4/5

For this review, I will not include the alternate takes tacked on at the end of the 2020 remaster. I can't say I've heard of The Gun Club before. From what I gather, they were considered one of the first punk bands to incorporate blues, rockabilly, and country music in their sound. That's the vibe I got from their debut album Fire of Love - taking a lot of the rockabilly elements such as the rhythmic swings and adapting them to faster tempos, fuzzed-out guitar work, frenetic vocals from Jeffrey Lee Pierce, and lyrics that are more violent and sexual. It's a solid and at times fun album in that regard, though not exactly mind-blowing and it does lose steam with the penultimate track "Cool Drink of Water" which is a slow, plodding cover of a traditional song. Fire of Love was a neat find on this list and I can see how The Gun Club helped pave the way for later garage rock bands like The White Stripes and Japandroids. Give it a listen.

Machine Gun Etiquette

The Damned

5/5

I've heard a couple of songs here and there from the Damned, a fast-driven punk band that later morphed into a gothic rock act. This is my first full-album listen to their work, and I am genuinely impressed by what we got. This, by and large, classic-sounding 1970s punk album maintained a fierce and frenetic energy while incorporating elements from other genres. From the use of psychedelic keyboards on "I Just Can't Be Happy Today" and "These Hands" to the opening piano line from "Melody Lee" and the atmospheric bridge with the wailing guitar solo on "Anti-Pope," these mad lads knew how to spice up their style while keeping it fun and engaging. Dave Vanian's smooth crooning vocals, Captain Sensible's raucous guitar work, Algy Ward's well-anchored bass lines, and Rat Scabies's tight percussion coalesce into one neat package that doesn't waste time. Machine Gun Etiquette is a blast from front to back that not only serves as a forbearer for the emerging hardcore punk scene but varies enough to stand on its own.

Enter The Wu-Tang (36 Chambers)

Wu-Tang Clan

5/5

For this review, I will not include the bonus version tracks tacked onto the expanded edition. Today, I listened to Wu-Tang Clan proper after hearing the various members show up for their brother Raekwon's debut. It took me multiple listens, but I can accept that the hype for their debut Enter the Wu-Tang is real. This album is already highly regarded as a classic for its impact in bringing the focus of hip-hop back to the East Coast in the 1990s. The success of Enter the Wu-Tang paved the way for the likes of Nas's Illmatic and The Notorious B.I.G.'s Ready to Die, both of which I've already covered. Of the three though, I'd say the Wu did it best. The first props I'm going to give here is RZA's production. I know his early production style didn't click for me on Raekwon's Only 4 Cuban Linx. But then I checked this out and heard how well-integrated the various soul-jazz samples and quotes from martial arts films were here, creating a thematic vibe that elicits power and intellectual thought. This leads me to my next prop going to the lyrics. I already knew these guys spat fire from Raekwon's debut, but all of them having roughly equal time to complement one another and share in their kinetic energy just popped off so well. A lot of the wordplay and cultural references meshed neatly into the dark comedy vibes they had stemming from the harsh streets of New York City adapted into their Shaolin theming from the film quotes they pulled. Finally, I've come to appreciate the skits across various songs, which add to the violent comedic nature of this album. It's possible that some of what they talked about is loosely based on past experience, but for the most part, I just went along with it because the overall vibe makes it feel like it's for entertainment and shock value. I could buy into the idea of Method Man and Raekwon coming up with various torture methods near the start of the top bearing the former's name, or the crew going out to avenge their fallen brother near the start of "Wu-Tang: 7th Chamber". Plus, they do take the time to hype each other out and show their support for one another such as during the intermission after "Can It Be All So Simple" and the "Conclusion". All these elements coalesce into a debut album that is such a strong showcase for the Wu-Tang Clan, where every track was a banger and the landscape of hip-hop was changed in part because of this.

Out Of The Blue

Electric Light Orchestra

4/5

I've heard singles from the Electric Light Orchestra, a progressive pop-rock outfit, here and there and generally enjoyed them, including three singles from this album, Out of the Blue. I likewise enjoyed the album overall, but there is a threshold to that sentiment. Let's make this clear—this is a double album that clocks in at 70 minutes, and the length was certainly felt by the time I got to side four. I remember getting the most kicks out of side three referred to as Concerto for a Rainy Day, where all the tracks were weather-related and culminated in "Mr. Blue Sky" which has become the most well-known hit. At that point, I would have figured closing out on that track would have been genius, but the album kept going and ending on the slightly inferior "Wild West Hero". To be fair, there's not a bad track throughout, and I certainly don't mind the well-apparent Beatles influence on this album. It's clear from Jeff Lynne's vocals and songwriting that he wanted to continue down the experimental pop rabbit hole that the Beatles went through a decade prior. But I can't deny that this album would have done better in under an hour. I still enjoyed Out of the Blue and am glad it's included here. I'd recommend splitting your listening experience into two halves for this one.

The Last Broadcast

Doves

3/5

For those not aware, Doves is a progressive pop-rock band from the early 2000s that also got categorized as Britpop in the vocal cadence. I'm sure their style sounds like a sell for some people, but after listening to their second album The Last Broadcast, I'm not sure it's for me. This is a generally solid album where the combination of hazy blur of guitars and neat bass interplay goes down smoothly, making for an overall agreeable sound. The problem comes when there aren't a lot of tracks here that have a distinct hook or melody to keep in memory as these lads tend to get lost in the haze. Aside from the singles, the nasally sung "Words", and the mild bombast of electric guitars and orchestral accompaniment on "N.Y.", there isn't much else to remember here. At least compared to their contemporaries, Coldplay had the hooks, and Muse had the wild creativity. The Last Broadcast is a fine album to play in the background but it doesn't rise above that observation. It's cool that Doves is still active with their sixth studio album coming out later this year, and they certainly have an audience for it. Just don't count me amongst those ranks.

Achtung Baby

U2

4/5

U2 doesn't need much introduction as one of the biggest rock bands to come out of Ireland. However, in the case of this album, we need to start with the preceding live album Rattle and Hum, because that was the proverbial straw that broke the camel's back. It was a full exposure of the pretentiousness and swaggering rock arrogance that the band kept hidden through most of the 80s until they no longer could. They came off as preachy and were unprepared for their commercial success. Thus, they took some time away to reinvent themselves for the 90s, and Achtung Baby was the first taste of that reinvention. The album is generally good in embracing the band's new style of electronically-tinged alternative rock, complete with production courtesy of Brian Eno to clean up their sound from what it was the decade prior. Throughout the entire run, every member does a decent job in their role, with the obvious highlight going to the Edge's guitar work, taking inspiration from dance music, noticeable on cuts like "The Fly" and "Mysterious Ways". I know Bono isn't a spectacular vocalist, but he does his best to sell the faux rock-star attitude painted with irony on tracks like "The Fly", "Even Better Than the Real Thing", and the title track. That's not to say there aren't a few earnestly written songs here such as reflections upon internal band struggles and the German reunification on "One" and the strained relationship on "Ultraviolet (Light My Way)", but those moments of honesty were few and far between. Also not helping matters is that there are a few slower songs like "So Cruel", "Tryin' to Throw Your Arms Around the World" and the closer "Love is Blindness" that I didn't find as engaging as other slow moments on this album and in the band's catalog. They're not bad songs per se, but not my go-to tracks from them. All's to say that Achtung Baby is a solid album from U2 in their desire to reinvent themselves. As time has proven, that reinvention gave diminishing returns as they wallowed in more electronic music by the end of the 90s, but at least this first offering was promising enough.

More Specials

The Specials

3/5

For this review, I'm not bothering with the second disc of the 2015 deluxe version. I've heard a song or two from the Specials, a very influential ska revival band. Given their legacy, I'm not surprised they had an album on the list, though I was not expecting to see their second album here. From what I gather, More Specials was more influential to later trip-hop acts like Massive Attack and Portishead, given the range of styles implemented. That got me curious, and after a full listen, I've come to appreciate the experimentation, even if it didn't work half the time. For sure, there are still fun ska tracks in between like "Enjoy Yourself", "Hey, Rich Little Girl", and "Sock It to 'Em J.B." that maintain a fast-paced energy with the guitar and horn complements and Terry Hall's powerful vibrato vocals. Even some of the wilder experiments near the beginning were cool to listen to like the apocalyptic reggae of "Man at C&A" and the laidback vibes of "Do Nothing" with its lyrics warning about obliviousness. But then side two gets weirder, and not necessarily for the better. They took more inspiration on side two from lounge music and exotica, with more dour sentimentality mixed in. As a result, I hate to say it but side two sounds more of a slog, except for the calypso-themed "Holiday Fortnight". Keyboardist and founding member Jerry Dammers was pushing the band in this lounge direction at the time, and I consider it a detriment. I can see why other members fought back to include more rockabilly and soul vibes because they needed the energy. More Specials is an interesting curiosity for this list, one I didn't mind checking out despite its glaring issues. Cherry-pick your favorites and go from there.

L.A. Woman

The Doors

5/5

Ahh yes, the final Doors album with Jim Morrison before his untimely death. It is technically not the final Doors album, as the surviving members continued with the band for another two albums until their contract with Elektra lapsed and they quickly disbanded soon after. It's always a Herculean task to try and continue a band without the lead singer, and that was certainly the case for the Doors. Thus, people have accepted that L.A. Woman was the band's swansong. Boy, what a swansong it was. I already knew three tracks I heard on the radio were killer—the title track with its crescendoing bridge, "Love Her Madly" as a jaunty fun tune, and "Riders on the Storm" with Jim's whispered and sung vocals layered together over a haunting piano line. I did not expect the rest of the album to be just as amazing. "The Changeling" is an excellent opener that sets the tone of this album as blues rock with experimentation. Whether it's the aggressive play of "Been Down So Long" with smooth slide guitar from Robby Krieger, the slow burn of "Car Hiss by My Window", the eerie glistening of the keys over drum overdubs on "L'America", the incorporation of Jim's spoken poetry into "The WASP (Texas Radio and the Big Beat)", or the early progressive rock composition with organ accompaniment on "Hyacinth House", the album mixes up how the blues are played. Even their update to Big Joe Williams's "Crawling King Snake" sounded fresh with the heavier guitar work. Everyone played superbly on these tracks, and the mixing was well done to give it that near-live band vibe. This was an excellent Doors album all the way through. I'm glad Jim realized his blues album before his untimely demise.

The Chronic

Dr. Dre

4/5

Aww yeah, it's the muthafuckin' D.R.E. (Dr. Dre, motherfucker!) I wanted to get that out of my system. Anyway... By this point, Dr. Dre had already established himself as a credible rapper and producer for N.W.A., a seminal group in the gangsta rap genre. After disputes with brother Eazy-E, Dre left the group to pursue a solo career and make a name for himself. After a successful first single for the Deep Cover film soundtrack with an up-and-coming Snoop Dogg he met, Dre put out The Chronic. Just like that, the landscape of rap changed again. The Chronic is often considered the breakout album for the subgenre known as G-funk or "gangsta funk". It's like gangsta rap but done primarily over samples of 70s funk tunes, particularly from Parliament-Funkadelic. More often than not, Dre had live instruments come in and emulate the artists he wanted to sample, to give a more raw and energetic sound with few alterations. The result was massive where tracks popped off so well, such as the incorporation of the chorus of The Kay Gees' "Who's the Man (With the Master Plan)" with a live drum recreation of Whodini's "Friends" on "A N---- Witta Gun", or a live combination of the guitars from The Nite-Liters' "Damn" with the drums from Led Zeppelin's "When the Levee Breaks" on "Lyrical Gangbang". In addition to the excellent production chops on display, Dre cultivated a group of up-and-coming rappers and artists to hop on and make posse cuts akin to what N.W.A. did prior. I've already mentioned Snoop Dogg and he showed up multiple times on this album, especially for the singles people still bump like "Nuthin' but a 'G' Thang" or "Fuck wit Dre Day (And Everybody's Celebratin')". But I also have to give props to RBX and The D.O.C. for their songwriting and lyrical contributions, such as RBX's verses on "Lyrical Gangbang" and "Stranded on Death Row", as well as "The $20 Sack Pyramid" which was admittedly a hilarious skit. That all said, for as much as this album puts the "fun" in fundamental for G-funk music, the wordplay hasn't aged well in places. Between cuts like "The Doctor's Office" and "Bitches Ain't Shit", there's a certain attitude towards women for sex that left a sour taste. Also not helping matters are the named intro and outro tracks to this album that don't offer much to tie it all together or make a statement. Then there's the lackadaisical nature over the high-pitch synthesized whistle of "High Powered" which wasn't as engaging of an ode to weed as other tracks were on this album. There's no denying that The Chronic made this list as an album that helped change the rap landscape for the rest of the '90s onward, further establishing Dr. Dre as an acclaimed producer. Even if it hasn't all aged well, this album still gets a solid recommendation.

Aqualung

Jethro Tull

4/5

I will exclude the bonus tracks from the special edition for this review. I've heard plenty of Jethro Tull as one of those progressive rock acts that carved their own identity by incorporating more English folk and classical elements. Aqualung is the prime example of that fusion. Throughout the run of this album, there are sprawling multi-movement tracks and interludes that purvey this sense of romanticization of dreary subject matter that showcased how well Ian Anderson could pen a tune. From the plight of the homeless man on the title track, to the reckless abandonment of the schoolgirl prostitute on "Cross-Eyed Mary", to the hypocritical nature of organized religion on "Hymn 43" and the warning of overpopulation on "Locomotive Breath", there's a variety in the lyrical touchpoints that Ian utilized in conjunction with stellar guitar riffs, tight rhythm sections, and of course the iconic flute playing. I didn't even mind the interludes "Cheap Day Return", "Wond'ring Aloud" and "Slipstream" as they add to the whimsical nature that this album can exude. I imagine an album like this going off well for a Dungeons & Dragons campaign. Yet as much as I consider Aqualung to be a fun romp, I wasn't exactly blown away by it. It's certainly well done as a progressive rock album that carved its niche, but I've heard plenty of artists that have come after this and continued their niche to great effect like Blood Ceremony and Wucan. That's not a bad problem to have, as Jethro Tull has proven to be an inspiration for later generations. But it does mean that checking out this album later down the road makes it feel like I've heard this done before. I will say this - Aqualung is a great album, one that can be argued belongs on this list, as the fusion of folk and progressive rock proved to be a successful tactic.

S&M

Metallica

5/5

It's been a while since I heard a Metallica album after getting Master of Puppets as album 33 on my journey. I expected to get either ...And Justice for All or The Black Album next. Instead, we got a real treat today. The idea of this live album S&M was a long time coming. Their original bassist Cliff Burton was classically trained, as such he and the rest of the group incorporated more melodic compositions into their style for those early thrash metal albums, and that fusion carried into their experimentation into more conventional heavy metal and hard rock throughout the 90s. Composer Michael Kamen, who arranged and conducted the strings in the background of "Nothing Else Matters", approached the band at the 1992 Grammy Awards with the suggestion to have them perform with an orchestra. Seven years later, that idea was fully realized when the band performed live with the San Francisco Symphony Orchestra. Now, the idea of a rock or metal artist performing with a symphony orchestra had been kicking around for decades by the time Metallica decided to do it. Hell, one of the band's influences Deep Purple performed with the Royal Philharmonic Orchestra in 1969. Also, this was the tail-end of the 1990s, where over in Europe the symphonic metal subgenre was kicking into high gear with acts like Nightwish, Within Temptation, and Rhapsody of Fire having put out their debuts. The idea of Metallica performing with a symphony orchestra is not a revolutionary concept. Rather, it is a celebration of the past two decades of their music, given more gravitas with the orchestration. Every song on here is elevated with the San Francisco Symphony, adding new lines and motifs where you wouldn't have anticipated them from their original studio recordings. To highlight some of my favorite renditions, we start with a live rendition of the band's opening theme of Ennio Morricone's "The Ecstasy of Gold" from The Good, The Bad & the Ugly film before transitioning into the sweeping majesty of "The Call of Ktulu" where the swell of the strings and horns made for a grandeur statement akin to "In the Hall of the Mountain King". "Of Wolf and Man" becomes more intense and heightens the primal nature of the lyrical theming of being one with the wolf pack. The light string accompaniment on "Bleeding Me" that builds into the guitar solo complemented the internal struggle James portrayed, an arrangement that I distinctly remember my Mom calling angelic despite not usually listening to metal music. Concert staple "For Whom the Bell Tolls" is more bombastic as the strings and horns mirror James and Kirk's guitar riffs for an increased depth in the sound. "The Outlaw Torn" is the kind of song made for an orchestral accompaniment, as it's a ten-minute atmospheric song that neatly crescendoes at the end. Finally, as the encore, the intro to "Battery" is beautifully recreated with string and wind instruments before everyone kicks into high gear. I'm still finding new details to this day that I can appreciate, like how they end "Enter Sandman" in the same manner as "No Remorse". Also adding to the experience, two original tracks were written and performed with Michael Kamen's orchestral arrangement already in mind. While "No Leaf Clover" is the popular one that still gets played live on occasion, I am more partial towards "- Human" which continues down the rabbit hole of brooding, D-tuned stompers with the likes of "Sad But True" and "Devil's Dance" to great effect. Throughout the runtime, the band themselves maintain the sense of drive and commitment that they've brought to their live performances, with particular praise towards James's commanding vocal presence that stays as close to the intent of each track as possible, and Jason Newsted's ability to amp up the crowd such as his callout on "Of Wolf and Man". The crowd felt alive throughout the performance, committed to sing-along moments on tracks like "The Memory Remains" and "Master of Puppets". I know the runtime can seem intimidating, but this is a Metallica concert. Two hours of performing live is not unheard of for most rock and metal acts, especially for these guys with such an extensive catalog. Also from watching the accompanying live video, I can tell they cut out a lot of live performance banter between songs from James which helped the replay value. I loved revisiting S&M for this list. It was a full-on celebration of Metallica before they entered dark times in the early 2000s. I know they would try to recreate the magic with S&M2 over twenty years later, but the first time they did it was truly astounding.

I Want To See The Bright Lights Tonight

Richard Thompson

4/5

For this review, I will not include the live bonus tracks added to the 2004 re-release. It's weird—last month, the title track of this album appeared in my Discover Weekly playlist on Spotify, and here we are now with the full album. For those who don't know, Richard and Linda Thompson are notable English folk-rock singer-songwriters who worked together for a decade as a married couple until their separation in 1982. I Want to See the Bright Lights Tonight is their first foray together as a pair, and it was a delight to be had. The album opens strong with "When I Get to the Border" through "Down Where the Drunkards Roll" where strong guitar licks are pushed in front of the mix, complemented by a tight rhythm section, various instruments that add to the old English tone such as an accordion, mandolin, and krummhorns. Throughout, Richard and Linda commanded each of their vocal performances with the smallest amount of optimism amidst the stark and bleak nature of the situations described in the lyrics. Whether Richard and Linda portray being drunkards or thieving beggars, or watching friends and fortunes go away, they add a few lines in each song that give a sense of yearning for a better life. Though I'll admit, by the time we get to "We Sing Hallelujah", the pace and tone of this album started to mellow out. While there aren't any bad songs in the second half given there's at least one more good standout with "Little Beggar Girl", in comparison with the stronger guitar hooks and compositions of the first half this made the whole album uneven when taken in the larger context. Still, I genuinely enjoyed I Want to See the Brights Tonight as a bittersweet slice of folk rock.

Everybody Knows This Is Nowhere

Neil Young & Crazy Horse

5/5

Alright, this will be the fourth Neil Young album I've listened to on my journey. Everybody Knows This is Nowhere is the first album he worked on with the band Crazy Horse, and I already covered a later collaborative album with them Rust Never Sleeps. Not only do I enjoy this more than Rust Never Sleeps, but this is the most enjoyment I've had from Neil since Harvest. The key here is Crazy Horse's guitarist Danny Whitten. He played amazingly on this record, where a variety of riffs pop off with ease from him, and the interplay he had with Neil was stellar. I already knew the guitar work was good from the opening track "Cinnamon Girl", but the rest of the album delivered in spades. Aiding that notion is the tight rhythm section of Billy Talbot on bass and Ralph Molina on drums that carry the tonal weight, with the lone exception of the soft acoustic ballad of "Round & Round (It Won't Be Long) as Neil and Robin Lane's harmonized vocals sing of a spiraling down path towards self-destruction. In fact, Neil's lyrics are potent and well-varied throughout the experience, from relationships found and lost on "Cinnamon Girl", "The Losing End (When You're On)" and "Cowgirl in the Sand", to scathing accounts of the music industry on the title track, to the requiem "Running Dry" reminiscing about the band The Rockets whose members went on to become Crazy Horse on, to probably one of the most striking tales of murder I've heard on "Down by the River". What more can I say about such an excellent album? Everybody Knows This is Nowhere fully embodied the sound of an ambitious songwriter who wanted to stake his claim with a band he found pathos with. This was the start of an excellent partnership.

Live At Leeds

The Who

4/5

To approximate the original release as closely as possible, I created a playlist with the tracks taken from the 1995 expanded edition that appeared on the original LP. I know that approach is counterintuitive to Pete Townshend's original intent of having Live at Leeds be a double album, which the expanded edition and 40th anniversary super deluxe edition satisfy. But I wanted to take this album as it originally was because that's the version that got all the critical acclaim, to begin with. With that in mind, Live at Leeds in its basic form is a solid collection of live tracks, performed with a more hard rock edge than what The Who previously did in the studio. It's apparent from the get-go with their cover of Mose Allison's "Young Man Blues" that they were playing with a great deal of ferocity in Pete's guitar licks, the uptempo rhythm section particularly in Keith Moon's drum banging, and Roger Daltrey's charismatic vocals. They were having fun with these covers alongside their original material, like the sprawling 15-minute medley baked into "My Generation". I'd say the one track I didn't care about was "Substitute". My feelings for that song have soured over time, as the lyrics have not aged well as a meandering list of what objects or people Pete would want to change. Instrumentally it's passable, and live it's done in under two and a half minutes, but I could've gone with a different track. Overall, I'm glad I listened to Live at Leeds and caught a glimpse of the raw, sonic energy that The Who displayed in their live shows.

Welcome to the Afterfuture

Mike Ladd

4/5

I'll admit, I did a lot of research for this particular album, because I was not satisfied with the barebone Wikipedia articles for this release and the artist attached to it. I scoured the internet for as many lyrics and background information as I could find. Along the way, I came across an interview with Mike Ladd conducted by Nate Patrin for Red Bull Music Academy back in April 2015 called "Key Tracks: Mike Ladd’s Welcome to the Afterfuture", which I implore you to look up as it helped to get a lot of the context for this album straight from the source. Without further ado, Mike Ladd is an underground hip-hop emcee and producer out of Boston. He previously played bass for various punk bands and was exposed to a rich and diverse collection of genres ranging from hardcore punk, jazz, poetry, dancehall, dub, lo-fi, and 80s hip hop. Mike got his graduate degree in poetry while recording his debut album Easy Listening for Armaggedon, which was more spoken word. Outtakes from sessions for that first record made their way onto this next album Welcome to the Afterfuture, which he worked on at Ozone Studios in New York around the same time fellow underground hip-hop group Company Flow was working on their music. Getting into the album proper, Welcome to the Afterfuture is a sonic melting pot of various electronic beats, jazz, funk grooves, and ambiance that Mike allows to permeate and set the futuristic vibes. The ten-minute "To the Moon's Contractor" with the horns and glistening keys over hard-hitting beats, the Bollywood-esque sample into the electro-funk stomp of "Airwave Hysteria", the bubbling synths and record scratches on "I Feel Like $100", the guitar line over live percussion and rattle on "The Animist". There's a spacious quality throughout these tracks, giving the sense of being in orbit and watching what has become down below. Along the way, Mike utilizes a spoken-word flow to make observations on his environment, in a manner that's unorthodox yet demands the listener to pay attention. Of course, Mike goes off with fellow underground hip hop Company Flow on "Blade Runners", a sequel to "Blade Runner" off Easy Listening on Armaggedon, where all three make the most of their technological references in assessing the megalopolis lifestyle being promised. That takes us to the big concept around Welcome to the Afterfuture, in that this album is a response to Afrofuturism. The science fiction dreamed about can't keep up with where real life has gone into the new millennium. On the surface, that means we have yet to attain fancy technologies like the flying cars and Mars colonies promised on the opening track "5000 Miles West of the Future". But dig deeper and you realize that real-world problems such as racism and political turmoil are still rampant, and it takes effort to shape tomorrow in the way you want it to be. In particular, two tracks stand out the most from this record, "Takes More than 41" and "Feb. 4 '99 (For All Those Killed by Cops)", which reference the murder of Amadou Diallo, an unarmed Guinean student who was shot and killed by four New York City cops in plain street clothes, for a total of 41 rounds fired upon. It's a cautionary tale that certainly echoes years later concerning police brutality, and it's a matter of what lessons we can take from such a tragedy to shape our future. With a better understanding of what this album was trying to accomplish, the one problem I had with Welcome to the Afterfuture was the lack of cohesion. Throughout the runtime, it felt like too many ideas were being brewed together, where the spoken poetry rapping clashed with the more ambient electronic pieces. During my listens, I kept thinking back to other underground hip hop albums with futuristic theming such as Deltron 3030's self-titled debut or Aesop Rock's Integrated Tech Solutions, and how those albums were more direct in the narrative they wanted to accomplish in weaving in their social commentary. It's not that I didn't understand what Mike wanted to achieve in his post-futurist assessment on this album, and it does reach a strong conclusion towards the end, but it was at best scattershot in how we got there. All that said, this has been a worthwhile experience researching and coming to terms with an album that is challenging to listen to. It takes a certain someone with an open mind to become aware of what's going on in the world today and make the future their own, and that's the kind of sentiment I can take away from Mike Ladd.

NEU! 75

Neu!

4/5

This is the first I've heard of the group NEU! From what I gather, they were a krautrock band, which is to say they are a German experimental rock band. The primary members were Klaus Dinger and Michael Rother, who formed the group after departing Kraftwerk early on. Their third album NEU! 75 would be last before disbanding followed by a brief reunion in the mid-'80s. Now for the fun part - NEU! 75 is one of those albums where it is apparent that the band began to fall apart because the album is divided into two styles. Side one is the more ambient, keyboard-driven work that Rother wanted to pursue, whereas side two is the more aggressive, rock-influenced jams that Dinger wished to pursue. To be fair, I consider both sides to sound well-executed. The impeccable atmosphere of the keyboards combined with the spare guitar lines and soft percussion of side one is just as potent as the crunchy guitar riffs over Dinger's sneering vocals and punching 4/4 beat of side two. My only gripes with this album are the tonal clash between both sides where one doesn't lead into the other as well, and the lyrics of side two as Dinger struggled to find the words to vent out his frustrations. Despite the obvious division in creative focus between our two main members, NEU! managed to put out one final album that is still sonically pleasing and innovative for the time. I expect this album to grow on me, but for now, it gets a solid recommendation.

Alien Lanes

Guided By Voices

3/5

This is one of those cases where I admittedly laughed as soon as I saw what I got today. This is a collection of 28 short songs, six of which get past the two-minute mark. Not to mention, this is a lo-fi album that you can tell only cost ten bucks to record with the grainy straight-from-the-tape production quality. Add to that, Guided by Voices are known for their brief songs that usually end abruptly, which is what I noticed from listening to Alien Lanes as songs tend to stop just as they're getting good. This is a shame because I can hear how Robert Polland has a knack for writing good hooks, and he and his band played decent enough to pull them off. Tracks like "A Salty Salute", "Watch Me Jumpstart", "As We Go Up, We Go Down", "Game of Pricks", "Motor Away", and "My Valuable Hunting Knife" showcase some strong ideas influenced by the British Invasion sound that simply needed a little more time in the oven. Although, other tracks were ostensibly bad - the grainy snoring that overwhelms "Ex-Supermodel", the burbling of the vocals on "Chicken Blows", and especially "Hit" which the most it can muster in 23 seconds is the drop of the derogatory f-word used against homosexuals. Ultimately, Guided by Voices on this record sounded like a group of lads that had a lot of potential but were given a lot of creative freedom without any guidance. From the looks of it, Pollard would reform the band with various lineups, work with producers, and embrace longer songwriting than can reach the 3-minute and 4-minute mark. I respect the man's hustle. As for Alien Lanes, cherry-pick your favorites and go from there.

Live At The Harlem Square Club

Sam Cooke

5/5

Here's a case where the year released might be brought into question. Ostensibly, yes this is a live album from soul singer-songwriter Sam Cooke that was recorded at the Harlem Square Club in Miami back in 1963, and it was originally planned to be released later that year. However, this live album would end up shelved until its release in 1985. The reason for this prolonged delay was that Sam's label RCA Records wanted to protect his squeaky-clean image that was presented on earlier albums. I'm sure this notion sounds ludicrous today, but upon reflection of where America was in 1963 during the civil rights movement, it was probably a calculated strategy for the time to keep selling his records to white people. Only years later did RCA executive Gregg Geller discover the tapes and issue them out. At least this performance saw the light of day because it is amazing. From the get-go with "Feel It", Sam Cooke carried such raw charisma in this live performance to elevate his typical doo-wop soul music into a more kinetic and energetic sound, aided by his backing band playing at the same high intensity. Not to mention, the amount of times that he gets the crowd involved, whether it's getting people to shout the "uh's" and "ahh's" in "Chain Gang" or singing along to the chorus of "Having a Party" at the end. Live at the Harlem Square Club is one of those live albums where I genuinely feel like I'm vibing with the audience, which is the highest praise I could give for such a legend in his element.

Automatic For The People

R.E.M.

5/5

After hearing R.E.M.'s sonic and lyrical evolution from Document to Green, and skipping over Out of Time, we reached what can be considered the proverbial top of the band's catalog. Originally intended to be an album full of fast hard rockers, the band instead wrote and recorded a collection of mostly acoustic-driven ballads save for a few rockers. This intimate sound is further amplified by more orchestral compositions such as the use of string arrangements from Led Zeppelin's bassist John Paul Jones on songs like the opener "Drive" and "Everybody Hurts", and the cello from Knox Chandler on "Sweetness Follows" and "Monty Got a Raw Deal". The result is some of the most organically pleasant songs I've heard from this band thus far. That's not to say I didn't enjoy the regular rock tracks "The Sidewinder Sleeps Tonite", "Ignoreland" and certainly "Man on the Moon", but the ballads elevated this album and made it stand out compared to their prior work. Aiding with the serene nature of Automatic for the People are Michael Stipe's lyrics, which have greatly improved to take on darker and more brooding themes. Whether it's the musings on death for "Find the River", "Try Not to Breathe" and "Sweetness Follows", the yearning desire to maintain positivity on "Everybody Hurts", the difficulty in looking forward as the past still haunts on "Monty Got a Raw Deal", Michael showcased a more earnest pursuit for reflection and emotional connections. There are a few songs that break up the wallow with some needed levity such as the political rant towards the Reagan and Bush administrations on "Ignoreland", the tribute to late-night entertainer Andy Kaufman on "Man on the Moon", and the cartoonish payphone scenario in "The Sidewinder Sleeps Tonite". For as much as Michael's lyrics get cryptic, there was a lot of evocative imagery and contemplation utilized effectively here. Overall, I was genuinely pleased with Automatic for the People. I'm glad I witnessed how R.E.M. evolved as a group to achieve such a resonant work.

Tank Battles

Dagmar Krause

3/5

For this review, I listened to the mostly English version of this album referred to as Tank Battles, as opposed to the full German version called Panzerschlacht. Alright, we have another difficult album to unpack on your hands. Strap yourselves in. Dagmar Krause is a German singer best known for her work in various art-rock groups like Slapp Happy, Henry Cow, and Art Bears. Alongside that venture, she had a fascination for cabaret music that came out of the Weimar era, a period of post-World War I Germany where the country suffered economic hardship and the rise of political extremism up to the point where fascism took over. In particular, Dagmar admired the works of playwright Bertolt Brecht and his musical collaborators Kurt Weill and Hanns Eisler. This interest was piqued to the point where she recorded two solo albums covering the compositions of Weill and Eisler. Tank Battles is the latter of those solo efforts, focused primarily on the works of Eisler. I will admit, cabaret music is not my forte here, where I can appreciate the elegance on display even if this is not what I normally seek out. It's apparent from the translated lyrics when this music was written, likely done in response to the political turmoil that Germany went through at the time. I can appreciate this perspective brought into the limelight when Germany was going through another tumultuous time with the separation of East and West by the Berlin Wall, and updated with newer instruments such as electric guitar. Also, I can tell this comes from a place of passion as Dagmar did her best to sell the emotion in her husky alto range that suits this music. Even if I can't fully connect to this music, and if I feel that Tank Battles is rather long, I don't regret listening to it. Instead, I can appreciate the historical significance preserved for the next generation from such a potent voice.

Throwing Muses

4/5

Alright, we got another album that I had to search YouTube for - the eponymous debut album from Throwing Muses, which is not to be confused with their eighth studio album that also bears their name. Now, I hadn't heard of Throwing Muses before. From what I read they seem cool as an early alternative rock act out of Newport, Rhode Island, characterized by the two frontwomen Kristin Hersh and Tanya Donelly with their stark writing and vocal harmonies, aided by David Narcizo's percussion that deliberately avoids the use of cymbals. A lot of their strengths were showcased on this debut album. From the get-go with "Call Me", the group had a knack for writing out delectable guitar hooks and punching beats, paired with Kristin and Tanya's impassioned singing. It helps that this album was well-produced by Gil Norton, who already had Echo & the Bunnymen's Ocean Rain under his belt. The instruments and vocals are all layered neatly in the mix so that no single element ever feels dominating. My favorite track sonically here is the Western rollick of "Rabbits Dying" with the synthesized horns blaring in the background and the incorporation of cowbell, followed by the gallop of "America (She Can't Say No)". As for the lyrics, Kirstin uses a lot of esoteric imagery to get transgressive and voice her emotional anguish and despair with what's going on in her world. Songs like "Hate My Way" and "Fear" come off as visceral when you follow along with her words. In that regard, the album can be a difficult listen if you're not closely following the narrative of these songs, alongside how abrasive the vocals can get in places. This is still an impressive debut for an early alternative rock act. It's an impressive find, even if the search for the album was a tad difficult.

G. Love And Special Sauce

G. Love & Special Sauce

3/5

Here is the self-titled debut album for G. Love and Special Sauce, a group known for its laid-back fusion of blues, hip-hop, rock, and soul. These guys seemed like they achieved their dream of working the Massachusetts clubs and bars to the point where they got a record deal and found success. Decades later though, I can't help but feel like this still has the problems typical with a debut. For sure, I had fun with a fair amount of these tracks, but my enjoyment was primarily from track five "Baby's Got Sauce" through track eleven "Shooting Hoops" when the tempo is faster and frontman Garrett Dutton aka G. Love has to rap at the same speed. It's not that these guys don't play well on their instruments, but the lyrical content is more in focus when the compositions are slow and loose. This brings me to the feeling that G. Love thinks he's cooler and smarter than how he raps, whether it's the name check of notable blues musicians on "Blues Music", the blasé attempts at wooing a girl on "Garbage Man", or the basic observations made on "Some Peoples Like That". These lyrics read more like first drafts. Even when it's more energetic, they can bring someone else in like Jasper in the second verse of "This Ain't Living" and the guy will have a more commanding flow than G. Love does on his own song. Also throughout my listen to this album, I couldn't help but be reminded of another laid-back 90s rap-rock group with a similar cadence - Sublime. The fact that these guys made it onto the list and not Sublime is a strikingly odd choice, given the latter group's lasting longevity in popular culture stemming from their more vibrant incorporations of ska and reggae. I could tune to an FM classic rock radio station and have a better chance of hearing "Santeria", "Wrong Way" or "What I Got" than I would for "Baby's Got Sauce" or "Cold Beverage" even if they're good singles. Again, this is a debut album from a group that showed potential, and I'm sure they've refined their rap/blues fusion over the following decades. But as far as a "list of albums to listen to before you die" goes, I would have chosen a different one.

Hunky Dory

David Bowie

5/5

Alright, this is my sixth David Bowie album on my journey, and the second one to break chronological order after Aladdin Sane broke the run of Young Americans through Low, followed by "Heroes". I am well familiar with the singles from Hunky Dory and a few cuts such as "Queen Bitch" and "Oh! You Pretty Things" that are undeniable bangers to me. How does the rest of the album stack up? This was Bowie's best album to date. Taking a more piano-focused songwriting approach, he crafted warmer rock tunes that placed more emphasis on melody. I've already mentioned the above tracks as good examples of this approach. I'll add to that notion the sporadic piano with spare guitar licks on "Eight Line Poem", the delightful "Kooks" that's a heartfelt dedication to Bowie's son Duncan, the spiritualistic nature of "Quicksand" that sounded like a stylistic precursor to Low, the swing and horn accompaniment of "Fill Your Heart", the more esoteric tributes to Andy Warhol and Bob Dylan on their respectively named songs, and the even more cryptic closer "The Bewlay Brothers" with the backmasked guitar solo and delectable guitar hooks as the end descends into a controlled madness with the chants of "Please come away". Even when these songs get bonkers in the lyrics, the hooks are there to sink you in deeper. Even if I can acknowledge that David Bowie would continue to experiment and improve his songwriting chops, knowing full well how much I loved Station to Station, I cannot deny Hunky Dory was an excellent cornerstone that showcased the man finding his style.

Amnesiac

Radiohead

4/5

This is my second Radiohead album on this journey after The Bends. Amnesiac contains tracks recorded during the same sessions as their prior landmark album Kid A. However, it is a misnomer to call this album "Kid A B-sides"; rather, there were two different mindsets during those recording sessions - the extremely manufactured electronic music that we got on Kid A, and the more band-oriented arrangements akin to their earlier work that we got here. That's not to say there aren't a few electronic experiments on Amnesiac such as using tape loops and auto-tuning on tracks like "Packt Like Sardines in a Crushd Tin Box" or "Pulk/Pull Revolving Doors". But more often than not, where this album shines is with the incorporation of warm, organic instruments such as the haunting piano line on "Pyramid Song", the jaunty guitar hooks on "I Might Be Wrong" and "Knives Out", and the orchestral swell on "Dollars and Cents". Yet, a part of me isn't overly wowed by this album because of the band's focus here on atmosphere more than melody. I can certainly remember the aforementioned instrumental highlights. But the rest tends to blend into this jazz and krautrock mixture that is pleasant to listen to at the moment but doesn't retain well in memory long after, most notably with the two-minute instrumental "Hunting Bears" that went in one ear and out the other for me. This notion comes after I listened to The Bends and found more distinct and memorable hooks on that project. Even if I can't call Amnesiac one of Radiohead's best albums, it is still an intriguing side-adventure that they were able to squeeze out, and is worth exploring if you're curious.

Architecture And Morality

Orchestral Manoeuvres In The Dark

4/5

I will not include the bonus tracks from the 2003 remastered version for this review. I've heard of Orchestral Manoeuvres in the Dark in passing this past year, from a few of their singles like "If You Leave" playing on throwback FM radio stations. They became known as one of the pioneers of the synth-pop genre, blending electronic music with more experimental pop sensibilities. That early synth-pop style is exemplified well in Architecture & Morality. Songs on this album tend to take on a more futurist tone as the duo synthesizer work of Paul Humphreys and Andy McCluskey alongside Malcolm Holmes's electronic percussion made for a forward-thinking and innovative sound for 1981. It helps that these tunes are very melodic in their composition, anchored by Paul's soothing vocals. Tracks like "She's Leaving", "Souvenir", and the two different "Joan of Arc" songs are well-executed jams, while they also tackled more atmospheric pieces such as the title track and "Sealand". In the grand scheme of synth-pop and where the genre has gone over the decades, this album does sound a bit rudimentary. I wouldn't call this the absolute best among them. Rather, I consider Architecture & Morality a good introductory album to synth-pop and what the genre can accomplish. I'd say that's reason enough to give it a solid recommendation.

I See You

The xx

5/5

It's been over a hundred albums since I heard The xx's debut. In real-time since that debut for the group, second guitarist and keyboardist Brian Quareshi left the group, they put out a second album Coexist, they contributed a song to the film soundtrack for The Great Gatsby, first guitarist and vocalist Romy Madley Croft took a songwriting course, and producer Jamie xx put out a solo album In Colours. Those last two points are important for developing their third album I See You, as they looked to open and expand their sound. Boy, they delivered that notion in spades. I See You is the natural evolution of The xx's sound to incorporate more alternative dance, and I am here for it. Due in part to Jamie's solo work, the production quality has significantly expanded and there are more samples they're able to incorporate such as the use of Hall & Oates's vocals on the chorus of "On Hold" or the homage to Sade's "The Sweetest Taboo" on "Say Something Loving". Jamie's production becomes the big noticeable factor in this album where he and co-producer Rodaidh McDonald aimed for a more aggressive sound. From the get-go with "Dangerous", there are ominous shrill blasts of synth horns opening a roiling bass groove against the scratchy percussion, leading into the guitars and spurts of jagged synth on "Lips", the use of negative space as musical punctuation on the hook of "A Violent Noise", as well as the elegant strings against the guitars that crescendo on "Brave for You". There's the overall feeling of being at a late-night after-party where the vibes are going but the subtle details seep in and enrich the moment. While the production has been vamped up, the core of The xx's sound is still there with Romy's liquid but defined guitar lines and Oliver's prominent bass, and their vocal chemistry and interplay have greatly improved over the years. I still consider Romy an overall better singer, but Oliver has become more expressive, particularly on songs like "Replica" where he captures the balance of tension and yearning. That takes us to the lyrical content, where in tandem with the expanded sound, I See You is The xx's party record. It's the desire to venture out into the night and find some means of escape, a notion that is populist and well-framed enough to acknowledge the members' own lingering weaknesses and insecurities as they go out to try anything. Romy's hesitant bravery and desperation alongside Oliver's own carefully contained fears and apathy work wonderfully across the board. It's why they would seek the danger in each other on the opening track "Dangerous", why they'd second guess every step in their connection on "Say Something Loving", and why they would share in the disenchantment on "A Violent Noise". It all culminates in the climax of "On Hold", where the relationship falters as Romy moves on after being held at a distance, and Oliver is confused as he is late to realize what they could've had. That's where "I Dare You" and "Test Me" work effectively as closers in capturing the essence of the album title - these two clearly see each other and can almost feel each other's desire, it's just a matter of taking the dare, the risk to genuinely embrace even if there's a chance that it all falls apart. In fact, "Test Me" draws an even deeper parallel for The xx as a band and its members, with the choices in greater experimentation that could risk who they were, to venture into more dangerous territory and more violent noises. I get the notion of "dangerous" for this record might sound eye-rolling for some people, but this is an album about modern relationships for those introverted, a notion that I can relate to as I am trying to push myself out in the world and find that special someone out of the fear of loneliness. In a way, I've found a lot of pathos with I See You as a record. I'll be taking the songs and lessons from this album to heart.

Djam Leelii

Baaba Maal

4/5

I will only focus on the eight tracks of the original release for this review. This looks to be another one of those world-view-enriching experiences for the list. In this case, Djam Leelii is the first collaborative album between Baaba Maal and Mansour Seck, two Senegal-based singer-songwriters and guitarists. These two studied the musical traditions of the West African regions of Mauritania and Mali, and the two formed a band known as Dande Lenol which translates to "The People's Voice", and would play for the Senegalese immigrant communities of Paris. Their hard work bore fruit in the form of this album with its title translating to "The Adventurers". Sonically, this is a delightful indulgence of two men with their acoustic guitars singing wonderfully. Baaba and Mansour showed such wonderful chemistry for each other, aided by the light percussion from Papa Dieye, and the incorporation of more common Malian ensemble instruments such as the kora which is a lute-harp, and the balafon which is a slat xylophone with small gourd resonators. One of the best examples of this unison of instruments is on "Muudo Hormo" where the balafon acts as a sonic anchor for the group to follow suit in a melodic sway. As much as I enjoy Djam Leeli from a pure audible standpoint, it is unfortunate that there have been no posted lyrics for this album. Baaba Maal primarily wrote the lyrics in the native Palaar language, and it would be nice to translate them and have some insight into what they wrote about outside of speculation. Even without the context behind these songs, Djam Leelii is still a pleasant listen and worth the inclusion on this list.

Doolittle

Pixies

5/5

This will have been the third Pixies album I've ever listened to, after getting Bossnova the same week they released their most recent album The Night the Zombies Came. Both were alright, I want to revisit Bossanova sooner than the latter because something tells me this group peaked before their breakup in the mid-90s. Adding to that sentiment is how chaotically good Doolittle turned out to be. From the get-go with "Debaser", we are thrust into their rich blend of surf and punk rock, complete with Francis Black's unhinged hollering and Kim Deal's softer but still potent vocals. They maintained this wild energy through the runtime, where everyone does an excellent job at catchy guitar riffs, tight rhythm sections, and vocal deliveries that masterfully ebb from quiet to loud. It also helps that Gil Norton cleaned up the overall sound superbly, using compression, reverb and delay on the guitars, and multi-layered tracking to give the Pixies a polished presentation. Lyrically, Doolittle tip-toes the line between insane and wise. For every off-the-rails track where you don't mind the free-flowing words or bizarre imagery like "Debaser" and "Crackity Jones", there is a song that has a profound meaning behind the chaos. Whether it's the murder-suicide story of "Wave of Mutilation", or the biblical touchstones presented in "Monkey Gone to Heaven" and "Gouge Away", Francis drew a lot of inspiration from his own experiences to make such wonderful songs. Plus, they had some room to neatly fit in a few tunes that took the piss on music the band grew up with, such as the 1950s crooner "La La Love You" and the spaghetti western vibes of "Silver". Doolittle was such a fun album to listen to, as I can see why it's continued to get praise over the years. I'm glad we got this one out of the Pixies.

At Mister Kelly's

Sarah Vaughan

4/5

I will be listening to what I believe is the original release which is nine tracks long, versus the twenty-track expanded edition. I don't think I've heard of Sarah Vaughan before. I gather that she was a jazz singer and pianist with one of those "golden voices" in the scene. Able to go from soprano to baritone with good volume and control, Sarah was compared to opera singers which is remarkable. I got that impression going into her live album from Mister Kelly's jazz club in Chicago. How Sarah carried these jazz standards like "Honeysuckle Rose" and "Just a Gigolo" with such precision and bravado is astounding and pleasant to listen to. Even when she forgot the words to "How High the Moon" at the end, she scat sang with enough charm that I honestly didn't mind. While I don't see any immediate problem with this performance, I think my hangups stem from the more lively live-album experiences I've already had on this list where the performance from the rest of the live band and the audience involvement were more energetic. For example, Sam Cooke and his band got wilder with his soul tunes for the Harlem Square Club performance, and the audience was singing along and hollering for it. I'm not sure how much energy you can get out of vocal jazz in a club, but Sarah's vocal delivery here makes me think that the band should've matched with her and made something more stand out from what probably was translated from the studio recordings. I still enjoyed popping into Mister Kelly's to witness such a wonderful voice at work.

Little Earthquakes

Tori Amos

5/5

I know I've heard of Tori Amos as a singer-songwriter before. This past year, I heard "Cornflake Girl" from her second album, and I feel like I've listened to "Crucify" on FM radio somewhere. This will be my first full listen to an album of hers, where this was her breakout solo album after the dissolution of her synth-pop group Y Kant Tori Read. I can comfortably say Little Earthquakes is a remarkable record. My first thought from my listen was Kate Bush, having heard Hounds of Love earlier on this journey. Tori's mezzo-soprano was just as elegant and whimsical as Kate's voice, and her piano-driven compositions are on par with the latter's work. Sure, it's not full-blown synth pomp like Hounds of Love was in places, but the overall quiet storm sound suits Tori well for these songs that demand deeper reflection. Whether it's the struggle to overcome self-hatred on "Crucify", the desire for self-expression on "Silent All These Years", the sexual awakening amidst a Christian upbringing on "Precious Things", the meditation on death on "Happy Phantom", the lost love of "China", or the personal account of a time when Tori was raped on "Me and a Gun", these songs evoke the listener to think critically about her words, and the music behind her strikingly fits the tone of the subject matter. This was an exceptional debut from an artist who proved she had a voice for this world, and I am glad to have enjoyed it.

Skylarking

XTC

4/5

This review will not include the "Dear God" bonus track from the 2001 remaster. I've heard a few songs here and there from XTC, a group that has undergone some drastic stylistic changes over the years. These guys started as a new wave band and embraced more psychedelic pop by the end of the 1980s. We get a good sampling of that latter psychedelia on their ninth album Skylarking. This album oozes with inspiration from the more experimental late 60s music such as what the Beatles, the Beach Boys, and Pink Floyd were doing. Orchestral players were brought in to add a lively swell to the group's songs, such as the string arrangements that comprise the somber tone of "1000 Umbrellas", the mix of violin and guitar on "Grass", and the Beach Boys pastiche of "Season Cycle". Aiding that sentiment is the more free-form styled songwriting from Andy Patridge that captured a more emotionally resonant vibe, and Todd Rundgren's production chops which added the necessary warmth to these songs even as he was battling with Andy behind the scenes. My main problem with Skylarking is how wildly inconsistent in style and tone this album can get in trying to recapture the essence of what worked well for the psychedelic pop music of the late 1960s. Andy and his mates tried various arrangements and compositions without much to tie it all together thematically. This observation is especially noticeable at the start of the second half with the more standard power pop tune "Earn Enough for Us", the jazzy "Mermaid Smiled", and the beatnik "The Man Who Sailed Around His Soul". Some of these songs sound great on their own, but they lack cohesion when put together. All's to say that Skylarking is a solid compilation of songs that wears its influence on its sleeve, and made for a reasonably decent listen with that mindset.

Elephant Mountain

The Youngbloods

4/5

I had heard of The Youngbloods from one song before, and it was their only chart-topping hit "Get Together", a Chet Baker cover. Needless to say, I had almost no expectations going into this album of theirs, and I ended up being neatly surprised. Elephant Mountain was a nice blend of folk, country rock, and psychedelia. There were a fair amount of decent guitar licks from Lowell Levinger, starting right out of the gate from "Darkness, Darkness" and "Smug" as bonafide rockers. Alongside him was a well-kept rhythm section and Jesse Colin Young's emphatic vocals as he sang with some visual imagery on relationships and life lived. Songs like "Darkness, Darkness", "Sunlight", and "Ride the Wind" work immaculate vibes, aided by solid production from Mr. "Devil Went Down to Georgia" himself, Charlie Daniels. Honestly, my only complaint is that some of the instrumentals on this album don't offer much meaningful impact. Three are short interludes that don't last a minute and could have been reworked into one pleasant jam. Another is "On Sir Francis Drake" which peters off into the second half and doesn't give that final lasting impression that I would have yearned for in a longer instrumental. As it is, Elephant Mountain is a solid and at times pleasant outing from a group that I only knew of one hit prior.

Superfly

Curtis Mayfield

5/5

Alright, this is the second of two Curtis Mayfield albums I've gotten on my journey after There's No Place Like America Today. This one is the soundtrack to the blaxploitation film Super Fly, of which I've heard the title track before but have not seen the movie yet. I'm approaching this release like I did with Issac Hayes's soundtrack for Shaft, in that I am determining if the music can hold on its own without the need for any visual media attached to it. In that regard, does Super Fly's soundtrack stand well? The answer to that question is a resounding yes. Not only is this album instrumentally firing on all cylinders with Curtis's knack for writing progressive funk jams, but lyrically he takes the time to paint the scene for what life was like for black people in 1970s America that sadly still rings true today. Living out in the slums, financially struggling, with little consideration or help from those in political power. It sounds like the kind of environment that preys on innocent souls, and what more potent bait than the allure of drugs - heroin, weed, cocaine. The Pusherman becomes a big player, and Curtis does not romanticize this living. From the death of the lackey dealer on "Freddie's Dead", the twisting nature of greed on "Eddie You Should Know Better", and the desperation for escapism that's found through lust and drugs on "Give Me Your Love (Love Song)" and "No Thing On Me (Cocaine Song)", all culminating in the title track where the titular Super Fly here is someone who looks to be better than the environment he was raised in. Even if I don't know who Eddie and Freddie are or the Super Fly, Curtis portrayed them as archetypes that people can identify and relate to. In that sense, you probably don't need the movie to get the messaging across. All's to say that Super Fly the soundtrack goes incredibly hard, and does not require watching a movie to truly appreciate it.

Coat Of Many Colors

Dolly Parton

5/5

I remember this album from Dolly Parton and its title track which I learned about from an American music course in college. It's a sweet song about accepting the best that one can accomplish with what they have, as Dolly wore that coat of rags her mother made for her. It's a nice sentimental song with a story to it, which is pretty much how the rest of the album is. Coat of Many Colors is a decent slice of country music where the warm textures provided by Dolly's voice and the session musicians are paired with lyrics of whimsy coming from an earnest place. She sang from the heart about relationships lived in such as in "If I Lose My Mind" and "She Never Met a Man (She Didn't Like)", and with wide eyes about the larger world in front of her such as in "The Mystery of the Mystery" and "Early Morning Breeze". There's nothing too exciting or profound to be had here, and sometimes that's just enough for an album to satisfy. I didn't expect to give such high praise to an album so simple on the surface, but Coat of Many Colors shines in that exception.

Bat Out Of Hell

Meat Loaf

5/5

Full disclosure: Meat Loaf is another artist I did not get into until after his death. He was not on my radar, though that changed today with his debut Bat Out of Hell. Better late than never, and boy that sentiment rings true as this album kicks ass. Aided by Jim Steinman's creative songwriting and Todd Rundgren's production chops, Bat Out of Hell is a glorious and campy-as-hell union of rock and roll and opera, taking influence from Richard Wagner and Phil Spector's Wall of Sound style. It takes the suburban teenage angst of acts like Bruce Springsteen and amps it up to 11, as Meat Loaf proved to be the kind of voice to sing and belt passionately about anything. Even the anti-love relationship described in "Two Out of Three Ain't Bad" is delivered intensely. Of course, there are other fun moments sprinkled throughout the runtime, such as the opening saxophone play into "All Revved Up With No Place to Go", the handclap break in the bonafide rocker "You Took the Words Right Out of My Mouth", the pleasant piano ballad "Heaven Can Wait", and over-8-minute epics that include the title track, "Paradise by the Dashboard Light", and "For Crying Out Loud". Bat Out of Hell is one of those fun, cheesy albums that I can spin and put a smile on my face. Not too shabby.

Cafe Bleu

The Style Council

4/5

After disbanding his previous band, The Jam, singer-songwriter Paul Weller formed a new group with keyboardist Mick Talbot called The Style Council. It was a short-lived outfit that allowed Paul to branch out and explore different artistic avenues, and after a mini-LP, Café Bleu was the debut that would set the tone. What did we find in the café? Well, I found this to be a sophisti-pop album where the synthesizers largely took a back seat in favor of more jazz and soul influences. On side one, there is a degree of well-detailed compositions and warm production where Paul thrived in the ambiance. Tracks like "Mick's Blessings" and "Blue Café" were exquisite pieces with soft glossy guitars, keyboards, and ensemble arrangements. Not to mention, they made effective use of guest appearances such as Everything But the Girl coming in on "Strike the Match" and the horns adding to the tropical bounce of "Me Ship Came In!" But then came the start of side two with "A Gospel", where between the clunky rapping of Brian Beaton and the blocky percussion, I was snapped back to reality and reminded this album came out in the early 1980s. This was followed by the synthesizer blare of "Strength of Your Nature", and I was even less enthused with how dated the second half became. "You're the Best Thing" was a decent enough song to course-correct, but at that point the damage was done. I get that Paul was trying various styles with this group, but not every sound has aged well in hindsight. Suffice it to say, Café Bleu was an intriguing case of a man trying his best to break away from the creative limitations of his last group. While the result is far from perfect, it is admirable.

Something/Anything?

Todd Rundgren

5/5

Alright, this album had me conflicted. After hearing Todd Rundgren's production work on XTC's Skylarking and Meat Loaf's Bat Out of Hell over the past week and a half, it felt right that I should check out his solo work. After all, I did hear two of the singles before, "I Saw the Light" and "Hello It's Me," and thoroughly enjoyed them, so I figured I would appreciate the rest of what Something/Anything? offered. Then I saw that this was a double album spanning over 90 minutes, and that worried me. I hadn't felt this daunted by such a long release from an oft-considered excellent musical genius since getting Stevie Wonder's Songs in the Key of Life as album #13 on my journey. But as I was listening through, it dawned on me - this album kept interesting throughout the whole runtime. There was no doubt about side one with the ear-catching melodies being enjoyable as Todd took influence from R&B and soul into popping compositions. But then side two opens with "Intro" where Todd gives the listener a playful and immersive explanation of improper handling of studio mixing, followed by the eclectic instrumental "Breathless". The pairing of the tracks alongside the rest of side two's experimental goodness made me realize how much of a music nerd Todd is. There's later studio banter added as well and the inclusion of live recordings of some of Todd's favorite songs on "Overture - My Roots" gives enough insight into the man's thinking as if I were sitting with him in the studio. That's a feeling I've rarely gotten on a record, certainly not to the degree of mastery this guy had. By the time I got to the end with "You Left Me Sore" and "Slut", I couldn't believe the time flew by. If you feel the need to break up your listening to this album, I completely understand. It's structured into four unique sides for a reason, back when people had to flip over vinyl onto a turntable. But there was something about Something/Anything? that was magical in how effective and endearing of a person Todd Rundgren can be.

The Rise and Fall of Ziggy Stardust and the Spiders from Mars

David Bowie

5/5

This is my final 70s Bowie album on this journey, and it feels like a homecoming to me. I first listened to The Rise and Fall of Ziggy Stardust three years ago and enjoyed it then. Now, after listening to more albums from this era of Bowie's career, I better understand what came before and after. In this case, Ziggy Stardust the album follows the success of Hunky Dory, when David Bowie found his songwriting identity and sought to write more songs for live performances, inspired by the diverse musical scenes of America. In conjunction with this writing, Bowie created a new persona for himself - the alien rock star Ziggy Stardust, sent to Earth to save the people from an apocalyptic disaster with his music. As he wins over the hearts of many fans, he succumbs to his ego, taking a literal fall from grace and dying on stage in a glorious display. It's a rather loose concept but executed such that the album can be enjoyed regardless of how vested one is in the story. That's because David Bowie focused first on the songwriting to make these tunes anthemic, with catchy guitar hooks and choruses that are fun to sing along to and revel in. "Ziggy Stardust", "Moonage Daydream", "Suffragette City", "Starman", even lesser cuts like "Star", "Hang On to Yourself" and the closer "Rock 'n' Roll Suicide" were written with such a poetic elegance yet maintaining the high-level rocking energy that helped define what glam rock was. There's a reason that Ziggy Stardust the album continues to be praised as a classic in Bowie's catalog. The man would continue to experiment and find further success. But for the first time in his career, David Bowie found himself in the center of the cultural zeitgeist, a rather ideal place for a starman.

The Stone Roses

4/5

For this review, I listened to the tracklist of the original U.K. release, and chose to ignore the tacked-on bonus track "Fools Gold". I've heard a few Stone Roses songs from the Guitar Hero games: "She Bangs the Drums" and "Love Spreads". They seemed like a short-lived group I didn't hate, but I wasn't wowed over either. Well, that changed today with checking out their debut album, and I can now say that they had at least one good outing. With their debut, the Stone Roses invented the Madchester sound, a very English mixture of alternative rock and psychedelia, taking inspiration from the jangle pop of the 1960s. The jaunty guitar lines from John Squire, the tight rhythm section from Mani Mounfield and Reni Wren, Ian Brown's delightfully British vocals, and John Leckie's atmospheric and revered production made for such a rich style. Songs like "She Bangs the Drums", "Waterfall", "Made of Stone", and the eight-minute closer "I Am the Resurrection" popped off with a certain hazy yet danceable bliss that I can see how they would go on to influence the Britpop sound of the 90s. If I had to make a complaint, this album does drag a bit in the middle, particularly around tracks like "Bye Bye Bad Man" and "Elizabeth My Dear". They're not bad songs, but they're also not strongly composed compared to the rest. That said, this was a great debut album from the Stone Roses. Sure, the second album would be an over-bloated nightmare and the band would dissolve quickly after, but for the one time, the band was on top of British popular music and deservedly so.

Trans Europe Express

Kraftwerk

5/5

On this journey, I already enjoyed The Man Machine from Kraftwerk, and it is no surprise that I adored the preceding record. Trans Europe Express is an album that saw the group further depart from their krautrock beginnings and dive into melodic electronic compositions while taking inspiration from the Weimar era folk music they grew up with. From the get-go on "Europe Endless", we are treated with glistening synthesizer lines from Ralf Hütter, mixed-in vocoder echoes from Florian Schneider, and the accented electronic percussion from Karl Bantos and Wolfgang Flür that balance each other out into a well-oiled machine. The meaningful repetition paves the way for the synths to oscillate and find new playful motifs. It doesn't take long for this album to get dark, as "The Hall of Mirrors" begins with a rather haunting synth line leading to the spare beat and piano, as Ralf gives a chilling deadpan delivery about one's hollow reflections. It serves as a nice thematical transition into "Showroom Dummies", where the hollowness illicit this feeling as if the people were store mannequins wanting to break out of their department store window to go out, dance, and live. That sentiment is captured excellently with the bouncy yet haunting melody as the vocoder echoes in the background. Then we get to the title track, as the beat bounces along with a melodic chugging that does feel like going on a futuristic train. Considering this song has gotten sampled a lot in hip-hop over the years, it's no wonder this is one of Kraftwerk's biggest hits. But we're not even done yet, as the beat continues in the transition to "Metal on Metal" with the clanging of metal pans, to the tinny keyboard line of "Abzug" as the tension of the train ride builds, before the train stops. At this point, the destination has been reached, with the welcome of a beautifully complex melody played on an analog sequencer on "Franz Schubert" with the vocoder modulating in the background. The album closes with a reprise of "Europe Endless" called "Endless Endless", bringing the experience full circle. Trans Europe Express was an excellent journey all the way through, striking a balance of catchiness and quirkiness that Kraftwerk mastered at this point in their career. I can see how this would be a very influential record across multiple genres.

Life Thru A Lens

Robbie Williams

4/5

For those who don't know, Robbie Williams originally rose to prominence as part of the 90s UK boy band Take That before leaving the group over his behavior. He started pursuing a solo career, taking influence from the then-current Britpop trend, thus leading to this debut album. I will say I didn't have many expectations going into this album, because this could have been either good or a niche relic from when Robbie dominated the British tabloids. What did we get with Life Thru a Lens? Well color me impressed, because this was a pretty great solo debut. It's evident from Robbie's songwriting evoked from his struggles with fame, coupled with top-notch production from Guy Chambers and Steve Power, that they were pulling all the stops to make this work outside of Take That. He's able to play well with a few different styles, from the funky "Ego Agogo" to the ballad "Angels" and the more straightforward rocker "Old Before I Die". Even if it's apparent that Robbie spent a lot of time with Oasis, he's largely effective in taking influence from them. Granted, this is not a flawless album. I did not care for the swampy bass-leaden tread of "South of the Border", and while it was a respectful note to end on a poem where Robbie got to lash out against a former schoolteacher that didn't believe in him, having it as a hidden track ten minutes after "Baby Girl Window" was not a smart decision as it hurt the replay value of the former track. Still, I'm amazed at how solid Life Thru a Lens turned out. I'm glad Robbie made amends with his old mates in Take That, but he was able to carve his avenue effectively.

Let's Stay Together

Al Green

4/5

Okay, an album from Al Green makes sense on a list like this, where you're trying to include as many cornerstones of popular music as possible. Given the man's legendary status as a soul singer, you'd feel obligated to include at least one work from him. To the list's credit, Let's Stay Together is a solid outing where the songs are well-played by the backing band as Al effortlessly embellishes and reaches those falsetto notes almost effortlessly. A few tracks like the title track, "So You're Leaving" and "I've Never Found a Girl (Who Loves Me Like You Do)" are certifiable bangers out of the gate with the horn accompaniments. That said, I can't say I'm overly wowed by this album. It's a decent at times great listen, but some songs are purposefully slowed down to illicit a more romantic feeling where the energy is dialed back such as on "What is This Feeling" and the cover of the Bee Gees' "How Can You Mend a Broken Heart", hampering the overall pace. I was admittedly looking at what other soul albums were put out in 1972. When you got the likes of Bill Withers's Still Bill, Stevie Wonder's Talking Book and Curtis Mayfield's Superfly soundtrack, that's some stiff competition that I can't say this album holds a candle to in overall quality. Not to mention, Al himself would put out another album that year with I'm Still in Love With You, and maybe that's the album that could've been included on this list. Perhaps this album will grow on me over time, and it's hard to get that sense within a day's listening. I will give the list the benefit of the doubt here; Let's Stay Together is a solid and respectable choice to include from one of soul's greatest artists. Even if my bar has been set rather high for the genre, this album was still a delight.

Are You Experienced

Jimi Hendrix

5/5

Okay, for this review, I listened to the North American release of this album, and excluded the bonus tracks added to the 1997 CD reissue, from "Stone Free" to "Red House". It's been a while since I heard from Mr. Hendrix, after getting Axis: Bold as Love as album #3 on my journey. It was an enjoyable piece of familiarity in a rather experimental first week. So it is no surprise that the prior album is also great, perhaps even better. Are You Experienced is one of those bona fide debut albums long recognized as a game-changer. You can hear how Jimi and his band took the blues rock structure and flipped it on its head, incorporating other styles and techniques. From the backward masking of the guitar and drums on the title track, to the tribal rhythms of "I Don't Live Today", to the blazin' fast funk of "Fire", to the serene ballad "The Wind Cries Mary" and the triple meter of "Manic Depression", Jimi wrote and composed with such wild tenacity. Both Noel Redding on bass and Mitch Mitchell on drums were well-prepared to maintain the backbone of these tracks. Even the cover of Billy Roberts's "Hey Joe" is given new life with the fuzzed out guitar soloing and equally matched ferocity of the backing band. I could go on, but my point is clear—Are You Experienced is a phenomenal debut album that quickly cemented the legacy of the Jimi Hendrix Experience. It is truly groundbreaking.

Neon Bible

Arcade Fire

4/5

I've only started listening to Arcade Fire within the past year. It's not that I hadn't heard of the Canadian indie rock group in passing before, but I had never felt the desire to seek them out until recently. Their second album Neon Bible is my first full-album experience with them, and I enjoyed it for the most part. The first aspect I will credit Arcade Fire with is in the song composition, where these songs were written with irresistible catchy melodies using a wide variety of instruments. From the grand organ, acoustic guitar strumming and light xylophone motif that opens "Intervention", to the stomp-and-holler complete with the string accompaniment on "Keep the Car Running", and the lush quiet storm with the piano dirge on "Ocean of Noise", these people had a knack for creating some hooks even with the looming dread that eminates from this album. That sense of dread is there for a reason, as lyrically Neon Bible goes for the gloomy outward look at people being bought in to their obsessions. From the corporate overreach that lurks in the background in "Keep the Car Running", the addiction to electronic devices in "Black Mirror", the gripping control of organized religion in the title track and "Intervention", and the desperate escape from one's past in "Black Wave / Bad Vibrations", the group pulls from different perspectives of people who lose themselves in what they choose to take in. At various points such as on "Black Mirror", "Ocean of Noise" and "Black Wave", the ocean is used as a larger metaphor for the individual going deeper and losing their self-control. It certainly makes for a big swing at a cohesive narrative. The problem I have with Neon Bible though is that the lyrics aren't as deep as the ocean they narratively draw from. It's not that they aren't trying to make a point, but rather it comes off as more vague and trying to have universal appeal without getting visceral or damning, save for maybe "(Antichrist Television Blues)" which drew parallels from Joe Simpson's management of his singer-songwriter daughters Jessica and Ashlee to create a tale of the pious Christian father that sexually exploits his little girl. Although even that song is tonally questionable as a jaunty, Springsteen-esque tune. Also, it felt weird that the last two tracks were the anthemic uplifting "No Cars Go" followed by the dreary, contemplative closer "My Body is a Cage". Both songs are fine on their own, but the one-two succession of them left me with a bizarre sonic whiplash. Still, overall I did enjoy Neon Bible, as it was clear for their second album, Arcade Fire went for more ambitious strides. I'd consider it a nice transitory album that was hopefully followed up with a better outing.

Clube Da Esquina

Milton Nascimento

4/5

It's about time for another eye-opening experience from the album generator. In this case, we have the collaborative album between Brazilian singer-songwriters Milton Nascimento and Lô Borges titled Clube Da Esquina. These two met on the streets of Belo Horizonte, along with another singer-songwriter, Beto Guedes. Milton was introduced to Lô's brothers Márcio and Marilton and they started working together from there. For six months, everyone alternated roles in songwriting and production, determined to make it all work despite the cultural restrictions placed under the military dictatorship Brazil experienced at the time. The result is a double album of twenty-one tracks that act as a melting pot of various styles and uplifting lyrics. Taking influence from the likes of traditional Brazilian music, bossa nova, rock, jazz fusion, samba and psychedelia, everyone involved played with elegance in providing a rich soundscape not unlike what the Beatles and Beach Boys did a couple of years prior. Of particular note are the gentle brush of the acoustic guitars, the complex rhythm of the percussion, and the combined soft vocal effort of Lô and Milton, providing a sense of comfort and escapism from oppression. Honestly, my only problem with this album is that it's long, clocking in at over an hour. Don't get me wrong, most of these songs are well done, and the group probably felt the desire to record as much as they could. Perhaps a few of the shorter songs like both "Saídas e Bandeiras" tracks and "Estrelas" could have been fleshed out more, but what we got is still a miracle given the conditions they were under. It's clear that Clube Da Esquina had a significant impact on Brazilian popular music given how daring and creative it was. That fact alone makes the case for this list of albums to listen to before you die. The bonus was that it was an enjoyable experience to listen to in today's world, representing the best of what can come about from a chance encounter.

The Joshua Tree

U2

5/5

I already heard Achtung Baby on this journey and how U2 reinvented themselves going into the 90s. It's about time we took a step back to what I consider to be the peak of their first run with The Joshua Tree. This album is undoubtedly the most anthemic the band ever got in their Irish-rooted heartland rock, where the songs bounce and sway with the sort of quiet explosion that the band were capable of back in the 80s. From the Edge's jaunty guitar strumming, Larry Mullen Jr.'s pulsating drums, Adam Clayton's infectious bass cylinders, and young Bono's soaring vocals, and aided by the rhythm section focused production of Brian Eno and Daniel Lanois, the band had this unparalleled etherealness for the time. The most shining aspect of this album is the lyrics that tread the line between earnest comfort and socially charged poignancy. From the single-minded searching in "I Still Haven't Found What I'm Looking For", the condemnation of US foreign policy for the unrest caused in Central America on "Bullet the Blue Sky" and "Mothers of the Disappeared", the tragic drug-riddled couple portrayed in "Running to Stand Still", to reflections on the loss of a close friend of the band on "One Tree Hill", there's personal stake that Bono took in. This was not simply his beef with the Reagan administration, but just how to reconcile with oneself and move forward, to find pathos in what one thought the land of the free would be versus what it was. As such, the content of this album remains starkingly relevant to this day. I know that following this album would be the release of Rattle and Hum, which exposed how pretentious the band ended up being, and they would spend decades having to live up and down from where they were here. Regardless of what came next, The Joshua Tree remained a strong album in U2's discography, when their songwriting reached its apex.

Here, My Dear

Marvin Gaye

5/5

After hearing What's Going On, I figured other Marvin Gaye albums were on the list. What I was not expecting to get today was his divorce album. Here, My Dear was recorded to pay off his ex-wife Anna Gordy Gaye during their divorce proceedings. Because this predicament occupied his mind heavily during the sessions, Marvin ultimately decided to write the songs in a perverse dedication to her, airing out a lot of the dirty laundry between them. From the short chronology of their time together on "I Met a Little Girl" to the protective anger over their adoptive son Marvin Gaye III on the title track, to the million dollar divorce settlement on "When Did You Stop Loving Me, When Did I Stop Loving You", to the admittance of paying his ex-wife's lawyer fees at the end of "Is That Enough", to the bitter reflection on the lavish lifestyle he provided her on "Anna's Song", Marvin goes all out with the details. In between are moments where he also reflects on himself at this point, including the complexity of volatile emotions running through him on "Anger", his cocaine and sex addiction on "Time to Get It Together", and his desire to be free evoking the image of the sparrow flying and singing its song. This album can be difficult to listen to, dependent on how privy one is to the information regarding Marvin and Anna's split, especially where we understandably could not get Anna's side from this record. At least from what Marvin provided, it's apparent he bled his heart out onto the paper to get this out. The fact that Here, My Dear still sounds amazing in its blend of soul and funk is a testament to Marvin as a song composer and producer, creating the kind of sonic jams to wallow in on the dancefloor. The tenor saxophone solo on the "instrumental" version of "When Did You Stop Loving Me, When Did I Stop Loving You", the p-funk space fantasy of "A Funky Space Reincarnation" with the shuffling percussion, other groovy tracks such as "Anger" and "Falling in Love Again" all showcase how the personnel involved in the backbone of this record did a phenomenal job with what they were given while providing some variance in the styles. If this album is too much for you, I get it. Divorces are usually not easy to process, certainly not if one airs out all the details on an album. But Marvin went and made lemonade out of the lemons he was given in his dissolved marriage from Anna, and that's got to be a testament to his tenacity and creative passion.

Paul's Boutique

Beastie Boys

5/5

To call this simply a Beastie Boys album is a bit of a misnomer, because Paul's Boutique was a team effort between the boys and the Dust Brothers to create a fresh and innovative venture in the world of sample-based hip-hop. The production takes center stage as they got wildly creative with the many samples and how they are interweaved in these tracks. Having listened to a fair amount of tracks beforehand, it was fun to follow along and pick out different elements that were inserted, chopped, spliced, slowed down, sped up, and manipulated in other such manners. The bassline from Curtis Mayfield's "Superfly" with the string arrangements from the themes of Psycho and Saw on "Egg Man", the multiple Beatles samples on "The Sounds of Science", the opening drums of Led Zeppelin's "Moby Dick" into a combination of riffs from Gene Harris and The Three Sounds, "Put On Train," and Alice Cooper's "It's Hot Tonight" on "What Comes Around", the back masked guitar play from the Jimi Hendrix Experience's "Are You Experienced?" on "B-Boy Bouillabaisse: 59 Chrystie Street", ending the album on a scratched-out sample of Chic's "Good Times" on "B-Boy Bouillabaisse: A.W.O.L.", I could go on. The samples are even incorporated as ad-libs in the Beastie Boys' rapping, such as the titular phrases for "Shake Your Rump" and "Hey Ladies". Even the Beastie Boys themselves are sampled from their first album, such as the "Kick it" line from "Fight For Your Right (To Party)" on "Johnny Ryall". If this album were just instrumental like the Dust Brothers originally intended, it would have been an underground classic already. Adding to the experience were the Beastie Boys themselves, with such tight lyrical focus as MCA, Mike D and Ad-Rock effectively bounced off each other's flows. Between the numerous lyrical references, the aforementioned sample ad-lib incorporation, witty humor and self-awareness of the image they garnered from Licensed to Ill, they made the most of their rhymes over the foundation they created with the Dust Brothers. Between the lyrics and production, never once did Paul's Boutique get stale or overwhelming for me. This is an astounding record from the golden age of hip hop, before copyright laws caught up with sampling. In a word, game-changer.

The World is a Ghetto

War

4/5

War is an R&B/progressive soul band I've heard a few singles here and there such as "Low Rider" and "Spill the Wine". This will have been my first full album listen, and while I consider The World is a Ghetto to be a decent at times great album, there are elements to it that hold me back from fully praising it. It's weird because the album starts strong with "Cisco Kid" and "Where Was You At" with the bouncy rhythm, smattering of bongos and organ play, and call-and-response vocals that's the fun and inviting side similar to those singles I mentioned earlier. Even the 13-minute instrumental "City, Country, City" invokes those warm feelings as it plays around a central harmonica motif while introducing different progressions with the rest of the group involved. But then I realized there are three different super-long tracks, and each one progressively gets slower and more downbeat in tone. Even though I don't consider "Four Cornered Room" and the title track to be bad and certainly have their place in the larger narrative of racial and cultural divide, they drag the overall momentum of the album down to the point where it felt longer than it did to me. Thankfully, "Beetles in the Bog" ends on an anthemic note. I'd say The World is a Ghetto is a solid album from War that showcased what they were capable of with their sound. It's certainly ambitious with its ideas and execution, even if I felt it could have been done a little better.

Home Is Where The Music Is

Hugh Masekela

4/5

I can't say I heard of Hugh Masekela before. From what I can gather, he was a renowned South African trumpeter, flugelhornist and jazz composer active in the anti-apartheid movement. As such, his music, even in an instrumental sense, could be viewed as a desire for political change in his homeland. In the case of this album, Home Is Where the Music Is, the marriage of bebop style jazz and South African folk rhythms can be viewed as an homage to his upbringing and a celebration of black African culture and talent amidst racial segregation. The album starts nicely with Hugh's staccato trumpeting on the opener "Part of a Whole", to the lush tickling of the ivory keys on "Minawa", to the bustling New York busy vibe of "The Big Apple" to establish the musicianship on display. After that is when the challenge kicks in, from the more experimental spare horn arrangement on "Unhome", to the complex rhythm pattern and sway on "Maseru", to the harsh stomp of "Inner Crisis" and intense percussive roll of "Blues for Huey". There's a bit of a rest after the onslaught with the wonderful jazz ballad "Nomali" and the poignant soul of "Maesha", before ending on the most overt homage to Hugh's roots on "Ingoo Pow-Pow (Children's Song)" with the Afrobeat percussion and passionate chanting. By the end, the journey taken is clear, from the comforts of jazz music into more challenging and daring ideas as Hugh showed his love and support towards his country. Honestly, my only gripe with this album is that it is a rather long listen, clocking in at over 76 minutes. I can imagine someone putting this record in the background, and they can certainly enjoy it in passing. It probably takes a level of attention and engagement to follow the path that Hugh set forth back to his homeland. I consider Home Is Where the Music Is to be a rewarding listen, one that spoke about Hugh Masekela's cultural heritage in a way that mere words would not have done it justice.

Dare!

The Human League

4/5

The Human League is one of those groups I only knew for a few singles: "Don't You Want Me" and "Being Boiled". I did not have much of an idea for what I was going to get into with Dare, save for the one single I knew at the end and the general understanding that they are a synth-pop that underwent a massive lineup change for this album after founding members Martyn Ware and Ian Craig Marsh left over creative differences with lead vocalist Phillip Oakley. This was Oakley's revisioning of the band into a more forward-thinking pop sound, and I'll admit it was pretty good. Sure, this album was always going to blurt out what period it's from with the synths and programmed drums. Opening track "The Things That Dreams Are Made Of" might as well be a litmus test for one's enjoyment of this record. But even then, it's still an excellent capture of that early synth-pop. Between the eclectic synthesizer work, the occasional female vocal backup from Joanne Catherall and Susan Ann Sulley, and Oakley's distinctly English high-pitch vocals, there's an off-kilter flair with the group working these hooks that made them sound distinct as a formative act. This sounds like the kind of music that would become influential to a lot of electronic pop groups. In that regard, I consider Dare to be in the same camp as Orchestral Manoeuvres In The Dark's Architecture And Morality as a good introduction to the synthpop genre, which is as good of praise as I can give it.

Colour By Numbers

Culture Club

3/5

I was born in the mid-1990s and grew up in the 2000s, so I didn't have the baked-in nostalgia for Culture Club and their big single "Karma Chameleon". When I heard that song later, all I could say was that it was catchy but not the kind of 80s song I sought. The group garnered their fanbase, particularly with Boy George's androgynous fashion style that would certainly be influential, and I didn't mind if a song of theirs would come on the radio. Still, again it wasn't my cup of tea. So imagine my luck that I got the album with "Karma Chameleon" as the first track. Between that and the rest of side one, the production was muted and dated in its glossy presentation such that these first couple of songs lacked the punch to stand out amidst the various new wave and blue-eyed soul acts I've heard already. By the end of "That's the Way (I'm Only Trying to Help You)" I was ready to give up on Colour By Numbers. Then side two opened with "Church of the Poison Mind" with the accented beat, harmonica soloing, and more effortful delivery from Boy George, and I awoke from the slumber I was in. Following that number with the equally groovy "Miss Me Blind", the horns and tropical vibe of "Mister Man", the surprising synthesizer sweep of "Stormkeeper", and the elegant piano ballad "Victims", and it came as a shock to me that side two was just that good. I even went back and listened to side one to see if my mind somehow changed, and no, it's just the quality of the music elevated literally after flipping the record over. I've heard of albums getting top heavy with putting the best songs near the front, but an album rarely is bottom heavy. Suffice to say, the second half of Colour By Numbers saved this album from being lost in the sea of 80s new wave acts. Your mileage may vary from my experience, but at least I enjoyed a Culture Club album, which is more than I initially expected.

Transformer

Lou Reed

4/5

Let me get my one hang-up out of the way - I'm not a big fan of Lou Reed's talk-singing. This was the case with the Velvet Underground's debut album earlier on my journey, and now again with his second solo album Transformer. It might be hard to imagine some of these songs with a more conventional singer, but at the same time, his vocal style is an element I don't always find myself captivated by. That's just me. With that said man Lou was a fantastic song-crafter. He had this knack for writing songs as if they were poems taking on new life, expanded upon by catchy guitar hooks and a well-timed rhythm section. There are excellent riffs here on the likes of "Vicious", "Andy's Chest", "Hangin' 'Round", "Wagon Wheel", "I'm So Free" and especially "Walk on the Wild Side". At the same time, he mixed in a few well-done piano-driven ballads such as "Perfect Day" and "Satellite of Love", and ended on a quirky show tune with "Goodnight Ladies". It's apparent he was having fun putting these songs on tape, and David Bowie and Mick Ronson did a superb job on the production as a thank you to him. Even if I'm not into Lou's talk-singing, I can still recognize Transformer as a landmark album for art rock and glam rock, which you could say was transformative.

The Yes Album

Yes

4/5

Ahh yes, the album The Yes Album from the band Yes. Joking aside, I have enjoyed the occasional Yes before as a progressive rock outfit, with a lot of their notable songs involving multiple movements and odd time signatures. That much was evident on this album, where "Yours Is No Disgrace", "Starship Trooper", "I've Seen All Good People" and "Perpetual Change" are all excellent showcases of the band's songwriting and instrumental skill. From the eclectic basslines of Chris Squire to the infectious guitar riffs and soloing of Steve Howe, to the percussive bombast of Bill Bruford, to the ethereal piano, organ, and Moog synth play of Tony Kaye, and even Jon Anderson's natural above-tenor singing all contribute to such outstanding sonic adventures. That said, as much as I enjoyed the long songs on The Yes Album, the short songs I found paradoxically not that interesting. "The Clap" is a brief acoustic guitar noodling from Steve Howe recorded live that sounds out of place on this record. While "A Venture" sounded better integrated in the studio led by Kaye's piano line, the rest of the song is a hazy jazz swing that feels like it goes nowhere as the composition keeps returning to the harmonized refrain of "hide away". I understand if these short songs were meant to act as relief between the longer songs, but if I'm being honest if it were just the longer songs on this album, the quality would be much better. That said, The Yes Album is a great album from Yes that showcases the band's leaps in songwriting and composition.

Southern Rock Opera

Drive-By Truckers

4/5

Drive-By Truckers is one of those groups that I've heard at least one song before, but not a band I usually sought out. They're a southern alternative country rock band founded by Patterson Hood and Mike Cooley that quickly established themselves over a couple of years to the point where through word of mouth and fan support, they raised enough funds to independently release this album. Southern Rock Opera is very much what it says on the tin, telling the story of the fictitious group Betamax Guillotine as they establish themselves in the 1970s Southern rock scene around the same time as the legendary Lynyrd Skynyrd did. They were able to weave as much of the imagery and events as they could, from Ronnie Van Zant and Neil Young's friendship on the track bearing their names to the stereotypical associations of the state of Alabama with the song "Sweet Home Alabama", college football, and casual racism on "The Three Great Alabama Icons", to the plane crash that killed Ronnie, Steve Gaines, and his sister Cassie as cataloged from "Shut Up and Get on the Plane" through "Angels and Fuselage". There's a lot of detail explored from the fictional band's account as they try and carve out their path that could also be viewed as somewhat autobiographical from the actual band, such as "Guitar Man Upstairs" from when Cooley would get called by the cops over playing his guitar, Patterson's teenage years partying and listening to arena rock on "Let There Be Rock", and "72 (Highway's Mean)" about the US state highway that runs through their neighborhood and the rough lifestyle around it. It's all sold with the kind of conviction that took some getting used to from Patterson's fried vocals and Cooley's crooning that sounded reminiscent of Johnny Cash, but it eventually clicked for me. Alright, so I just praised the hell out of the storytelling, and the musicianship is certainly there as the band played well. What's stopping me from outright calling this album excellent? Well, there's a matter of the run time; Southern Rock Opera is over 90 minutes long, and much like an actual opera an intermission was needed for me. While there isn't a bad song to be found, there are tracks that run together lyrically with the shared themes of partying, drinking, and playing rock music. While some details surrounding the Alabama roots are explored and some insight and catharsis are found in the chronology of the state's people and iconography, I'm not sure it was enough to satisfy the full runtime. Also not helping matters is keeping Lynyrd Skynyrd within the periphery of the fictional band's focus, especially in Act II taking the time to explore Skynyrd's claim to fame on "Life in the Factory" and the heartfelt tribute to Steve and Cassie Gaines on "Cassie's Brother". The choice for such a narrative invites comparisons to a more established act, especially considering the original Ronnie Van Zant run of Skynyrd. Do the Drive-By Truckers sound as good as Lynyrd Skynyrd? Well no, but that misses the point. This story was meant to be about another band that certainly felt inspired by Skynyrd but was looking to chart their path. It took me some time to realize that, but I understand where such expectations can come from. I can come around at the end and say that Southern Rock Opera is a good outing, one that certainly was more ambitious than what would be initially perceived. If anything, I appreciate what Drive-By Truckers brought to the table here as a storytelling adventure. I'll leave y'all with one last factoid that should be worth celebrating about this album. During the touring for Southern Rock Opera, the band would welcome a young Jason Isbell as their third guitarist. Isbell would continue to work with Drive-By Truckers for the next six years before venturing out and taking claim as a renowned singer-songwriter on his own and with the 400 Unit. That is something I'm truly grateful for.

Nevermind

Nirvana

5/5

This is another album on which I'm contemplating what more I can contribute to the larger conversation. Just to make sure, I did listen to Nevermind in full again today to determine if any song on here has aged poorly or no longer resonated with me. As it turned out, that was not the case; every track on this album was still as good as when I first heard them. Even the hidden track "Endless, Nameless" was enjoyable in its raw, distorted delivery, and my mileage varies on hidden tracks. It's weird because I didn't exactly grow up with Nirvana. I was born a year after Kurt Cobain tragically took his own life. Rather, as time went on and I got into more rock music, Nirvana seemed to creep its way into my life through what I enjoyed. Whether it was song inclusions on various music video game soundtracks like "In Bloom" on Rock Band and "Breed" on Guitar Hero: On Tour, soundtrack use in movies such as "Something in the Way" used a recurring motif for The Batman, listening to the likes of "Smells Like Teen Spirit" and "Come As You Are" on FM radio, or the multiple artists that have covered them since such as Post Malone and St. Vincent, the legacy of this short-lived group has lived on in the cultural zeitgeist. After all, this was an album that helped usher in the sound of the 1990s, and the lyrics and style of that era have continued to resonate in the modern world. I don't expect everyone to enjoy this album. Hell, there's a good chance you heard enough of this album already to know where you stand on it. For me, it was simply nice to revisit Nevermind and appreciate it.

Damaged

Black Flag

4/5

Let me be apparent from the get-go that this debut album from Black Flag is a foundational record from the hardcore punk scene, and that cannot be denied. The fast guitar riffs from Dez Cadena, the shredding lead from Greg Ginn, the chugging bass from Chuck Dokowski, the visceral howls from Henry Rollins, the claustrophobic atmosphere as the album transitions from the wild party into pure self-destruction, the timelessness of the lyrics that stray from any explicit political references. These elements coalesce into a brutal record that served as a much-needed catharsis for the underappreciated youth that has maintained relevance, even if some of the shows mentioned on "TV Party" have long ended. Sure, it's not a lyrically deep record, and the grooves could have afforded a little more support on the low end to drive them further in the mix. But those issues I have don't stop Damaged from being a potent slice of bleak introspection that has transcended its time.

Fleet Foxes

4/5

It took me a bit to determine if I heard Fleet Foxes' music before. That was answered with the second track "White Winter Hymnal" which I listened to in passing. The rich vocal harmonies, the jangly guitar strumming, the lush organic instrumentation, that was a sound that I don't hear often, but when I do it served as a nice wash over me. That's pretty much the sentiment for the whole record, where the group took cues from the bright and cheery pop of the 1960s mixed with alternative country to create a chill vibe that covers you like a warm blanket. Sure, this is another debut album where the lyrics aren't too deep, but the atmosphere is impeccable enough to make it stand out in the indie folk scene. In that regard, Fleet Foxes' record was worth checking out on that quality alone. As a fun fact to end this review, shortly before the release of this debut, the band brought on drummer Josh Tillman to replace Nicholas Peterson. He would work with the group for a couple of years before branching off and finding success on his own under the moniker Father John Misty. It's interesting how life works that way.

She's So Unusual

Cyndi Lauper

4/5

About a month into my album journey, my Nana passed away, and my aunt who took care of my Nana for most of her life ended up giving me her CD collection when she moved out for a short while. A few of these albums were on this list. One of the first I got was R.E.M.'s Green. This will have been the second one. I put this background upfront because I found some sentimentality in Cyndi Lauper's debut. For sure, "Girls Just Want to Have Fun" is a bop I heard before, but this was my first full-on connection to her music. It was nice hearing how charismatic and endearing Cyndi was at such a young age, and how the pop compositions surrounding her voice were tight and well-elevated. She could go toe-to-toe with Prince after how she covered his song "When You Were Mine". That said, the sound is very much locked into the synthesizer-drenched 80s style, which isn't unlike the Prince albums I've heard already. Though probably even more detrimental is that side one overpowers side two. While "She Bop" is a delight and there isn't a bad song in the second half, the album peaked in the front, particularly with the ballad "Time After Time" as one of the few songs to transcend the decade it came from. She's So Unusual is still a fun album backed by a strong and ferocious personality. Perhaps that's what my aunt gravitated towards when she got the album.

American Beauty

Grateful Dead

4/5

The Grateful Dead are one of those groups I've heard enough songs in passing to be familiar with, but I would not consider myself a Deadhead, as the fans are called. They're a solid rock band with elements of folk, country, and psychedelia that have become the pioneers of jam bands worldwide. American Beauty, their most well-known album, is very much representative of their sound. Through their combined efforts in songwriting and musicianship, the band delivered a decent collection of tunes. I already heard "Friend of the Devil", "Sugar Magnolia" and "Truckin'" beforehand, but I can now add the likes of "Box of Rain", "Ripple", and "Brokedown Palace" to the songs I enjoyed from them. That said, the most I can say about this album is that it's solid and decent. Perhaps the enjoyment is best found in the simplicity and sweetness of their sound, and maybe that's enough for fans to hold onto. There could have been stronger hooks or tighter compositions. Also, while I acknowledge that the production is warm and organic for easy-listening, I wish there could have been more audible impact from the rhythm section to make these songs pop off more. As is, American Beauty is a pleasant collection of songs to have in the background or played in a live setting that I can at least appreciate.

Speakerboxxx/The Love Below

OutKast

3/5

I know that I enjoyed the hell out of Stankonia as album #64 on my journey, and I wasn't alone in my sentiment. The album received critical acclaim and racked up multiple awards. So much was the success of Stankonia and Outkast in general that when André 3000 wanted to pursue a solo career and create an album more focused on jazz and pop, the group's label, Arista Records, wanted to pull the plug on it because they felt it would be a bad career move for him. But André still wanted to make his own record, thus, the next best thing was to package it with Big Boi's finished solo record and sell them together under the Outkast moniker. That's how we ended up with Speakerboxxx/The Love Below. This double album is simply two solo albums placed side-by-side; there's no beating around the bush about it. Sure, Big Boi and André 3000 contributed additional vocals and co-production credits for each other's records, and both records have multiple interlude tracks that are pointless and, at worst, come off as self-indulgent. Other than that, these are two separate albums from two gentlemen who may belong to the same group but are experiencing creative differences. As such, I can't discuss Speakerboxxx/The Love Below without discussing each disc separately. Let's start with Speakerboxxx, Big Boi's solo record. This one is a Southern progressive hip-hop record with Parliament-Funkadelic vibes, and it very much reflects how consistent Big Boi had been in his songwriting. There are bangers upon bangers throughout this side - "GhettoMusick", "Bowtie", "The Way You Move", "The Rooster", "War", "Church", "Knowing", and the list goes on. We also get some incredible guest features, including the team-up of Konkrete, Big Gipp and Ludacris on "Tomb of the Boom", Lil Jon & the East Side Boyz on "Last Call", and not one but TWO Killer Mike features on "Bust" and "Flip Flop Rock" with Jay-Z. Honestly, I would have been content with Speakerboxxx on its own as it built upon Big Boi's previous successes to have a great, if not perfect, solo album. But then we have The Love Below, André 3000's record. In embracing jazz and experimental music with a more sensual side, André just comes off like Prince. After opening up the record with a Frank Sinatra style intro into the noise-rock meets lounge swing of "Love Hater", André proceeds to run through multiple sex jams in the pursuit of love after his fallout with Erykah Badu, a point which he makes on closing track "A Life in the Day of Benjamin André (Incomplete)". For sure, there are bangers to be found here, including "Happy Valentine's Day", "Roses", "Dracula's Wedding" with Kelis, and especially "Hey Ya!" as the group's biggest single. Not to mention, two of André's greatest soul tracks are placed back-to-back in "Prototype" and "She Lives in My Lap" with Rosario Dawson, and I also dug the laid-back dub-jazz trip of "Vibrate". But not every experiment on The Love Below is a success, even if they came from interesting ideas. The horniness goes awry in the back-to-back "Spread" and "Where Are My Panties", and I did not care much for the falsetto-sung "She's Alive" about single motherhood. I didn't feel Norah Jones was much of a presence on the short acoustic tune "Take Off Your Cool". Finally, while it was neat hearing a drum-and-bass rendition of "My Favorite Things" from The Sound of Music, it didn't need to go on for five minutes. At the end of the day, both Speakerboxxx and The Love Below are solid albums that would have done fine on their own, though I'll admit I preferred the consistent quality of the former. The problem is that their label forced the two to come together as a double album, and the experience as a whole ends up bloated. Go through each record separately and make what you will, but the industry machinations behind the scenes cannot be ignored here.

One Nation Under A Groove

Funkadelic

4/5

First and foremost, kudos to George Clinton himself for making this album available on his YouTube channel. Very cool move. I've heard a couple of Funkadelic songs in passing, including the title track for this album. One Nation Under a Groove flexes itself well, as George Clinton and his funk collective constructed some nasty danceable riffs and beats to illicit such blissful vibes. They even took note from the progressive rock movement in going for longer songs with multiple structures and a more aggressive edge, such as on "Groovallegiance" and "Who Says a Funk Band Can't Play Rock?!" Be forewarned that this album gets lyrically weird in places. I was listening to "Promentalshitbackwashpsychosis Enema Squad (The Doo Doo Chasers)" where they sung about finding unity and taking collective action through metaphors related to eating lunch and going to the bathroom. I'm not sure what substances Clinton and company were on at the time of writing, but it does stand out. Also, I can't help but feel like giving the slight edge to Clinton's other P-funk group Parliament, as I remember enjoying Mothership Connection earlier on my journey with the more consistent space-age-themed songwriting. Still, One Nation Under a Groove was a great time and worth seeking out.

The Number Of The Beast

Iron Maiden

5/5

Let's get a few personal nitpicks I have out of the way. Could this album have been sequenced a bit better? My answer is yes. I can imagine the album would have improved if they had included "Total Eclipse" instead of "Gangland" and had the title track open the album instead of "Invaders". That doesn't change how much I thoroughly enjoy these tracks, but yes, the album order would have better reflected what the band was going for. Would it have been preferred if they had chosen a later Iron Maiden album for inclusion on this list? I would also say yes. I consider Nicko McBrain's role as drummer on Piece of Mind onwards as the final key in unlocking the band's full potential. That said, Clive Burr was no slouch behind the kit, as his drumwork on this album is still top notch. Plus, I can recognize that The Number of the Beast was the album that broke Iron Maiden into a more global phenomenon, and thus, its inclusion in this list is warranted. With those nitpicks out of the way, The Number of the Beast still holds up remarkably well today. All the other trademarks of Iron Maiden are present on this release - Steve Harris’s galloping bass, the dual melodic guitar work of Dave Murray and Adrian Smith, and Bruce Dickinson’s operatic vocals. The songs they wrote and composed with all these elements in play sounded grandiose and epic. Whether it's the encounter with the devil in one's nightmares on the title track, the genocide of active Americans by the hand of European settlers on "Run to the Hills", the plight of the "The Prisoner" in an adaptation of the British TV show of the same name, the slow-burn ballad "Children of the Damned" that crescendoes as the telepathic children are killed, or the gloom final hours until one's execution captured on the closing "Hallowed Be Thy Name", there's a rich dramatization that purveys throughout this album with the stories told. I love The Number of the Beast as an Iron Maiden fan, and it was such a joy to hear it again on this journey. Up the irons!

Off The Wall

Michael Jackson

5/5

This will have been my second Michael Jackson album on my journey, after getting Bad as album #78. I remember Bad being a solid, if not perfect, album following Thriller, and now I get the precursor to Thriller. I'll admit, I initially went into Off the Wall thinking it was going to peak early with the first two tracks "Don't Stop 'Til You Get Enough" and "Rock With You" since they're the only two I heard people play from this, and perhaps the rest of the album didn't hold the same quality. Boy, was I wrong! Off the Wall managed to be banger after banger for me, and the credit is due to Michael's desire to reach more creative heights outside of his time with the other Jacksons and his then-recent partnership with producer Quincy Jones. He knew how to make a classy, soulful-sounding record for Michael to flex his pipes in and bring well-respected songwriters into the foray. That's not to say Michael couldn't do well on his own writing with "Don't Stop 'Til You Get Enough" and "Workin' Day and Night", but it helps to have the likes of Rod Temperton of the Heatwaves, Louis Johnson of the Brothers Johnson, Stevie Wonder and Sir Paul McCartney behind the pen as well. This album feels like a huge collaborative effort that was taken to craft an eclectic disco record that holds up all these years later. There's not much else to say about Off the Wall; it's well-produced, well-executed, and simply an excellent showcase of what Michael Jackson could do with the right team.

Wild Wood

Paul Weller

5/5

For this review, I will not include the bonus tracks and demo tapes from the deluxe edition box set. The last time I heard Paul Weller on this journey was when he was with Mick Talbot in The Style Council for an album that was solid if dated. When the record company refused to release the group's fifth studio album, citing declining popularity, Paul dissolved The Style Council and pursued a solo career. After a modestly successful solo debut, Paul recorded Wild Wood, and what a marked improvement it was. Unburdened by dated style and production choices, Paul delivered a very soulful rock album that wore its influences on its sleeves. His vocal range, from whispers to powerful belts, as he strummed on his guitar alongside his backing band owed to the Motown legends alongside the likes of Nick Drake and Neil Young. Pair that with the vivid imagery in the lyrics, and the result is an immaculate record to let wash over. If I had to nitpick, while the short instrumentals Paul wrote with Brendan Lynch and Steve White were pleasant, they could have been combined into one longer and more meaningful track. Though if that's all I had to complain about, then I can comfortably say this was a truly enjoyable experience beginning to end. Well played, Paul.

Grace

Jeff Buckley

5/5

For this review, I will not include the bonus track "Forget Her" added to later re-releases. It's been a long time since I got Tim Buckley on my album journey, with Happy Sad as album #35. Now I have the lone album from his son. While Jeff only met his father once, it is rather interesting for him to continue being surrounded by music from his living family and carve his own musical career. Unfortunately, we only got one album from Jeff before he tragically passed away, which is a shame because this was a groundbreaking debut that showed so much potential. Jeff Buckley's breathtaking delivery, paired with his poetic songwriting, made for an otherworldly experience that had to be heard to be believed. It's apparent in the lyrics the demons he was struggling with, across entangled relationships and addictions. The tone of Grace ebbs and flows from soft yet agitated ballads into raucous crescendoing rockers that command attention. It all comes to a boiling point on "Eternal Life," where Jeff lets out all his frustrations towards mankind. A truly visceral delivery all the way through, even for the few covers like the hymn "Corpus Christi Carol" and especially his rendition of Leonard Cohen's "Hallelujah" that remains unaged. I can understand there are people out there who wonder what could have come afterward if Jeff hadn't drowned. I can at least accept that what we got was simply astounding.

São Paulo Confessions

Suba

5/5

Mitar Subotić, better known under the name Suba, was a Serbian-born musician and producer who pioneered electronic music in Yugoslavia before he emigrated to Brazil, as he fell in love with the country and its musical landscape. In what was a short-lived prolific time for him, he produced this album, a single album with fellow Serbian musician Milan Mladenović under the name Angel's Breath, and Brazilian singer Bebel Gilberto's acclaimed third album Tanto Tempo. During the post-production of that last mentioned album, Suba's studio caught on fire, and out of desperation, he risked his life to save the recordings. Suba would pass away a few days later, at the young age of 38. I bring all this up to say it sucks for an artist to die tragically at such a young age just as they were starting to realize their potential. I say this because São Paulo Confessions showcased his unique production style effectively. It's an eclectic mix of downtempo, bossa nova, and acid jazz, where the vibes were immaculate. This album offered a fresh electronic spin on Brazilian music that puts me in a trance, where the organic instrumentation and loops are blended into such rich, evocative soundscapes. Pair that with the few singers like Cibelle expressing their desires for freedom and happiness in the spare yet expressive Portuguese lyrics, and the experience is elevated. São Paulo Confessions is an eye-opening record from a man who was just hitting their stride. Descanse em paz.

Talking Heads 77

Talking Heads

5/5

Well, it's about time I got some Talking Heads after getting the My Life in the Bush of Ghosts collaboration frontman and songwriter David Byrne did with Brian Eno as album #40 on my journey. It's undoubtedly cool to start with their debut album, with hit single "Psycho Killer", which I remember fondly from playing Rock Band 2. Not only do I still enjoy that song to this day, but I realize that every song on their debut, Talking Heads 77, was a genuine bop. From the get-go with "Uh-Oh, Love Comes to Town", it's apparent that the band effectively incorporated funk and R&B in addition to punk and new wave into their sound. The result is a collection of songs with a very punchy rhythm section, jangly guitar hooks, and David Byrne's unorthodox voice that commands over a wide range. If anything, David comes off like an instrument, and he played himself well in the lyrical expression of his emotions and the perceived thoughts of others. From "New Feeling" to "Pulled Up", the grooves don't stop amidst the well-balanced production, and the vibes are pleasant in such an unorthodox manner. There's not much more I can say other than the Talking Heads put out a stellar debut album in all of its unique zaniness.

Heaven Or Las Vegas

Cocteau Twins

5/5

I started listening to Cocteau Twins this past year, including "Iceblink Luck" off this album. They were a Scottish group formed by guitarist Robin Guthrie and bassist Will Heggie. They started as gothic rock but developed their sound over time and became one of the purveyors of dream pop, a mix of alternative rock and neo-psychedelia that placed equal emphasis on atmosphere, sonic texture, and pop melody. This style was well-exemplified in their sixth album, Heaven or Las Vegas. This album felt like putting on a warm blanket, covered in the reverbed bass and drum machine, Robin's guitar hooks coated in ethereal effects, and Elizabeth Fraser's pillowy soprano vocals. The atmosphere never felt overwhelming; rather, there was a purpose to the swell. As for the lyrical content, while Elizabeth's words came off as more impenetrable, there is an emotional arc that she and the band went through. Towards the beginning, Elizabeth expressed her joy in giving birth and welcoming her first child Lucy Belle, particularly on "Pitch the Baby", and there is this celebration of life that is explored. That celebration starts to simmer as Elizabeth reflected on her tenuous relationship with Robin as her partner, particularly on a track like "I Wear Your Ring" where she is taking the role of mother for this child seriously and expected more involvement from him in childcare. The tone of the album grows darker from there, culminating in the closer "Frou-Frou Foxes in Midsummer Fires", where bassist Simon Reymonde contemplated his father's passing. The transition of themes from birth to death seemed straightforward and well-executed. Heaven or Las Vegas is an amazing offering that showcases the dreamy ambience that Cocteau Twins delivered.

Street Signs

Ozomatli

3/5

I can't say I've heard of Ozomatli before. They are a Latin American rock band that serves as a melting pot of various styles, such as salsa, jazz, funk, reggae, and hip hop, all while giving a voice to Latinx culture and workers' rights. It's certainly a noble cause that the group assumes, which had me optimistic going into their third album, Street Signs. So, how did their cause translate to a record? Well, I can't deny this album sounds dated to the early 2000s with the turntable record-scratching from Rene "DJ Spinobi" Dominguez, alongside the generalized rap-rock fusion vibe in the presentation. For sure, the group tries to exhume fun in their sound, and there are some technically impressive elements. In particular, I want to highlight the rapping cadence of Justin "El Niño" Porée on songs like "Believe" the title track, as well as Jabulani "Jabu" Smith-Freeman on "Who's to Blame", and their traded bars on "Saturday Night" where both their flows are well-constructed amidst the phat beats, funk guitars and occasional Middle Eastern tablas. There's a good time to be had when they're on the mic. But also sharing the mic are singers Asdru Sierra and Raúl Pacheco, and it's the songs where they lead that break the momentum of this record. Their singing is passable but nothing extraordinary as the songs they sing over range from middling salsa in their native tongue such as on "Te Estoy Buscando", "Dejame en Paz" and "Cuando Canto", to at worst the lyrical clunkiness of "(Who Discovered) America?" as the comparison of the discovery of America to pursuing a beautiful woman is rather on-the-nose. Also, I can't help but realize that, for how much the group sing and rap about sparking a revolution, nothing profound was said on this album. They go for populism in their calls to strengthen global unity, but there's not much further said than that. I was looking for them to be more precise and consistently powerful in their messaging. At the end of the day, I was left wanting more out of Ozomatli. I get their appeal as they have their hearts in the right place. But if we're talking about the revolution starting on Saturday night, there better be more firepower than this.

Goo

Sonic Youth

4/5

After getting Sonic Youth's transitional Sister months ago on my journey, I got Goo as my next record from them, which might be more up my alley. I remember playing "Kool Thing" on Guitar Hero III: Legends of Rock and getting the companion soundtrack to that video game with the track on it. I've grown to enjoy it over time, and along the way, I heard the opening single, "Dirty Boots", on the radio and liked that song as well. As for the rest of the album, Goo was pretty good. While the band continued experimenting with their noise rock and the layered production style from Daydream Nation, they embraced more catchy songwriting. I've already mentioned the above singles, but alongside them, songs like "Disappearer", "My Friend Goo", and "Titanium Exposé" had these atonal guitar hooks paired with the tight rhythm section that I dug. Thurston Moore and Kim Gordon continue to share their vocal dynamics and irony-drenched lyricism in this eminating coolness, especially from Kim as she chose to be more challenging on the perception of women's role in American society. Between the exploration of Karen Carpenter's struggles with anorexia nervosa on "Tunic (Song for Karen)" and the iconography of the scene girl in "My Friend Goo", there's a genuine feminine angst permeating this album. Hell, I got a kick out of the full-blown visceral roar of "Mildred Pierce" at the end of its short three-chord passage. That said, there are some quirky moments on the record. There was a missed opportunity to continue playing into the guitar riff of "Kool Thing" at the end of "Mary-Christ" instead of prematurely fading out. The ending drone of "Mote" went on longer than needed. Also, they tried capturing lightning in a bottle twice on this record by sandwiching "Cinderella's Big Score" between "Mildred Pierce" and yet another drone with "Scooter and Jinx". It's hard to tell how many of these issues were from the band's continued experimentation or frustrations during recording sessions and label expectations. More often than not, Sonic Youth hit their stride on Goo, embracing catchier songcraft in tandem with their noisy experimentation.

Teenager Of The Year

Frank Black

3/5

I was surprised to see a solo album from Black Francis under his alias, Frank Black, alongside the early Pixies records on this list. People must have been hungry for more of his work after the Pixies' initial breakup. I've certainly come to enjoy Francis's nonsensical songwriting, and I remember enjoying "Calistan" two months ago when it came up on my Spotify Discover Weekly playlist. With that all in mind, how did Teenager of the Year stack up? I'd say it's a good record, but it's not quite a great one. Francis continued his venture into the surf-rock-adjacent songwriting and construction, where at times, tracks like "Speedy Marie" and single "Headache" fit a more laid-back on the beach vibe. That's not to say there aren't bursts of chaotic energy like with the old Pixies sound; the opening onslaught of tracks from "Whatever Happened to Pong?" to "Calistan", and occasional tracks in the middle such as "Two Reelers", "Bad, Wicked World" and closer "Pie in the Sky" capture some of that wild spark Francis had been known for, the backing band was able to match his style decently and it's produced well. That said, we have reached the point where I have to draw attention to my two hangups with this album - it is longer and less energetic than those earlier Pixies records. Clocking in at over an hour, there is a sense purveying this record that Francis wanted to put as many songs together to distinguish himself from his earlier work. The problem is that with such a long runtime and some songs starting to run together in sound and style, there's only so much that could be reasonably accomplished without the album feeling bloated. I was starting to feel fatigued at the piano-driven reggae track "Fiddle Riddle", which at that point would have been the length of a Pixies record. Needless to say, some tracks should have been cut. I still enjoyed Teenager of the Year and continue to appreciate Francis as a songwriter. There are some good tracks in between the filler here. Cherry-pick your favorites and go from there.

KIWANUKA

Michael Kiwanuka

4/5

I've heard one song from Michael Kiwanuka within the past year: "Floating Parade" from his most recent album, Small Changes. He is a British singer-songwriter influenced by old-school folk, psychedelic rock, and soul artists. He started as a session player until his breakthrough in 2012, and for the second time with this self-titled release, he chose to work with veteran producer Danger Mouse and fellow UK producer Inflo. With all the ingredients in place, how did KIWANUKA turn out? Well, this is certainly a classic-sounding record from the onset. Danger Mouse and Inflo took a lot of care in the production to make the album sound reflective of those soul artists of the past without going full-hog into the nostalgia worship. The fuzzed-out guitars, the eloquent strings, and the slight reverb touch on Michael's vocals; all these elements come together to make these songs pop. Also helping matters is the sound of Michael coming more into his comfort zone within this sound, at times delivering with a laid-back passion that would merit comparisons to Bill Withers. As a result, it's an overall enjoyable from the beginning with booty-shakers like "You Ain't the Problem" and "Rolling" to the warmly textured closing ballad "Light". That said, there is one glaring issue I have with KIWANUKA, and that is the interlude tracks. I counted four different interlude tracks on this album - two intro tracks for the singles "Hero" and "Piano Joint (This Kind of Love)", "Another Human Being", and "Interlude (Loving the People)". Aside from maybe the last of those, with the audio excerpt over the strings, low-end synths, and piano line, the interludes do not add much value to the album. They could have been cut, and there would have been nothing lost from the experience. Aside from the interludes, this was an excellent record. The combined effort of Michael Kiwanuka and the producers he worked with culminated in an effort that carved a new path for soul music in the modern age.

The Next Day

David Bowie

5/5

I have two albums left from David Bowie on my journey. Not only are they the last two albums he put out in his lifetime, but the one I got today is the second to last. Even if my album journey with him wasn't exactly in chronological order, this is going to be a fitting ending for my relation to him. In the time since the 1970s, Bowie's work took twists and turns that were daring for him but hard to encompass the legacy of the classic albums he already laid out. From the attempts at mainstream crossover in the 1980s, to the hard-rock side project Tin Machine, to the cannibalization of industrial and electronic music in the 1990s, Bowie went through "changes" in his sound to mixed results. Then, during the 2000s, Bowie reconnected with producer Tony Visconti, and the two worked together for the former to regain his creative form on Heathen and A New Reality. All was well until Bowie had to abruptly end his touring career after undergoing an angioplasty for a blocked heart artery. Afterwards, he largely withdrew from the public view, only making minor contributions in music and acting for others. People speculated that David Bowie was largely retired at this point, which would have been fine if he wanted to rest on his laurels. Then, this album dropped out of nowhere. His first album of material in a decade, Bowie worked on The Next Day with Visconti and other personnel in secret until the time was right to release. That in and of itself is a feat in a day and age when the rise of social media has made leaking more commonplace. It also helps that the album in question is amazing. Not only did The Next Day sound creatively revitalized, but it showcased Bowie reflecting on his legacy with enough self-awareness and maturity to make these songs feel fresh for a man in his 60s. After all, Bowie and Viconti took production cues from the Berlin trilogy and lyrical benchmarks from previous efforts to create a bouncy and experimental record that explored darker themes and conflicts. From the condemned man facing his punishment on the opening title track, to the aging celebrity looking to the next generation of performers on "The Stars (Are Out Tonight)", to the people lost as their lives move on in "Love is Lost" and "Where Are We Now?", to the inner monologue of the school shooter on "Valentine's Day", there's palpable rumination on death and decay as the two loom over. The first half of the album is some of the strongest and most consistent work Bowie had written up to this point in time. That's not to say I didn't enjoy the more varied experimentation in the second half. Unlike the aforementioned Berlin trilogy, the innovations made here come off as more curated and refined with age. The odd time signatures and pitch shifting on "If You Can See Me", the psychedelic haze over a militant drumbeat on "I'd Rather Be High", the glam rock strut with the horn accompaniment on "Boss of Me", the shuffle beat with the ethereal guitar hooks on "Dancing Out in Space", and even the stab at 80s arena rock on "(You Will) Set the World on Fire" were all played excellently. Then the album closes on two wonderfully resonant notes - the absolute callback to the Ziggy Stardust era on "You Feel So Lonely You Could Die" in the spare drum beat, guitar line, and vocal arrangement, and the simmering synthesizer of "Heat" as Bowie sang away in his lower register. What an eloquent way to close out an album. I do not mean lightly when I say The Next Day was the best record David Bowie made in decades. It's a shot of well-written, well-realized momentum that recaptured the ragged danger that ran through his best work. There's only one album left from him, and I cannot wait to get that.

Cheap Thrills

Big Brother & The Holding Company

4/5

I will not include the bonus tracks and live recordings from the 1999 re-release for this review. Let me first address my one gripe with this album—I do not like how this record was mixed. More often than not, the vocals are pushed back in favor of the grainy instruments, and that's before the crowd noises John Simon inserted to give it that "live album" feel. The sole exception to this production style is the one actual live recorded cover of Big Mama Thornton's "Ball and Chain" at the Fillmore. It was common practice back in the 1960s to edit the studio recordings to try and replicate the live experience, an element that would have been desired to pursue given Big Brother & the Holding Company's history; their breakthrough was a live performance at the Monterey Pop Festival after all. The problem with faking the live experience is that it leaves this sense of it feeling antiquated, locked to a production practice that has died out, and makes me wonder how much better it would have been if they stayed true to the nature of the studio and polished their sound. That said, this is still an amazing record, rooted in the psychedelic blues of the at-the-time purveying counterculture. I've already mentioned "Ball and Chain", but other tracks like "I Need a Man to Love" and the cover of Erma Franklin's "Piece of My Heart" were all well-executed by a young and hungry band that could swing for the fences. This was especially the case for their powerhouse vocalist Janis Joplin, who, needless to say, stole the "show" here with her belting voice that took command. Even if I don't like the mix of this record, Cheap Thrills was still a thrilling album, and as such, it belongs on this list.

Kenya

Machito

5/5

I can't say I've heard of Machito before. Born Frank Grillo, he was a Latin jazz musician who refined the Afro-Cuban jazz sound and helped pave the way for salsa. That much is evident on this album he composed with several percussionists and guest musicians. Throughout Kenya, the driving force of these tunes is the syncopated rhythms from the bongos, timbales, and congas that make them pop and danceable. The fiery intensity that can ebb and flow throughout this album, paired with the horns playing such eccentric lines, makes for such an engaging listen. Machito knew how to get the audience to run through different emotions with his compositions, whether it's the laid-back vibe of "Holiday" or the frenetic busy-work of "Frenzy". Not to mention how well-produced this was for 1957, with the brass and percussion mixed such that neither felt overpowering. Honestly, I couldn't find much to complain about this album. If such a jazz album can maintain my enjoyment throughout the runtime while retaining its Afro-Cuban identity, then that is a memorable and worthwhile listen. Much respect to the legend that is Machito.

Moon Safari

Air

4/5

This will have been my first time listening to Air, the French electronic duo of Nicolas Godin and Jean-Benoît Dunckel. The two originally studied architecture and mathematics before starting to play music and forming a group together. They got their foot in the door by making remixes for other acts before dropping their first EP, then a few years later, this debut album. My first observation with Moon Safari was how readily apparent their influences were in Kraftwerk and Serge Gainsbourg. The chilled-out electronic compositions with the supple bass, piano accompaniment, and light synthesizer flourishes take on this ethereal, almost mystique feel. For a few tracks like the talk box on "Sexy Boy" and "Kelly Watch the Stars", as well as the contributions of Beth Hirsch on "All I Need" and "You Make It Easy", female vocals are used to add a level of intimacy with the simplified lyricism that invokes this sense of longing for that romantic connection. My favorite moments on this album were probably the pulsating groove of the Moog on "Kelly Watch the Stars" paired with the theremin motif, followed by the crescendo from the spaced-out piano line and low-end bass into the string-accompanied soul groove on "Talisman". I'll admit there is this nagging sense in me that this album peaked in the first half. That's not to say the second half is bad. Rather, it sounded like the best and most realized compositions happened to be placed near the front, leaving the back for more atmospheric pieces that continue the vibe, albeit to a slightly lesser degree. Still, I was genuinely impressed with my excursion on this Moon Safari. Air put out a strong debut that helped pave the way for the downtempo genre. It's worth checking out.

A Hard Day's Night

Beatles

4/5

After getting Sgt. Pepper and Revolver, I got my first pre-experimental Beatles record on this album journey. A Hard Day's Night has historical significance as the first album in which all the songs were original compositions, written by John Lennon and Paul McCartney. That fact alone gives it some historical significance in placing it on this list. It also helps that this album is a good romp. This early on in their career, John and Paul incorporated some of their personalities into their penned songs, usually through their insecurities on "I Should Have Known Better" and "You Can't Do That" as well as their desire for a more realized relationship on "Can't Buy Me Love" and "I'm Happy Just to Dance With You". Pair those words with solid guitar hooks and a tight rhythm section, and you've got a formula that works. I will say there is a small drag in the second half of the record between "I'll Cry Instead" and "When I Get Home" before the cowbell kicks in on "You Can't Do That". Not all of the songs could be bangers at this point. Also, it’s admittedly hard to judge this album compared to what comes later. As it stands, A Hard Day's Night is still a commendable effort and worthy of this list.

Led Zeppelin IV

Led Zeppelin

5/5

After getting Led Zeppelin's debut as album #28 on my journey, I got to skip to their fourth album today. This is a real treat because I consider IV the peak of their blues-influenced hard rock songcraft. Every song on this album is as enjoyable as when I first heard them. From the opening bouncing riffs and Robert Plant's wails on "Black Dog", to the updated blues standard of "Rock and Roll", to the fantasy narrative duet between Plant and Sandy Denny on "The Battle of Evermore", to the eight-minute epic that is "Stairway to Heaven", to the electric piano riff of "Misty Mountain Hop", to John Bonham's complex drumming pattern on "Four Sticks", to the serene acoustic ballad "Going to California" as a neat tribute to Joni Mitchell, culminating in the otherworldly stomp that is their cover of Memphis Minnie and Kansas Joe McCoy's "When the Levee Breaks". Not a single moment felt wasted here, as everyone in the group gave an outstanding performance, elevated by top-notch production from Jimmy Page. There's not much else I need to say here. Led Zeppelin IV set a high standard for later hard rock acts to follow.

Crossing the Red Sea With the Adverts

The Adverts

4/5

I will not include "Gary Gilmore's Eyes" and "New Day Dawns" in this review, as they were bonus tracks added in subsequent reissues of this album. I'm also not including the live tracks and radio edits tacked on at the end. I listened to The Adverts from their single "Gary Gilmore's Eyes" earlier this year. They were a short-lived UK punk group founded by frontman T.V. Smith and bassist Gaye Advert. They were one of the first to achieve mainstream success, and Gaye was one of the first female punk stars. I'd say on the historical significance, they're worth a mention on this list. As for their debut album itself, Crossing the Red Sea is an enjoyable, frenetic affair where the whole band played with tenacity for these youthful rebellion anthems. From tackling blind faith on "New Faith" to staying defiant with certainty on "Bombsite Boy" and control of thought on "Great British Mistake", T.V. Smith snarled with such conviction as Howard Pickup laid down fast guitar hooks and Gaye and Laurie Driver matched with their tight rhythm section. Probably my favorite song was "No Time to Be 21" with the most prominent guitar lines, as the lyrics embodied pure defiance of societal norms. I know there are plenty of UK punk acts that this list pulls from, so it may be hard to justify another one of them for inclusion. Also, I probably would have appreciated more visceral detail and varied subject matter, as most of this album can be boiled down to general angst against perceived authoritative figures. But as one of the first genuine punk albums from the country that broke out in a short time with an album this good, I'd say they're worth digging up.

Ananda Shankar

4/5

For those who don't know, Ananda Shankar was an Indian sitar player and the nephew of classical musician Ravi Shankar. If that name sounds familiar, it's because his uncle introduced George Harrison, and by extension the larger Western world, to Indian instruments for use in popular music. As a result, bands like the Beatles, the Rolling Stones, and the Yardbirds all combined elements of raga into their rock music throughout the 1960s. Unfortunately, it got to a point where the market became saturated with more formulaic stabs at this combination, and thus interest declined in the raga rock phenomenon. That's where Ananda comes into the picture. After playing with contemporary musicians like Jimi Hendrix in Los Angeles, he traveled back to India to bring Western rock music back to his country for a change. Using sitar, Moog synthesizer, and more standard rock percussion, Ananda created a sound indebted to his country's musical roots while paving his path forward. There are some truly transcendental pieces to be found on his self-titled debut. From the gentle descent of "Snow Flower", the bossa-nova sway of "Mamata (Affection)", the crescendoing progressive rocker "Metamorphosis" that ramped up tempo throughout the track, the 13-minute serenity with the wind blowing in the background of "Sagar (The Ocean)", and the tabla-driven mystique of "Dance Indra", there was excellent sitar and synth play in these compositions. The album ends on a pleasant call-and-response in "Raguhupati", praising a higher deity regardless of the name we use to identify. There is an issue I have with this album, and you might have noticed it towards the beginning. There are two sitar-driven covers of popular rock songs, in this case the Rolling Stones' "Jumpin' Jack Flash" and the Doors' "Light My Fire". These covers were done as a compromise, to ensure that this album could still be marketed to a Western audience with songs loaded in the front that they were already familiar with. Even if it sounded like they tried for more bombast with "Jumpin' Jack Flash", these covers cheapen the overall product. There was an opportunity to push the existing style on this record into more innovative territory. As it stands, though, Ananda Shankar's debut is still a promising album that opened up doors for more world music fusion. Other acts will follow and combine other countries' musical elements into their own, which I'm sure is a fitting legacy for Ananda to have.

Closer

Joy Division

4/5

Given I got New Order early on in my journey, it was a matter of time before I got the band they were before, Joy Division. Sadly, though, the first of their two albums I got is a rather difficult album to discuss. Closer is the last album from Joy Division, released two months after frontman Ian Curtis took his own life at the way-too-young age of 23. That fact alone looms over this album, from the artwork taken from a photograph of a family tomb, to Ian's lyrics that thematically draw from experiences of isolation, loss, anxiety, dread for what may come, and confrontation with one's religious viewpoints. It's well-apparent that Ian was disturbed at this point, probably due to several factors in his life, such as his epilepsy, the dissolution of his marriage after being caught in an affair, and overall deteriorating health. That he could still pull off a commanding baritone narration throughout these tracks amidst the chaos he went through is remarkable. I don't want to imply Closer is a terrible album; far from it. Between Ian's delivery, Peter Hook's supple basslines, Bernard Sumner's spacious guitar hooks, Stephen Morris's punching drums, and the well-reverbed production, these songs bounce in their melancholic state. Even in some of their stranger experiments, such as the screeching guitars over tribal drums on opener "Atrocity Exhibition" or the atmospheric crawl of "The Eternal", this album can be sonically gorgeous. It's just hard not to feel consumed by how bleak this album can get at times. I will say that Closer is a worthy inclusion on this list, alongside Joy Division's first album, which I will eventually get. I'd recommend going into this album not already depressed, because this album will not make your mood any brighter.

This Is Fats Domino

Fats Domino

4/5

I'll admit, this album took me a bit to find. I had to check YouTube, and I also had to steer clear of the similarly named album This is Fats, which has a completely different track listing. With that out of the way, Fats Domino is someone I heard of before from one of his first hits, "Ain't That a Shame". While Fats considered himself an R&B musician, his contributions helped shape rock and roll music such that even Elvis Presley and the Beatles were influenced by him. As for his third album, This is Fats Domino! is a solid collection of old-school tunes carried by Fats' belting delivery and excellent piano playing. The rhythm section swung and swayed as needed, and the saxophone players added an extra layer of pizzazz. From the opening ballad rendition of Sammy Kaye's "Blueberry Hill" to the high-energy closer "Trust in Me" and hits like "Blue Monday" and "Poor, Poor Me", Fats and Dave Bartholomew wrote and compiled a good, jaunty variety of songs. Sure, this album may not be super exciting in the modern age with its simplistic song structures. But it made for an entertaining listen all the way through, and I'd say that's commendable for the legend that was Fats Domino.

In Utero

Nirvana

5/5

I’m surprised it only took me a little over twenty albums to get the next Nirvana album. But here we are. In my review of Nevermind, I mentioned I didn't have much to add to the larger conversation around that album. After all, it is the one that broke the band into the mainstream, popularizing grunge and alternative rock music. The attention the band got was overwhelming, to the point of irking Kurt Cobain as he was thrust onto a high pedestal. Thus, for their next album, the band opted for a more visceral sound and songwriting approach to lash out and find catharsis in the discomfort. It's why Steve Albini was brought on for the production, to allow the noise to come out raw and unpolished. The door is kicked down with the abrasive guitar lines, punching rhythm section, and Kurt's strained vocals on "Serve the Servants", and this attitude pervades through the rest of In Utero. They hadn't stopped incorporating strong guitar hooks, such as on "Heart Shaped Box" and "Radio Friendly Unit Shifter". They also didn't stop taking risks that paid off on this record. From Dave Grohl writing the guitar line for "Scentless Apprentice", to the use of a cello from session musician Kera Schaley on "Dumb" and "All Apologies", to the quiet-loud-quiet progression that builds to out-right screaming on "Rape Me", to the sliding guitar lines over the reverbed kick drums on "Very Ape", there's a fair amount of experimentation throughout the runtime that made these songs stand out well. Given there was no desire to surpass what they did on Nevermind, Nirvana opted for the road untraveled. As such, In Utero is a different-sounding album that I enjoy just as much. While we would never hear what their next sound could have been after Kurt took his life, it is remarkable what we got.

Back In Black

AC/DC

5/5

Literally, within the week before I see AC/DC perform live for the third time in my life, I get one of their landmark albums. That statement alone gives away my bias towards this band. My Dad raised my brother and me on listening to them as one of the first rock groups we were exposed to. As such, there's a communal bond shared in listening to and enjoying AC/DC, even going as far as learning to play their songs on drums and guitar. Naturally, it was a treat coming back to Back in Black, which itself is a triumph for the band. This was their second chance at their career after their original frontman, Bon Scott, died by misadventure. It's a daunting task for any band to replace their original singer, as they're the first person people usually identify with the band. Thankfully, AC/DC found a suitable replacement in Brian Johnson, who brought his belting pipes and charisma to their hard rock formula. Sure, Brian doesn't have the same wild tenacity as Bon Scott, but he was never meant to be an exact replacement. Rather, his unique performing style suited the band's music well. That takes us to the actual music, which thankfully worked out with Brian and the Young brothers penning out the kind of energetic, hard-hitting riffs, lyrics, and solos expected from this group. The fact that I can't help but sing along to every song on this album, including deep cuts like "Shake a Leg" and "Have a Drink on Me", is a testament to their sonic magic. With every band member playing excellently in their respective role, paired with Mutt Lange's powerhouse production, they fired on all cylinders and delivered an amazing collection of bangers. Not much else needs to be said here. Not only was Back in Black a fitting tribute to their fallen brother, but it was a glorious rebirth of AC/DC as the hard rock veterans they are. While there have been diminishing returns for their output as the years went by, this album continues to maintain its relevancy, and that satisfies the fan in me.

Smile

Brian Wilson

3/5

I know I only got into the Beach Boys last year in tandem with getting Surf's Up and Pet Sounds in my album journey thus far. Of the members in that group, I have praised Brian Wilson for taking on the bulk of the songwriting, encouraging his bandmates to tackle more ambitious, progressive songs than the standard surf rock affair they were known for. So naturally, the pressure was placed squarely on Brian for the follow-up to Pet Sounds. Brian worked closely with session musician Van Dyke Parks for what would have been the Beach Boys' twelfth studio album Smile, aiming for a more ambitious album that would have further rebuked against contemporary rock bands and the then-rampant British Invasion. Unfortunately, due to a combination of legal entanglements with their label Capitol Records, Parks' withdrawal from the project, and more importantly, Brian's deteriorating mental health, Smile was scrapped. It was just too much for him to handle, spurred on by all the drug use, personal drive for perfection, and the perceived competition he had with the Beatles, who were working on Sgt. Pepper during this time. Songs written and recorded during the Smile sessions were repurposed for the Beach Boys' next album, Smiley Smile, and subsequent releases through the 1970s. Recordings from those sessions were bootlegged and shared around fans as they tried to piece together what the original Smile album would have been like. Brian himself would be haunted for decades by the abject failure of the unfinished album, reclusing himself from his bandmates and turning to drugs and alcohol on multiple occasions through the years. After a second intervention, Brian bounced back and pursued a successful solo career. Then, in 1995, Brian reunited with Parks for a collaborative album, and afterward was invited to a concert performed by the Wondermints, a group led by keyboardist Darian Sahanaja who were fans of Brian Wilson's work with the Beach Boys. After impressing Brian, the Wondermints accepted an offer to join his live band, and they collectively enjoyed a few successful tours. After warming up to the idea, Brian and his new backing band performed a live set of the Smile album. Through working with Parks and Darian, Brian wrote, recorded, and completed a new album under the name Brian Wilson Presents Smile, a collection of the tracks from those original sessions reworked and organized into three separate movements. That was a lot of exposition before even talking about the album. Getting Smile done in some fashion had to have been cathartic for Brian after it hung over his head for all those years. In a sense, I'm glad this album exists to free a man from the mental shackles he carried all that time. I just wish the album itself clicked more for me. Don't get me wrong; this album is good. A lot of care was taken during the recording process to make these albums sound like they would have in the 1960s, as Brian, his backing band, and the accompanying strings and horns section played effortlessly through this curated work. Some excellent songs got translated well here, including "Heroes and Villains", "Cabin Essence", "Surf's Up", "In Blue Hawaii", and of course "Good Vibrations". My frustrations stem from how this album comes across as a hodgepodge of good ideas stitched together under the loose concept of American history and iconography without a cohesive narrative. From the recolonization of America on "Roll Plymouth Rock" into the animal noises that accompany "Barnyard" and the short medley of "Old Master Painter" and "You Are My Sunshine" in movement one, the medley of "I'm in Great Shape/I Wanna Be Around/Workshop" that leads to the tongue-in-cheek "Vega-Tables" to start movement three, and the complete insanity that is "Mrs. O'Leary's Cow", there are so many ideas that tonally clash at each other even as Brian and Darian tried sequencing each track into the next. The closest semblance of a thematic tie is movement two, where the sequence from "Wonderful" to "Child Is the Father of Man" works in the shared contemplations of spirituality and childhood, followed by the still-excellent "Surf's Up" about one's spiritual awakening. At the end of the day, I'm glad that Smile is out there in some form as the much-overdue unburdening Brian needed. It is important that the artist themselves enjoy the art they put out in the world. If Brian himself enjoys it, then I respect that, even if I don't fully connect with it.

At Budokan

Cheap Trick

4/5

Let's get my one criticism with this album out of the way - the sequencing of these tracks feels deceptive. Of the 19 tracks that Cheap Trick played at each of their Budokan arena shows in 1978, only ten made it onto this release. It could be argued that these ten were chosen as the best tracks representative of those performances, and I'm not against such an argument. But then, they changed the track order around from what actually happened. The new song "Lookout" was placed before "Big Eyes" when it was the other way around. A similar case with placing "I Want You to Want Me" before "Surrender". The most egregious example of this trend was after playing the second iteration of "Hello There" known as "Goodnight" to close out the main set, frontman Robin Zander comes back out for the anticipated encore, saying, "This one, I'm sure you all know..." In the actual set, the band went into their cover of Fats Domino's "Ain't That a Shame", which made sense because that's a big song from a more well-known artist people would be familiar with. On the album, this went into "Clock Strikes Ten", as "Ain't That a Shame" got placed before "I Want You to Want Me". "Clock Strikes Ten" was their second encore song and the final song of the night, which is fine. But making Robin sound as if this was the track people should know feels wrong. The band would later provide the full unaltered performance of their Budokan shows for the 30th anniversary version of this album, but that's not the version that made the books. Which is a shame, because this is still a fun romp. Everyone in the group gave their all in a high-octane performance that got the crowd screaming, especially the well-timed chanting in the second chorus of "I Want You to Want Me" before launching into Rick Nielsen's jaunty guitar soloing. Not a dull moment could be found on Cheap Trick's At Budokan record, and its legacy as a live album that revitalized a band's career cannot be ignored. I may wish the people who arranged this album had stayed more true to the performance itself, but I can't deny I had a fun time with it.

Illinois

Sufjan Stevens

5/5

I've heard of Sufjan Stevens, but I haven't heard his music until now. He's a singer-songwriter and multi-instrumentalist who has worked in various genres, including electronica, indie-folk, and baroque pop. He's released multiple albums since his last semester at college, including starting the rather ambitious notion of writing an album for each of the fifty U.S. states. Though thus far, he's only made an album each for two states - Michigan and, in the case here, Illinois. Lyrically, Illinoise draws from the imagery and iconography surrounding the state. From the UFO sighting in the town of Highland on the opening track, to the World's Fair expedition in "Come on! Feel the Illinoise!", to the state holiday of Casimir Pulaski Day in recognition of the Revolutionary War cavalry officer, to even Superman as the fictional town of Metropolis is based on Chicago. Even if I haven't been to Illinois yet, Sufjan gives a well-detailed look into the landscape and historical moments that resonated with him about the state, while also interweaving personal stories into the narrative, such as a memory of summer camp on "The Predatory Wasp of Palisades is Out to Get Us!" and especially on "Chicago" drawing on his time spent in the capital. I also can't help but notice the Christian undertones on tracks like "Casimir Pulaski Day" and "The Seer's Tower" that gesture towards a higher deity without being entrenched in biblical references. In conjunction with the intricate detail of the lyrics, the instrumentation and backing choir add are well-ornamented without sounding overbearing for the listener. The horn pickup and chorus reprieve of "Chicago" to the sung-duet segueing into the choir with hand-claps on "Decatur, or, Round of Applause for your Stepmother!" to the juxtaposition of distorted and acoustic guitars with the choir and trumpet accompaniment on "The Man of Metropolis Steals Our Hearts". There are a great deal of refined and layered arrangements centered about Sufjan's banjo playing and soft crooning, in a manner that reminded me of Nick Drake without the backing band being as busy as it was on Bryter Later. If I had to nitpick, Illinoise is a rather long album, clocking in at 74 minutes with multiple less-than-a-minute interludes. Yet paradoxically, it also doesn't feel as long, as the variety of ideas and arrangements kept it engaging through the runtime, with new sonic details rewarded on subsequent listens. Not to mention, the interludes are meaningfully connected between pieces while having referential titles that further added to the iconography of the state. I was not expecting to be genuinely impressed with such an elongated album about a state I haven't visited yet, but Sufjan Stevens did just that with Illinoise. I know he stopped focusing on the 50-state albums project from the looks of it, but it did result in this wonderful experience.

Smash

The Offspring

4/5

If you were going to pick an album from The Offspring for this list, it would probably be this one. Smash is the album that broke the band into the mainstream, propelled by the success of its singles, and helped usher in a resurgence of punk rock music in the wake of grunge. If anything, Smash shares characteristics with Green Day's Dookie and Rancid's ...And Out Come the Wolves, which did well during this time. They're all enjoyable with guitar riffs aplenty, punching percussion, notable basslines, and the attitude and production that feels like opening a time capsule to what the skate culture was like in the mid-90s. Dexter Holland, Noodles, Greg. K and Ron Welty weren't looking to get that ambitious with this record, instead sticking to what they knew, as they weren't expecting the raging success they got. There are hints of a more melodic hardcore approach they might have taken, such as on "Genocide" and "It'll Be a Long Time", but overall, they stuck to their guns and made a fun record. Though I'll freely admit, I'm getting tired of hearing "Self Esteem". Don't get me wrong; the guitar and bass lines on this track are iconic. But Dexter's passive-aggressive lyrics about being stuck in an abusive relationship just feel diffuse to me, which may be the point of the song, but does not mean I enjoy it. I'll take "Come Out and Play" and "Gotta Get Away" any day of the week. What else can I say except Smash lived up to its title, which is again something not even the band expected. Props to them.

Chris

Christine and the Queens

4/5

For transparency, I only listened to disc one of this album, as disc two has the same tracklist as disc one, except sung entirely in French. Rahim Redcar, the artist formerly known as Christine and the Queens, is someone I started hearing singles from this past year. They're a French singer-songwriter who started out playing piano at the age of four before expanding into classical dance and modern jazz, then found their identity in queercoded experimental pop music influenced by the likes of Michael Jackson and Kate Bush. Make no mistake, this second album of theirs, Chris, is written with the intent of breaking gender norms and expanding one's understanding of sexuality. Whether it's the addressing of masculinity of "Girlfriend", calling out the domestic abusers on "The Walker", the one-sided nature that relationships can fall into on "Doesn't Matter", or the homage to the sex worker on "5 dollars", there's a fair amount of reflection on past trauma as Rahim searches for what truly pleases them in this life without prejudice. Rahim passionately delivers these lyrics in their breathy lower register, blending French and English. This was done over the liquid production they achieved with co-producer Cole M.G.N., with the supple bass, light keyboard motifs, and drum machine that feel 80s-inspired in the arrangement. I mentioned Michael Jackson earlier as an influence, and it is apparent that Bad and Dangerous are close sonic comparisons. There are a few deviations, such as the spacious "What's-her-face" with the subtle pedal steel in the background, but for the most part, this album is locked into a certain throwback style. It's certainly a good fit for them, yet I can't help but feel there was a desire to take this to the next step, make the sound their own instead of staying indebted to the past. A song like "Feel so good" with the new jack swing rhythm and breaking glass sounding effect blares out what period its influence came from. I still enjoyed Chris, as it is a good throwback-sounding record from an artist continually exploring and bending gender and societal norms in their music.

Live Through This

Hole

5/5

Hole is one of those bands that I've enjoyed select songs in the past, including "Violet", "Miss World", and "She Walks On Me" off this album. I know they often get overshadowed by frontwoman Courtney Love being Kurt Cobain's widow and her antics outside the group. Still, despite the outer drama, they're an enjoyable band. Case in point, Live Through This is a damn fine record. This album oozes with attitude, from the punk rock guitar riffs, Patty Schemel's punching percussion, Kristen Pfaff's tight basslines, and Courtney Love's abrasive contralto voice. There's a sense of controlled chaos throughout the record, with the structured melodies that make these songs catchy. They do spend a few tracks balancing out the ferocity with more acoustic-driven ballads such as "Asking for It" and "Doll Parts", but even those moments come off as tense in the delivery. Part of that tension also stems from the lyrical content, which at this point, I have to address the rumor. Someone on the r/1001AlbumsGenerator subreddit mentioned a rumor that Kurt Cobain ghostwrote most of this album. Here's the problem - I don't hear it, and this is me coming off of recently re-listening to Nevermind and In Utero for this album journey. From my perspective, Kurt wrote from a more diffuse and observational standpoint, aware of the situation they're in with the desire to escape amidst feelings of paranoia and anxiety. Courtney is more confrontational in her situations, addressing them head-on with vigor. From questioning herself in her newfound relationship with Kurt on "Doll Parts", to confronting past lover Billy Corgan on "Violet", to the media frenzy that swelled around her on "Miss World", to the birth and subsequent custody battle over her daughter on "Plump", to people who try and imitate her on "She Walks On Me", to the whole riot grrrl movement that she did not want to be associated with on "Rock Star". Courtney and lead guitarist Eric Erlandson penned the words on this album with pure volatility that cuts through like a knife. I don't have much else to say, when Live Through This is an excellent showcase of a band fighting through public perceptions to make a bold statement that wastes no time getting to the punch.

(Pronounced 'Leh-'Nérd 'Skin-'Nérd)

Lynyrd Skynyrd

5/5

Lynyrd Skynyrd is probably one of the first bands I was introduced to via Guitar Hero II, rocking out to a cover of "Free Bird" on a plastic guitar controller. It was a cool time as a young teen getting into rock music, and as such, there's a certain nostalgia with checking out the bands I was exposed to early on. With revisiting Lynyrd Skynyrd's debut in mind, does it still hold up all these years later? The answer to that question is a resounding yes. (Pronounced 'Lĕh-'nérd 'Skin-'nérd) represented the craftsmanship and standards the band held during their original run with vocalist and lyricist Ronnie Van Zant. His words delivered in that Southern drawl were observations from hard lessons learned in life. The relationship drama of "I Ain't the One" and "Gimme Three Steps", the perils of alcoholism on "Poison Whiskey", living in poverty while the American elite continue to profit on "Things Goin' On". These stories still feel resonant today in how they were told over the twin guitar riffing of Allen Collins and Gary Rossington, the tight rhythm section of Ed King and Bob Burns, and the complementing keyboard flair of Billy Powell. There are three songs in particular on this album that I want to highlight. Near the beginning is the seven-minute ballad "Tuesday's Gone", using the allegory of riding off a train away from a former love to speak about the band's changed trajectory after signing to MCA Records, sold with eloquence as the orchestral strings kick in. Ending side one is "Simple Man", the centerpiece of the record, about a mother passing valuable wisdom to her child, inspired by the passing of Ronnie's grandmother. It's a simple three-chord progression song, but man, does the writing and slow-burn soloing not elevate it to great heights. Finally, as I've alluded to earlier, this album ends with "Free Bird", a nine-minute ode to the desire for freedom that comes in many forms, culminating in an extended jam session with the band where Gary and Allen trade solos and a sense of euphoria rushes over me each time. I know that Lynyrd Skynyrd tends to get a bad rap with the outside associations of this band to the Southern United States' misplaced affection for the long-dead confederacy and backwards-looking ideals, and the band's rebirth in the 90s with Ronnie's younger brother Johnny did nothing to ameliorate that. But the original Ronnie Van Zant run is timeless in its simple comfort, and their debut album exemplifies that best.

Whatever People Say I Am, That's What I'm Not

Arctic Monkeys

4/5

Arctic Monkeys is a group that I've listened to time and again. They're an English indie garage rock revival group that exploded onto the scene thanks in part to the proliferation of their work on the internet, only to mellow as the years went by into a sort of hodgepodge with psychedelic rock and lounge. It's weird how such a tonal shift happened. Thankfully, their debut Whatever People Say I Am, That's What I'm Not captures the band's early tenacity. The vibe I got from this album was meeting up with my mates at the downtown pub, heading in, and getting blasted in the ears by this hot new band playing their live set. I head near the stage to catch what they're playing, and am genuinely impressed by the degree to which these young lads utilized complex riffs and syncopated rhythms. There seemed to be a lot more beneath the surface as they rolled on with their frenetic dance jams with a few well-sequenced breaks in between, such as the slow-burn ballad "Riot Van" and the loud-quiet-loud structure of "Mardy Bum". As for frontman Alex Turner himself, he sang with a strong dialect about the nightlife. From taking in the scenery on opener "The View from the Afternoon", to envisioning the girl out of her mundane situation into the downtown on "I Bet You Look Good on the Dancefloor", to the nervousness in making a move on "Dancing Shoes", to the group of friends looking to have fun despite their current circumstances on "Riot Van", these general musings work in tandem with the garage rock production to illicit that vibe of the pub band taking their observations and putting them to song. Admittedly, the focus on spurring relationships gets a wee bit repetitive throughout the record, especially coming out of Alex's thick accent. Still, it generally works with the vibe and doesn't completely take me out of the performance. Overall, I'd say this was a solid debut for Arctic Monkeys, with a style and songwriting approach they refined for their next album, Favourite Worst Nightmare, before they shifted gears. It's certainly felt like a nice trip to the local dive.

The Slim Shady LP

Eminem

3/5

Well, it was only a matter of time before I got an album from Eminem on this journey. Given the Detroit rapper's continued presence within the culture, you'd figure at least an album or two of his would show up. We get to start with the album that broke Em into the mainstream, The Slim Shady LP. Slim Shady, Eminem's violent alter ego, originally made his debut on The Slim Shady EP, as a voice of anger and frustration for Em to vent through after the failure of his debut album Infinite. Unfortunately, the EP wasn't selling many units, and it certainly didn't stop Em from getting evicted from his home. The next best thing he could do was head out to Los Angeles and compete in the Rap Olympics, ending up in second place, and handing out his EP to the attending staff from Interscope Records. The EP was sent to CEO Jimmy Iovine and then shared with the founder of Aftermath Entertainment, the legendary rapper/producer Dr. Dre. Through Dre, Em got his second wind. This album is built upon the foundation of work by Em, Dre, Dre's frequent collaborator Mel-Man, and Em's previous producers, the Bass Brothers. As a result, these songs are bolstered by bass-heavy beats and well-done sampling akin to the West Coast hip hop and G-funk that Dre helped pioneer and Em felt influenced by. From "My Name Is" built off the sample of Labi Siffre's "I Got the...", to the drum-and-bass with prominent piano combination of "Guilty Conscience", to the haunting synth melodies that purvey in the background of "'97 Bonnie & Clyde" and "Rock Bottom", to the upbeat disco groove of "Cum On Everybody", to the guitarline and heavily distorted bass on "Bad Meets Evil", the soundscape of this record is vast but with this demented angle to match the persona of Slim. Granted, not every song I heard had the best backing track, such as the filtered scream sample throughout "Just Don't Give a Fuck" that became irritating, or the vocal filter placed around Em's vocals over the funk guitarline on the hook of "My Fault". But for the most part, these tracks have a solid base for Shady to come alive. At this point, we should get to the lyrical content. Like I mentioned earlier, Slim Shady was Em's violent alter ego, and through Em's still-developing but hungry lyrical flow and rhyming, Shady could go off with his cartoonishly violent stories. From his introduction on the track "My Name Is", to the angel and devil on the shoulder as played by Shady and Dre on "Guilty Conscience", to having his daughter help him throw mommy off the pier on "'97 Bonnie & Clyde", to the people that want to imitate him on "Role Model", to the perverse sex jam that opens with referencing Kurt Cobain's suicide on "Cum On Everybody", to the literal "Fuck the World" in a similar vein to 2Pac on "Just Don't Give a Fuck" and its sister track "Still Don't Give a Fuck", to the wild-west cold-blooded team-up with Royce Da 5'9" on "Bad Meets Evil", the venom which Shady spat through Em was palpable and had some good shock value for its time. There are even a few moments where, through Shady, Eminem shedded some light on his life problems, such as the school bully he faced on "Brain Damage" or the struggle to maintain a minimum-wage job on "Rock Bottom", and its those moments in nearly breaking character that stood out well in my view. That said, not every song has lyrically aged well. Besides the obvious references that have become dated, such as going onto Jerry Springer's show on "Role Model", there were some stories as told by Shady that I just did not find compelling to listen to. I wasn't invested in the accidental overdose of a girl on mushrooms on "My Fault", or the terrorizing of various women on "As the World Turns". The story of being a white trash drug dealer on "I'm Shady" seemed predictable by the time it came on, and the interpolation of Curtis Mayfield's "Pusherman" on the hook can be viewed as either kinda cool or cringe-inducing depending on perspective. Between these few half-baked songs and the multiple skits, the album becomes tedious in trying to maintain shock value for an hour. As such, I view The Slim Shady LP as more historically significant. This album brought one of the most prominent rappers to the limelight and helped influence a multitude of next-generation rappers. I know that Slim Shady has become a double-edged sword for Em, as the people kept clamoring for Shady while Em tried to kill him off more than once and try to move on. But at the end of the day, that dark side of humanity through Shady is an exploration that I found some enjoyment in.

In It For The Money

Supergrass

5/5

Supergrass is one of those groups that I only knew for one song, in this case, "Grace" off the Lego Rock Band soundtrack. Lead vocalist Gaz Coombes and drummer Danny Goffey started out in a band called the Jennifers until they befriended bassist Mick Quinn, changed their name to Theodore Supergrass, and then shortened the name to Supergrass. They signed to Parlophone, released their debut album, I Should Coco, and saw quite the boom amidst the Britpop craze. In It for the Money is the group's followup, and man I was genuinely impressed by this album. Right from the get-go with the organ swell into the guitar arpeggios and Gaz Coombes's voice all crescendoing into the rocking title track, there's a lost of bombast and intricate songwriting going on. I was engaged all the way through, as the group run the gambit from rauckus jams such as "Richard III", "Tonight" and "Sun Hits the Sky", to gorgeous acoustic ballads such as "Late in the Day" and "It's Not Me", to outright stompers such as "G-Song", "Going Out", "Cheapskate" and closer "Sometimes I Make You Sad". Never once did I feel that Gaz's high-pitched voice come off as nasally or unintelliglible. Never once did I not enjoy a sonic shift that the group went for in the sort of experimental rock that harkened back to the Beatles without being an overt callback. Never once did I feel that this band come off as pretentious or snide in their song construction and delivery. These lads had genuine talent and a sheer commitment to their craft, with plenty of hooks and riffs to blow the house down. I don't know what else to say here. I was floored by this album, as it made me realize Supergrass are an underrated group in the larger pantheon of Britpop.

Led Zeppelin II

Led Zeppelin

5/5

This will have been my third Led Zeppelin record on my journey after getting I and IV. While I will admit that IV had more dynamic scope in the songwriting and more refined production from Jimmy Page, that's not to say II isn't a banger record. From front to back, each of these songs that the band wrote and performed, both their original compositions and their interpolations of blues classics, is still enjoyable today. The opening riff of "Whole Lotta Love" gives way to Robert Plant's soaring vocals over an extended breakdown of overdubbed instruments. "What Is and Never Should Be" is an excellent quiet-loud-quiet composition with Plant's phased vocals. "The Lemon Song" is a creative spin on Howlin' Wolf's "Killing Floor" with sexually charged lyrics. "Thank You" boasts a wonderful atmospheric build with John Paul Jones's Hammond organ playing in the background. "Heartbreaker" into "Living Loving Maid (Just a Woman)" is the one-two punch rocker emblematic of the group this early in their career. "Ramble On" is a classic folk rock ode to Tolkien's Middle-Earth that feels inspiring for the next adventure. "Moby Dick" has the luxury of containing the awe-strucking extended drum solo from John Bonham. Finally, the band closes with a cover of Sonny Boy Williamson II's "Bring It On Home" that starts and ends laid-back and reserved like the original while going full-on frontal assault in the middle. There ain't much else to say when II is a straightforward blues rock rager that marked improvement from their debut months earlier.

Calenture

The Triffids

4/5

I will not include the bonus tracks or rehearsal demos of the 2007 reissue for this review. I can't say I've heard of The Triffids before. They were an Australian alternative rock band that blended elements of folk music, where they seemed to get lumped into the then-burgeoning post-punk craze of the 1980s. They eventually found success overseas in the UK with their album Born Sandy Devotional and secured a recording contract with Island Records for this album, Calenture. The recording sessions for Calenture sounded difficult. The band constantly traveled back and forth between the UK and Australia to work on it, and they went through multiple label-appointed producers before bringing back Gil Norton, who worked on Born Sandy Devotional along with earlier efforts from Echo & the Bunnymen. These constant changes for the band also tied into the songwriting, where frontman David McComb sought to capture feelings of isolation and distress akin to what sailors would experience overseas for long periods. The illusion of the loved one who's not there on "A Trick of the Light" and "Unmade Love", the burning down of a hometown on "Hometown Farewell Kiss", the imagery of being found buried in "Bury Me Deep in Love" and "Open For You", the sinking feeling of being distant from friends and loved ones on "Vagabond Holes" and "Save What You Can". It is evident how pained David must have been penning these words, delivered in this sultry croon that reminded me of fellow Aussie Nick Cave. David was the focal point of this group, and the album is well-produced around him with the necessary string arrangements, synthesizers, and reverb to bolster his voice. That said, I struggle to determine how distinct this group was compared to other post-punk groups around this time. Besides David, the rest of the band members played decently. There were a few instrumental highlights, such as the guitar work on "Kelly's Blues" and "Open For You", the bouncing shuffle-rhythm with accompanying bell chimes of "Holy Water", the autoharp melody of "Blinder by the Hour", and the dissonant title track that encapsulates the feeling of losing sanity. But for me, these distinct moments felt few and far between as the focus was kept on David. I still consider Calenture an intriguing listen, reflecting what the band went through being pulled away from their homeland. The Triffids are remembered fondly back in Australia, which is pretty cool.

With The Beatles

Beatles

4/5

After getting three later albums of all-original material (Sgt. Pepper, Revolver, A Hard Day's Night), it feels weird getting an early record of theirs where nearly half the songs are covers. It feels even more bizarre that the album in question is still pretty good. For sure, the covers on With the Beatles were done in such a clear imitation that you can tell where each of the songs came from. "Rock and Roll Music" sounds a lot like Chuck Berry. "You Really Got a Hold on Me" sounds like Smokey Robinson. Both "Please Mr. Postman" and "Money (That's What I Want)" sound like they came straight out of Motown in the delivery. The young lads at this time weren't being experimental in their renditions. Yet, they still played these songs with the top-notch execution that you would expect them to play at this early in their career. Not to mention, the original songs on this record mostly hold up all these decades later. The opening run from "It Won't Be Long" through the George Harrison-led "Don't Bother Me" is still amazing. "Not a Second Time" is a decent cut towards the end. Even the Ringo-led "I Wanna Be Your Man" is a fun bop that Lennon and McCartney originally penned for the Rolling Stones. Overall, With the Beatles may not be an essential listen for a list of albums to listen to before you die in retrospect, but it's still a fun time.

Brothers In Arms

Dire Straits

3/5

Let me start by stating that I understand why this album is on the list. Dire Straits were one of those groups that may be slowly disappearing from the public consciousness with time, but I always admired their stripped-back roots rock sound. Their style felt like a deliberate callback to a simpler sound, compared to the bigger and louder styles that prevailed from the late 70s into the 80s. As for this particular album, Brothers in Arms became one of the first albums to break big in the CD market, recorded digitally at a time when artists were still using analog. Songwriter, guitarist, and vocalist Mark Knopfler was striving to perfect his band's sound, and as such, embraced the new recording technology as a means towards that goal. Pairing that sentimentality with their throwback rock sound, it must have sounded like a slam dunk for them, right? Well, I'll admit, for as much as I generally enjoyed Brothers in Arms, there are a few problems that need to be addressed. The shorter-to-describe issue I have with this album is how torn the sound is between the aforementioned throwback sound the band had been known for, with the blare of synthesizers and electric keyboards from new member Guy Fletcher. This was noticeable on tracks like "Money for Nothing" and "The Man's Too Strong", where the juxtaposition of guitar riffs and booming synths made for an odd clash of tones that made this album feel dated. It's probably not the description that Mark Knopfler intended in his desire for perfection, but given that synthesizers were part of what was the "wave of the future" sound at the time, it seemed like an earnest attempt to merge both worlds that didn't quite stick the landing. The much larger issue I have with this album is the lack of cohesion throughout. We open on someone longing for their lover who is away from home ("So Far Away") before sharply changing perspective to two bigoted appliance deliverymen trash-talking the musicians they see on MTV ("Money for Nothing"). Then, we switch to the story about a young kid playing old rock & roll tunes down in the subway ("Walk of Life"), followed by a suite of love songs ("Your Latest Trick", "Why Worry?"). Finally, we close out the album on a series of anti-war musings that opt for a more cynical viewpoint ("Ride Across the River", "The Man's Too Strong", the title track). Oh, and in between the anti-war songs is a track about being in a more generalized bad mood ("One World"). There isn't much done to connect these songs thematically, outside of being basic observations made by Mark Knopfler. To Mark's credit, some of these tracks are genuinely good. I'm a sucker for the jaunty bounce of "Walk of Life" that lyrically draws from those old rock & roll tunes. It's got the sort of whimsy that elevates the story of the street performer. The opening "So Far Away" is a pleasant breeze in its swaying momentum and slide guitar licks that almost excuse how the phrase "you're so far away from me" is constantly repeated throughout the song. The anti-war songs all bring different styles and insights. "Ride Across the River" with the spare trumpets, percussion, and low-end keyboard invokes the vibe of the soldier wading through the jungle waters towards their inevitable next fight. "The Man's Too Strong" boasts country-style guitar playing as the narrator contemplates all the evils committed for their government, identified as "the man". The title track is a haunting closer with the keyboard swell in the background, reflecting on the then-ongoing Falklands War and how every soldier on both sides of the conflict could be viewed as the same. As for the songs I didn't like, the love songs didn't do much for me outside of the somewhat clever puns Mark made on "Your Latest Trick", and "Why Worry?" sounded very much in the style of the Everly Brothers. "One World" was such an odd track to place between the anti-war songs, which added to the overall dated feel with the swampy bass tone and delivery. That leaves "Money for Nothing", a song that has become one of Dire Straits' most well-known songs. Let me state that I understand the concept behind this song. According to Mark, he went to an appliance store in New York City, and one of the employees there was delivering boxes and made the comments heard in the song, as he and Mark were watching MTV on the wall of televisions in the store. This song is Mark taking those bigoted comments and putting them to song as apropos of the mindset of the blue-collar worker that would bemoan how the musician makes more money than they do for what they perceive as less work. That is the general conceit of the song, and I understand why Mark would write this. Here's the thing - this song doesn't offer much more than those remarks made. If it was meant to be satire, then the joke being "look at how sexist and racist these men are" isn't much of a punchline or meaningful critique. Furthermore, there was an opportunity here for Mark to put some actual insight into why these blue-collar workers think this way. What does it say about the economic disparity that the worker feels they aren't making as much of a living, or their social status isn't as great, compared to the musician? What value do we place in art that puts it above such menial labor? These are the questions I'm left to ask, because Mark didn't bother to ask them to begin with. I feel like there should have been more said in the song, especially since the song is eight minutes long and they brought in Sting to sing the refrain of "I want my MTV" in the style of The Police's "Don't Stand So Close to Me". Suffice it to say, this song could have been better. With all that said, I come back to the sentiment that I get why Brothers In Arms is on this list. Even if this album doesn't fully click for me, it has historical significance, and some songs do hold up. I wish that I liked it more, but them's the breaks.

The Nightfly

Donald Fagen

4/5

I figured I would start getting at least one album from Steely Dan on this list. I did not expect that their frontman and keyboardist, Donald Fagen, would also have a solo album on the list. During the group's short breakup in the early 1980s, Fagen pursued a solo career, taking advantage of new-at-the-time digital recording technology and multiple session musicians to carve his path separate from longtime collaborator Walter Becker. The resulting album from those sessions was The Nightfly, a jazz-pop record that's autobiographical, inspired by Fagen's suburban childhood. Now, the shift in style doesn't seem that far removed from what Steely Dan were doing by the end of the previous decade, but it does sound pristine with the multiple instruments arranged and layered neatly through such bolstered production. I get why this album gets used for testing out recording studio equipment; it just sounds that good to begin with. Some personal highlights of mine include "New Frontier" with the shuffle beat led by Fagen's synthesizer play accompanied by the prominent cowbell, the cover of the Drifters' "Ruby Baby" with the busy sway with organ swell, and horn arrangements, and the electric piano swagger of "Green Flower Street". Sure, this album could be approached from the perspective that the stakes are lower with the simpler subject matter in the lyrics and more laid-back arrangements that border on lounge music. But given the amount of intricate detail that can be found in the instrumental compositions, I'd say there's more to The Nightfly such that this album could grow on me. I consider this record a nice surprise to find.

Doggystyle

Snoop Dogg

4/5

Originally, I was excited to get Snoop Dogg's debut album at some point on this journey, especially since earlier this year I enjoyed Snoop's featuring on Dr. Dre's solo debut, The Chronic. But I'll admit my overall enjoyment of Snoop has waned in the past couple of months with the antics he's gotten himself into, to the point where he put out a surprise album last week that delves into a defense for his recent actions. I'm not going to say any further on this matter, as it should not be relevant to the discussion around his debut from over twenty years ago. If anything, I will try and do my best to meet the man where he was back in the day. With all that said, let's spin it back to the beginning. Calvin Cordozar Broadus Jr. grew up in Long Beach, California, with a Baptist background. He started rapping as early as sixth grade, frequently doing it at school. It wouldn't be long though before Calvin got caught in the middle of Cali's persistent gang violence environment, ending up as a member of the Crips. He was incarcerated for a few years for cocaine possession, but once out was able to put that life to the side and rekindle his joy of rapping. He ended up recording mixtapes with his cousins, Nate Dogg and Lil' 1/2 Dead, and his friend Warren G. The tapes were sent out to labels, and one in particular caught the interest of Dr. Dre. He was so impressed that he called for Calvin to audition for his label, Future Shock, which would later become Death Row Records. Through Dr. Dre's opening the door, and N.W.A. affiliate The D.O.C.'s lecturing on lyrical structure and theming, Calvin began his rapping career under the stage name of Snoop Doggy Dogg. Snoop got quick to work with Dr. Dre, first for the theme song for the film Deep Cover, then featuring on The Chronic, as I mentioned earlier. The intense exposure in such a short window paved the way for interest in Snoop recording his solo debut. Thus, Doggystyle was born. Now, it makes sense that Doggystyle and The Chronic go hand-in-hand when discussing the former. After all, both albums feature Snoop, were produced by Dr. Dre, follow the newfound G-funk styling that would help reshape West Coast hip hop to be more melodious with groovin' beats, and lyrically deal with the gang violence and harsh reality that persisted in California at the time. As I've established, Snoop was a Crip, and as such, he's been in some shit with the street life. He certainly ain't praising that lifestyle if the lyrics to "Murder Was the Case" and "Serial Killa" are to go by, but rather offering cautious tales to sway young kids in the ghettos away from that grift. In that regard, Snoop's pretty effective in that lane with his laid-back cadence that emphasizes pronunciation so the listener understands every word he's saying. Of course, there are plenty of other bangers throughout this record, and not always about gang violence, as Snoop also shares his love for his vices on "Gin and Juice", and establishing his identity on "Who Am I (What's My Name)?" over phat beats and layered arrangements. Not to mention, the amount of talent that Snoop and Dre brought into the fold, including the furious bars of The Lady of Rage opposite George Clinton on "G Funk Intro", Jewell's infectious hook on "Who Am I (What's My Name)?", and the posse cut run from "For All My N----z and Bitches" through "Doggy Dogg World". My one gripe with this album is simply how dated it all feels. Much like with The Chronic, there's a certain attitude toward women for sex that left a sour taste for me. The "bitches" and "hoes" get bragged about a lot through this record, to the point where the skit at the beginning of closer "Pump Pump" involves a woman ditching her man for Snoop. I don't consider it as bad as The Chronic was, as Snoop's cadence allows for a more sensual nature that can be carried effectively on cuts like "Lodi Dodi" and "Ain't No Fun (If the Homies Can't Have None)". But it is a persistent subject matter that's hard to ignore. At least the skits are shorter and better integrated into their respective songs, which is also an improvement from The Chronic. Overall, Doggystyle is a solid debut for Snoop. Even if I am currently experiencing a fallout in interest with the man, he has already established himself decades ago, with a record that is fundamental in the evolution of West Coast hip hop.

Safe As Milk

Captain Beefheart & His Magic Band

4/5

I will not include the CD bonus tracks in this review. Captain Beefheart & his Magic Band are a group that I started listening to within the past year. In fact, I already heard two tracks from their debut right here, "Zig Zag Wanderer" and "Electricity". Don Van Vilet, the man who would assume the on-stage persona of Captain Beefheart, started as a young sculpting apprentice. However, his parents never financially supported his pursuit of such a career due to pre-conceived notions of artists as being "queer". Don would become so bitter that he abandoned art until he turned 23. He and his family moved during his teenage years to the Mojave Desert area, where he developed his taste in music from the blues and jazz musicians who were popular around this time. Don made friends with the members of local bands, one of whom was Frank Zappa. Through frequent collaborations with Zappa, Don started getting comfortable performing at small clubs and venues. He was invited to front the first iteration of the Magic Band by guitarist Alex St. Clair and assumed the role of Captain Beefheart. After a few other lineup changes and going through a few labels with their demos, the band was able to record and release their debut, Safe as Milk. Right from the get-go, the Magic Band wore their influences on their sleeve with this record, particularly the Delta blues that Don and the rest grew into, while taking the style into a more garage rock direction. It does get abrasive and esoteric in places, with the grainy production quality, John French's well-accented percussion, the twin guitar complement of Alex and Ry Cooder, and the occasional use of theremin by Sam Hoffman on "Electricity" and "Autumn's Child". Of course, the standout player would be Don as Captain Beefheart, able to croon and howl like the big-name blues musicians while stretching his voice to higher registers that weren't thought of back in 1967. There were even moments where he sang gravelly on tracks like "Dropout Boogie" and "Electricity", which were probably alien for the time but pretty cool to find all these years later. If anything, the band played it "safe" on Safe as Milk and could've gone a little weirder. Yeah, this is the group's debut album, where they were getting their foot in the door by keeping themselves rooted in the Delta blues with little variations. There's potential for growth here in distinguishing themselves from their influences, which I'm sure has been explored in the rest of their catalog. All in all, this was a solid debut from Captain Beefheart & his Magic Band. I'd be interested to hear how they turned out a little later down the line.

Hot Fuss

The Killers

4/5

I will not be including the bonus track “Glamorous Indie Rock & Roll” for this review. The Killers are a band I’m certainly familiar with through various singles, a few of their more recent albums starting with Wonderful Wonderful, and seeing them live twice. They’re one of the more well-known post-punk revival groups to come out of the early 2000s. Funny enough, for being a group out of Las Vegas, they managed to get super popular in the UK. I would not be surprised if their popularity overseas factored into Robert Dimery and company’s decision to include them on this list at one point. With that all said, how does their debut Hot Fuss hold up? Let’s start by addressing the obvious critique this album usually gets - it’s front-loaded. The first half is defined by the run of singles from the swaggering baseline of “Jenny Was a Friend of Mine” through the gospel choir complement in “All These Things That I’ve Done”. It’s in these opening tracks that the band established their early identity - Dave Keuning’s bright-toned and percussive guitar play, Mark Stoermer’s melodic bass work, Ronald Vannucci Jr.’s fluid rhythm behind the drum kit. All these elements coalesce behind Brandon Flowers’s echo-coaxed tenor vocals and synthesizer flair, as he sang with reverence for the melodrama he penned out. The one exception was the album’s centerpiece “All These Things That I’ve Done”, which saw Brandon struggle with his faith and come to accept that he’s not perfect in the practice of belief, and won’t try to push his religion onto someone else. I’ve talked a big deal about just the front half, but that’s not to say there weren’t any good songs in the back half. The gears change with the brooding “Andy, You’re a Star”, where Brandon reminisced about a former high school jockey he used to flirt with as the crunchy guitar riffs stomp in time with the slowed down rhythm. “On Top” is a haunting new wave track with the commanding synth melody about a one-night stand and the adrenaline of such a passionate moment. Both “Change Your Mind” and “Midnight Show” are uptempo bops that continue in the relationship drama, with the latter chronicling the murder that preludes the interrogation on “Jenny Was a Friend of Mine”. There are intriguing tracks to be found towards the end here. Really, there’s only two tracks I didn’t quite gel with. Unfortunately, one of those tracks happens to be the closer, “Everything Will Be Alright”, which tries again for the big-swinging anthemic message that “All These Things That I’ve Done” accomplished earlier, but can’t because the pace has been slowed down to a grind as there isn’t much punch in the instrumentation while Brandon’s echo-effected vocals become warbly. Also in this tier is “Believe Me Natalie” which shares a similarly irritating vocal delivery as Brandon tries to convince this girl to come out on the dance floor, though at least Ronald switches up the percussion to focus more on the tom-toms in the verses. Overall, this is still a solid debut from The Killers. The group would end up changing around their sound to incorporate more heartland rock that they were inspired by. Nevertheless, they broke into the scene with a style that took elements from decades prior and created a fresh take for the time.

The Doors

5/5

I already got the final Doors album with Jim Morrison on my journey, so it's rather fitting to go back to the band's first stint with him. The Doors' self-titled debut feels iconic in its sound, where the recording was done in an echo chamber to capture that spacious quality, as individual notes and Jim Morrison's howls and wails were captured cleanly in the mix, further enhanced by the occasional use of bass overdub. It's the right kind of atmosphere for the group to play their haunting organ-led blues psychedelia, kicking the door down on "Break On Through (To the Other Side)" before running the gamut of chilling, ethereal tracks like "The Crystal Ship", "Alabama (Whisky Bar)", "Light My Fire" and their thumping rendition of Howlin' Wolf's "Back Door Man". Even lesser cuts such as "Twentieth Century Fox", "I Looked at You", and "Take It as It Comes" bode well, as every word and motif is delivered with pure conviction. It all culminates in "The End", a nearly 12-minute closer that never felt like it overstayed its welcome, as Jim's poetry delved into the Oedipus complex to convey the desire to kill those influences that do not represent who they are as a being and come back to reality. It's an effective finale for such an impressive debut. I got no complaints here, as the Doors managed to break through near the beginning and help expand the kind of storytelling and dynamics that can be achieved in rock music.

All Hail the Queen

Queen Latifah

4/5

I will not include the CD bonus tracks for this review. Is it weird that I'm more familiar with Queen Latifah as an actor than as a rapper? In terms of my exposure to Laitfah growing up, the only work I would have recognized her for was providing the voice for the mammoth Ellie as a supporting role in the Ice Age animated film series. Then, in my recent adult years, I recognized her again for her lead role as Robyn McCall in CBS's revival of the action drama TV series The Equalizer, as well as occasional supporting roles, such as opposite Adam Sandler in the film Hustle. To me, it feels like once Queen Latifah broke into other avenues of the entertainment industry, her music career was largely placed on the back burner. I only became aware of her rapping chops this past year through her guest appearance on the Jungle Brothers' "Doin' Our Own Thang" and her track "U.N.I.T.Y." performed live with Megan Thee Stallion at Coachella this year. If she started in the rap game, then I can try to meet her halfway. With all that said, how does her debut, All Hail the Queen, hold up? I will say that this album is definitely within the ballpark of the Jungle Brothers' Done by the Forces of Nature and A Tribe Called Quest's debut, both of which I've already covered in the progressive rap narrative of the Native Tongues collective. Latifah maintains a good lyrical flow as she runs the gamut of Afrocentric embracement, female empowerment, and social justice. Particularly on tracks like "The Evil That Men Do" and "Latifah's Law", she articulated how she worked her way off the streets, despite the numerous disadvantages a black woman faced in society. In a word, this album feels like a celebration of how far she has come, and I respect that while putting the spotlight on other up-and-coming artists, especially alongside Monie Love on "Ladies First". That said, it does feel like the production is dated. Not a bad start for a debut album, but the beats behind Latifah could have used more impact. Also, there are a few missteps in the presentation that couldn't be ignored, such as on "Mama Gave Birth to the Soul Children" with the grating baby voice modulations and instrumental motifs that evoke a bizarre nursery rhyme. Still, this is a reasonably solid debut from Queen Latifah, and it opened many doors for her and other female rappers to come.

Melody A.M.

Röyksopp

5/5

I don't think I've heard the name Röyksopp before. From what I gather, they are a Norwegian electronic music duo, consisting of childhood friends Svein Berge and Torbjørn Brundtland. Their music is often categorized as downtempo, featuring vintage synthesizers and multiple session vocalists. There's a very analogue approach to their style, and I think it paid off in dividends on their debut, Melody A.M.. The beauty of this album is that there's enough variety in composition track-by-track, such that it doesn't drag or overstay its welcome at a reasonable 45 minutes. For some tracks like opener "So Easy", "A Higher Place", and "She's So", the focus is placed on samples that are rarely used but purposefully utilized in context. Other tracks make the most of the session vocalists, such as Anneli Drecker's restrained delivery over the slowed-down trip hop of "Sparks" or Erlend Øye's easy-listening hooks over rich grooves on "Poor Leno" and "Remind Me". In some instances, organic instrumentation is given the time to shine, such as the cascading harps over sampled strings on "In Space", or the swooning saxophone play on "She's So". Finally, there are the tracks that go for broke with the synthesizer flair, from the tickling keys over a laidback drumbeat on "Eple", to the dreary chords over a stinging guitar loop on "A Higher Place", to the modulated lines over a squelching beat that fade into a spare melody on closer "40 Years Back/Come", and the centerpiece of this record "Röyksopp's Night Out" that's a free-flowing techno-funk experiment over an extended runtime. This album kept getting interesting as it went on, and not once did it feel tiresome or uninspired to me. I was genuinely impressed with Röyksopp's debut here. It was an eclectic electronica experience to behold, and it makes me curious what they've done since.

Repeater

Fugazi

5/5

I will not include the 3 Songs EP that is added to this album in subsequent releases. Oh hell yeah, this was a nice surprise to get! For those who don't know, Fugazi is a post-hardcore group consisting of Minor Threat frontman Ian MacKaye, Rites of Spring members Guy Picciotto and Brendan Canty, and bassist Joe Lally. These were friends who had each done time with other hardcore punk bands and wanted to try something new together. They released a couple of EPs, which turned into the 13 Songs compilation, and that was my introduction to the group. Then, when it came time to work on their debut, they all decided on a jamming approach, writing songs together instead of MacKaye being the sole songwriter. The result was their debut, Repeater, and I cannot begin to express how awesome it turned out. Right from the get-go with opener "Turnover", the band effectively carried the ferocity and aggression of hardcore punk alongside catchy guitar riffs and more complex bass and drum play. Even when there are no vocals, such as on "Brendan #1", the instrumental compositions come off as intricate and chock-full of miniature hooks, so it's not a problem when no one sings. When Ian and Guy do step in with their lyrics, they trade off bars with pure fiery angst at the various problems that plague society. From the mass ignorance of "Turnover", to gun violence on the title track, to anti-consumerism sentiments on "Merchandise" and "Blueprint", to the poisoning of our planet on "Styrofoam", to the traumas of war on "Reprovisional", to the deep contemplation over the loss of a life to addiction on closer "Shut the Door", these guys went through several issues with the profoundness and poignancy that they deserve in highlighting what's going wrong. The only song that didn't have well-thought lyrics was "Greed" with the repeated lines "You wanted everything/You needed everything", but even that was given the same amount of high-energy aggression that other tracks had. There's no beating around the bush; Fugazi's Repeater absolutely rules as a debut. In a way, these guys captured a sound that predated the alternative rock boom that would happen a year later, and they effectively played in that pocket.

Graceland

Paul Simon

4/5

This will be my second review of a Paul Simon solo album, and my third from my aunt's CD collection. Though admittedly, this one's a bit of a doozy, because the making of this record is marred with controversy. Graceland is the byproduct of Paul trying to reignite his career after his last album, Heart and Bones, failed to sell well, and his relationships with former music partner Art Garfunkel and ex-wife Carrie Fisher had deteriorated. He ended up taking a gig producing a record for an up-and-coming singer-songwriter who worked in house bands. This individual sent Simon a bootlegged tape of what she wanted the record to sound like, and the style they were going for was mbaqanga, a particular South African music from Johannesburg. Paul wanted to identify the artists on that tape, and then a record producer suggested he record an album of South African music. Thus, he went and did just that, despite the cultural boycott imposed on South Africa by the United Nations due to the apartheid going on at the time. Even with Paul trying to be as fair and compensatory to the artists he invited to record with him, it proved to be a tumultuous time to record there amidst the tense racial laws of the land. Nevertheless, the resulting record came out, and it's fine. This is a case where, for me, the story behind the album's creation was more profound than the album itself. That's not to say it's a bad listen, far from it. Paul was able to write a selection of jaunty tunes with various session musicians who contributed world musical elements. Whether it's the backing choir Ladysmith Black Mambazo on tracks like "The Boy in the Bubble" and "Diamonds in the Sole of Her Shoes", or the polyrhythmic percussion on "Crazy Love, Part II", or the contributions of full bands such as the Boyoyo Boys on "Gumboots", Rockin' Dopsie and the Twisters on "That Was Your Mother", and Los Lobos on "All Around the World or the Myth of Fingerprints", there's a large palette of sounds that coalesce into generally likeable music with very wide-eyed lyrical imagery. For sure, there are definite standout songs such as the title track about Paul's trip to Elvis Presley's estate after the dissolution of his marriage, "You Can Call Me Al" with its complex bass lines and rhythmic bounce paired with lyrics about a man's experience with a midlife crisis, and "Under African Skies" with its angelic vocal harmonies shared with Linda Ronstadt. But deep down, as much as Paul was trying to reinvigorate his career by embracing other cultural landscapes, there was an opportunity to push this genre-bending into more challenging territory. It's pleasing to have on in the background, but it doesn't go that extra step further. I still generally enjoyed Graceland for what it is, embracing African music from a Western perspective. It certainly became influential in that regard.

Kind Of Blue

Miles Davis

5/5

There's no debate on why this album from Miles Davis is here on this list of albums to listen to before you die. This is one of the most definitive albums of his career, featuring multiple jazz greats in the recording sessions, spanning from John Coltrane, Julian "Cannonball" Adderley, Bill Evans, Paul Chambers, and Jimmy Cobb. In addition to the pedigree of the personnel, the compositions on this record are phenomenal, allowing space for meaningful instrumental soloing over melodic improvisation across a few musical scales. It never felt too busy or overwhelming from any of the musicians' playing. At the same time, the album kept interesting enough that it never felt like any of these tunes went on for too long, which is impressive, given that most of them were over nine minutes. It can't get much easier to describe than that for a stone-cold classic.

Truth And Soul

Fishbone

4/5

Fishbone is one of those groups I've heard before. They're a melting pot of various styles, including ska, reggae, punk, hard rock, and funk. That wild mixing of genres is self-evident on the opening two singles, "Ma and Pa" and their cover of Curtis Mayfield's "Freddie's Dead", where there's a bounce to the rhythm section amidst Kendall Jones's distorted guitar riffs and Angelo Moore's smooth yet belting vocals. This album is a fun time, as these songs have such kinetic energy and technical proficiency in the instrumentation. Honestly, my only complaint is with some dated production choices, such as the keyboard tones and the occasional abrasiveness of the horns, such as on "Pourin' Rain". Other than that, Truth and Soul is a pretty good record, well worth checking out.

Non-Stop Erotic Cabaret

Soft Cell

4/5

I will not include the remastered bonus tracks for this review. Ahh yes, Soft Cell, the synthpop duo primarily known for their cover of Gloria Jones's "Tainted Love". That's all I knew going into their debut album, and I figured, after "Tainted Love" as the second track, the rest of the record was going to be lackluster in comparison. Instead, I was pleasantly surprised to find that most of Non-Stop Erotic Cabaret was pretty good for an early synthpop album. There's a certain roughness to David Ball's electronic instrumentation that lends this album an element of grit uncommon among other synthpop records of the time. Pair that with Marc Almond's soulful vocal delivery and hedonistic lyricism, and the result is a surprisingly dark record for the time. The likes of "Frustration", "Seedy Films", "Sex Dwarf", "Bedsitter", and "Secret Life" run the gamut of twisted desires with such charisma. The only track that didn't stick the landing for me was closer "Say Hello, Wave Goodbye", which came off flimsy in its kiss-off. Honestly, a pretty good synthpop debut from Soft Cell, as it showcased a lot more talent than the one cover could convey.

Kollaps

Einstürzende Neubauten

3/5

I will not include the appended CD bonus tracks or 2002 re-release bonus tracks for this review. Ahh, yes, one of the "worst albums" according to the global stats for this generator, and had me genuinely curious. For those who are unfamiliar, Einstürzende Neubauten is a German experimental music group led by Blixa Bargeld, who would later become a founding member of Nick Cave and the Bad Seeds. One of the trademarks of the group is that they utilize self-made or found objects as instrumentation, such as metal plates. While they will use these unorthodox instruments for more conventional sounds in later recordings, their early work is notably harsh as Bargeld would scream and shout over banging and scraping metal percussion. Case in point, their debut album, Kollaps, is defined by that style. This album can make or break people without more formal introductions to elements of industrial, experimental, and German music. Thankfully, I've taken multiple courses in music analysis back in college, and I got this record after over 300 albums into my journey, including records that would fit into the above categories. I can't imagine the poor soul who got this as their first album without any prior understanding or context of what the group is trying to accomplish here. With that in mind, I do enjoy this record to an extent. There's an almost primal feel in the abrasive nature of Blixa's harsh vocals over the obtuse percussive elements that weirdly maintain a good sense of rhythm. It must be cathartic for a German music group coming out of post-World War II Berlin, trying to make a living, and experiencing both the frustration and vulnerability of what it must have taken to reconstruct, represented by the use of noises that would be associated with construction equipment. It certainly made for a unique experience that doesn't immediately deter me away, especially with how creative they get, such as the pitter patter of water before the visceral screaming on "Negative Nein" or the literal drill beat that opens "Steh auf Berlin", and the twisted instrumental rendition of Serge Gainsbourg's "Je t'aime... moi non plus" that adds a bit of black humor. Yet, for as much as this album clicked for me, there are still issues I have with it. Besides the obvious lack of cohesion, which may be the point, some songs tend to make a more lasting impression than others. Given the multitude of short tracks that run under two minutes, there isn't as much room to allow the compositional identity to sink in before being launched into the next. This sentiment also extends to the closer "Helga", which felt abrupt as an ending with the ten seconds of radio transmission before cutting to silence. Still, I was intrigued by Kollaps in all its outlandish execution. It's not an album that would easily get made in today's world, with the way the music marketing landscape has shifted, which makes this record feel special.

My Generation

The Who

4/5

I only listened to disc one of the Super Deluxe edition for this review, which is the original track listing. After getting three later Who albums of varying degrees of quality, I got their debut album. I consider My Generation to be a solid record. Some genuinely strong original compositions showcase Pete Townsend's penchant for ferocious songs with strong guitar hooks, as the rest of the band followed suit on their respective instruments. Included in that notion are the likes of the raucous intro "Out in the Street", the band-defining title track, the equally classic "The Kids Are Alright", the jaunty "A Legal Matter", and the bombastic instrumental outro "The Ox". Sure, not every song hits as hard as some of their later material, and a couple of inclusions are covers that come off as if they are imitating the original artist, such as with James Brown's "I Don't Mind" and Bo Diddley's "I'm a Man". But overall, this is a respectable debut from what would become one of the biggest acts to come out of England.

Blue Lines

Massive Attack

5/5

I previously covered Tricky's solo debut, Maxinquaye, as album #20 on my journey. Now I get to check out the group he was in prior, the trip-hop pioneers Massive Attack. The group originated from multiple DJs and rappers who emerged together as part of a sound system collective in the Bristol club scene of the mid-1980s. Spinning off together as a quartet, and with the assistance of Swedish singer-songwriter Neneh Cherry and producer/manager Cameron McVey, they were able to put out their debut album, Blue Lines. Since this record is genre-defining, a lot of the descriptors that come to mind would end up describing trip-hop as a whole. It's an eclectic mix of electronica, hip-hop, dub, soul, and reggae, where the vibe of each track is distinct, dependent on the rappers and guest features present. From the sultry delivery of Shara Nelson opposite Robert "3D" Del Naja's laid-back chopped-up verses over the sampled bassline on "Safe From Harm", to the posse cut rapping over a chill breakbeat on the title track, to the funky record-scratching rendition of William DeVaughan's "Be Thankful for What You Got", to the uptempo clash of sample percussion and string orchestration on "Unfinished Sympathy", no two tracks come off the same. Sure, the scope of this record can seem rather simplistic, and the production can come off as minimal. But Massive Attack, this early in their career, were effective in their pocket, delivering vibing music that kept engaging through the runtime and didn't overstay its welcome. There's a reason Blue Lines gets called a classic, and I see no reason to disagree.

Supa Dupa Fly

Missy Elliott

4/5

Missy Elliott is someone I probably heard of before when I was a kid, listening to mainstream music with my sisters in the early 2000s and catching songs like "Work It" and "Get Ur Freak On". I hadn't gotten into her until this year with her performance at Coachella, which included the first two singles from her debut, Supa Dupa Fly. After listening, I consider this a respectable first record. Missy commanded the mic on this album, alternating between smooth R&B singing and laid-back chill rapping over the high-end dancehall-inspired production from Timbaland. The ease with which she expresses her womanhood, in both the demand to be respected and the desire for intimacy with her partners, is astounding over these phat breakbeats with a few notable compositions built off samples. Not to mention, the number of guest appearances that bolster this record with their respective talents to make this feel like a joint effort, including Lil' Kim's opening verse on "Hit Em wit da Hee", Da Brat's closing rap on "Sock It 2 Me", and Aaliyah's sultry delivery opposite Missy on "Best Friends". My only complaint with this debut is that it's rather long. This included multiple interlude tracks, including intro and outro tracks from Busta Rhymes, who serves as a hype man for this record, but doesn't feel necessary to the overall experience. Also, the self-gratification on Missy's part became a bit egregious to me towards the end, such as the lyrics of "I'm Talkin'" coming off as no more than "I'm great" and "look how well I rap". Still, I overall enjoyed Supa Dupa Fly as the first big step for Missy Elliott, becoming a major influence for many female rappers to come.

Hot Shots II

The Beta Band

4/5

The Beta Band is a group I only started hearing about earlier this year, from catching one of their earliest hits, "Dry the Rain", on my Spotify Discover Weekly playlist. They're a Scottish indie rock group that combines elements of folk, psychedelia, electronica, post-rock, and trip-hop. They were rather big in the early 2000s, with their music featured in a couple of comedy-drama films and even opening for Radiohead after impressing them. After giving their second album, Hot Shots II, a few listens, I have come to respect them. It took a bit for this album to click with me, given its rather minimalistic approach in composition. I will say that there are moments where the arrangements sound gorgeously produced with Steve Mason's soft-spoken delivery and reverbed guitar lines, John Maclean's light keyboard flair paired with quaint electronic elements, and Robin Jones's lo-fi accented percussion. The record is a tad demanding to listen to, as the quieter playing and surrealist lyricism necessitate more of the listener's attention to pick up on the more subtle flourishes in the mix. But it is rewarding upon relisten. The spare cowbell under the chopped-up guitar strumming of "Alleged", the soft piano melody of "Gone", the backmasking used as the rhythm before crescendoing to the full-on drum blitz of "Human Being"; these are a few of the textures I enjoyed in my second listen. I ended up appreciating Hot Shots II and will consider paying more attention to the Beta Band, especially now that they reunited this year.

The Beach Boys Today!

The Beach Boys

4/5

At first, it felt surreal to receive this album today, following Brian Wilson's passing. But after a quick check of the r/1001AlbumsGenerator subreddit, I realized that this was a special occasion. The generous host of this site, who goes by the Reddit username SidledsGunnar, decided to treat everyone to either a Beach Boys album or Brian Wilson Presents Smile if they haven't gotten all of those already. This will be the last Brian Wilson-related work I need to cover for my journey. Without further ado... By 1965, the Beach Boys had been moving away from songs about cars or surfing and into more complex arrangements, spurred on by Brian's desire for musical perfection amidst a growing jealousy towards Phil Spector and the Beatles. In the case of The Beach Boys Today!, most of the songs featured more orchestral instrumentation and a greater number of ballads in the second half, while lyrically exploring more vulnerabilities, insecurities, and mature perspectives on relationships. From the anxiety of coming adulthood on "When I Grow Up (To Be a Man)" to the one-night stand of "Help Me, Rhonda", to the attempt at repairing the relationship on "Kiss Me, Baby", to the unfound suspicions that the narrator's relationship will dissipate someday on "In the Back of My Mind", there's a profound emotional range that this album covers from an admittedly simple scope. Pair that lyricism with well-produced compositions that utilize more unconventional instrumentation for rock music at the same time, such as the harpsichord on "When I Grow Up (To Be a Man)" or the wide range of percussion on "Dance, Dance, Dance", and the experience feels a lot more elevated. My only complaint is that the Beach Boys were still confined to their doo-wop beginnings and needed to go that extra step. These notions extend to both covers of "Do You Wanna Dance" and "I'm So Young" that feel indebted to previous renditions, as well as closing the album on the spoof interview "Bull Session with the 'Big Daddy'", which came off as the boys goofing around with each other. Overall, The Beach Boys Today! is a solid record that helped set the tone for what would come a few records later with Pet Sounds. It was a pleasant listen. Rest in Power, Brian.

The Specials

4/5

I will not include the single "Gangsters" or the second disc live tracks of the 2015 deluxe version in this review. Well, it's been over a hundred albums since I got the Specials' second album, which was half decent, despite diving into lounge music in the second half. Going back to their self-titled debut, this album is more consistent for the better. This record is chock-full of fun, uptempo 2-tone ska and reggae that's well played, decently produced, and sounds nicely bolstered by the guest horns. The tone balances between laid-back vibes and youthful rebellion, particularly on tracks like "Nite Klub" and "Concrete Jungle" that delve into dissatisfaction with societal pressure closing in around them. My only complaint is that the reggae-style portions of the record can run longer than they should, such as with the six-minute "Too Much Too Young" that got repetitive in the lyrics and structure. Still, this was a rather solid debut from the Specials, as a fundamental group for the ska revival.

You Want It Darker

Leonard Cohen

4/5

It might be premature of me to tackle this particular album. Part of it is my rather limited familiarity with Leonard Cohen's music, having only heard two of his early albums thus far. It can be rather difficult for me to fully grasp how Leonard's music has evolved over five decades, especially given the common criticism I've heard, which is that his songwriting has faltered since at least the 1990s. I'm not sure if I can realistically share that criticism without the full context, but I will say for this record, the lyrics are simple yet direct in intent. Leonard made it as plain in the text of what he describes in his musings. Part of it is that at this point, Leonard was 82 years old with multiple health problems, apparent in his gruff vocal delivery. Thankfully, Leonard's vocal lines were written to account for his aged voice, as multiple background vocalists supported him on these songs. In particular, Leonard's son Adam, who produced You Want It Darker, brought in the Cantor Gideon Zelermeyer and the Shaar Hashomayim Synagogue Choir to bolster a fair amount of these songs, as a means of tying back to Leonard's Jewish faith. Given that some of the lyrical subject matter can be interpreted as confrontational with a higher being, it would make sense to tie it back to his religious upbringing. Which brings me to my last part in why it may be premature of me to confront this record. This was Leonard's last album to be released in his lifetime. His son Adam would go on to finish one posthumous release for his father, Thanks for the Dance. But for all intents and purposes, this was the last release Leonard saw through to the end before his death weeks later. There's a certain weight and emotionality to an artist staring at the face of death, a sentiment I have previously observed with Johnny Cash's American IV. I thankfully had enough familiarity with Johnny Cash to do justice in my assessment of that album. I don't know if I can say the same for Leonard. What I can say is that between the organic instrumental arrangements and the grit and romanticism in his words as he shed his mortal bearings in acceptance of what his Lord had in store for him, there's a certain finality to this record that becomes a heavy yet necessary listen. By the end of the string-led reprise of "Treaty" and Leonard's final verse, the conclusion of it all felt palpable to me; hard to articulate yet gripping all the same. You Want It Darker is a great record. I may not consider it within the upper echelon of albums I've listened to, but it is an important record in how an artist can confront death with such poetic grace.

Happy Trails

Quicksilver Messenger Service

3/5

I come back from vacation and pausing my activity, and the first album I get is called "Happy Trails". It's funny how such coincidences can happen. Anyway, I can't say that I've heard of the Quicksilver Messenger Service before. They are a psychedelic rock band that broke big in the San Francisco Bay Area as part of a wave of album-oriented acts that didn't rely on singles to achieve success. This album, in particular, is a compilation of live performances across both Fillmore venues and various studio recordings and overdubs. After giving it a listen, I consider it a decent record, albeit more as a novelty than anything truly innovative. The focus of this record is on the covers they pulled off, specifically the 25-minute medley of Bo Diddley's "Who Do You Love", running through multiple movements of sweeping guitar and bass improvisations. It's technically impressive with the degree to which they played their instruments and came up with new renditions for that song and the other Bo Diddley cover, "Mona". But outside of the group's demonstrated skill on those covers and a few original instrumental compositions that were fine, there isn't much to write home about here. Happy Trails is a solid album for sure, but in the grand scheme of psychedelic rock, I wouldn't consider it that much of a standout. Take that as you will.

Stand!

Sly & The Family Stone

5/5

At least I was a little familiar with Sly and the Family Stone before frontman Sly Stone's passing earlier this month. They were such an eclectic group, combining elements of funk, soul, and psychedelia to create socially charged music that had bounce and audible impact. One of the best examples to illustrate their sound is this album here. Stand is stacked to the brim with grooving call-and-response tunes with direct lyricism empowering individuals. The title track, "Everyday People", "Sing a Simple Song", "I Want to Take You Higher", "You Can Make It If You Try", all these songs oozed with attitude and positive energy as Sly and his siblings sang with such conviction. There are moments where the social commentary became more confrontational such as on "Don't Call Me N-----, Whitey" and "Somebody's Watching You", but those tracks felt complimentary with the overall empowerment vibe of this record. Even the 13-minute instrumental jam "Sex Machine" with individual band member solos felt at home here, giving everyone a platform to showcase their skills and lift themselves. Stand is a classic record that proved to be a breakthrough for Sly and the Family Stone, a poignant album that epitomized mutual support for each other, against the odds. Rest in Power, Sly.

Wild Is The Wind

Nina Simone

4/5

Having a Nina Simone album on a list of albums to listen to before you die makes sense, given her powerful voice and wide influence on jazz, soul, and R&B. I remember analyzing her original composition "Four Women" back in college, as the song explored the various livelihoods and struggles of black women in American society in the 1960s. I appreciate the album with that track made it onto the list, but how does the rest of Wild Is the Wind hold up? Well, Nina ran the gamut of covers and renditions with her commanding voice and elegant piano play, reasonably backed by the session musicians. Some truly transformative takes stand tall in her catalog, including "What More Can I Say", "Lilac Wine", "Break Down and Let It All Out", and especially the slow and drawn-out delivery of the title track. Honestly, my only complaint is that it is evident this album is a compilation of recordings from previous sessions, lacking cohesive flow from one track to the next. The pacing and tone were uneven in places, which made the listening experience feel a tad disjointed. Still, it is a solid collection of songs from a generational voice, one who had such reach beyond the arts.

Ctrl

SZA

4/5

SZA is one of the more recent mainstream artists I've slowly gotten on board with. My exposure first started with her collaboration with Kendrick Lamar on "All the Stars" done for the Black Panther film soundtrack, followed by her feature on Doja Cat's "Kiss Me More", culminating in my listening to her second album, SOS. I consider that album good, albeit a bit bloated, which is probably not helped by the deluxe reissue that came out last year. I was curious about how her major label debut sounded, given what has come after. With all that said, how does Ctrl hold up? Well, I consider it a solid alternative R&B record, complete with organic production, muted guitars, and subtle movements throughout that made the whole experience come off lush. Never once between the instrumentals and the guest features did I feel SZA was being overpowered, which is very much needed when this album ends up as an extended diary sprawl through her insecurities with these shifting relationships. The raw emotional core in her lyrics tended to be her second-guessing herself, wondering if she's even deserving of true love beyond the sex. From the opening "Supermodel" through cuts like "Drew Barrymore", "Prom", and "Garden (Say It Like Dat)", she dissects various instances of uncertainty in herself as she navigates through her love life. The men she comes across along the way also don't help matters in making her, from Travis Scott's more restrained hedonism on "Love Galore", to Kendrick Lamar's highlight of male obsession and entitlement while also experiencing insecurities of their own on "Doves in the Wind", to the buckling relationship with James Fauntleroy on "Wavy (Interlude)", to Isaiah Rashad's exhausted deliverance of a truth that he hopes could satisfy on "Pretty Little Birds". There are fleeting moments of acceptance or found clarity in the breakdown of her life, such as on the multiple partners' roles with this one guy on "The Weekend", the recognition of her romance conflicting with her work schedule on "Broken Clocks", and the full dive into a fling even while questioning the partner on "Anything". This leads up to the punch of "Normal Girl" in the acceptance of her differences from what is perceived as "normal" for a partner. Is it all a bit reckless? Sure, but in no way does SZA glorify this lifestyle, and if anything, she acknowledges that it's a common struggle on the closer "20 Something" where she prays for other people who may go through a similar song and dance. It's all about finding that control in the chaos of love, and that feels pretty enriching. Okay, so what holds me back from outright calling this album great? Well, I have to admit, my problem lies with SZA herself. At this stage, it's clear that she is still developing as a songwriter, and there were a fair number of instances throughout the record where the writing can feel barebones, including multiple cases of repetition and rhyming a phrase with itself. Not helping matters are moments where SZA sounded like she was slurring her words a bit, which ends up making the final sound come off sloppier than it needed to be. But at the end of the day, Ctrl is still a solid debut for her. I feel SZA's capable of making a great record, but until then, this was still a treat.

Darklands

The Jesus And Mary Chain

4/5

The Jesus and Mary Chain is one of those groups where I've heard the band name, but hadn't listened to their music until now. They're a Scottish alternative rock band whose only consistent members are the songwriting brothers Jim and William Reid. They are considered progenitors of the shoegaze and noise pop subgenres, and after listening to Darklands, I can see why. This album boasts the jangly, distorted guitars, droning effects, drum machine, and the brothers' hazy vocal deliveries. All of these elements coalesce into a blissful noise that feels laid-back in its presentation. Pair that with some vaguely dreary lyrics, and the vibe is set. That does lead me to my main issue with this record - the lyrics are simply there, and don't offer much in the way of detail outside of setting the mood on a cold, rainy day. It certainly works in that lane, but it could have afforded to be a little deeper. Still, Darklands was an enjoyable record from the Jesus and Mary Chain. This album, and by extension the group, certainly holds up well in light of later acts to follow.

Fuzzy

Grant Lee Buffalo

5/5

Grant Lee Buffalo is a group I started hearing about within the past year, having listened to a few songs off their sophomore album, Mighty Joe Moon. They're an alternative country rock band that uses American iconography and personal narratives in their lyrics, courtesy of singer-songwriter Grant-Lee Phillips. Their debut album, Fuzzy, gives a clear example of their sound from the get-go. This album gleams with the strum of the distorted guitars along with Paul Kimble's melodic basslines, Joey Peters's spare percussive punch, and Phillips's hauntingly chill vocal presence. The lyrics may appear abstract upon a cursory glance, but some truly visceral lines paint a darker picture of America as seen through Phillips's lens. "Wish You Well" addresses propaganda and how news coverage can be spun for a differing narrative than what transpired, "Jupiter and Teardrop" tells the tale of two star-crossed lovers on the run from the law, "America Snoring" goes into the lack of inaction to combat the slow transformation of the country into a hellscape, and "Stars N' Stripes" outright mentions the underlying antisemitism rooted that needs to be called out. Probably the most vivid of these tracks for me was "Grace", using icons like the Lone Ranger and Harry Houdini to chronicle a reckless lifestyle that ends prematurely. Fuzzy is the sort of album that feels timeless and poignant in its storytelling, bolstered by a gritty Americana sound that suits it well. Not a moment felt wasted on this record, which is remarkable for a debut. It's absolutely worth the listen.

Tom Petty & The Heartbreakers

Tom Petty and the Heartbreakers

4/5

On the one hand, as a fan of Tom Petty's work with and without the Heartbreakers group, I enjoyed this album for more than just the hit singles. There were some impressively written deep cuts, particularly in the second half, running from the biting groove of "Strangered in the Night" through the Hammond organ-led sway of "Luna". On the other hand, I can still recognize this as a debut album, where the writing isn't as strong in places, particularly in the number of songs that are about playing rock and roll and blues music. A little more detail in the storytelling and stronger compositions in a few areas would have elevated this record to match the quality of its closer, "American Girl". Taking both sides into account, I consider Tom Petty and the Heartbreakers' debut record to be good if not great. I know they will reach greatness with Damn the Torpedoes, but for now, this was still fun to revisit.

A Little Deeper

Ms. Dynamite

4/5

I will base my review on the US edition of this album. For those who don't know, Naomi Arleen McLean-Darley, better known by her stage name Ms. Dynamite, is an English singer and rapper out of North London. She began her career in the underground UK garage scene before being discovered by producer DJ Sticky and subsequently attracting the attention of British labels. Eventually, Naomi signed with Polydor Records and collaborated with producer Salaam Remi, who would later work with the late Amy Winehouse. That's about as straightforward a path to a debut record as I've read, and I will say the album itself ended up rather good. A Little Deeper is a melting pot of musical backgrounds, including reggae, dancehall, UK garage, R&B, and British soul. Naomi commanded behind the mic as she ebbed between smooth R&B singing and boastful rapping over some slick beats, acoustic guitars, and electronic effects provided by Salaam and company. Adding to the flair are Naomi's lyrics, which feel personal in her reflections on coming up and empowering herself and other women. Highlights for me included the ode to her younger brother Akala on "Brother", the cutting off of toxic relationships on "Put Him Out", the desire for a higher standard in her partner on "It Takes More", and the collab with Bob Marley's son Ky-Mani on "Seeds Will Grow" where they both inspire people to work towards a better future for the next generation. As much as I vibed with this record and respect Ms. Dynamite as a performer and lyricist, I will admit there were some issues with this record. This record is rather long, clocking in at a little over an hour. This wouldn't be as big of a problem if the second half didn't feel like a chore at times. Between the more standard R&B tunes that don't stand out much like "Now U Want My Love" and "Gotta Let U Know", and other tracks like "Krazy Krush" with the tingy electronic buzzes and farty synthesizers that sound like the worst kind of dated production, there are definitely some tracks that could have been cut. Still, I consider A Little Deeper to be a solid debut overall. I know Ms. Dynamite hasn't done much with her musical career over the past two decades, but at least she was able to make a statement for herself early on.

Sound of Silver

LCD Soundsystem

5/5

LCD Soundsystem is another group whose name I've heard yet never listened to their music until now. They were formed in the early 2000s by frontman James Murphy, who operated his independent label, DFA Records. They seem to be labeled as a dance-punk revival band with notes of electronica, and their second album, Sound of Silver, sounds emblematic of that description in a manner that blew me away. This album is fully entrenched in its influences. From the opening "Get Innocuous!" that builds over what sounded like a sample flip from Kraftwerk's "The Robots", the band was able to conjure hypnotically tight electronic grooves amidst the driving guitar riffs, accented percussion with an extra helping of cowbell, and James's off-kilter delivery, at times paired with Nancy Whang's softer vocals. Throughout this album, I kept hearing elements borrowed from the likes of the previously mentioned Kraftwerk, David Bowie, Brian Eno, and Talking Heads. Considering I liked all of those acts, I was onboard for this sound. Juxtaposing the grooves are the spare yet intense lyrics focused on the melancholy of getting older, becoming disillusioned as loved ones pass away, and what was once great can turn sour over time. From the hipster's contemplation on "Get Innocuous!", to the stereotypes lived in on "North American Scum", to the heartfelt tribute likely to James's therapist Dr. George Kamen on "Someone Great", and the self-destructive behavior observed on "Watch the Tapes", there's a degree of disenfranchisement and dry wit that James captured. These sentiments culminate in two poignant closing numbers - the title track, which in its five-phrase refrain summarizes the emotional turmoil faced when confronting nostalgia, and the bombastic "New York, I Love You But You're Bringing Me Down" about James's love-hate relationship with his hometown as it had went through major overhauls in image and operation under then-billionare-mayor Michael Bloomberg. They all tie in to the notion of a past that can't be easily captured again. Sound of Silver was an excellent album that got me moving, yet at the same time got me reflecting with its striking lyrics. This is the kind of sound I can come back to.

Water From An Ancient Well

Abdullah Ibrahim

5/5

I had to go on YouTube for the title track. Otherwise, I was able to find the rest of the album on my preferred streaming platform. With that established, Abdullah Ibrahim is the leader of the septet assembled for this record. He is a South African pianist and composer who helped spearhead the burgeoning jazz movement in Cape Town, creating such pieces that reflected on his wide-ranging influences from the multicultural ports of that town, alongside the likes of Thelonious Monk and Duke Ellington. He achieved notoriety for his anti-apartheid composition "Mannenberg", which was revisited on this album. Across the entirety of Water From An Ancient Well, the pieces that Ibrahim and company compiled and performed reflect a sense of uplifting, heartfelt messaging conveyed without any words needed. Incorporating elements of gospel, blues, and other Western styles, the band was able to express their cultural freedom with subtle grooves and melodies that illicit such defiant joy. It's not necessarily all about the anti-apartheid movement, as some songs break up the pace for slower pieces that reflect on precious memories, such as the sultry lull of "The Wedding" or the heartfelt tribute to Ibrahim's wife on "Song for Sathima." But through each note, careful thought was put into each piece to allow space for each motif and improvisation to resonate without ever feeling overwhelmed. The result is a record where I can pick out individual lines from each member in the septet and feel rewarded for what I can pick out, such as the saxophone and trombone solos on "Tuang Guru" or the alto flute that leads the main melody on the title track. Water from an Ancient Well was such an enriching experience from Abdullah Ibrahim that it needed no words to convey the lifting of spirits. In a word, spellbinding.

Blood Sugar Sex Magik

Red Hot Chili Peppers

4/5

As someone who has listened to the Red Hot Chili Peppers' discography, I can understand why this album was selected. Blood Sugar Sex Magik was the record that skyrocketed their popularity, after Mother's Milk opened the door with John Frusciante's melodic guitar playing and Chad Smith's more intricate percussion playing. The only ingredient missing from their alternative funk rock formula, which Blood Sugar brought, was Rick Rubin's bolstering production and assistance with song arrangements and lyrical refinement. Probably the biggest example of the change in dynamic from Rubin was encouraging frontman Anthony Keidis to adopt a softer singing style with deeper introspection on tracks like "I Could Have Lied" and "Under the Bridge". The result is a greater emotional variance on this record in addition to the hard-hitting riffs and funky riffage. My only complaint with this record is a recurring issue with every other Chili Peppers record, which is the length. Clocking in at over 73 minutes, I admit to not always listening to the record in full. There isn't a bad track per se, as it is nice now and then to check out a deep cut such as the fast-paced "The Greeting Song" and the infectious groove of "Naked in the Rain". But this is another case of "too much of a good thing", where I more realistically enjoy this album in spurts than as a whole. Blood Sugar Sex Magik is still a phenomenal record, one that proved the Red Hot Chili Peppers were a much more talented act with the right focus.

The Queen Is Dead

The Smiths

5/5

After meeting The Smiths halfway on their last outing with Meat Is Murder, I can confirm that not only is their follow-up The Queen Is Dead an improvement, but a surprisingly good record on its own. I was already into this band from an instrumental standpoint, as they continued to build on their jangle pop stylings. In particular, guitarist Johnny Marr was influenced by the likes of The Stooges and The Rolling Stones to craft some rather catchy melodies throughout the song, all the while the rhythm section of Andy and Mike kept it tight and bouncy. It certainly helps that the production sounds more polished in reverb, effectively bolstering the atmosphere. However, the most significant improvement here is from Morrissey himself. Where I didn't always enjoy his vocal performance and political lyrics on Meat Is Murder, on this record, he went for darker and wittier with more space in between his words to get his quips across. From the opening title track that lampoons British society as it is still rooted in the monarchy, to poking fun at the head of their label on "Frankly, Mr. Shankly", to the couple's walk through the graveyard as he points out her plagiarism on "Cemetery Gates", to Morrissey's own big mouth when he talks during interviews with the band on "Bigmouth Strikes Again", to the sheer absurdity against religious conformities on "Vicar in a Tutu", Morrissey knew how to take the piss out of everyone including himself. That said, it's not always clowning around, as Morrissey does take time to work out some rather somber tunes. "I Know It's Over" delves into loneliness that gives way to utter despair, and "Never Had No One Ever" offers a rather bleak perspective from someone who always felt was an outsider. Probably the two instances where the dreary and silly sides of Morrissey's writing collided effectively were "The Boy With the Thorn In His Side" which described his hatred towards the music industry, and the immaculate "There Is a Light That Never Goes Out" about a reckless love that plays with suicidal thoughts to express the desire to be with someone until the very end. The latter ended up being my favorite song on the record, not gonna lie. The only song that I'm just lukewarm on was the closer, "Some Girls Are Bigger Than Others". I get that it's a sexually suggestive song, and I'm not against that notion. But it is rather odd for this song to follow after "There Is a Light That Never Goes Out", from the rather genuine reckless abandon for love to the "astute" observation of women. Even stranger is how the song opens with the fade-in that is abruptly faded out before being reintroduced with the reverbed drums. I understand that engineer Stephen Street likened this intro to opening a door, closing it, and then opening it again and walking in. It simply feels weird to me, even on repeat listens. The song is still a bop though. So yeah, I genuinely enjoyed a Smiths album. That is a statement I never thought I'd say, because I didn't get into them properly before this journey due to Morrissey being a dick. But yeah, now I can count at least one record of theirs I can come back to.

It's A Shame About Ray

The Lemonheads

4/5

I will base my review on the track list of the original release of this album. Normally, I make a statement like this for an album review on this journey without any hesitation. The problem here is that I am excluding what could be considered the gateway track for this particular band. I heard about the Lemonheads because of their cover of Simon & Garfunkel's "Mrs. Robinson", which was added to subsequent re-releases of their breakthrough record, It's a Shame About Ray. I can imagine that for many people, this is the one song they will recognize from the group, much to the chagrin of frontman Evan Dando and original songwriter Paul Simon. It's a shame, pun intended, because the album this cover is retroactively associated with is pretty solid. This is an intriguing blend of jangle pop and grunge, where the guitar tones are bright and crunchy at the same time, as Evan and company blaze through a rich slice of bouncing tunes about finding bliss that ebb from character stories to strifes for bliss amidst the drug-riddled reckless abandon. There's a lot of Evan's personality that shined through in his performance and abstract lyrics, as bassist Juliana Hatfield and drummer David Ryan provided a strong foundation for these songs to be built upon. Opener "Rockin' Stroll", the title track, "Rudderless", and "Alison's Starting to Happen" were personal highlights that showcased the cheery angst this record employed throughout. If anything, my only complaint is that this record is rather short. Clocking in at under a half-hour, there were multiple instances where songs could have been expanded. I can see why people would favor inclusion of the "Mrs. Robinson" cover in later releases, yet I feel that "Frank Mills" still works as a closer. Perhaps more time in the studio would have helped in fleshing out some of these tracks. Still, I consider It's a Shame About Ray to be quite a pleasant outing for The Lemonheads. It's good to know that they are worth more than the one cover song.

Vol. 4

Black Sabbath

5/5

Once again, tragedy strikes, and the generous host of this site, SidledsGunnar, responded in kind. With the passing of the legendary singer and metal icon Ozzy Osbourne, everyone was treated to a Black Sabbath album if they hadn't gotten all of them already. This will be the last Sabbath album I need to cover for this journey, and it feels good to end this chapter on a high note. I found myself listening to Vol. 4 in its entirety, and I couldn't find anything to complain about here. This is astounding as the band continued to experiment with their heavy sound into new avenues. Whether it's the piano ballad "Changes" or the funky percussion of "Supernaut" or the doom-and-gloom closer "Under the Sun", the variety in style and tone on this record is well-varied and executed. Hell, I even enjoyed the eerie guitar delay echoes of "FX", and that interlude came about from the boys fucking about with throwing objects at Tony Iommi's guitar. It's amazing how much quality, influential music they churned out while high on cocaine, a sentiment they fully embraced on their ode to the drug, "Snowblind". There ain't much else I need to say here, as Vol. 4 is such a phenomenal record. While it can be argued that this album is not as essential to listen to before you die compared to the self-titled debut or Paranoid, it was still a banger of a time. Long live the Prince of Darkness.

The Visitors

ABBA

4/5

After getting Arrival as #18 on my album journey, I was curious what a second ABBA record could offer on this list. It turns out the answer was weightier lyrics. The Visitors is often considered ABBA's "mature" record, as the lyrical content explores heavier subject matter than their previous work, likely a result of the band members' divorces and troubled recording sessions. The desire to be strong-willed in a tumultuous world in "Head Over Heels", the amicable parting of former lovers in "When All Is Said and Done", the emotional struggle in the aftermath of a crushing end to a relationship on "One of Us", the reminiscence of a past lover in "Like an Angel Passing Through My Room". These songs feel drawn from the lived-in experiences of the bandmates as they reconciled with themselves. Juxtaposing these personal relationship stories are songs that also delve into another ripe conflict at the time, the Cold War. The title track and "Soldiers" illustrate the paranoia that likely persisted when countries were in several militaristic efforts against each other over what was then a looming threat of communism. Having the military and relationship conflicts intertwined throughout this record seemed like a stroke of genius. Really, the only track that felt out of this place on this album was "Two for the Price of One". The song recounts a man who tries to get into a ménage à trois with two other women, except one of the women turns out to be the mother of the other. It's a rather baffling inclusion that doesn't fit the idea of this "mature" album. Otherwise, The Visitors is still an easy-listening pop record at the end of the day. If you've enjoyed that style of music in the past, including any prior hits of ABBA, then you'll likely enjoy this as well. I do appreciate the more adventurous songwriting on this record overall, though I can see why the band would break up after this one and take three decades to reunite. It's still worth checking out.

Blood On The Tracks

Bob Dylan

5/5

After being surprised by the opening track of Blonde On Blonde, I was much more familiar with the opening track of this album, "Tangled Up in Blue", having played it on Rock Band 2. Not only do I still enjoy that track all these years later, but the rest of Blood on the Tracks turned out to be stellar. The songwriting throughout this record was top-notch, delivering more lived-in character stories from different perspectives, as Dylan strummed pleasant acoustic guitar melodies and blew on his harmonica in between verses. While most of the songs tend to describe relationships that erode, Dylan approached these tales from various angles. The passage of time on "Tangled Up in Blue", the shift from third-person narration to first in "Simple Twist of Fate, the emotional maturity and acceptance of dissolution on "You're a Big Girl Now", the vehement vocal delivery on "Idiot Wind", the reckless abandon to venture out on "Meet Me in the Morning", the string of poker metaphors to describe such incriminating behaviors on "Lily, Rosemary and the Jack of Hearts", the direct plea to the listener to pass on the message of lost love on "If You See Her, Say Hello", the quiet-storm seclusion of the narrator as they reconcile with their broken heart on "Shelter from the Storm". These different narrative and vocal techniques give each track its distinct flavor, never overstaying their welcome, all while scaling back other session personnel to keep Dylan and his guitar a persistent presence in the mix. It is a deliberate choice that worked well to showcase the leaps and bounds he made in writing and performance. Suffice it to say, Blood on the Tracks is a spectacular album that helped cement Dylan as a creative force to be reckoned with.

Lust For Life

Iggy Pop

4/5

It was a matter of time before I covered Iggy Pop's solo career in addition to his time with the Stooges. I was at least familiar with almost half of this album, Lust for Life, his second effort with David Bowie, which saw a return to his recognizable garage rock style, compared to the experimental The Idiot. I'd say this record did a decent job of returning to form. For a good chunk of this record, Iggy, Bowie, and company are in the pocket with the uptempo songs that are largely satirical. The title track with the bombastic percussion as Iggy rattles off various vices, continuing that manic energy on "Some Weird Sin", to the drive-by with Bowie by his side on "The Passenger", to challenging western perceptions of achieving fame on "Success", to the dysfunctional man portrayed on "Neighborhood Threat". These songs all capture a certain kookiness that is effectively delivered by the raucous instrumentation and Iggy's off-kilter vocal delivery. Even when they slow down the momentum on the ballad to heroin overdose on "Tonight", the composition still bounces and works wonders, even if the song sounds more fitting for Bowie. That said, I don't consider every song on this record to be great. Iggy and Bowie tried to strike lightning twice on the same record with another slow-burning heroin overdose ballad in "Turn Blue", and it comes off a lot more corny with the sprawling lyrics as Iggy veers off-topic to talk about the sexual appearance of black people. A similar case can be made for closing number "Fall in Love with Me", which goes on for longer than it should in its midtempo slog about this romantic interest. Speaking of romantic interest, I would be remiss without mentioning "Sixteen", which is in fact about being in love with a sixteen-year-old girl. This was an unfortunately common recurrence with rock music decades ago, with much older men writing songs about being attracted to underage girls. Suffice it to say, the song hasn't aged well. Still, I consider Lust for Life to be a solid record, as Iggy Pop went back to the garage rock format he was most recognized for.

Lupe Fiasco's Food & Liquor

Lupe Fiasco

4/5

If I were approached in public to talk about Lupe Fiasco, chances are that the one thing I would recall off the top of my head would be "The Show Goes On" from his album Lasers, a song I enjoy that people can point to as the biggest highlight of his career. A couple of years after that, he went independent, and unless you were following his later material, it would appear as if he fell off the radar. It's rather bizarre to me, considering how much of the music industry was backing him up, especially given early connections he made with Jay-Z and Kanye West. Case in point, his debut album, Lupe Fiasco's Food & Liquor, made the most of this backing, and I consider it a success. Between the variety of sharp beats and instrumental motifs from the multiple producers on this record, as well as Lupe's lyrical flow and intricate wordplay, enough is going on here to keep me intrigued. Also helping matters is that Lupe chose to stray from any violence or misogyny in his subject matter as he felt that was too prevalent in hip-hop music. Instead, we have songs that get on the cusp of greater philosophical understanding, such as the dissection of human nature and the actions one can take on "Just Might Be OK", the chronicling of stages of life through the lens of a skateboarder on "Kick, Push", the obsession with electronic devices on "The Instrumental", to the challenging of hip-hop culture stereotypes on "Daydreamin'" and "Hurt Me Soul", and a rather scathing critique of the United States's track record with humanitarian efforts on "American Terrorist". Sure, in moments, there are opportunities to go lyrically deeper, and a couple of tracks deal with a similar theming of Lupe's reconciliation with hip-hop music in its then-current state and how to move forward within the scene. But, I would say for the most part, this album proved to be thoughtful and introspective in its approach. If anything, my issue with this album is that it is rather long. At the very least, I didn't feel the need to include a 12-minute outro where Lupe thanks everyone who was involved in his upbringing up to this point, no matter how small their contributions may have been. While well-intentioned, it does not feel necessary to the overall product. Still, I'm rather impressed with Food & Liquor. I certainly get the appeal of Lupe Fiasco as a lyricist, and it has me curious how the rest of his output has been.

I Never Loved a Man the Way I Love You

Aretha Franklin

5/5

What more can I add to the discussion around Aretha Franklin, the Queen of Soul? Such an iconic voice who proved to be influential across decades of popular music for her emotional yet powerful delivery. There was never a doubt as to how I would feel about her vocals. As for the album itself, I Never Loved a Man the Way I Loved You boasts original compositions that are genuine bops, as well as covers that can go toe-to-toe with their original artists, and at times even transcend and transform the work into her own. Seriously, "Respect" has become more synonymous with her than Otis Redding, and her version of "A Change Is Gonna Come" rivals Sam Cooke's. There are several go-for-broke, boastful performances from Aretha and the accompanying musicians on this record, from the title track to "Dr. Feelgood (Love is a Serious Business)", from King Curtis's "Soul Serenade" to her own "Do Right Woman, Do Right Man", and so on. This album is a certified soul classic that has withstood the test of time, and I'm glad to have enjoyed it from start to finish.

Nilsson Schmilsson

Harry Nilsson

4/5

I'm at least familiar enough with Harry Nilsson such that I recognize the big three singles off this particular album, along with another single of his, "One", which is indeed the loneliest number you'll ever do. He's one of those long-past songwriters that most people don't recall until you bring up one of his singles that have been used in various soundtracks, and then people go, "Oh, he's THAT guy." With that said, how does Nilsson Schmilsson hold up decades later? I'd say this album is pretty solid. It's the kind of slightly experimental pop-rock that I can get behind, with such swerves in compositions that I can see why he was called the "American Beatle". Between the piano-driven ragtime bouncing of "Gotta Get Up" and "Down", the chill guitar strumming on "Driving Along", the Caribbean-themed instrumental influences on "Coconut" and his cover of Louis Jordan & His Tympany Five's "Early in the Morning", his transformative, near-operatic ballad rendition of Badfinger's "Without You", and the epic seven-minute rocker "Jump into the Fire", there's a great amount of variety that Nilsson utilized across his covers and original compositions. I wouldn't say all of the tracks blew me away, as aside from "Jump into the Fire", the album does wind the momentum down towards the end. But I can hear the craftsmanship and dedication by Nilsson, the backing personnel, and producer Richard Perry, and cannot ignore how good this album ended up. At the end of the day, Nilsson Schmilsson is a decent record from a man who deserves to be remembered.

Ill Communication

Beastie Boys

5/5

Oddly enough, this was the last album I listened to BEFORE I started my journey with this generator. I remember playing through Ill Communication when I was pondering what other albums I could listen to. It was mentioned that this record was included in the 1001 Albums to Listen to Before You Die book. I looked it up and encountered this generator website, as well as a full list across all editions. After realizing I listened to over 10% of the albums already, I figured going through the rest made sense. That's how I got started. Now, revisiting Ill Communication over a year after I started, I feel a better appreciation for this record. It helped that I was into some of the singles like "Sabotage" and "Sure Shot", but now I can articulate this album for what it is - a culmination of everything the boys had done up to this point. From their early hardcore punk roots showcased on tracks like "Tough Guy" and "Heart Attack Man", to their rap rock fusion on "Sabotage", to their incorporations of samples and funk on "Root Down" and "Flute Loop", to more instrumental playing from the trio such as on "Bobo on the Corner", "Ricky's Theme" and closer "Transitions", their evolution in sound and style is highlighted throughout this record. They even embrace some new directions on this project, such as jazz motifs on cuts like "The Update" and "Futterman's Rule", and even towards the end with the Tibetan monk chants that permeate throughout "Shambala" into "Bodhisattva Vow". Sure, this album is a bit bloated, given how much they accomplish within an hour timeframe. But with the variety throughout this record, and how well-structured each track is, it never felt as if anything was out of place or underdeveloped. That is quite the accomplishment, and I have to give the Beastie Boys credit for that. Ill Communication is a stellar record, worth checking out.

Unknown Pleasures

Joy Division

5/5

After getting through the emotionally heavier sophomore release Closer, I figured Joy Division's debut Unknown Pleasures would be an easier listen for me. Not only did that statement end up being true, but I feel this album growing on me. Once again, the instrumentation of Joy Division took spotlight, with the spacious guitar hooks, punchy yet distant drumming, the supple basslines, and the reverbed production. All these elements coalesce behind Ian Curtis's haunting vocal delivery, as he delivered insight to his depressing state, as he felt he could not easily connect with others around him. These words lend themselves to an overall dark feel for the record without being as suffocating as Closer would be, which ended up pairing better with the post-punk sensibilities of the backing band. Not only did this translate to me enjoying the hard-hitting numbers such as opener "Disorder", "She's Lost Control" and "Interzone", but even the more atmospheric cuts like "Candidate" and "New Dawn Fades" resonated. Plus, it was a delight to hear "Shadowplay" after I previously heard The Killers cover that song. With that, I have no qualms calling Unknown Pleasures a top notch record, one that has transcended the unfortunately short life of the group and its frontman.

This Nation’s Saving Grace

The Fall

3/5

I will base my review on the cassette and CD tracklist. With my second album from The Fall, I am slowly realizing that my feelings with This Nation's Saving Grace are roughly the same as they were with The Infotainment Scan. There are some genuinely catchy guitar riffs and punchy rhythm section compositions throughout the record, complemented by some light synthesizer fare to add to the manic nature. Tracks like "Bombast", "L.A.", and "Paintwork" have such a grooving, robust musical foundation to build upon. Yet, once again, I find Mark E. Smith as a vocalist to be someone I respect more than like. He does his damndest to invoke the grimy urban decay that he must have felt persisted through England at the time. But his thick, slurry accent, thoroughly abstract lyrics, and liberal use of regional slang left me at a distance from enjoying him in front of some genuinely intriguing experimental instrumentation in the background. What doesn't help matters is that this album runs longer than The Infotainment Scan did, and when you're struggling to connect with this band on a deeper level because of the frontman, then those extra minutes become difficult to bear. I still consider The Fall to be a good band, and I think this album is decent. Just be sure to temper your expectations.

Second Toughest In The Infants

Underworld

4/5

This was an intriguing discovery for me. For those who don't know, Underworld is a British electronic group, primarily consisting of vocalist/guitarist Karl Hyde and keyboardist/mixer Rick Smith. They started as an alternative synthpop act in the 1980s before pivoting to dance and techno from the 1990s onward. Listening to Second Toughest in the Infants gave me the sense of the breadth and depth of electronic composition that Underworld can conjure. Opening with the multiple-suite works of "Juanita: Kiteless: To Dream of Love" and "Banstyle/Sappy's Curry", they're capable of ebbing and weaving through various hypnotic stylings, from aggressive breakbeat to softer ambient, from popping house beats to lush synthesizers over a drum-and-bass rhythm section. All the while, they introduce elements that help identify and anchor the tracks, such as the acoustic guitar strumming on cuts like "Stagger", the distorted synthesizer on "Rowla", and Karl's observational lyrics whispered over the mix. The duo certainly did their best to give each of these compositions its distinctive flavor, with enough twists and turns to try and maintain listener engagement. That said, this album still runs rather long at 73 minutes, though paradoxically, the fault is not with the opening two tracks, as those were some of the most enticing electronic pieces I heard in some time. Instead, there was a more noticeable lull in the second half of the record, between the repeated synth notes of "Air Towel" and the spare acoustic melody of "Blueski" that felt underdeveloped. I wish these tracks had more time in the oven in comparison to others on this record. Still, Second Toughest in the Infants was a solid electronic record, as Underworld redefined themselves to become one of the more distinguishable electronic acts out there.

I’m a Lonesome Fugitive

Merle Haggard

3/5

I must admit, my knowledge of Merle Haggard is rather limited to a few singles, namely "Mama Tried" and "Okie from Muskogee". I understand that he was one of the more prolific outlaw country singer-songwriters, and thus, his pedigree would justify an inclusion from his time with backing band The Strangers. Not to mention, this album's title track was Merle's first number-one single, which means it has historical significance. I wish the rest of the record made for a complete experience. Let me put it this way - I did enjoy half of the songs off I'm a Lonesome Fugitive. Merle did rather well delving into the darker, lonesome nature of the outlaw lifestyle, supported by the intricate guitar play and necessary pickup from the backing personnel. The opening title track sets the stage for the rambling life on the road, the desire for death after taking away his darling's life on "Life in Prison", the rampant alcoholism to pretend to be someone he's not on "Drink Up and Be Somebody", the unfortunate lifestyle of being homeless on "Skid Row", the torn emotions on display as his lover leaves town on the midnight train in "Mixed Up Mess of a Heart", these songs help give depth into the multiple facets of going down such a path. It was a rather smart choice for him to cover Jimmie Rodgers's "My Rough and Rowdy Ways", as even those lyrics of drinking and gambling add to the tumultuous characterization. As for the other half of this album, they tend to fall into slow, plodding relationship songs. Aside from the aforementioned "Mixed Up Mess of a Heart" and "If You Want to Be My Woman", the rest sounded rote. Not terrible, but not very distinct, and they don't add much to the outlaw character vibe with other songs on this record. All of this to say that I'm a Lonesome Fugitive left me with mixed feelings. It's a fine enough country record to put on. It does feel like this record was chosen out of historical significance. I'm cherry-picking my favorites and going from there.

So

Peter Gabriel

4/5

It is rather fascinating that, among the gentlemen who have fronted Genesis, only Peter Gabriel is represented on this list. I doubt that people remember when Ray Wilson sang with the band for one album, but Phil Collins's tenure from the 1980s into the 1990s spawned some of their biggest hits. Not to mention, Phil's solo career was even more massive, particularly with his contributions to various movie soundtracks. Yet Peter gets all the representation here, not only as the first frontman for Genesis, but also boasting a more artistic and experimental solo career. That's not to say he couldn't enjoy success from a more accessible direction with his music, as would be the case with his fifth album, So. This is a progressive pop record where Peter took elements from soul and traditional world music to offer a more sensual and ethereal approach to his compositions. Opening with the strongly percussive crash of "Red Rain", running through cuts like his duet with Kate Bush, "Don't Give Up", his exploration of one's conscience, "That Voice Again", his minimal yet striking critique of Dr. Stanley Milgram's obedience experiment on "We Do What We're Told (Milgram's 37)", the elegant triangle and flute texutres with whispered poetry on "Mercy Street", and the reworked "Excellent Birds" with the supple bassline and lower registers, Peter struck a balance between thought-provoking ballads and complex rhythmic sections. Of course, the song most people remember from this album that demonstrated this balance is "In Your Eyes", with the combination of arpeggiated guitar, light synthesizer flair, talking drum percussion, and contributions from Senegalese vocalist Youssou N'Dour that proved to be an excellent choice for blaring over the boombox in the serenade scene of the film Say Anything. Yet with all the praise I can give for this record, it does feel dated in places. Notably, with the more upbeat tracks "Sledgehammer" and "Big Time", they come off as the kind of cheesy 1980s dance funk that feels of its time. Not helping matters is how many sexual euphemisms Peter lays down on the former track, while the latter is a more palatable critique of the purveying yuppie culture as the decade went on. Overall, it was nice to see Peter Gabriel have his cake and eat it too, with the more accessible yet experimental work done on So. I can see how many would argue this is his best solo album, and as such, it served as a nice introduction to his output.

Highway 61 Revisited

Bob Dylan

5/5

This will be my third Bob Dylan album on my journey, and it's got a reputation. Highway 61 Revisited is the centerpiece of Dylan's rock pivot trilogy, and arguably the starting point of folk rock as a genre. The opening track, "Like a Rolling Stone", is often regarded as one of the most influential songs of all time, and the rest of the album is just as great, if not more. From the more upbeat electric blues of "Tombstone Blues" and "From a Buick 6", to the slow-burning sensuality of "It Takes a Lot to Laugh, It Takes a Train to Cry", to the gut-wrenching organ riffing of "Ballad of a Thin Man", to the gentler roll of "Queen Jane Approximately" and "Just Like Tom Thumb's Blues", ending with the 11-minute acoustic epic "Desolation Row", Dylan and the backing personnel offered a strong variety of well-crafted compositions. Throughout the experience, his poetry remained in focus, most likely written in a stream-of-consciousness, but with enough literary wit and poignant observation to make the characters in his stories feel real. Not to mention, Dylan's delivery on this record comes off with a dry subtlety that doesn't deter but rather invites the listener to hear what he has to say. The organic warmth that pervades this album, vocally and instrumentally, felt welcoming. I don't have much else to say here. Highway 61 Revisited is a classic record that has withstood the test of time, and it was great checking it out.

The ArchAndroid

Janelle Monáe

5/5

I was already familiar with Janelle Monáe back in 2023 when I checked out her recent album, The Age of Pleasure. I remember enjoying the wild genre experimentation on that record, which seems emblematic of her music. Case in point, her debut studio album, The ArchAndroid, employs a rich blend of soul, funk, R&B, psychedelic rock, cabaret, doo wop, and other styles, all wrapped under Janelle's commanding mezzo-soprano voice and immaculate production. Just the opening run of the string orchestration of "Suite II Overture", the quick rapping over the electronic rattle of "Dance or Die", the big band swing of "Faster", and the bouncing funk of "Locked Inside" showcase a good sampling of the flashy swerves offered as the tracks neatly segue into each other. These musical shifts help keep engagement throughout the runtime across two suites. That said, there's more to this record than the instrumental quality and flow. The ArchAndroid serves as parts two and three of a seven-part Afrofuturist concept series, centered around Janelle's alter ego Cindi Mayweather, designation 57821, a hypersexualized android who's on the run from the authorities because she dared fall in love with a human. While her debut EP, Metropolis: The Chase Suite, lays out the setting and the beginnings of Cindi's rebellion, it's okay to start with this record, as "Dance or Die" gives a quick rundown of this world of man and machine as Cindi goes on the run. Eventually, we are introduced to her love interest, Sir Anthony Greendown, and explore their romantic connection. Meanwhile, Cindi herself learns to accept her place as a messianic figure in liberating the rest of the android population, culminating in the ending where she bids farewell to her lover as she begins her travel back in time to save her people. Like all good science fiction, the story here is ripe with allegory. Janelle herself has considered androids to be the new "other", representing the various identities that have long been oppressed and deserve to be free and loved. Janelle herself is a lot of "other" - black, feminine, and queer - and through Cindi, she expresses her desires while trying to live up to high expectations. Probably the most notable tracks that give insight into these feelings are "Oh, Maker", where she calls to a higher being to express her forbidden love, "Mushrooms and Roses", where she's also fascinated by another rebelling female android named Blueberry Mary, and "Say You'll Go", where she reaffirms her love for Anthony and asks him to join her on her quest for android freedom. The album serves as an ode to love in times of crisis while offering hope to others as they choose how they want to live without fear. The lyrical subtext here will become full-on text later with The Age of Pleasure, but it is nonetheless welcoming. At the end of the day, I enjoyed The ArchAndroid. I'm sure it probably makes more sense on stage than on record, but the execution is grand and makes Janelle's world feel like a future worth fighting for.

Freak Out!

The Mothers Of Invention

4/5

I've dealt with a share of bizarre, experimental rock from Frank Zappa. It was a matter of time before I checked out the band he was in prior, The Mothers of Invention. A rotating cavalcade of musicians, the Mothers are considered one of the bigger names in California's late 1960s underground scene. Their debut record, often cited as one of the first concept albums, certainly lives up to its title. Freak Out! starts innocent enough with the rather kooky, playful pastiches of doo wop and rhythm and blues. It's pretty evident that not only did everyone in the band play rather competently for these compositions, but Zappa loved taking the piss out of American pop culture. Whether it's the message of love from the hippies on "I Ain't Got No Heart", the sappy teenage romance on "Go Cry on Someone Else's Shoulder", or the purveying oxymorons that come with the doo wop tunes on "Wowie Zowie", there was a good variety and execution in the parodies they offered. As the album goes on, the band slowly descends into sheer madness. The final two tracks, "It Can't Happen Here" and "The Return of the Son of Monster Magnet", are some of the weirdest tracks I've heard on my journey. The former is an a cappella track that ironically foreshadows the rise of the counterculture, while the latter is a 12-minute sound collage illustrating someone going insane. Funny enough, the latter track wasn't even the finished product according to Zappa, as it was meant to be much longer. Make no mistake, Freak Out! is a strange record. It does go on for a rather long time, and I imagine it would get unsettling for some people, especially towards the end. But it is unique and helped usher in one of the most creative forces to have walked the earth.

Disraeli Gears

Cream

4/5

Now, we have the "cream" of the crop for Eric Clapton's career. Obvious pun aside, for as much as Clapton continued to see success in his solo career and other projects, it was always going to be his time with the band Cream that got the most recognition. Similar arguments could be made for drummer Ginger Baker and bassist Jack Bruce. Their landmark album, Disraeli Gears, serves as a testament to their combined talent early on. A good portion of this album is the sort of chill psychedelic blues rock that's emblematic of the group, as members shared hazy vocal leads and songwriting credits amidst crunchy guitar riffs and a loose rhythm section. The compositions are kept mostly tight and self-contained, as songs never veer off into improvisational jamming, which is a good thing for keeping these songs memorable. Tracks like "Strange Brew", "Sunshine of Your Love", "Tales of Brave Ulysses", and "SWLABR" capture the shift from blues to more acidy stylings as the latter half of the 1960s raged on. That said, this album does peter off in the last couple of tracks, from Clapton's more straightforward rendition of Blind Joe Reynolds's "Outside Woman Blues" through the band's mock ending of "Mother's Lament". I should also mention that while Clapton is an above-average guitarist who is showcased well here, I wouldn't say he was the greatest among his contemporaries, like Jimi Hendrix or George Harrison. There were definitely better players at the time, and deep down, I think Clapton would agree with me. Regardless, Disraeli Gears is a classic record from one of the first supergroup bands ever formed, and as such has its place on this list.

Juju

Siouxsie And The Banshees

5/5

I will not include the 2006 reissue bonus tracks for this review. After enjoying Siouxsie and the Banshees' debut, The Scream, I figured I would get more of a kick out of a later release of theirs. After all, I already love opening single "Spellbound", which made a recent appearance in the fourth season of Stranger Things and was sampled this year in Lady Gaga's "Abracadabra". Plus, I've heard deep cut "Monitor" before on the radio, and dug that track as well. How does the rest of Juju stack up? I would say that this album can be distilled into one word, and that's "hypnotic". Not only are all the great elements of the band's early raw work still present in the sound, with Siouxsie Sioux's vibrato, John McKay's crunchy riffs, Kenny Morris's tom-tom-focused percussive beats, and Steven Severin's supple bass, but the songwriting has greatly improved to incorporate tighter melodic compositions. Not a moment felt wasted as the band effortlessly played with dark twists and turns, yet maintaining some pop sensibilities. Combine that with a myriad of subject matter ranging from meditations on death, domestic abuse, serial killers, and perverted magic, and the result is a classic goth record. I can see why Juju is considered a fan favorite in the band's discography. It was well worth checking out.

Vanishing Point

Primal Scream

3/5

I will admit, I have rather limited knowledge of Primal Scream. They're a Scottish group that started in the indie pop genre but eventually moved towards incorporating elements of various styles, including alternative, garage rock, dance, and psychedelia. I know that Screamadelica is considered their genre-bending commercial breakthrough, and it is on this list. But that's not the album I got today. Instead, I got their fifth album, Vanishing Point, which can be viewed as a return to their genre-bending approach after employing a more straightforward roots rock sound with Give Out but Don't Give Up. Frontman Bobby Gillespie refers to this album as an "anarcho-syndicalist speedfreak road-movie" record, combining elements of electronic rock, dub, and neo-psychedelia, with this music serving as an alternative soundtrack to the 1971 action film of the same name. I haven't seen Vanishing Point, the film, yet, so I wouldn't know how much weight that remark holds. But I will say this album gets weird. Most of this album serves as pure ambience, such that the electronic flourishes, programmed percussion, reverb-coated guitar strums, and occasional hazy vocals from Gillespie all coalesce into "vibes". It certainly sounds pleasant to listen to in the background, though rarely did a track grab my attention. The only tracks that seemed to stand out to me amidst the haze were singles "Kowalski" and "Star" with their abstract lyrics and popping grooves, "If They Move, Kill 'Em" with the use of theremin and funk guitar rollick, the more straightforward garage rock number "Medication", and the absolute oddity that is the slowed-down, electronically-tinged cover of Hawkwind's "Motörhead", sung through a Darth Vader mask. I wasn't sure what to expect with Vanishing Point, the album, and as a result, the hodgepodge of sounds and ideas didn't quite work out for me. I certainly didn't hate it, as there are some good moments, and I will commend Primal Scream for continuing their experimentations. I simply wish that it resulted in a work that stuck in memory more.

Untitled (Black Is)

SAULT

3/5

For those who don't know, SAULT is a black British music collective that combines elements of neo-soul, funk, and urban contemporary gospel. They were largely anonymous, but these days are known by two big-name collaborators, producer and multi-instrumentalist Inflo and vocalist Cleo Sol. Together, they released multiple albums within the span of a few years, to be timely with their efforts in tandem with recent sociopolitical events in the Western world related to the urban black experience, and Untitled (Black Is) was certainly utilized to address such. The group made it clear with their mission statement alongside the release. This album was meant to address issues of systemic racism and police brutality that have endured in the United States, the United Kingdom, and other such countries. In particular, what was fresh on people's minds at the time was the civil unrest that sparked following the murder of George Floyd, after he was fatally asphyxiated by a police officer. Of course, other black people have needlessly died at the hands of police, including Breonna Taylor and Ahmaud Arbery, but it was George's death that resonated the most with people. I could see how a group like SAULT would be motivated to capture the essence of these systemic issues with an eclectic blend of soul and funk, while also looking to be empowering for black folk at a time of turmoil. Parallels could be argued between this record and Marvin Gaye's What's Going On, a classic soul record also released at a time of civil unrest. But this is where I need to bring up the three P's of good political art - power, populism, and precision. While the populism is evident here in the apparent messaging, there is some inconsistency in the power and precision. Regarding power, there are some noticeable moments in this record, such as on "Black Is", where the musical backdrop quiets down as the vocal lead takes on more poetic prose. Not exactly bad, but given the weight of the messaging, there could have been more immediacy and impact in the presentation. Conversely, there are moments on "Stop Dem!" and "Black" where vocal pickups clip at the front of the mix, as Inflo can't quite keep the production from getting rough in spots. As for the precision, while there are a few mentions of the issues at hand, such as the chants on "Stop Dem!" or the callout of the racist policemen on "Don't Shoot Guns Down", a lot of the language here comes off as a bit too respectable in tone, with not enough detail or genuine insight to effectively challenge the systems in play, leaving certain sentiments on this record ringing hollow. It is frustrating because I think there is a place for music to address these types of issues with racism and police brutality, and SAULT attempted to do just that here. I can see why this was picked for the 2021 edition of the book, given that the civil unrest of that previous summer was still fresh in people's minds. But at the end of the day, problems in the execution wind up leaving me wanting more.

Joan Armatrading

5/5

Oddly enough, at the start of this year, I heard the big single off Joan Armatrading's self-titled album, "Love and Affection", and remember enjoying it. Joan is an English singer-songwriter who had a rather earnest upbringing and worked her way towards a record deal while writing and performing her original songs. This third album of hers would be her commercial breakthrough, and I can hear why. This record is a rich blend of folk and pop, with bright textures and bouncing grooves to make these songs feel vibrant under Joan's soft yet commanding contralto delivery. Not only does her strumming of the acoustic guitar come off well-accented, but the rest of the soundscape is bolstered by the welcomed additional instrumentation, such as the accompanying strings and alto saxophone solo on "Love and Affection", or the mandolin motifs on "Somebody Who Loves You". Adding to this flair are some deep observational lyrics of love in all its twists and turns. I know that love and relationship songs will be forever abundant in music. Yet, there is something to be said about Joan's particular poetry in plain, spoken language, directed towards "you" as the partner involved in the relationship, that feels more resonant. Nothing is left to ambiguity or second-guessing, as she laid it all out on the table, including the accusations of one-night stands on "Join the Boys" or the affair exposed in "Somebody Who Loves You". It may seem simple in its presentation and execution, but Joan Armatrading's self-titled album is just that good. I couldn't find anything to complain about with this record, and I am glad to have gotten to check her music out this year.

Stories From The City, Stories From The Sea

PJ Harvey

5/5

This will be my third PJ Harvey record on this album journey, following her early 1990s output. I already heard the single "Good Fortune" last year and liked it. How does the rest of Stories from the City, Stories from the Sea compare? Simply put, this is a very exuberant alternative record, capturing the sort of joy and raw beauty that PJ must have felt towards the turn of the century. From the pursuit of love on "Good Fortune", to the positivity shown where she was at the time on "A Place Called Home", to outright confirming her sentiments on "Beautiful Feeling", her energy, complemented by the brighter textures in the guitar melodies and reverb, made this album come off very warm and pleasant to listen to. While an argument can be made that Stories was her "mainstream" record, the album still retains darker undertones and experimentation to keep it above a typical commercial pop sound. Opening with PJ's own observations of gun obsession on "Big Exit", the rat race of bustling city life on "The Whores Hustle and the Hustlers Whore", the implied aggressive sexual act on "Kamikaze" while dealing with the emotional fallout on "This Is Love", all culminating in the sentiment on "We Float" where the bid is made to make the most out of what life has to offer before our souls move on to the afterlife. Along the way, there are some abrasive guitar riffs on tracks like "This is Love" and "The Whores Hustle and the Hustlers Whore" to match the grittier tone, along with notable contributions from Thom Yorke of Radiohead on tracks like "This Mess We're In" and "Beautiful Feeling" to add dimensionality to those tracks from having the male counterpart for the relationship exploration she delves into. Even more sobering is the piano-led ballad "Horses in My Dreams", where PJ recalls some vivid imagery in her sleep that could be interpreted as her free spirit, unburdened and able to roam wherever she wanted to. Stories from the City, Stories from the Sea was an impressive record. I know that PJ was already well-established as a singer-songwriter by this point, but even then, this album feels superbly ethereal in its sentiments of a moment of bliss, so frail and fleeting, yet it came when it needed to.

Crosby, Stills & Nash

4/5

David Crosby, Stephen Stills, and Graham Nash were all established singer-songwriters in their respective rock groups before they came together, realized they all shared good vocal chemistry, and went on to form their own folk rock supergroup. I understand they would later bring Neil Young into the fold, but for the time being, this was Crosby, Stills, & Nash for their self-titled debut. If there's one song I immediately recognized from continued radio airplay, it was the opening "Suite: Judy Blue Eyes", such a pleasantly sprawling set of musical sections that elevated the subject matter of a breakup between Stills and his former girlfriend Judy Collins. As for the rest of the record, it boasts a rather pleasant-sounding folk-rock sound, with the expected vocal harmonies and bouncing guitar rollicks. It's rather evident that there is a certain degree of sophistication in the songcraft and production to bring about these popping melodies early on. Sure, at least half of the songs are about the various relationship breakups the band members endured up to this point, which can come off a tad single-minded. Thankfully, there are a few swerves in the lyrics that were appreciated, such as the vivid imagery of Nash's train ride on "Marrakesh Express", and especially David Crosby's penned songs that take the darker turns, like the apocalyptic scenery of "Wooden Ships" or the capturing of the counterculture clash on "Long Time Gone". At the end of the day, this was a solid debut record from one of the most revered supergroups that walked the earth. It's funny how such partnerships can work and endure.

Duck Stab/Buster & Glen

The Residents

3/5

I will not be including the bonus tracks of disc one and the entirety of disc two of the 2018 pREServed edition of the album in this review. Normally, for an artist I hadn't heard of or was not familiar with, I usually like to research and give a brief background of who they are, how they started their music career, and what their situation was like when making the record presented here. Today, however, I'll have to largely forego that, as the Residents are a largely anonymous music collective that thrives in obscurity. Any information related to the band's history or potential members should be taken with a grain of salt. If anything, I could only reliably go off of their musical output, which can be described as deconstructions of Western popular music, complete with stream-of-consciousness lyrics, tonal dissonance, and the use of sound collages. That sort of description befits this record, Duck Stab!/Buster & Glen, which combines two of their EPs, applying a more guitar-driven sound to shorter songs. This album is often considered their most "accessible" record, for what it's worth. I'll admit, I laughed at the highly modulated vocals for tracks like the opening "Constantinople" and "Laughing Song" alongside the jarring dissonance and surrealist lyrics. But once the initial shock and laughter wore off for me, I began to realize how muted the production sounded, and how reliant the Residents were on subverting these conventional song structures without much in the way of gripping satire or a greater purpose outside of being weird. Even for weirdness' sake, there's a part of me that feels they could have gone even more outlandish or bizarre in the execution. I would say I'm more into the experimental rock acts that have emerged since, except I've gotten more out of Frank Zappa and Captain Beefheart with their respective deconstructions of blues rock and psychedelia. Then again, it could be argued that the Residents set a precedent for even weirder bands to come, and probably value being more odd than even Zappa and Beefheart. Who's to say which is intrinsically better? I can at least say that the Residents' Duck Stab/Buster & Glen made for an intriguing footnote, one that I can certainly respect. Perhaps in the eyes of the Residents, simply respecting their pursuit of art is satisfying enough.

Scott 4

Scott Walker

5/5

Scott Walker is an artist I've only started listening to within the past year. He was an American-British singer-songwriter and producer who originally rose to fame with the pop trio, the Walker Brothers, before pursuing a solo career that ventured into baroque pop. Most people seem to agree that Scott's four eponymous solo records were the biggest highlights of his career, and after listening to Scott 4, I can see why. These songs tend to explode with a fiery passion, thanks in part to Scott's husky baritone voice and the intricate arrangements from the guest accompaniment directors. Bolstered by the crisp production from John Franz, the album burns ferociously with the elevated orchestral swell, each instrument given its due. Alongside this sheen, Scott's lyrics take on a very cinematic role, immersing the listener in each scene of the stories he told, with such striking enunciations of the imagery. It may seem pretty obvious from the get-go with the opening track that recounts the plot of the film The Seventh Seal, but even his musings on love, like on "The World's Strongest Man" and "Angels of Ashes", or his more political commentaries on "Hero of the War" and "The Old Man's Back Again (Dedicated to the Neo-Stalinist Regime)" hit with more immediacy in his recounts. In a way, Scott and company took these mundane subjects and breathed life into them. Scott 4 is the sort of eclectic record that reveals a man who pursued greater ambitions with his work, and for once, it clicked.

Rubber Soul

Beatles

5/5

This is the fifth Beatles album on my journey, and I admit that my feelings toward Rubber Soul seem to align with the consensus. To wit, while I consider Revolver to be a superior record in overall experimentation and variety, this album is still amazing in its own right. Rubber Soul is the first Beatles record to feel the fullest in production, as the group largely abandoned live performances to focus on studio tinkering and enhancing the low-end frequencies. The result is these songs maintaining a crisp quality. From the laid-back opening R&B number "Drive My Car", to the sitar-led "Norwegian Wood (This Bird Has Flown)", to more intimate love songs like "Michelle" and "Girl" to the elegant piano ballad "In My Life", this album resonated strongly, as if it had been well preserved over the passage of time. The only song that felt at odds with the rest of this record was the closer "Run for Your Life", where John took a break from the overall introspectiveness of the songwriting to write a weirdly threatening jig towards the love interest. But even I still consider that song a bop, despite the shift in tone. At the end of the day, Rubber Soul remains a wonderful record, one that proved foundational to the development of popular music as we know it.

Lady Soul

Aretha Franklin

5/5

I will not include the CD reissue bonus tracks in this review. It's been a little over a month since I heard I Never Loved a Man the Way I Loved You on this album journey. While that record is more recognizable in Aretha Franklin's catalog, Lady Soul is still just as spellbinding. While Aretha's original songwriting largely took a back seat in favor of outside writers and covers, her bellowing performance was still top-notch. Running the gamut from the bass-leaden bounce of "Chain of Fools", the horn-accompanied renditions of James Brown's "Money Won't Change" and the Impressions' "People Get Ready", into the elegant ballad "(You Make Me Feel Like) A Natural Woman" composed by Carole King, Aretha effectively owned these recordings with her voice. That's not to say Aretha still didn't see results from her own songwriting chops. The powerhouse shuffle of "(Sweet Sweet Baby) Since You've Been Gone" and the slowed-down swing of "Good to Me As I Am to You", complete with Eric Clapton's guitar soloing, were a pair of neatly penned deep cuts. Plus, it was a nice touch to let sister Carolyn write the closing number "Ain't No Way", which ended up being an effective final note in the raw, emotional swell of the presentation as the Sweet Inspirations provided the supportive backing vocals to complement Aretha's delivery. I think it would be difficult to say which of Lady Soul or I Never Loved a Man would be considered more essential, considering they were both fantastic records. Whatever the case may be, it was a pleasant time listening to the Queen.

Murmur

R.E.M.

5/5

I find it intriguing to check out R.E.M.'s debut album after listening to their later records on my album journey. Because, from the sounds of Murmur, they started as more of a cross between garage rock and jangle pop. It's still apparent where the sonic direction will be going in the near future, but this early on, they nailed their distinct characteristics. Peter Buck's arpeggiated guitar playing, Mike Mills's countermelodic bass lines, Michael Stipe's abstract lyrics paired with the vocal harmonies, and Bill Berry's punchy percussion are all present here. Credit where it's due to producers Don Dixon and Mitch Easter, who employed a largely hands-off approach to capture the raw, live energy. Speaking more about the lyrics, I was surprised by how many poignant messages could be extrapolated from this debut. From the perils of biased media on "Radio Free Europe", to finding safety in a difficult situation in "Laughing", to the starvation and hunger portrayed in "Talk About the Passion", to the loss of youth and innocence on "Catapult", there was a lot of resonance to be found in these songs. Even if a meaning couldn't be found for a particular track, there was enough intricate imagery and interconnected vowels to match the mood of the instrumental composition, such as in the ballad "Perfect Circle" and the bouncy folk-punk of "Sitting Still". I couldn't find any issues with Murmur, as this ended up being a surprisingly vibrant debut record. It was nice checking out R.E.M. from their humble beginnings.

Ocean Rain

Echo And The Bunnymen

5/5

I started listening to Echo and the Bunnymen this year. They're another legendary band hailing from Liverpool, who carved their own legacy in the post-punk movement through employing moody atmospheres and poetic lyricism. Ocean Rain is probably one of their more notable releases, after I came off lead single "The Killing Moon" in Rock Band 3, and second track "Nocturnal Me" in the first season of Stranger Things. I consider both tracks to be stunning, so how does the rest of the record stack up? This album can be described with one word: beautiful. The lush string arrangements courtesy of the accompanying orchestra, the intricate guitar melodies, the cold yet striking rhythm section, and the touches of reverb in the production all coalesce behind Ian McCulloch's haunting vocal delivery. Combining that sonic quality with the poetic prose of the lyrics, utilizing some striking imagery while leaving it just vague enough to open interpretation, the result is a listening experience that grew on me in its deviancy. I honestly don't have much else to say when Ocean Rain is simply this delightful. I'm curious how the rest of the Echo & the Bunnymen records on this list hold up in comparison.

Songs For Swingin' Lovers!

Frank Sinatra

4/5

Throughout my album journey, I have noticed an inevitability that certain artists whose legacies have withstood the test of time will receive at least one or two inclusions in the books. Case in point, Frank Sinatra, often regarded as one of the greatest singers of the 20th century, got two albums included. To be fair, Songs for Swingin' Lovers is a pleasant little record. Sinatra's sultry voice and Nelson Riddle's bombastic orchestral arrangements made for a potent combination of ripe textures to these traditional pop standards. Renditions of the likes of Cole Porter's "Anything Goes" and "I've Got You Under My Skin", as well as other cuts such as Josef Myrow's "You Make Me Feel Young" and Burton Lane's "Old Devil Moon" come off as smooth and delectable as butter. That said, it made for an album experience where Sinatra and Riddle stuck to a formula that certainly worked, but didn't push the envelope any further. Also not helping matters were a few instances of the cover selections having language that aged weirdly, such as Walter Donaldson's "Makin' Whoopee". Still, Songs for Swingin' Lovers proved to be a mostly classy good time. I am certainly curious about the other Frank Sinatra album included.

British Steel

Judas Priest

5/5

I will lay my bias out right now, because I saw Judas Priest perform live last year with my Dad, and they're still kicking ass over fifty years into their career. One of the pioneering groups of the New Wave of British Heavy Metal movement, the band has been highly influential in heavy music, and their record British Steel is a testament to that legacy. From the opening guitar riff of "Breaking the Law" to the blistering speed of "Rapid Fire" and "Steeler", to pulse-pounding stompers like "Metal Gods" and "The Rage", to outright uplifting jams like "Living After Midnight" and "United", everyone in the group was firing on all cylinders. Rob Halford's soaring vocals, the twin-guitar attack of K.K. Downing and Glenn Tipton, and the equally visceral rhythm support of Ian Hill and Dave Holland made for an electrifying experience, filtered through the well-balanced production from Tom Allom. These songs boast tight compositions, and the lyrics match the ferocity of the execution. Sure, arguments could have been made for later efforts, such as Screaming for Vengeance and Painkiller; those albums have also garnered popularity in their singles and more aggressive sound. Yet, it was British Steel that was chosen for the list because this was Judas Priest's breakthrough into the mainstream, and I'm inclined to say it still holds up all these decades later. They are Metal Gods among mortal men.

Better Living Through Chemistry

Fatboy Slim

3/5

I will not include the bonus tracks from the US Astralwerks release in this review. It had been some time since I listened to Fatboy Slim, after getting You've Come a Long Way Baby as album #46 on my journey. I figured going back to his debut album would elicit an understanding of the sonic direction he would take his big beat music, without being as strong or compelling as his international breakthrough. Turns out that was the right expectation to set for Better Living Through Chemistry. To be fair, there are a couple of genuine bops on this record, particularly the run from "Going Out of My Head" through "Give the Po' Man a Break", where the eclectic sampling and electronic instrumentation are cleverly blended and make for an engaging listen. However, my interest admittedly started to wane with the warbly synths on "10th and Crenshaw", saved towards the end with the Kraftwerk-esque vocalization against the breakbeats on "Punk to Funk" and the filtered guitar rollick playing through "The Sound of Milwaukee". There are some good ideas to be found here, and I can hear how Fatboy Slim would become the creative force he's known to be in the electronic landscape. It's a fine record, even if it doesn't feel like their most enticing output.

Ghosteen

Nick Cave & The Bad Seeds

5/5

As soon as I saw that this album was on the list, I prepared for it. Ghosteen has been framed as the final part of a trilogy of albums spanning Nick Cave and the Bad Seeds' output through the 2010s, following Push the Sky Away and Skeleton Tree. I gave both of those albums a listen to better understand how they would be followed up on. I'm also aware that Nick Cave's son Arthur passed away back in 2015, after much of Skeleton Tree was written. There was a certain expectation festering in my mind of Nick leaning into more grief amidst the electronic and ambient textures that have colored the then-most-recent works. So let me state this for the record - while I admit that this album may be viewed as the "weakest" of the aforementioned trilogy, that is not to excuse how damn potent it is. I might as well get my nitpicks out of the way, as the idea of Ghosteen being the "weakest" will loom longer if I don't address it. Mainly, my concerns lie with the structuring of this record. It is a double album that does admittedly run long, and requires thoughtful listening as the mixes are so spare and restrained, and the beats are so minimal that attention has to be paid to any tunefulness and poetic frailty that cuts to the front. There aren't any musical climaxes like on Push the Sky Away or any melodic choices that hit as hard as on Skeleton Tree, as the music is largely ambient to allow the listener to sink into the textures. But then there's also a matter of how the two halves of this record are divided - the first disc being eight songs described as "from the children", while the second disc is two long songs split by a spoken word interlude referred to as "from the parents". On a pure musical level, there's a certain awkwardness with the sequencing in terms of building towards those emotional climaxes. The first disc ending on "Leviathan" may make sense lyrically, but sonically it does feel a tad incomplete, where the end of disc two on "Hollywood" is more jarring with the minor key brittleness that comes off as a rather bleak way to end an otherwise ethereal experience. Yet, there is something truly mesmerizing in this album's minimalist compositions. Take for example the fuzzed-out, clanking introduction to "Waiting for You" that lasts a few seconds before the song shifts to an outright piano ballad, or the faint, muffled stutter of the ascending guitar against the gentle warmth of the strings on "Sun Forest", or the vocal pickups that build such a striking foundation on "Galleon Ship", or the little synth flourishes on "Ghosteen Speaks", or even the hand percussion touches around a mix of faint electronic layers and melodic swell off the piano chords on "Leviathan". Even if there isn't a defined groove, the rich cushion of atmosphere and effective use of negative space made up for the lack of any explicit hook. Of course, when the musical landscape is largely atmospheric, the logical centerpiece in this mix is Nick Cave himself, with a painfully aching vocal delivery that can still command gravitas. He assumes the focal point as the storyteller for the abstract stories that need to be told. There are some genuinely striking moments coming from his voice, such as the full-throated singing on "Waiting for You", the accompanying backing chorus on "Sun Forest" and "Spinning Song", and the female vocals sliding behind him on "Night Raid". As for the content with which Nick uses that voice, there is a continuation of certain metaphors and points of reference from the previously mentioned works. The burning trees and creatures rising from the ocean that were on Push the Sky Away are used in such apocalyptic scenery, as the children ascend towards the sun in a similar iconography to the passing through worlds witnessed on Skeleton Tree. This leads into the larger text of Ghosteen as rooted in the healing of grief and heartbreak that came from Nick Cave losing his son, now left to reconcile with the son's passage into another plane of existence that he can't contextualize. Alongside that, there had been a long-running subtext through these albums about the music itself - the questions of advancing artistry into untold depths on Push the Sky Away, the whole concept of narratives severed on Skeleton Tree, and here with bookending statements about the inevitability of death, yet through art's transmission beyond that life there can be an emotional clarity found between the artist and their audience. Even still, there's another side to the narrative that has to be mentioned, and that is what Nick himself is left to do back on earth. In the text, Nick is still patching up the lingering pain that he and his wife had endured, while in the subtext, the art has to mend that gap to his audience, to rebuild the faith in his stories and that emotive connection. It's why "Night Raid" retells his son's conception with swirling images of birth and death, the gravitas of the moment symbolized by the returning horses to the street. It's why the fairy tale of Goldilocks and the three bears is recontextualized on the title track to highlight the sense of falling into routine to maintain a lingering connection. Probably most potently on the record, it's why on the interlude "Fireflies", the impossibility of holding on to that cosmic connection is compared to the photons of a dying star, as they inch across space to land their energy. By the time they achieve this feat, they're left as memories. That leads us into "Hollywood" at the end, where life seems cheapened amid a dark, apocalyptic world, as Nick waits to cross that distance himself to reunite with his son. That is, until he recalls the Buddhist tale of Kisa, a woman whose son dies and she searches for answers from the Buddha, only to be told instead to collect a mustard seed from each house whose owner has never lost someone; she could not collect a single one. At this point, the text and subtext are joined: until that great barrier is passed, what we have on earth is all that we got, whether it's the flawed community we find or the audience who will take that conveyance of energy and momentum in art and reflect it on the artist. If it wasn't apparent, I was moved by this record. Admittedly, I nearly broke down in tears while listening in the office. Ghosteen may not possess the compositional bombast of its preceding records, but that doesn't stop it from being a sonically gorgeous, nuanced, and striking effort. There is a command of atmosphere and intricacy that I can't help but be moved by. While complete peace may be further on down the road, there's enough found here that was made beautiful.

Cross

Justice

5/5

I've enjoyed the French electronic duo Justice, up to and including seeing them live at Coachella back in 2024. Their style of electro house, typified by those heavy, buzzing basslines and the booming bass drum notes, took major influences from disco, funk, and hard rock. Having already heard half of their debut record, Cross, I was looking forward to checking out the other half, and the experience certainly enthralled me. From the opening bombast of "Genesis" giving way to the supple bass groove, blaring drills, and chopped-up sampling, the sound is established. The duo of Gaspard Augé and Xavier de Rosnay effectively utilized distorted synths, hard-hitting percussion, ever-present basslines, and numerous micro-samples to create imaginative compositions that flow seamlessly from one to the next, maintaining listener engagement. Even when vocals do show up occasionally on this record, such as the chorus of children on "D.A.N.C.E.", the raspy vocals of Uffie on "The Party", and the glossy delivery of Mehdi Pinson on "DVNO", their presences felt complementary to the swagger and bounce of those tracks. Sure, it might seem simple in its musical statement, and perhaps the methods in which they mash and play with the samples and distorted elements can be overwhelming for some. But I still enjoyed Cross all the way through, as Justice carved their own niche in a throwback sound that still feels fresh and innovative years later.

The Score

Fugees

4/5

I will not include the bonus tracks in this review. I have heard of the East Coast hip-hop group Fugees. The collective of Lauryn Hill, Wyclef Jean, and Pras Michel took elements of funk, R&B, and reggae with socially conscious lyrics at a time when gangsta rap was dominant. They only released two studio albums before internal conflicts led to their split and subsequent pursuit of solo careers, occasionally reuniting to perform since. The Score is the latter of those two records, becoming a commercial success, and I can see why. This is a well-produced album where the live instrumentation is balanced with eclectic sample choices. Some truly inspired samplings are blended well, including Enya's "Boadicea" on "Ready or Not", the Flamingos' "I Only Hae Eyes for You" on "Zealots", and A Tribe Called Quest's "Bonita Applebum" on the cover of Lori Lieberman's "Killing Me Softly with His Song". Combine that with the main trio's laid-back lyrical flows, equally shared among each other, with the occasional extra singing on Lauryn's part, and the result is a sound that has aged remarkably well. That said, the lyrical subject matter could have been more varied. Multiple tracks on this album are about the Fugees' ability to rap and outwit their contemporaries. Of those tracks, it's clear that "Ready or Not" towards the beginning remained the best, followed by the title track, which also served as a warning for other emcees to avoid any street violence their music might instigate. The only other tracks that vary up the lyrics are "The Beast", which alludes to police brutality towards minorities, and "The Mask", in which African-Americans had to conceal their true emotions to present themselves neatly in a white-dominant society. Outside of those, the skits haven't exactly aged well, and it's clear that the songs that remained in the public consciousness either had a prominent recognizable sample, are a cover of a well-known song, or both in the case of "Killing Me Softly with His Song". Still, I'd say The Score is a solid record that exemplified a lot of then-young talent and proved that conscious rap still had its place in music.

Aja

Steely Dan

4/5

Well, after getting Donald Fagen's solo debut, it was about time I got some Steely Dan. Both Fagen and co-founder Walter Becker dedicated themselves to perfecting their craft in the studio alongside a revolving door of session musicians. This habit led to a period of critical and commercial success, culminating in the release of Aja (pronounced "Asia"). For what it's worth, I consider this record to be a comfortable slice of smooth jazz rock. The warm production, clean guitar textures, soulful vocal deliveries, vibrant horn arrangements, and improvisational compositions all coalesce into this laid-back experience. I can hear how this album had a major influence on the yacht rock scene. Probably the crown jewel of this sound is "Peg", with its bumping groove, soaring guitar soloing, and multi-tracked backing vocals. Sure, the lyrics haven't aged well, and there are more challenging jazz-rock records from the likes of Miles Davis, Frank Zappa, and Mahavishnu Orchestra. But Aja is a pleasant record from start to finish, with plenty of intriguing passages to keep it engaging.

You're Living All Over Me

Dinosaur Jr.

4/5

I will not include the bonus cover of the Cure's "Just Like Heaven" in this review. Let me start by stating that I'm lukewarm towards Dinosaur Jr., one of the bands responsible for creating the rough-edged jangling side of indie rock in the mid-1980s. I enjoyed a couple of tracks here and there, including "Sludgefeast" off this record. I wanted to give this album a fair shake, so what did we get on You're Living All Over Me? I will say that this album starts strong, where the strengths of this group are evident early on in the compositions. Lou Barlow's rattling basslines complement J Mascis's guitar melodies in a manner that works quite well within the loud-quiet-loud dynamic that would help define the underground indie sound. Pair that with the distorted feedback, Murph's punchy drumwork, and Mascis's cryptic lyrics that deal with faltering relationships and social restrictions, and the result is a distinct style. Perhaps the writing could have been a little stronger, and the album ends on an admittedly perfunctory note with the ukulele-led "Poledo". But as a whole, You're Living All Over Me is a pretty solid outing from a group that forged their path in indie music credibly well.

You Are The Quarry

Morrissey

3/5

I admittedly dreaded after seeing that Morrissey, on his own, had four records on this list, in addition to the three allotted for the Smiths. As I established in my review of Meat is Murder and The Queen is Dead, Morrissey had been the biggest hurdle for me getting into the Smiths because he's that much of a dick. As one could imagine, I was even less enthused about going into his solo output. Still, I can now say that I enjoyed The Queen is Dead, and I wanted to go into this album with an open mind. So, what did I get with Morrissey, You Are the Quarry? Well, instrumentally, this is a pleasant-sounding record. It's a nice blend of early 2000s alternative and pop rock, with Morrissey's baritone delivery nestled in front of Alain Whyte's elegant guitar play, a decent rhythm section, and some lush string arrangements. It's not the most commanding instrumental performance coming off the two Smiths albums I heard prior, but it does make for an enjoyable listen. What isn't as enjoyable, unfortunately, are the lyrics. For better and worse, You Are the Quarry is an album largely about Morrissey's own drama, from his trademark self-deprecation to very on-the-nose critiques. Look, I get it - he doesn't like the British tabloids, he doesn't like his former Smiths bandmates, he doesn't like people who eat meat, he doesn't like authority, he didn't like his Catholic upbringing, he doesn't like his home in Camden, London, he certainly doesn't like what England and America had become at the turn of the century, and most tellingly, he doesn't like himself and questions whether anyone is truly capable of loving him. While that frustration can be channeled into some intriguing storytelling, such as the tribute to his Hispanic fanbase on "First of the Gang to Die", the cultural divide in his heritages on "Irish Blood, English Heart", and the imagery of being deserted by Jesus as he struggled with his faith on "I Forgive You Jesus", almost half of this album's content is very specific to Morrissey to the point where I had trouble finding pathos or relatability. Tracks like "This World is Full of Crashing Bores" and "How Can Anybody Possibly Know How I Feel?" reeked of high-brow observations from Morrissey on others, whereas his refuge amongst the lesbians in "All the Lazy Dykes" gets rather creepy as he asks them to touch and squeeze him. So much of this album depends on how much one cares about Morrissey's tea, and that's hard for me to swallow; again, this man is the reason I had a hard time getting into the Smiths. I just can't find myself coming back to You Are the Quarry much. There are a few songs to cherry-pick from, but that's the best I can do. I certainly don't look forward to the other Morrissey solo records.

Post Orgasmic Chill

Skunk Anansie

3/5

Another day, another British rock band I hadn't heard of before. Skunk Anansie hail from London, and are largely categorized as a mixture of hard rock and alternative metal, with influences from dub and reggae, and a powerhouse vocalist in Skin. I was genuinely curious how this group and their record, Post Orgasmic Chill, hold up against the large swathe of heavier alternative bands that have found success. There was some initial excitement from the opening run of "Charlie Big Potato" through "We Don't Need Who You Think You Are", and yet the kinetic energy of the band felt weirdly restrained upon closer examination. The more I listened to this album, the more I was reminded of a similar group that would emerge decades later here in the States - Halestorm. After all, both groups combine hard rock with alternative metal, with powerhouse female vocalists who are their respective bands' largest appeal. Sure, Skin has a more distinctly black British dialect, but the parallels between her and Lzzy Hale are there. Unfortunately, these parallels also extend to my issues with this album. The songwriting doesn't quite offer enough nuance or detail to give these songs that extra weight or flavor. The subject matter tends to oscillate between relationship issues and self-empowerment, with little else to offer aside from specific Britishisms, such as on "Charlie Big Potato" and "The Skank Heads". Even more indicting is the polished production from Andy Wallace. He may be competent enough to push Skin in front of the mix as necessary, but his production style doesn't elicit that distinct crunch or heaviness the band is craving for. The closest this album gets to explosive delivery is on "The Skank Heads", and even then, this sound could have been pushed farther, especially given how ballad-heavy tracks are towards the middle. It hurts me to say, but I'm admittedly a bit disappointed. I imagine that, like with Halestorm, Skunk Anansie works better as a live act, and I would probably enjoy them a lot more in that unrestrained environment than in the studio. Because, as it is, Post Orgasmic Chill is a serviceable hard rock record tailor-made for the radio, but it could have been more than that.

Sunday At The Village Vanguard

Bill Evans Trio

5/5

I will not include the bonus takes in this review. Bill Evans was a legendary jazz pianist who influenced the harmonic language of his instrument. He studied classical music before moving to New York City to work with the likes of bandleader George Russell and Miles Davis. In fact, Evans was part of Davis's sextet when the latter recorded Kind of Blue, an album I thoroughly enjoyed a couple of months ago on my album journey. Shortly after those sessions, Evans left Davis's group to begin his career as a leader, forming a jazz trio with bassist Scott LaFaro and drummer Paul Motian. The three of them would work across both traditional jazz standards and original compositions, with an added emphasis on interplay among themselves. This musical kinship spanned over two studio albums and two live albums recorded at the Village Vanguard jazz club in New York City, only to be cut short by LaFaro's tragic death in a car accident. For as much as Sunday at the Village Vanguard is billed as a performance of Bill Evans and his trio, the track selections for this record were deliberately made by Evans as a tribute to LaFaro. Not only is this record bookended with two of Lafaro's striking original compositions, "Gloria's Step" (Take 2) and "Jade Visions" (Take 2), but the rest of the chosen covers were the best showcase of the young prodigy's eclectic soloing and countermelodic basslines. That's not to say Evans took a backseat; rather, the three of them played well off each other in such synchronicity. Evans made the most out of his block chords and modal inflections, and Paul Motian effectively utilized drum brushes on the quieter moments while modulating towards thunderous bombast on cuts like Miles Davis's "Solar" and the sprawling take on Sammy Fain's theme for the Alice in Wonderland film. Would it have been nice to have had the entire Village Vanguard performance packaged in one album? Sure, it would have. But as a curated experience of what was considered the brightest and best of Bill Evans's short-lived trio, I'd say this record hits it out of the park.

Maggot Brain

Funkadelic

5/5

It's been about six months since I got One Nation Under a Groove, and I remember enjoying that album in all its weirdness. Now working my way back, I got their acclaimed third album, Maggot Brain. I will say that this record is the kind of explosive, psychedelic funk rock affair that could not and did not let a second go by wasted. Which is saying a lot, considering Maggot Brain is bookended by Eddie Hazel's spacious Hendrix-esque fuzzed-out guitar solo of the ten-minute title track, and the freak-out noise collage of "Wars of Armageddon", symbolizing urban decay and the loss in translation of political messaging. These two tracks act as a sort of birth and death, followed by a subsequent rebirth if the last couple of heartbeat sounds indicate such. Sandwiched between these two behemoths is a collection of bass-heavy, soulful tracks that boast harmonious vocals and socially conscious lyrics injected with some much-needed humor. The burned-out physical relationship of "Can You Get to That", the goofy yet bustling "Hit It and Quit", the calls for unity on "You and Your Folks, Me and My Folks" and "Back in Our Minds", the admittedly hilarious drug mixup of the junkie on "Super Stupid", all these songs carry some meaningful lessons amidst the formidable grooves, Bernie Worrell's prominent keyboards, and Eddie's funky-ass soloing. Honestly, Maggot Brain impressed me on another level compared to One Nation Under a Groove and Parliament's Mothership Connection. George Clinton and company were direct in their messaging, while reveling in the dark, sprawling, chaotic psychedelic funk fusion that they found themselves in. The maggots have come to nest.

Trafalgar

Bee Gees

3/5

I was admittedly curious how the Bee Gees sounded before they switched to the dance-oriented disco style they would be recognized for. But after listening to Trafalgar, I'm not sure if that curiosity was well-rewarded. The album starts relatively strong with the opening two singles, "How Can You Mend a Broken Heart" and "Israel", where it's clear the hallmark strength of this group early on was the Gibb brothers' vocal harmonies coalescing behind the clear vibrato singing. But after those two hits, it became abundantly clear that this record was very ballad-heavy. Nearly every song followed the formula of slow-tempo, acoustic guitar strumming, and relationship lyrics that offer little in the way of gripping detail or memorable hooks. The few exceptions were "Don't Wanna Live Inside Myself", where Barry questions his choices in life, and "Lion in Winter", where the imagery of the title is used to exemplify Robin's struggles with his faith. They were neat little deviations on an otherwise rote effort. It hurts to say, but I was not impressed much by Trafalgar. Not a bad album, but I doubt I'm going to remember this record well compared to their later disco efforts.

Feast of Wire

Calexico

4/5

Well, this looks to be another intriguing discovery. For those who don't know, Calexico is a long-running indie rock band from Tucson, Arizona, founded by drummer John Convertino and multi-instrumentalist Joey Burns. Their musical style is often considered as "desert noir"; a blend of traditional Latin sounds, country, and post-rock. After listening to their breakthrough record, Feast of Wire, the band fit that description to a T. There's a hypnotic feel to the group's ability to weave their influences with the elegant string and trumpet accompaniments, warm pedal steel, spacious guitar lines, the soft rhythm section, and Joey's cold, fried vocal delivery. Most of the songs offer rich, immediate compositions paired with lyrics that feel indebted to the Chicano culture and mysticism surrounding the desert iconography. From the gang life described in "Güero Canelo" to the decadent plaza on "Woven Birds", the imagery painted a striking scenery of hardship and toil for these lives, and I have to commend the group for the vividness in the songwriting. The only thing that holds me back from fully enjoying this record is the multiple short instrumental interludes. Most of them sounded pleasant and well-composed, to the point where some tracks like "Pepita" and "The Book and the Canal" could have been expanded into their own fully fleshed-out tunes. Instead, I'm left with the odd sentiment that the runtime had to be padded out with these interludes. Still, I overall enjoyed Feast of Wire, as Calexico managed to carve out their niche and deliver well on it.

Live At The Star Club, Hamburg

Jerry Lee Lewis

3/5

For my listening, I had to go to YouTube to listen to the full album, as some tracks are missing on the Spotify release. Let me get my criticisms of this record out of the way. This is yet another live album in which the songs are out of order and incomplete compared to the original 1964 performance at The Star Club in Hamburg, Germany. The opening cover of Roy Orbison's "Go Go Go (Down the Line)" was left on the cutting room floor until a 1989 reissue, and the taped recordings of Hank Williams's "You Win Again" and Jerry's own "I'm on Fire" are lost to time. While the remaining tapes were sequenced and edited such that it wouldn't be as noticeable to the average listener, it does feel disingenuous to have an incomplete account of what that concert was like. On top of that, aside from Jerry's more notable contributions like "Great Balls of Fire", most of the remaining set consists of cover songs of existing rock & roll and country standards, for some of which there are superior versions more widely available these days. I'll take the original versions of Ray Charles's "What'd I Say", Little Richard's "Good Golly Miss Molly", Hank Williams's "Your Cheatin' Heart", and Big Mama Thornton's "Hound Dog" any day of the week. Hell, even the Beatles had put out a better cover of Barrett Strong's "Money (That's What I Want)" by this point in time. That all said, I can still recognize that this was a ferocious performance, a rarity for rock & roll at this time, save for Little Richard and Chuck Berry. Jerry's command behind the mic and piano sounded like a feat to behold, and I also have to commend the backing band for trying to keep up with his pace. Also worth noting is producer Siggi Loch's recording setup, where the positioning of the microphones in proximity to the instruments and the audience made for the best possible capture of the raw energy emanating from that live show. Short of seeing Jerry set his piano on fire, I felt as immersed as I could have been for the performance. So yeah, I'd say Live at the Star Club is a solid, if not complete, live album. It probably says a lot that this was the one bright spot in a tumultuous and controversial period for Jerry Lee Lewis, an aspect of his career that I did not want to bring up in this review. All I can say after reading up on it is that I needed a shower.

Debut

Björk

4/5

It was a matter of time before I got an album from Icelandic singer-songwriter Björk. After starting in several rock outfits, most notably the Sugarcubes, she abandoned the guitar-driven format to pursue her own musical taste, influenced by the likes of Kate Bush, Brian Eno, electronic music, and acid house. Through her work with British electronic producer Nellee Hooper, Björk made her proper debut with Debut. While Björk carried her confidence in songwriting and vocal delivery from her prior musical output, Debut marked the start of a new venture for her, experimenting with programmed loops, audio samples, and more unconventional song structures that fit within the alternative dance scene. Right from the start, with the four-on-the-floor bounce of "Human Behaviour" as she explored the human condition from the eyes of an outsider, there is a sense of an informed identity within her, looking to break out. Between the bumping beats, esoteric sounds, and even Björk's cadence on the jazz standard "Like Someone in Love", there's a rich exploration of this new soundscape that she presided over, bringing along her agency and raw passion to help guide her. Sure, there's not much in the way of structure or cohesion throughout this record, what with quirks like the partial recording in a London club bathroom for "There's More to Life Than This" and the tonal whiplash from the organ accompaniment with the techno beat on "Big Time Sensuality" into the gentle bass pulse of "One Day". Not to mention, Björk herself wore her influences on her sleeve for this record, not quite finding her unique sonic identity just yet. Nevertheless, Debut was a playful collection of tunes as she found comfort and solace in a style that felt more true to her than what she accomplished up to this point. If anything, it was a solid starting point for checking out her solo career.

Dire Straits

4/5

After not fully clicking with Brothers in Arms, going back to Dire Straits' self-titled debut felt like slipping on a glove. Between Mark Knopfler's husky delivery and his clean licks opposite his brother David's rhythm guitar rollick, paired with the laid-back rhythm section, and Muff Winwood's crisp production, there's a rather timeless feel to their early roots rock. It certainly sounds more timeless than the 80s synth-drenched tracks on Brothers in Arms. Yet at the same time, I can recognize this is their debut album, as the songwriting and compositions aren't consistently strong. It's rather apparent what the band's influences were this early on, and that few songs could break away from the low-key atmosphere to form their own identity or match the high quality of "Sultans of Swing". Still, Dire Straits' first record was a solid effort that showcased such impeccable talent from the get-go.

69 Love Songs

The Magnetic Fields

4/5

Before I dive deep into this behemoth, let's get some background out of the way. The Magnetic Fields are a Boston-based indie pop group, primarily under the lead of poet/producer/multi-instrumentalist/singer-songwriter Stephin Merritt. The band started in a more lo-fi synth-pop lane until Stephin wanted to pivot into musical theatre and develop a revue. Taking inspiration from composers Stephen Sondheim and Charles Ives, Stephin set out to write a hundred songs centered around the concept of love. After realizing how daunting a task that would be, he settled on writing only 69 songs instead. So yeah, this album is as advertised on the tin - 69 songs about love, divided across three volumes of 23 songs each, totaling over three hours of music. I've seen enough people bring up this album on the r/1001AlbumsGenerator subreddit whenever they get it, almost as if it's a rite of passage. With that in mind, I took my time with this record, taking breaks between each volume to not overwhelm myself. I will commend Stephin, his bandmates, and the multiple session musicians for the sheer lyrical depth and stylistic variety across these three volumes. I felt genuinely engaged throughout the runtime as a variety of instruments and compositional choices were used to keep the listener on their toes. Songs tonally range from short punk bursts to more baroque passages, from longer country-folk ballads to electronic loops, and so forth. There is never a dull moment, as each track can be viewed as a different scene in an ongoing narrative of love, viewed from varying perspectives. Whether it's heterosexual, homosexual, bisexual, perhaps the person is feeling cold feet, maybe the relationship is only halfway met, there could have been a breakup, or somebody is murdered in the pursuit of passion, or even someone choosing to live out in Washington, D.C., because that's where their baby is, there is no shortage of storytelling and camp on this record. I'm not gonna say every track was a banger. When you're pushing yourself to write 69 songs of varying styles, mostly centered around love, and in a relatively short time, they can't all be zingers. But more often than not, this album stayed entertaining, and even for the tracks I didn't fully gel with, I have to commend the Magnetic Fields and the session personnel for taking these sonic risks. Not to mention, the vocal performances throughout this record were overall great, particularly the juxtaposition between Stephin's captivating bass and Claudia Gonson's more energetic delivery. Again, I feel like I had a better time with this record because I gave myself a break between each volume, and that is probably the best recommendation to make. I get the pressure of listening to one album a day, as this generator website is tailored for. But taking the time to let this experience sink in was probably the best way I could have approached 69 Love Songs, and thus I can appreciate it.

Celebrity Skin

Hole

4/5

After being thoroughly impressed with Live Through This, I had an inkling of the sonic direction Hole went with next, considering I've heard the title track and "Malibu" in my crossings. After starting as a noisy punk rock outfit, the band switched to power pop with their follow-up, aiming to deconstruct the California sound. They also brought in more outside personnel for instrumental contributions, most notably Courtney Love's ex and Smashing Pumpkins' frontman/songwriter, Billy Corgan. As a result, Celebrity Skin is the kind of record that sounds awesome, even if it doesn't quite live up to the quality of its predecessor. I might as well get my nitpicks out of the way. The album's production sounds thoroughly polished, such that any semblance of aggressive noise rock tendencies from Hole's first two records has been removed. To be fair, I think Michael Beinhorn was a solid choice for producer this time around, given his pedigree on albums like Soundgarden's Superunknown. I also believe that Courtney Love came into these sessions with the full intention of subverting a more mainstream style while still retaining memorable hooks and the cynical lyricism of previous efforts, and that does work to a point. But as the album plays, I can't help but miss the more confrontational ferocity that was present in her lyrics and vocal performance, as the overall mid-tempo pace and cleaner guitars carry less weight. That said, like I mentioned, the hooks are still present and elevate this record a little more than a standard mainstream alternative rock affair. Besides the singles, I also consider cuts like "Hit So Hard", "Reasons to Be Beautiful", and "Heaven Tonight" to have some catchy riffs. "Playing Your Song" has the most angst in the presentation, paired with the filtered guitar line. "Northern Star" proved to be an excellent ballad with the string arrangements, serving as Courtney's heartfelt tribute to her at-the-time boyfriend, actor Edward Norton. Finally, "Petals" was an effective closer about stripping away the false exteriors of those around you to see their true selves, no matter how horrid they may be. Even if I prefer Live Through This, I still consider Celebrity Skin to be an enjoyable record. Unfortunately, Hole would go on to disband multiple times, as Courtney has largely abandoned them to pursue her solo career. If anything, it's impressive that we got as many good records out of them as we did.

I'm Your Man

Leonard Cohen

4/5

Third Leonard Cohen album on my journey, and this time it's his synthpop record. During the 1980s, Leonard was moving toward modernizing sound, which in the context of the decade meant embracing synthesizers, drum machines, exotic textures, and emphatic female backing vocals. What's weird is that he mostly gets away with this stylistic change. Yes, this album has a dated sound, and not every song works. "Jazz Police", in particular, is a terrible composition with buzzy synths and a sterile rhythm section, as Leonard complained about when jazz motifs were incorporated into his previous works. But for the most part, Leonard continued to deliver his dark poetry in a more refined, raspy delivery, and the bouncy production behind him oddly worked in not distracting from the heavier undertones of his words. In fact, I could find myself having a perverse sense of joy in strutting to the swagger of "First We Take Manhattan" as Leonard makes his bold response to terrorism, or sink into the dreariness of "Everybody Knows" and the title track. Also worth mentioning is the effective closer, "Tower of Song", as the energy is dialed back for Leonard to lay bare his dedication to the songcraft. Yeah, Leonard Cohen's synth-pop record was mostly good. That is not a statement I would have made before this album journey.

At Fillmore East

The Allman Brothers Band

4/5

I'm coming to accept that there is a fair amount of highly-regarded live albums out there that are more like live "compilations". For many of these live records in the 1001 Albums book series, they are not the full, unedited performance, but rather the best recordings captured and curated for the at-home listening experience. As such, I have to temper my expectations whenever I get a live record, because chances are good that portions of the concert are missing, either due to poor recording quality, the limitations of how much could fit on vinyl at the time, or a preferred rearrangement of the track listing. Case in point, the Allman Brothers' commercial and artistic breakthrough, At the Fillmore East, is not the full performance of any of their March 1971 shows at the New York City club Fillmore East. There were limitations, as some of the performances involving guest horns and harmonica could not be properly captured with the 16-track machine that producer Tom Dowd had at the time. Also, each night after the shows, Tom would listen through the taped performances with the band, and together they would choose which portions sounded good. This was a deliberate approach that sacrificed the complete performance, as the band wanted people to experience the Fillmore East shows in the fondest way possible, as they cherished them. The remaining selections constitute a solid exhibition of what the band was like at the time, with country-rock covers of blues standards and sprawling extended jams. The highlights are the exchanging solo guitar affairs of Duane Allman and Dickey Betts, elevating these tunes in a manner akin to improvisational jazz. It's mesmerizing how much time the band squeezed out of their jam-oriented compositions, especially cuts like T-Bone Walker's "Stormy Monday" and their originals, "In Memory of Elizabeth Reed" and "Whipping Post". While it would have been nice to have experienced the full performance, which later deluxe reissues have satisfied, the original At Fillmore East album is still a strong, kinetic record from start to finish.

Odessey And Oracle

The Zombies

5/5

If there is ever a band that gained a cult following from one album alone, it would be the Zombies. Frustrated by their lack of success, they signed to CBS Records and recorded their second studio album at Abbey Road Studios. Tempers flared as the band worked under a tight budget, with morale hitting an all-time low at the end of the sessions. After the first two singles failed to chart and demand for their live appearances dwindled, the Zombies split up. Months after their breakup, Odessey and Oracle was released in the UK, and it was musician Al Kuper's convincing of the album's merits to his superiors at Columbia Records that the record had a second chance in the US market. "Time of the Season" became a sleeper hit, and the legend of the Zombies started to grow. After giving this album a listen, I can hear the dedication in the songcraft and production. After the Beach Boys put out Pet Sounds, and the Beatles put out Sgt. Pepper's, the Zombies had their baroque pop record. The sound is lush and ornate, with Rod Argent's elegant work behind the Hammond organ and Mellotron, the bouncy rhythm section from Chris White and Hugh Grundy, eclectic guitar lines from Paul Atkinson, and Colin Blunstone's breathy vocal delivery supported by a multitude of harmonies. The overall style is very psychedelic and avant-garde, paired with lyrics that present as a series of dream sequences in the mind, with vivid imagery used to describe the passion for love felt by the narrator, only broken up partway with the wartorn conflict eloquently described on "Butcher's Tale (Western Front 1914)". Even in the argument could be made for more varied subject matter, the execution makes up for any shortcomings. I honestly couldn't find any fault with Odessey and Oracle. The Zombies would reunite decades later to revel in the glory that this album brought.

The Bones Of What You Believe

CHVRCHES

5/5

I've been enjoying CHVRCHΞS ever since I caught their set at Lollapalooza back in 2018. A modern-day synthpop group where all three members share the workload on synthesizers and production, while Lauren Mayberry helms the lead vocals, they've refined their style and writing over the years to the point where I consider Screen Violence to be one of the best albums of 2021. Needless to say, I was looking forward to going back to their debut, and it still holds up over a decade later. From the blaring start of "The Mother We Share", the instrumentation on this record harkens back to the early 1980s with such a booming impact and presence. The synths are crisp and balanced out by thicker beats and effects that keep the mix busy without feeling overcluttered. All the while, the production remained surprsingly rich, giving the sound enough breathing room and swell as needed. This sound comes especially handy when the band crafts such memorable hooks and melodies, with a lot of upbeat energy and distinct character behind Lauren's dignified yet approachable soprano vocals. Martin Doherty may do a solid enough job on his features, but it's Lauren who makes this album work so well with her measured and emotional delivery. As for the lyrics, The Bones of What You Believe is about showing you everything you believe in your heart to be hollow. In the wrong hands, such a direction could be considered abrasive or obnoxious. Yet, CHVRCHΞS prevail here by including the necessary nuance and detail. "The Mother We Share" opens with Lauren assuming the role of the neglected sister opposite the favored son, as her delivery balances the anger and regret with the love she still holds for the brother in question. It's this kind of morally ambiguous framing that carries through the record, exploring various relationship troubles, like the tired weariness of "We Sink", the explosive anger of "Gun", the desperate recapture of an old flame on "Lies", and the cautious approach back to the lover on "Recover". There are a few notable exceptions. "Science/Visions" sees someone cave under pressure when confronting questions they can't understand, but still attempt with futility anyway, which is applicable for both relationships and the cultural divide between the supernatural/religion and science. Meanwhile "Under the Tide" is a stridently optimstic tune where the imagery of keeping one's head above water is a potent metaphor to keep one's spirit up after a fallout. The album's theme comes into focus on the closing number, "You Caught the Light", where one comes to realization that their beliefs and dreams may not ultimately matter compared to the greater truths or what their partner (or ex-partner) might actually want. It's a moment of humility and quasi-redemption that neatly bookends the record, encapsulating how we, as individuals, are not the center of the universe and should be open to other beliefs and interpretations, all framed in terms of human relationships that I think we can all relate. Yeah, The Bones of What You Believe is great, a debut album that took a lot of risks. CHVRCHΞS have largely improved their songwriting since this record, but it's amazing how well they established their identity from the get-go.

Being There

Wilco

4/5

I feel like I've slowly come to appreciate Wilco more after mildly enjoying Yankee Hotel Foxtrot as album #60 on my journey. Going further back to their second record, I found more immediate appreciation for Being There. This album is rooted in the foundation of singer-songwriter Jeff Tweedy's former alternative country group, Uncle Tupelo, while incorporating more psychedelia and stylistic influences from other bands. From the gritty crescendo of "Misunderstood", to the rocking Rolling Stones number "Monday", to the pedal steel rollick of "Forget the Flowers", to the piano-led slow burner of "Red-Eyed and Blue", to the electronic flourishes that open "I Got You (At the End of the Century)", the experimentation on this record is vast such that it kept engaging for most of the runtime. Pair that with the skilled musicianship on display, crisp production, and Jeff's touching lyrics centered around the notion of the tortured artist, and the result was a gripping experience. Sure, this album does run rather long at over 76 minutes, and perhaps the genre-hopping experimentation comes off as a bit unfocused. But I still felt like I had an overall fun time listening to Being There, to the point where I may have to re-evaluate my feelings towards Yankee Hotel Foxtrot a lot sooner than I thought.

Fun House

The Stooges

5/5

Last time I listened to the Stooges on this album journey, I enjoyed the kinetic energy of their self-titled debut, even as the band was still finding its footing. Some time after that record, Kingsmen keyboardist Don Gallucci was put in charge of producing the Stooges' next record. The band and Don rearranged the studio to emulate their live performance sound as closely as possible. The resulting album of those sessions was Fun House, and it is with this record that I feel the Stooges made their proper introduction. From the opening notes of "Down on the Street" as Iggy Pop screeches and howls, the band's approach is already noticeably different compared to a year prior. The gritty, underseed belly of their garage rock style rears itself, as every member played well in the mix, most notably Dave Alexander with his delectable bass lines near the front. Also brought into the fold was saxophonist Steve Mackay, who cut loose in the second half with his soaring tenor notes serving as a hedonistic juxtaposition to Ron Asheton's electric guitar shredding and the beat-pounding rhythm section. All the elements coalesce into a frenetic, chaotic pairing of jazz fusion and proto-punk, the kind of unholy matrimony that would prove influential on the likes of the Minutemen and Refused. The proverbial time bomb ticks down to the roaring explosion of "L.A. Blues", as the cascading noise and Scott Asheton's manic drumming, the band wailing in desperation, embracing the destructive spirit within themselves. Simply put, Fun House kicks major ass. It's the sort of record that doesn't just kick the door open; it burns the house down.

Madman Across The Water

Elton John

4/5

It was a matter of time before I got an Elton John record. The songwriting partnership he's had with Bernie Taupin led to some of the most innovative piano-driven music during the 1970s. Madman Across the Water was released towards the beginning of that successful run and is solid in its own right. The obvious highlight of this record is the opening two singles, "Tiny Dancer" and "Levon". Those two songs alone are some of the most enduring classics in Elton's discography. In fact, I'd say side one as a whole is a rather song half, with the endearing ballad "Razor Face" and the sinister slow-burner that is the title track. As for side two, things start to falter a bit in the songwriting. I wasn't into the Native American stereotypes leaned on for "Indian Sunset", even if there was good sentiment in writing about their displacement. The quality picks up with Elton's road song in "Holiday Inn", followed by the plight of the prisoner in "Rotten Peaches", and the choir accompaniment on "All the Nasties" as Elton confronted his sexuality. A rather short goodbye follows this, and the album ends as I'm admittedly left wanting more. It's certainly not a bad problem to have, but it feels like the album peaked with the first half, as the rest was good but not quite up to par with what was offered earlier. Madman Across the Water is a record that is on the cusp of greatness. I know Elton and Bernie's songwriting will continue to improve as the style shifts towards glam rock, and I look forward to hearing how this change unfolded.

MTV Unplugged In New York

Nirvana

5/5

I'm very fortunate to have gotten the three Nirvana albums in the 1001 books in chronological order, because that means I got to enjoy their MTV Unplugged performance with the context of what led up to that night. Sadly, though, the more prominent aspect of this release was that it came out months after singer-songwriter Kurt Cobain's suicide. Originally, the plan was to release a double album called Verse Chorus Verse, which would have comprised various live performances on disc one and the MTV Unplugged performance on disc two. The process of combing through archives proved to be emotionally taxing for surviving members Dave Grohl and Krist Novoselic. Thus, only the second disc was released as its own product. As for what we got, the band played stripped-back acoustic renditions of their songs, accompanied by Germs guitarist Pat Smear and cellist Lori Goldstein. Between the intimate arrangements and Kurt's harrowing vocal delivery, these songs are given a fresh perspective, including leaning more into the Beatles influence on "About a Girl" and the solemn renditions of "Dumb" and "Something in the Way". Even more impressive were the multiple covers in this set, with particularly striking takes of David Bowie's "The Man Who Sold the World", the Meat Puppets' "Lake of Fire", and the traditional "Where Did You Sleep Last Night". New life was breathed into these tracks to the point where one can wonder the sonic direction the band would have gone. Not much else to say here, as Nirvana's MTV Unplugged performance was a truly endearing experience. It was a bittersweet way to end my time with Nirvana on this album journey.

Olympia 64

Jacques Brel

4/5

Jacques Brel is a name I hadn't heard of before. From what I gather, he was a Belgian singer and actor, often considered a master of the chanson, which is a form of lyric-driven French song. Apparently, he had a profound influence on several big-name artists, including David Bowie, Scott Walker and Neil Hannon of the Divine Comedy. I was curious what his music was like. I will say for this live compilation of his 1964 performances at the Olympia Hall in Paris, I can hear the genuine bravado in Jacques's charismatic performance amidst the orchestral ensemble. The manner in which he belted and elevated his voice with such poise and eloquence in his dialect is quite impressive. Not to mention the humorous lyrics, which after translating come off as cheeky and mildly crass, certainly made me chuckle. Yet, I'll admit I wasn't particularly blown away from these live performances. It's clear that Jacques was the focal point, as François Rauber's orchestral arrangements don't offer much in the way of intriguing passages or distinct melodies outside of a few exceptions such as "Amsterdam" and "Les jardins du casino". A case could be made that those later artists who were influenced by Brel were able to expand and improve upon what he started as a performer, while offering more memorable compositions. In a way, Jacques Brel was a trailblazer, and this Olympia 64 live compilation serves as a testament to his genius.

Time Out

The Dave Brubeck Quartet

5/5

Dave Brubeck was an American pianist and composer who applied his classical training to jazz, leading to such success that he formed a quartet with a military friend, alto saxophonist Paul Desmond. They continued to gain momentum after touring several college campuses around the country, recruiting bassist Eugene Wright and drummer Joe Morello along the way. After performing across multiple countries, Dave Brubeck and the gang sat down and recorded an album inspired by the various musical styles observed in their tour across Europe and Asia. The resulting record, Time Out, has since become a staple in the cool jazz pantheon for a reason. This album is paradoxically complex and simple in its presentation. The use of odd time signatures, interchanging rhythms, and virtuoso soloing from each of the members all coalesce into what could be considered artistically challenging on the surface. But the more I sat with this record, the more I realized that there wasn't a single passing that felt overwhelming or flew over my head. Each member took their turn with soloing while the rest formed a rhythm section around whoever was currently improvising, providing the necessary anchor in the composition. Probably the best example of this was the hit "Take Five", where Paul and Joe took turns with the spotlight while the other took a step back, all the while Dave and Eugene provided the subtle motifs to keep the song at a steady pace. It's this chemistry amongst bandmates that proved effective across the whole record, as the quarter ran the gamut through waltzes and beat switches galore, and they kept me engaged throughout the runtime as a result. Time Out was, simply put, an astounding record that showcased the kind of camaraderie that Dave Brubeck and his quartet developed after all that time touring together. It's amazing what can be accomplished with a team mentality.

Mama's Gun

Erykah Badu

4/5

Erykah Badu is someone whom I just started listening to last year. Like with D'Angelo, she is often considered an instrumental figure in the neo-soul movement. In fact, the two of them collaborated in the short-lived Soulquarians collective. Alongside that, Erykah had a son with her then-partner, André 3000, before the two of them split. All these elements together form the background to her second studio record, Mama's Gun, as Erykah embraced a more sonically eclectic sound while addressing her complications with fame, her new motherhood, and her separation from André. This record does sound tantalizing to me. Erykah's singing voice often gets compared to Billie Holiday, and I can hear the comparison in the hypnotic and swirling nature of the delivery. It helps that the production she worked on with Questlove and Pino Palladino sounded very organic, as tracks vary in style across soul, funk, rock, jazz, and reggae without ever coming across as jarring in transitions, thanks in part to some excellent work from the session musicians. Adding to the experience are some very introspective lyrics coming from Erykah. The "mama's gun" of the album title serves as a metaphor for how she wants to be a protective mother for her son. As such, she draws on past experiences to explore themes of love, self-worth, and social equity as she wants the best for herself and her loved ones. The forewarnings of street crime on "Penitentiary Philosophy" and "Time's a Wastin'", the desire to seek a righteous path in "Didn't Cha Know" and "My Life", the challenging of perceptions around women on "Cleva" and "Booty", the pursuit of freedom simultaneously with love on "Kiss Me on My Neck", "In Love with You", and especially "Orange Moon" with her desire to find happiness and reinforce her belief in God. The album closes with the ten-minute suite "Green Eyes", in which Erykah explores her heartbreak and separation from André 3000 across three movements. She learns to accept that the relationship is over and must move on as amicably as she can. For as much as this album resonated well with me, there is still this nagging sense within myself that the album could've been trimmed down a bit. At the very least, it sounds like the back half after the "Hey Sugah" interlude sounded more intriguing in terms of composition and lyrical writing than the earlier tracks. Then again, it's difficult to say what could have been cut, considering how much Erykah made apparent on this record with the changes she went through at this time. I'm sure that Mama's Gun will grow on me, and it will be interesting to revisit down the line. For now, I think this album is good and worth your time.

Back At The Chicken Shack

Jimmy Smith

3/5

Let me start by stating that Jimmy Smith was a prolific musician who helped link the styles of jazz and 1960s soul music, with his improvisational work on the Hammond proving influential on jazz organists since. To be fair, his work does shine in moments across Back at the Chicken Shack opposite tenor saxophonist Stanley Turrentine as the two traded some decent hooks and melodies. Occasionally, there is even some decent guitar noodling from Kenny Burrell. But, throughout the listen, whenever Jimmy took a back seat in favor of Stanley, the organ sounded weirdly muted as he had to make up for the lack of any bass. The rhythm section here is largely drummer Donald Bailey, who played fine, but not enough to create a solid foundation for this record on his own. I'm reminded of the Green Onions album from Booker T. & the M.G.'s, which I got earlier in my album journey. Both albums are decent, low-key, Hammond organ-led instrumental records, consisting of a few original compositions mixed with covers, and barely clocking in at over half an hour. At best, I see them both as neat novelties, but not anything profound or transcendental. Again, I hear the pedigree with Jimmy and Stanley's work here, but I can't imagine myself coming back to this record often.

3 Feet High and Rising

De La Soul

5/5

Alright, getting to check out De La Soul today. The Long Island trio of Kelvin "Posdnuos" Mercer, David "Trugoy the Dove" Jolicoeur, and Vincent "Maseo" Mason is considered one of the biggest alternative hip-hop groups out there, and they have been playing the game since high school. They got to work early on with producer Prince Paul, known for leading the hip hop group Stetsasonic, and exploded onto the scene with their debut, 3 Feet High and Rising. Right off the bat, the production on this record is astounding. This is one of those early sample-heavy hip-hop records where De La Soul and Prince Paul pulled several elements from existing tracks to create new sonic palettes. The hook of "Me, Myself and I" lifted from Funkadelic's "(Not Just) Knee Deep", the foundation of "The Magic Number" being based on an old Schoolhouse Rock tune, the multiple utterances of "rock" used throughout "Cool Breeze on the Rocks", sneaking in a bit of Kraftwerk's "Trans Europe Express" on "Ghetto Thang". Hell, one of my favorite tracks on this album, "Eye Know", is a grooving cross between Otis Redding, Sly & the Family Stone, and Steely Dan of all bands. Much like the Beastie Boys would do on Paul's Boutique later that same year, De La Soul were very inventive in how they incorporated the samples to create fresh beats and ad-libs for a fun, timeless listening experience. As for the lyrical content, the three of them traded bars that swerve between intellectual and surreal. These are three dudes having fun while also largely avoiding or lampooning the more confrontational subject matter of the purveying gangsta rap of the time. From dealing with sexual encounters on "Jenifa Taught Me (Derwin's Revenge)" and "Eye Know", to addressing poverty and social injustice on "Ghetto Thang", to speaking awareness of overtaking drugs on "Say No Go", to standing up against labels being put on them on "Me, Myself and I", and offering guidance in moving forward with life on "Tread Water", the group spoke thoughtfully on the different problems they were seeing. All the while, they threw in hilarious bits like sharing secrets, offering soap to deal with smells, and goofing around with their fellow Native Tongues friends on the posse cut "Buddy". Continuing with the humorous nature, this album is one of the first in hip-hop history to employ skits. Mostly, the narrative of this record involves a game show in which all the members are contestants trying to answer questions, and the skits work in this lane for the most part. I could have done without the "De La Orgee" skit, but even that wasn't enough to deter me from enjoying this record. Plus, an argument could be made that they were once again lampooning the more sexual tendencies of some rap groups. Overall, 3 Feet High and Rising proved to be a phenomenal debut for De La Soul. The guys knew how to break onto the scene with their own identity, and are all the better for it.

Purple Rain

Prince

5/5

Since I listened to those other two Prince albums on my journey, my feelings toward funk, synthpop, and new wave as genres have significantly improved. Classic records with those styles were brought to my attention, and even some newer artists have embraced those older sounds into new paths. Thus, I return to Prince on more amicable terms, with arguably the best record he ever made. While I have yet to see the film Purple Rain, its soundtrack album has been widely regarded. Four of the singles continue to get rotation on the radio, and what's amazing is that the rest of the tracks are as good, if not better. The interweaving of synthetic and organic instruments throughout this record, bolstered by such glossy production, made for an excellent listening experience. Particular highlights for me were the electric guitar soloing in "Let's Go Crazy" and "Computer Blue", the duet Prince does with Apollina Otero as the acoustic guitar strums with the string arrangement on "Take Me With U", the raw, electronic ballad with Prince's passionate singing on "The Beautiful Ones", the hedonistic sex jam "Darling Nikki", the surprising bass-less groove of "When Doves Cry", the buzzing shuffle beat with the synths on "I Would Die 4 U", and the emotional gut-punch that is the closing title track. Prince delivered with such charisma as he explored his sexual nature through a wide range of emotions, without ever coming off as too self-indulgent. There's not much else that needs to be said for Purple Rain, as it is an excellent record that has withstood the test of time.

Grievous Angel

Gram Parsons

4/5

I was not familiar with Gram Parsons before. Apparently, he was a member of groups like the Flying Burrito Brothers and, more notably, the Byrds. In fact, his contributions to the latter led to the stylistic shift in the Byrds' music from psychedelia to country rock. After time spent in those groups, he pursued a solo career, working alongside singer-songwriter Emmylou Harris and Elvis Presley's "Taking Care of Business" backing band. However, after finishing the mixing for his second solo album, Parsons went on vacation in Joshua Tree, California, where he died after a fatal overdose of drugs and alcohol. For all intents and purposes, Grievous Angel ended up a posthumous release. I will say, this was a decent slice of country rock from Gram, Emmylou, and company. The twanging guitar work, vocal harmonies, and tight rhythm section come together for a mostly solid listen alongside heartfelt lyrics that reflect on relationships that have faltered and musings on death. Even if the lyrics could have afforded more finer details, and that they didn't bother with the trite take on Everly Brothers' "Love Hurts" or the fake live medley with canned applause sounds, there was enough musicianship and personality here to leave me wondering how Gram's musical career would have turned out if he were still alive. At the end of the day, Grievous Angel was a good record, one that I can only assume Gram would have been proud of.

Electric

The Cult

4/5

Oh God, the "Born to be Wild" cover is severely out of tune, between the crunchy guitars and Ian Astbury's warbly vocals. Either give it a unique enough spin, or, barring that, play the song correctly. I have to settle for four stars. The Cult's career trajectory has always struck me as an oddity. They started as a gothic, post-punk act that saw commercial success with their second album, Love, buoyed by the single "She Sells Sanctuary". As they were writing and recording the follow-up, tentatively titled Peace, they grew tired of the reverb and wall of noise sound they were known for at the time. They opted to switch their style and image towards the hard rock of their influences, like the Doors, Led Zeppelin, and AC/DC, and sought out producer Rick Rubin to remix at least the lead single for their next record, "Love Removal Machine." Instead, Rick criticized the use of guitar effects the band employed, and gave them a bold ultimatum: "Do you guys wanna make English pussy music, or do you want to rock?" Thus, the album was re-recorded with Rubin as their new producer, and this new direction resulted in the third record, Electric. As someone who enjoys gothic rock, I could recognize some hard rock tendencies that The Cult utilized in their early records, so I can somewhat understand the progression they went toward. I also enjoy some cheesy hard rock, and this album is no exception. The aforementioned "Love Removal Machine", "Wild Flower", "Bad Fun", "King Contrary Man", "Outlaw", and "Memphis Hip Shake" all fit that penchant, as Ian Astbury belted out alongside Billy Duffy's flash-in-the-pan guitar soloing, and the tight rhythm section from Jamie Stewart and Les Warner. If the band and Rubin's goal was to emulate AC/DC as closely as possible, I say they got there for the most part. The only problem is that even my love for cheesy hard rock has its limits. I didn't care much for the word salad that was "Aphrodisiac Jacket", and "Peace Dog" saw the band ham-fistedly rip at their previous 1960s counterculture-influenced image. But easily the worst of this record comes in their cover of Steppenwolf's "Born to Be Wild", where the slower tempo and Ian's warbly delivery did not mesh well at all for this song. It's not like you couldn't accomplish a heavier cover of this song. When Slade, Riot, Blue Öyster Cult, and even Link Wray got their covers right, you have no excuse. Still, Electric was a fun record overall. The Cult would continue to employ the hard rock style in their career, and even return to their gothic roots for more recent records. But at this point, they certainly struck a formula.

Marquee Moon

Television

5/5

It's difficult to distill what the band Television is all about. "Art punk" is certainly a blanket term used to describe them, but that barely scratches the surface. They gained notoriety like any other burgeoning punk band at the time, with a residency at the CBGB club in Manhattan. Yet their musical style reflected a wide array of influences from rock and roll to jazz. They were intriguing enough to land a recording deal with Elektra Records that allowed frontman Tom Verlaine to self-produce, alongside engineer Andy Johns. That first album, Marquee Moon, proved to be a landmark influence on the post-punk and new wave movements to come. One of the first observations I made with this record is how many catchy guitar hooks the band brought to the table. The guitar work of Verlaine and Richard Lloyd made for some extremely earworm-inducing listens as they trade off elegant solos and interplay around the tight rhythm section. Employing progressive song structures that took major influence from avant-garde jazz, and with Verlaine's lyrics that mystify the urban landscape, the band spun gold out of the surrounding decay. Hell, the ten-minute title track alone is something to behold, as several movements are taken to reflect on how best to live in the moment. Marquee Moon was an impressive debut for Television. It's a sprawling, eclectic yet jagged series of performances that would prove to be a cornerstone for decades of music to come.

Africa Brasil

Jorge Ben Jor

5/5

Jorge Ben Jor is a Brazilian popular musician who is well known for playing a style of samba that incorporates elements of soul, funk, and bossa nova. His broad appeal led to a successful career, affording him the leeway to further experiment with his sound. África Brasil was one of those experiments, ditching the acoustic guitar in favor of the electric guitar, while still offering a celebratory and historical tribute to Afro-Brazilian culture. I'll be honest, I was genuinely impressed by this record. The syncopated rhythms, the funky guitarwork, Ben's soulful delivery alongside the backing vocalists, all these elements come together with such a vibrant energy in these compositions. You know you got me hooked when these performances have me singing along, and I don't even speak Portuguese. Of course, it helps that the translated lyrics offer positive affirmations and solidarity between Africa and Brazil, to the point of highlighting historical figures, football, and tied ancestry. The only song that felt thematically different was the re-recording of "Taj Mahal" regarding the Indian structure, but even that was a genuine bop with the sped-up rhythm amidst the banging of the congas and timbales, with a vocal melody that Rod Stewart would end up using later. This is the kind of album that puts a smile on my face. África Brasil is the type of cultural celebration that transcends borders, and I'm glad to have enjoyed it.

Don't Stand Me Down

Dexys Midnight Runners

3/5

If you happen to live stateside like me, you would probably know Dexys Midnight Runners for their one US hit "Come on Eileen", and maybe "Geno" too if you are cool enough. If so, you would be surprised at first to find that their first three studio albums are in the 1001 Albums book series. That was certainly how I felt, until I remembered that the band was big back in the UK. Lest we forget, Robert Dimery is English, and he and his team have a proven track record of propping up acts from their home country that haven't been as popular across the Atlantic. I was willing to meet them halfway and see if I could understand the larger appeal Dexys Midnight Runners had overseas. Unfortunately, the first of these albums I got was the most esoteric of them. The album Don't Stand Me Down was marred by the band personnel dropping from ten members to just four, troubled recording sessions, and frontman Kevin Rowland refusing to publicly promote the album. Sometimes, an album can come out amazing under such difficult circumstances, but I'm not sure this one came out completely unscathed. While it sonically continues in the band's trademark new wave meets blue-eyed soul crossover style, complete with Helen O'Hara's excellent violin playing, Kevin opted for more rambling conversational dialogue as opposed to outright singing. Whether it's over the gorgeous string arrangement of "Knowledge of Beauty" or over the same cadence as Warren Zevon's "Werewolves of London" on "One of Those Things", Kevin certainly rattled on about whatever troubled his mind. I didn't hate this lyrical approach, but I also didn't feel as thoroughly engaged with it. Which is a shame, as I am admittedly fond of his usual idiosyncratic delivery, and he does showcase his vocal depth in spurts alongside the heartfelt arrangements, really only kicking into full gear with the penultimate track "Listen to This". I think there was a potentially great album underneath all the deliberate obfuscation going on here. But as it is, Don't Stand Me Down is a rather unfortunate example of a group grinding their gears for too long. The band would break up shortly after that release, only to reform in the 2000s and then put out their follow-up in 2012 under just Dexys. From the sound of things, Kevin and company sound a bit more amicable towards each other and their legacy, which I can take solace in.

In Our Heads

Hot Chip

4/5

Hot Chip is a relatively modern English synthpop band out of London that draws influences from house and disco, and its members are regularly active with other musical acts and DJ sets. It's clear from listening to this record, In Our Heads, that they understood their forefathers, like OMD and Depeche Mode, in their use of analog synths. Yet, they bring enough indie sensibilities in sound effects and songwriting that they avoid being too direct a throwback. The bouncy synthesizers, the guitar riffs, intricate percussion, and colorful textures work well across a variety of jams for the dance floor. The glistening keys that open to the disco beat and horn accompaniment of "Motion Sickness", the low-key simmer of "How Do You Do?", the guitar-led swaying ballad of "Look At Where We Are", the new jack swing shuffle of "These Chains", the somber bass-driven waltz of "Now There Is Nothing", this record goes through a good assortment of arrangements while employing introspective lyrics. That said, I do feel that the vocal performances of the members were mostly dry, lacking emotional weight in delivery, even bordering on spoken dialogue on the closer "Always Been Your Love". For as much as these sonic palettes they can tap into are fun and danceable, I wish the vocals matched that energy more. Still, this was a solid record from Hot Chip. I'll keep my eye open for these lads.

The Wall

Pink Floyd

4/5

It was a matter of time before I got this album. The Wall is often considered the last hurrah of Pink Floyd's successful run through the 1970s, culminating in a film adaptation and Roger Waters's departure from the band. I've heard bits and pieces of this album here and there, but this will be my first full listen through. How does it hold up? Let me start with the narrative of this record, because it is the foundation The Wall is proverbially built on. Drawing inspiration from his and Syd Barrett's lives spent in the band, along with the frustration experienced during the prior In the Flesh tour, Roger Waters embodied the character of Pink Floyd, an up-and-coming rock star who has a lot of baggage. The death of his father in World War II, his overprotective mother, his abusive schoolteachers, his wife who cheated on him as he cheated on her; all these traumas end up as bricks in "the wall" that ends up isolating Pink from human interaction and the outside world. Only after the completion of this wall does Pink begin to question himself and yearn for reconnection. As he starts to realize this, however, he is snapped out of it via drug injection from a paramedic, as Pink's manager wanted him out on stage for his performance. From there, Pink hallucinates that he is a dictator leading a Neo-Nazi rally, and proceeds to commit hate crimes on fans he considers unworthy. Once this hallucination ends, Pink begs for it all to stop and ends up placing himself on trial within his mind, against his own inner judge, who orders Pink to "tear down his wall" for his actions. This internal intervention is what opens Pink back to the outside world, except it's alluded to at the end that the cycle will begin anew and Pink will soon be back to putting up his wall again. To say this plot is a lot is an understatement, taking conceptual ideas from previous records and going for a more grandiose scale while managing to stay relevant in terms of exploring mental health problems that go unchecked. I'll admit, some portions of this narrative rang a bit too close to home for me; I'll spare y'all the details. So the narrative is rather strong for this record, and, in spite of tensions in the recording and development, the band was still operating well in their performance, and Bob Ezrin went all-out on the production. What's stopping me from outright calling The Wall an exceptional album? Well, it is a rather daunting double-album, clocking in at 81 minutes, and it becomes clear that not every song works on an individual. Aside from those songs that continue to get regular FM radio airplay like "Another Brick in the Wall, Part 2" and "Comfortably Numb", the tender ballad "Goodbye Blue Sky", the opening number "In the Flesh", and its reprise in the final act, the rest don't work as well outside of the larger story. I can't imagine seeking out the likes of Waters' staccato delivery on "The Thin Ice", or the reference to Vera Lynn's "We'll Meet Again" in "Vera", and the subsequent choir singing on "Bring the Boys Back Home". Some songs exist purely as transitions from one major tune to the next, such as "Empty Spaces" bridging "Goodbye Blue Sky" to "Young Lust" or "The Happiest Days of Our Lives" bridging parts 1 and 2 of "Another Brick in the Wall". I could see how this album would have benefited from trimming down to the more essential tunes of the album and connecting those stronger elements. Still, that doesn't stop The Wall from being an album that served as an end-all-be-all to the progressive rock movement of the 1970s, capping it with a full-on rock opera experience that was worth it to behold. Even if I still prefer Dark Side of the Moon, Wish You Were Here, and Animals, I cannot deny how amazing this record is.

Born In The U.S.A.

Bruce Springsteen

5/5

It's been a while since I listened to a Bruce Springsteen record on this journey, and, given the limelight on Nebraska with the recent biopic Deliver Me From Nowhere, I'm due to revisit that one. I bring that album up specifically because both it and Born in the U.S.A. were workshopped around the same time. Bruce opted to release Nebraska first as an artistic statement, and, after a break from touring, worked on the second album with the E Street Band. Right out of the gate, the sonic tone on this one is starkly different from Nebraska. Prominent guitar riffs and snare drums, blaring synthesizers, simple chord progressions, and earwormy hooks; this record truly tapped into the zeitgeist of 1980s heartland rock. Sure, it's admittedly cheesy, but I can't help but be moved by these tunes. Bruce and company still knew how to reel people in with a good hook or two, while also incorporating a few minimalist ballads with "Downbound Train", "I'm on Fire", and "My Hometown". Though just because there's more pop sensibility on display, this record is not lyrically toned down from Nebraska. If anything, Bruce continues to focus on working-class characters and their struggles. From the treatment of Vietnam War veterans on the title track, the maintenance of a romantic relationship amidst PTSD woes on "Cover Me", the runaway man who gets arrested and forced into labor on "Working on the Highway", the laid off worker whose wife left him on "Downbound Train", the uncontrollable lust on "I'm on Fire", the desire for friendship in "No Surrender" and "Bobby Jean", the ravaging of time as former high school colleagues face their demons on "Glory Days", and the failure of the American dream epitomized on "My Hometown", the imagery and themes that Bruce tapped into paint a darker side in trying to make a living in this country. All the while, there is still a desire for more, particularly captured in the upbeat "Dancing in the Dark" as Bruce vents out frustration with writing songs that please people. I cannot deny how exceptional Born in the U.S.A. is as a record that has withstood the test of time. This was the album that launched the Boss into stardom and popularized American heartland rock, and it is justified in that legacy.

Ace of Spades

Motörhead

5/5

Alright, this is up my alley. I've been a fan of Motörhead since the 2000s, when Lemmy Kilmister and his band were prominent in the music video games I played as a young teen. Which is why it pains me to say that at this point, all three members of the classic lineup have long passed away - Lemmy, Phil "Philthy Animal" Taylor, and "Fast" Eddie Clarke. Listening to Ace of Spades again feels like peering into a bygone era of heavy music. Sentiments aside, this album still kicks ass. Credit where it's due to all the members - Lemmy's prominent bass lines and gruff vocals, Eddie's fast-paced guitar riffing, and Phil's kinetic drumwork. The band had always considered itself a rock and roll group, and boy, is this the kind of rock and roll I'm into. Pair that with the lyrics that describe the sleazy lifestyle of sex, drugs, and rock, with some Wild West motifs, and the result is a formula that worked well for the band. Even if some lyrics haven't aged well, particularly "Jailbait", it's not enough to deter me from enjoying this record. Call it a bias toward "Fast and Loose" heavy music, but I enjoy Motörhead and am a proud owner of this album. The fact that Ace of Spades, title track and all, has maintained cultural relevance long after the band's end is a testament to an enduring legacy.

m b v

My Bloody Valentine

4/5

I'm at least familiar enough with My Bloody Valentine to recognize them as one of the pioneering groups of the shoegaze genre. I recall listening to Loveless a couple of years ago, an often-considered landmark album, and I enjoyed it. Apparently, there was a lot of hype surrounding their follow-up, as the band recorded it on and off before their breakup in 1997, only to continue working on it after their reunion in 2006. m b v, for all intents and purposes, had been decades in the making. Was it worth the wait? The answer is a yes, albeit with more tempered expectations. I wasn't looking to be blown away by this album, given the style My Bloody Valentine plays in. The thick, droning guitar textures, the hushed vocal delivery, the simplistic dreamscape imagery in the lyrics, and the overall laid-back, unintrusive rhythm section make for a sonic cushion that I can ease back into. It's amazing how many elements put to record over the years were woven together in a seamless haze. That said, there are moments on this record where I felt like the band could have pushed a little further. There were a couple of interesting experimental choices made, such as the ambient piano piece "Is This and Yes", the fuzzy bass and punching drums of "New You", the sheer loudness of the instrumentation on "In Another Way", and the progressive build of the drum machine loop on "Nothing Is". But a part of me feels these ideas could have been developed a tad more, as songs tended to end before building to something potentially greater. Also, for as much as I do find Kevin Shields and Belinda Butcher to have very pleasant vocals, their presence here felt more innocuous in the mix. Granted, it's not like someone checks out My Bloody Valentine primarily for the vocals, but perhaps there could have been room for better integration of them. Still, I consider m b v to be a pleasant enough record. It does feel like a natural continuation of where My Bloody Valentine left off after Loveless, which is certainly commendable for a group that had been inactive for some time.

Future Days

Can

5/5

I just started listening to Can within the past year. They were a German experimental rock band that blended elements of krautrock, psychedelia, funk, samba, musique concrète, and space rock. They employed many ambient elements, aiming for hazy soundscapes inspired by diverse ethnic backgrounds. Their fourth album, Future Days, tapped into that cultural zeitgeist. Across three beefy tracks and one conventional song, the band was in a grooving pocket of ethereal textures. Jaki Liebezeit's polyrhythmic play alongside the soft electric guitar and bass lines maintained a level of engagement without being too overbearing in the mix. I liked the touches of organ and electric piano from Irmin Schmidt, tingling around certain passages to simulate the drifting atmosphere. Then there's Damo Suzuki's vocals, hypnotic and entrancing as he sprawled through lyrics of disillusionment and existential wonderment. All these elements harmonize into this minimalist yet expansive soundscape. Even with the more standard funk rock affair of "Moonshake", the incorporation of collected sound recordings and Suzuki's hazy delivery made for a rather otherworldly listen. The more I thought about it, Future Days went down rather smoothly. Not a moment felt wasted or prolonged. I felt thoroughly engaged throughout the runtime, particularly in the several movements of "Bel Air", as the captured sound of wind flowed through my ears. I have no complaints; therefore, this record comes highly recommended.

Reggatta De Blanc

The Police

4/5

When covering Synchronicity as album #6 on my journey, I spoke about how The Police's short catalog is rather iconic. That sentiment does extend to Reggatta de Blanc as well. It's not often that a record starts with such an iconic track in "Message in a Bottle". In fact, I'd argue the first half is top-notch, from the largely instrumental title track, the energetic "It's Alright for You", the captivating acoustic guitar melody with the big kick beat of "Bring On the Night", and the sinister contemplation of "Deathwish" all sounded great and flowed well into each other. This amazing run continues into the second half with one of my favorite tracks, "Walking on the Moon", with its sparse arrangement and simplistic bassline. I, weirdly enough, enjoyed the more spoken-word "On Any Other Day" with even more playful guitar riffing from Andy Summers. The heavily reggae-structured "The Bed's Too Big Without You" is another amazing tune that transforms the tragedy of Sting's suicidal ex-lover into a very grieving introspection. Then things got weird towards the end. I didn't mind the questioning of a connection between two people on "Contact", even if the buzzing synth in the verses doesn't necessarily make for an engaging listen compared to the central hook. I was not prepared for the piano-driven showtune "Does Everyone Stare", which was certainly effective in expressing the prevailing sense of inadequacy and discomfort. Then the album closes with the ridiculously fast-paced "No Time This Time", ironically dealing with the frustrations of wanting to slow down and enjoy life. Lyrically, I can get down with this assortment of tracks, but sonically, there's a lack of cohesion between these three tracks that felt off-putting to me. Not to the same degree that "Mother" was a blight on Synchronicity, but still jarring enough that I noticed. Which is a shame, because otherwise, I enjoyed Reggatta de Blanc. It continued the success The Police found with their debut, while showcasing a band looking to branch out and vary up their style.

Clandestino

Manu Chao

4/5

For those who don't know, Manu Chao is a French-Spanish musician who played in several groups, most notably the punk-infused Latin rock group Mano Negra. Unfortunately, that group broke up after years of strife and touring through war-torn Colombia, leaving Chao in a fragile state. He continued performing solo while battling restlessness and depression, albeit mentally wrung to the point of nearly taking his own life. That was until a chance encounter with a cow, whom he described as "tender", gave him a renewed sense of purpose, and Chao formally started recording a solo release. The recording process was rather unconventional and driven by chance. Chao immersed himself in various locales such as Tijuana, Mexico, Spain, and Paris, with a portable recorder in tow and working alongside producer Renaud Letang. A technical glitch in Letang's computer inadvertently caused most of the electronic elements and drums to be stripped from the tracks, leaving behind a more acoustic, organic sound. Songs were chosen for the cut after being tested out on the children in Chao's neighborhood. Thus, Clandestino proved to be a unique and cathartic album for Chao, and if anything, I'm glad that he found a renewed sense of spirit that happened to be well-received across Europe and South America. As for the music, this is a solid collection of reggae rock tunes with a melting pot of influences, including salsa, punk, and French chanson. I have to commend Chao and Letang for how they organized the tracks such that they seamlessly flow from one to the next, with Chao himself effortlessly switching his singing across Spanish, Portuguese, English, and French. Checking the translated lyrics, it is evident that Chao put his internal struggles on display while trying to find the brighter side of life as he gives an informal tour of the various locales he visited. Sure, the subject matter does come off rather repetitive across multiple songs that could easily blend into each other with little variance in song structure. But, there's enough conviction in the delivery and performance that I feel it's coming from a sincere place, and that is worth commending. As such, I think Clandestino deserves to be celebrated as the cultural mixture of sounds it is. I'm glad that Manu Chao came out on the other side with a more positive outlook.

Make Yourself

Incubus

5/5

Full disclosure - I've been a fan of Incubus for some time. I've seen them live back in 2018, and I own a copy of Morning View. While they tend to change up their style with each new record, there's always been this throughline of funk and hip-hop influence on alternative rock that I have come to appreciate, even if they have softened their edges a bit too much. But let's not dwell on what Incubus has become; today, we have their breakthrough record, Make Yourself. After the funk-metal ventures of Fungus Among Us and S.C.I.E.N.C.E., the band opted for a more focused direction, with less zaniness and more ambience in the compositions. If anything, I'd say they found success with this approach. Brandon Boyd's soaring vocals, Mike Eizinger's funky yet spacious guitar work, and the tight rhythm section of Dirk Lance and Jose Pasillas come together for this ethereal yet hard-hitting sound, complete with profound introspective lyrics that detail the pursuit of one's freedom and happiness, while coming to terms with who they are. The songwriting came off rather potent for a lot of these songs, not just the singles. Of course, I do have to address one member I haven't mentioned yet, DJ Chris Kilmore behind the turntables. I'll admit, I'm a bit more tolerant of record-scratching in my alternative rock, which is a persistent element throughout this album, adding character to their laid-back style without detracting from the overall bouncing grooves. In fact, the only aspects of the instrumental jam "Battlestar Scralatchtica" that I found cringeworthy were the song title and its placement between the hard-hitting "Clean" and the more affirming ballad "I Miss You". A slight rearrangement of the tracklist would have integrated this better, but that's the only nitpick I had. Overall, Make Yourself was an excellent treat to have from a bygone era of alternative music. If anything, it still holds up in Incubus's catalog, as the band carved their own niche in the vast soundscape.

Tanto Tempo

Bebel Gilberto

5/5

Last time I spoke about Serbian producer Suba, I mentioned how his final act in life was saving the recordings for this album from a studio fire. The third studio record from acclaimed Brazilian singer Bebel Gilberto, daughter of bossa nova pioneer João Gilberto and Brazilian singer Miúcha. Needless to say, there's a lot of pedigree going into this album. Right off the bat, I have to give props to Bebel's sultry vocal delivery. She offered a mesmerizing performance as she ebbed and flowed between Portuguese and English lyrics of yearning emotions. Pairing her with Suba's downtempo meets bossa nova style of production was a good match. The organic instrumentation, the soft electronic loops, all these elements worked in unison for a very lush style. It felt like a natural continuation from São Paulo Confessions, while elevating a promising vocal talent. Tanto Tempo was such an exquisite listen. It makes me wonder what could have been had Suba lived to continue working with Bebel. For now, I'll take solace in what we have.

Ys

Joanna Newsom

4/5

There's a lot of pedigree to Joanna Newsom - singer-songwriter, multi-instrumentalist, actress, and harpist. She's apparently known for a very idiosyncratic sound that is often labelled "progressive folk". Though after listening to her breakthrough record Ys, I feel that the categorization doesn't quite do justice to her. This record consists of five sprawling, epic song compositions, rife with opulent orchestration and otherworldly poetic prose that feels inspired by English and Celtic fables. The instrumentation plays a key part in matching the dramatic swell of the writing, as Newsom sang in a manner that reminded me a bit of Björk with more warmth and roundness in her vocal timbre. It's wild that this was the material that got captured for this album, given the personnel Joanna had - noise rock veterans Steve Albini and Jim O'Rourke on the recording and mixing, and renowned producer Van Dyke Parks, who's worked with the likes of the Beach Boys, Randy Newman, and Harry Nilsson. I never thought these ornate, multi-phase arrangements would be in any of their wheelhouse. And yet... I don't know, for some reason, I can't help but feel like Ys isn't fully clicking for me. For sure, this is a pleasant record to listen to, with a near-cinematic presentation, as Joanna utilized fantastical imagery to illustrate the strife to overcome. "Monkey and Bear" tells the story of unburdening oneself from physical trauma endured from a partner. "Sawdust and Diamonds" deals with the loss of a child and how to process the grief from such a tragedy. For a good chunk of this album, the image of "the river" serves as the source of all negative emotions that can overwhelm those drawn to it, with the in-narrative characters trying to avoid its lure. There's some self-healing going on through this record that Joanna certainly takes to task with more strident tones. I feel like this sort of messaging could have come across more effectively if the lyrics weren't so meandering with overindulgence in the pastoral imagery. Still, I consider Ys to be a good record, showcasing Joanna Newsom as a rather creative force who can spin yarn into gold.

I Am a Bird Now

Antony and the Johnsons

5/5

AHNONI and the Johnsons are a chamber pop ensemble out of New York City, fronted by singer-songwriter AHNONI. If there was ever a throughline for this group that helps give it a bit more identity, it is transgender rights. After all, part of their name comes from trans and human rights activist Marsha P. Johnson, and AHNONI herself has transitioned, which is why I'm not going to deadname them or the group. If anything, getting into the sound of I Am a Bird Now, AHNONI has this soulful vibrato delivery akin to Nina Simone and Billie Holiday, very much rooted in that sincere yet quietly powerful command behind the mic. Her lyrics provide insight into the mental process of transition, striving for one's happiness and self-worth against the perceptions society places on them. It's a sentiment that remains relevant in today's sociopolitical climate. It certainly helps to have some notable collaborators, such as the heartfelt duet with Boy George on "You Are My Sister", Rufus Wainwright taking lead on the elegant piano-driven interlude "What Can I Do?", and the spoken intro from Lou Reed that gives way to the low-key doo-wop swagger of "Fisftul of Love". That's not to mention the rich, organic instrumentation that pervades this record, elegant without overwhelming the vocal performance at the center. I will admit I was not expecting such a profound record like this on my album journey. I Am a Bird Now showcases the kind of uncompromising strife to exist. It's not something I usually seek out, speaking as a straight heterosexual male. But I can't deny how well AHNONI and the Johnsons reigned it in.

Beautiful Freak

Eels

4/5

I know I've listened to Eels before. They're an alternative rock band with elements of trip hop in their sound, fronted by singer-songwriter and multi-instrumentalist Mark Oliver Everett. Having established himself under the stage name E, Mark formed the band with drummer Jonathan "Butch" Norton and bassist Tommy Walter. They ended up being one of the first acts signed to the now-defunct DreamWorks Records, meaning there's a good chance you've heard them before in soundtracks for films like American Beauty and Shrek. As for their debut record, Beautiful Freak is very much what it says on the tin, epitomized by the little girl with enlarged eyes on the album artwork. It's a quirky, weird slice of post-grunge with samples, pop-adjacent melodies, and the occasional noise, complete with Mark's fried vocal delivery as he sang about depression, loneliness, unrequited love, and other such emotional and mental complexities. It may seem a tad repetitive in the lyrical themes, but I consider Mark's words to come from a genuine place. I would say this is another debut record that shows potential in the songwriting and construction, but could use a little more refinement in the hooks and more standout moments from the band personnel. I consider Beautiful Freak to be a weirdly pleasant album. I know that the band members will continue to rotate over the years, leaving Mark as the sole original member in the Eels lineup. But even if it's just Mark from here on out, he's shown enough passion and talent to do something great with his music.

New Wave

The Auteurs

4/5

This one's a bit of a deep cut. For those who don't know, The Auteurs were a 1990s British alternative rock band, fronted by singer-songwriter Luke Haines. For all intents and purposes, they are considered progenitors of the Britpop movement, and their debut record, New Wave, pretty much sounds like it. The bright acoustic guitar textures, the catchy melodies, the obvious influence from 1960s British pop, Luke's accented vocals, all the elements that would become Britpop are right there. Luke would hate the association with the movement, but it's hard to deny the stylistic similarities. If that assessment sounds wrong, then at the very least, it is a very agreeable jangle pop experience. Even if it is evident that Luke's lyrics invoked more whimsical imagery than any lasting meaning, the riffs, arrangements, and solid rhythm section from Alice Readman and Glenn Collins kept the listening experience just engaging enough to carry through to the end. I would consider New Wave to be a lost gem. It won't set the world on fire if you've heard a fair share of Britpop or jangle pop before, but it is a pleasant enough album to have on.

Live 1966 (The Royal Albert Hall Concert)

Bob Dylan

4/5

It should be noted that this live bootleg was recorded at the Manchester Free Trade Hall during Bob Dylan's 1966 world tour, but was misattributed to the Royal Albert Hall for the longest time, hence the apostrophes around the venue name. The actual Royal Albert Hall concert has since been made available, but this record was chosen instead for the 1001 Albums series. With that tidbit out of the way... I assume this bootleg is here to provide historical context for a phenomenon that has received more attention from the general public. With the release of the biopic film A Complete Unknown, more light has been shed on the time when Bob Dylan started recording and performing with electric instruments. As someone who was born decades after this period, it's hard to imagine a time when fans of folk music revolted against the very notion of an artist like Dylan flirting with rock. In that regard, this archived recording of his Manchester Free Trade Hall performance is probably the closest I could get to hearing an audience heckle and jeer at Dylan, accompanied by a full rock band in the second half. I say second half, as the first half of this set saw Dylan play alone for a series of acoustic-only songs, followed by the "electric" set with backing band the Hawks, who would later be known as The Band. From a performative standpoint, Dylan and company played the songs off the electric trilogy pretty well, with a certain earnestness in the delivery. While I prefer the more rocking second half as they go off on the riffs amidst the raucous crowd, I accept that Dylan structured the set to likely ease his audience in, even if that ended up being a fruitless effort. Also, if it is true that this album was included in the 1001 Albums series for historical context, then part of that context is missing here. A portion of the live performance has been removed, where an audience member calls Dylan "Judas", and his response was to tell the band to "play it fuckin' loud". The fact that this exchange has been edited out of the official release of this bootleg is a pretty bad look, as it was the defining moment of the whole controversy. A Complete Unknown references this moment, albeit recontextualized for a different performance, but at least they acknowledged it. Regardless, this is still a solid performance from a rather poignant time for Dylan and his band, one that would prove to be a turning point for folk and rock music going forward.

A Seat at the Table

Solange

4/5

Let's get the one detail out of the way when discussing Solange that is gonna loom over. She is indeed the younger sister of Beyoncé. In fact, she started as a backup dancer for Destiny's Child before signing to their father's record label, and her first solo release was very much in line with the hip-hop-inspired R&B of the era her sister thrived in. But that's where the comparisons largely stop. Solange followed up with a more tasteful retro-throwback record and subsequent EP, and then this record won a ton of critical acclaim. So, what did we get with A Seat at the Table? Well, this is the kind of record that I feel is going to work wonders in terms of the content more than the presentation. With that said, let's start with that content. If there's one aspect that remains true throughout the listen, Solange is direct in her social commentary, sprinkling in both well-spoken connecting interludes and some surprisingly poignant guest verses from Lil' Wayne on "Mad" and the team-up of BJ the Chicago Kid and The-Dream on "F.U.B.U.". That commentary in question being healing and self-empowerment, by black women, for black women, reclaiming an inner peace in spite of a world that would choose to ignore, erase, or marginalize them. Now, I have to admit that I'm not the intended audience - I'm a white guy, plain and simple. But that doesn't mean I can't respect and even appreciate the plight, especially with how straightforward and insightful Solange cuts into. From dealing with the frustration to explain herself to a friend on "Mad", to being done compromising herself to satisfy other people on "Don't You Wait" and "Don't Touch My Hair", to carving out her own path and choosing to leave people behind on "F.U.B.U.", the larger theme is Solange moving on, not caring if a white audience that may have loved her previous work won't get on board with this new direction. On the flip side, with cuts like "Junie" opposite and uncredited André 3000 about cultural appropriation, and her mother's spoken interlude "Tina Taught Me" about how black positivity is not the same as reverse racism, it's clear she's not against white culture enjoying or embracing her music... it's just that they're not going to be the focus anymore in her life. This album is very acute in its uncompromising position, probably the closest I could get to feeling how black audiences feel when culture ignores them entirely. I don't mind being on the outside looking in to try and understand. Also helping matters is how much I like the production throughout this record - the sharper snares that crop up on "Rise" as Solange accepts her own vulnerability, the presence of cello on "Cranes in the Sky" as she searches for her escape, the sandy yet blocky beat on "Mad", the brash piano strokes against the kick beat on "Where Do We Go", the heavy presence of synths and supple bass on "Don't You Wait" that also show up on the funky "Junie" and the sharper electronic tinge of "Don't Wish Me Well". Even if I wasn't much into the wiry synth on "Don't Touch My Hair", it's still got a nice driving beat as Solange shared her cadence with Sampha. But, this is where the presentation comes in, and I wish I could connect more. Solange herself has a very pleasant voice to listen to, yet I didn't feel as gripped by her as much as I'd like to be. It really feels like the content was the focus of this record more than any performance to help elevate or accentuate it. That problem also feeds into the pacing of this album. While it runs under an hour, it feels longer, between Master P's interludes in the second half that come off oddly juxtaposed to the more meditative pace of the surrounding tracks, and the penultimate "Scales" that ends things on an oddly downbeat note, even if I liked the interplay between Solange and Kelela. Then again, it's possible the target audience for this record won't care about pacing or atmosphere, and that's fine. After all, Solange established on this record that she does not care what I or anyone else thinks about her musical direction, which, again, I liked for the most part. A Seat at the Table is the sort of thought-provoking, well-produced experience that can lead into a larger discussion. Even if I feel the album could be trimmed down for a more effective impact, that doesn't stop how poignant and forward-looking Solange has established herself.

Lazer Guided Melodies

Spiritualized

3/5

I know I heard about Spiritualized within the past year. Founded by former Spacemen 3 singer-songwriter Jason Pierce, they're considered one of the most well-known groups in the space rock scene. That said, their debut record here, Lazer Guided Melodies, leans more toward shoegaze and dream pop, as Pierce and company utilized minimalist compositions with layered instrumentation, hazy sonic textures, and some string and horn incorporation to make for a cinematic soundscape. There's a serene, dazed-out nature with this album, as the guitar strumming and Pierce's soft-spoken delivery are thoroughly drenched in reverb. It certainly made for a peaceful listen. Yet, the issue I'm finding with this record is that it was rather difficult to discern, let alone latch onto any specific hook or melody. Aside from some very obvious lyrical incorporation from a few classic rock songs on "Run" and a particular horn motif on "Shine a Light", tracks tended to go in one ear and out of the other for me. That's not to say it was a bad experience, but rather one that proved hard to remember, like waking up from a dream and scrambling to remember the details. I certainly didn't mind listening to Lazer Guided Melodies, but I feel like the best of what Spiritualized had to offer is yet to come.

The White Room

The KLF

4/5

For the sake of this review, to keep my bearings straight, I will be referring to the original 1991 UK release of this album. This is neither the North American release, which is loaded with radio edits, nor is it the 2021 Director's Cut release, which includes tracks from the unreleased 1989 album. With that out of the way... The KLF, also known as the JAMs, the Timelords, and the Justified Ancients of Mu Mu, is a British electronic group primarily consisting of Bill Drummond and Jimmy Cauty, operating under the aliases "King Boy D" and "Rockman Rock" respectively. Both established figures in the music industry, they formed a hip-hop-inspired act that was very sample-heavy before going on to pioneer the genres of stadium house and ambient house. All the while, they were defining their own band mythology, taking influence from the situationist theory, to wit, the merit of critiquing capitalism through spectacle and public display. In that line of thinking, the pair wanted to create a road movie about their search for the mystical White Room that would enable them to be released from their contract with Eternity. Unfortunately, the film was never released due to budget constraints, but the soundtrack album was salvaged and reworked into its own self-contained work. With all that background established, how does The White Room hold up as an album? Well, this is probably the closest I could get to being immersed in the British rave scene. The sample-heavy production, the blasting beats of the first half that give way to ambient drone in the second half, the variety of session vocalists that rap and sing over such a vast electronic palette, and even the occasional additional instruments like the pedal steel on "Build a Fire" and the tenor saxophone on "Make It Rain" made for such an eclectic listen. As for the lyrical content, this album is very much entrenched in the mythology that the KLF has created, including a rather cheeky nod to their recording studio, Trancentral, all the while keeping the good vibes going and offering a means to "liberate one's mind". It is absolutely cheesy and dated, should not be taken seriously, and is certainly not going to be everyone's cup of tea. Yet I enjoy the charisma and technical prowess that Bill and Jimmy employed throughout this record. They knew what they were doing with their artistic direction, and I have to applaud them for that. As such, I consider The White Room to be an intriguing gem to come across that I suspect will grow on me. In true fashion with their artistic statements, the KLF would proceed to commit another public stunt to make their exit from the music business, only to return decades later as the Justified Ancients of Mu Mu. If anything, I have to admire how they have and continue to operate on their own terms.

Pacific Ocean Blue

Dennis Wilson

4/5

I will not include the bonus tracks or second disc of the 30th anniversary edition for this review. After listening to all the listed Beach Boys albums and Brian Wilson's Smile, it was about time I got the other notable solo release from a Beach Boys member. Brian's brother Dennis Wilson was the drummer for the Beach Boys, gaining prominence as a singer-songwriter for the group towards the end of the 1960s. In fact, it got to the point where Dennis began working on his own solo project, and after a few years, it came together in the form of Pacific Ocean Blue. Now I will start by stating that Dennis had worked on his baritone voice to offer a more deeply soulful delivery, and I think it suited him well. He certainly put in the range alongside the variety of compositions, from the bombastic opening of "River Song" and "What's Wrong" into more delicate ballads like "Moonshine" and "Thoughts of You". I'd say on the whole, the session personnel did a superb job matching Dennis's performative strengths, particularly with some decent guitar playing from his brother and fellow Beach Boys member Carl Wilson. Not to mention the solid production and orchestral swell on tracks like "Time," which offer such a crisp slowburn. Yet, I can't help but recognize that this was Dennis's solo debut, and as such, still has some trouble finding its footing. His lyrics, which delved into the rock star lifestyle and heartbreak, were presented from a genuine place. But the content was repetitive at times as the momentum of the record slowed down in the second half. Also, I would be remiss if I didn't mention that I wasn't a fan of the swampy dirge of cuts like "Dreamer" and the title track, especially the former, with the phat bass harmonica pushed to the front of the mix that got pretty grating on my ears. Still, I overall appreciated Pacific Ocean Blue, showcasing Dennis's talent separate from the Beach Boys. Unfortunately, Dennis would be hampered by alcohol abuse to the point where it cost him his life from drowning after drinking all day. I can only imagine what could have been had he sobered up and refined his songcraft.

Faith

George Michael

5/5

I will not include the CD bonus tracks in this review. This will be the fourth album from my aunt's CD collection, and it's another big one. I'm familiar with George Michael, who established himself as one-half of the English pop duo Wham! before dissolving that group to pursue a solo career. If anything, he wanted to be taken more seriously, aiming to achieve the same level of success that Prince and Michael Jackson had seen in the mid-1980s. Was he able to accomplish this feat with his debut, Faith? The answer would be a resounding yes. George still had a powerful vibrato delivery, and putting his voice over a then-contemporary pop-R&B record was a smart choice. The opening run of singles proved to be effective compositional works, from the jaunty title track to the gripping soul ballad of "One More Try". From there, the second half opens up with the bouncy electro-funk of "Hard Try" to the sophisti-pop whisper of "Hand to Mouth" with a rather glistening piano line as George provided some pretty remarkable social commentary for the time. That's the surprising find with this record, where, for as much as the lyrical content mostly involved the ins-and-outs of relationships, there were a few tracks that explore more varied subject matter, including the friend with a drug addiction on "Monkey", and even allusions to George's own homosexuality on "Kissing a Fool" and "Father Figure". Given he would open up about his sexuality over a decade later, it's amazing in hindsight how he got away with these lyrics early on. Sonically, this album is amazing throughout, as George performed double-duty with the production and most of the keyboard work, giving the necessary sheen and flair to go toe-to-toe with what Prince had done. The rest of the session personnel did a superb job matching George's swaggerous energy across these tracks, all the way up to the lovely jazz piece "Kissing a Fool" to close out the record with class. Honestly, I did not have any complaints with Faith, as the sort of record that launched George Michael into the stratosphere, farther than he'd gone up to this point.

Sheet Music

10cc

5/5

I've listened to 10cc here and there before, most notably with their worldwide hit "I'm Not in Love", which was featured in the first Guardians of the Galaxy movie. All four members of the group were multi-instrumentalists, singers, songwriters, and producers. They even had their own recording studio that they shared at the time with Paul McCartney and his brother Mike McGear, who had some influence on this record in particular. Sheet Music would go on to be the first of five consecutive top-ten UK albums for the band, which is probably the main reason why this ended up in the 1001 Albums series. Lest we forget, Robert Dimery and his team are British. With that all established, how does Sheet Music hold up decades later? I will say, this is a very kooky record. It's very much in the lane of other 1970s pop rock acts of the time, but with enough avant-garde elements in the song arrangements and variety of instruments to keep these tracks relatively engaging. From the use of congas and timbales in the laid-back "Hotel", the combination of autoharp and slide guitar on the ethereal "Old Wild Men", the tingling grand piano keys on the increasingly frenetic build of "Clockwork Creep", and even tap-dancing heard in the background on "Somewhere in Hollywood", it's evident these gents were creative with their production and instrumental work. In addition, members Kevin Godley and Lol Creme utilized their own invention called the Gizmo, an effects device that made the strings vibrate to produce synthesizer-like sounds from guitar strings. Cuts like "Old Wild Men" and "Baron Samedi" used this device, and they sound otherworldly. Adding to this strangeness were the lyrics, which often injected humor into various situations. From lampooning businessmen on "The Wall Street Shuffle" to the entertainment industry on "Somewhere in Hollywood", making fun of bands that are only in it for the money on "The Worst Band in the World", the anthropomorphizing of a ticking time bomb on a plane in "Clockwork Creep", the romantic clichés played out on "Silly Love", even coming up with a dance routine out of sitting down on "The Sacro-Iliac", they knew how to take the piss out of anything. Some of the humor went hard for the early 1970s, particularly with the aforementioned "Clockwork Creep" pre-9/11 and the sacrificial ritual in "Baron Samedi", but it was certainly entertaining and had me laugh a few times. Much to my surprise, I genuinely enjoyed Sheet Music to the point where I am content with calling this album an underrated gem. I know there have been plenty of other pop-rock acts from the 1970s that I have already listened to on this album journey, such as Cheap Trick, T. Rex, and Slade. But 10cc had enough whimsy and musical chops to craft such fun and engaging tunes without taking themselves too seriously.

Countdown To Ecstasy

Steely Dan

4/5

Alright, this is the second Steely Dan record, both in the context of albums released by the group and on my album journey. I was already familiar with the opening track, "Bodhisattva," with its borderline bebop, uptempo vamping, and freestyle guitar soloing that made for quite the challenge in the video game Rock Band 2. Now, does the rest of Countdown to Ecstasy stack up? Well, after that initial high, the album drops into the more laid-back, mid-tempo, easy-listening jazz-rock affair that is standard for this group. It's not bad by any means, as Walter Becker and Donald Fagen lyrically explore themes of class struggle and drug abuse. There's some impressive guitar playing on cuts like "The Boston Rag" and "Show Biz Kids", and the momentum eventually picks back up toward the end between the upbeat prominent horns over the misadventure in "My Old School" and the more funk-influenced post-apocalyptic hellscape of "King of the World." But man, there are some sonic lulls in the middle of the record, particularly in "Razor Boy" and "Your Gold Teeth", that end up dragging down the pace, which is a shame, as these arrangements are otherwise well-arranged and produced. Perhaps a restructuring of the track list would have benefited the listening experience. Otherwise, I consider Countdown to Ecstasy to be another solid record from Steely Dan. It's a largely agreeable listen that sounds well-polished with enough engaging musical ideas to make it worthwhile.

Heartattack And Vine

Tom Waits

4/5

I started listening to Tom Waits last year. He's a singer, songwriter, composer, and actor known for his deep, gravelly voice and lyrics that focus on the seedy underbelly of society. He started his career as a folk singer in the vein of Bob Dylan, while also taking influence from spoken word and beat poetry. However, Heartattack and Vine proved to be a stylistic shift, taking a direction that's more in line with Delta blues. The fuzzy guitar, the sharp percussive beat, and Ronnie Barron's playing on the Hammond organ are all featured elements on half of this record that give a more aggressive edge to Tom's compositions. The title track, the instrumental "In Shades", "Downtown", and "Mr. Siegal" all sonically cut deep in the standard blues format, as Tom viscerally delivers these delightfully grotesque sceneries. Meanwhile, the rest of the tracks offer more orchestrally arranged ballads like on "Saving All My Love For You", "Jersey Girl", and the closer "Ruby's Arms", where the anguish and raw passion come through in Tom's vocals as he sang about his relationships with women who weren't the most upstanding, without ever talking down about them. There's an earnest acknowledgement of people's flaws, including his own, that shines well in his lyrics. Still, I have to acknowledge that this is a transitional record. I essentially described two different-sounding halves to this album. While the track list arrangement does its best to mask that fact, I can't deny that Tom could have gone wholeheartedly in one direction or the other, with a slight personal preference for the more aggressive Delta blues styling. Even Tom himself acknowledged that this record was a turning point that would help inform his later musical experimentation, and I have to agree with him. I still liked Heartattack and Vine at the end of the day, and accept that this is an important record in Tom Waits's career. If anything, it made me look forward to what was next.

Technique

New Order

5/5

It's been a long time since I got New Order's Low-Life as album #10 on my journey. So long in fact that I ended up revisiting that album earlier this year and updating my review, and then received both Joy Division records. I've grown fond of the group's mesh of synth-pop and post-punk stylings to the point where I was curious what the other New Order album in the 1001 Albums series would sound like. It turns out they went in a completely different direction for Technique, more towards alternative dance with influence from acid house and Balearic club music. The programmed four-on-the-floor beat and squelching synthesizers are prominent throughout this record, but not to the point of overpowering the trademark elements of New Order's sound. The infectious bass hooks, punching drums, and reverb-drenched guitar lines are all still present behind Bernard Sumner's effortless delivery, alongside more hard-hitting guitar soloing on "Run" and "Dream Attack". If anything, the more noticeable electronic elements help elevate their sound to a new high. Meanwhile, the lyrics are a lot more blunt this time around, as Bernard appears confrontational towards these faltering relationships with self-agency. It's a look that suits him well with this more vibrant, bouncing sound. Honestly, I couldn't find much to complain about with Technique. It was a bold direction for New Order to go in, and it paid off in dividends.

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