The production actually amazes me. Was not aware of the natural open sound of the rehearsal studio. If you compare the raw edge of this with today's massively overproduced records, i really enjoy this much more than I did in my youth. No overwrought production, instead very solid songwriting with lots of dynamic space.
When it arrived on scene I was in a musically different universe and could not care less about this weird acoustic punk stuff. Now, more than 40 years later I am soo sorry not having listened to this in my younger days. Great songwriting, raw energy and enthusiasm and an artistic decision on sound that cannot be called but brave, I cannot but admire what the then 18! years old Gano has pinned down. Absolutely enjoyable from start to finish.
Nah, I still feel undercomplex when listening to this country-pop-fun-punk-rock blend of musical nothingness. Yes, it is energetic, direct, well played and produced, and the lyrics actually mean something. But they never made it for me, I go for Ramones, Bad Religion, Clash, or Violent Femmes if I want such kind of music. Although, in their times they served a purpose, and that was to reintroduce lighthearted fun into Rock Music Making.
OK, this is the brainchild of a producer and studio wizard - namely Tom Scholz - and it is AOR and it is 1976. Doomed to failure, full of clichés. Rarely has an AOR record to this day had such polished and meticulous songwriting, rarely have the lyrics been less clichéd than here, rarely have such consistent instrumental mastery and flawless execution met less pretentiousness in the individual instruments. Even today, this still sounds fresh, coherent and more like a band than what most of their successors and today's contemporary bands were/are capable of delivering. This is a great record, no matter what style you prefer. You can argue about taste and preference, but not about technical and musical quality. It's not my taste. But I love it.
This remains a great listen. Period. So much intensity in the performance. When Nothing Compares 2 You drives you to tears, don't expect the rest to not affect you. This whole record is about affectation and sadness, sometimes anger. It is versatile in styles, a showcase of O'Connors musical capacities and deeply reflecting on turmoil and trouble. All the introspective - mostly female - singers to come after surely found some of their courage in her(e). Confession of troubled soul and mind. While some artists challenge you with their musical avantgarde and complexity, Sinéad does so with her open wounds. If said song does not affect you - stay away, you might not find anything made for you.
Well, I kind of like this style of music. And some of the songs here are really beautiful. But there are quite some artists / records from the genre that I hold in higher esteem. This one for me is somewhat too much on the mellow and conventional side. Still a good record, but it is missing some edge and some of the guitar playing would have been better off played with the Kora, as it feels too close to that instrument as one could call it inspired by. Concerning message or meaning, I cannot judge, but from what it is said, there is no hidden evil lurking. On a secondary note: don't go for the deluxe edition. The three additional covers don't go well with the album.
No music can be everyone's cup of tea. This kind of music is not mine. Nonetheless, this record should be a milestone in female R&B self-empowerment. That alone would make it valuable as a historical document. But for me, even though I rarely listen to this kind of music, this is also a great performance. The sheer energy that Aretha Franklin brings to the table, her power and presence make it a really, really enjoyable listen. She may not have been the best voice of all the "divas" (and I've always wondered why she was given such a derogatory label), but she was certainly the powerhouse.
I can understand some of the negative emotions. There are those that look for flawless execution, those will be disappointed. There are those that look for polished to the edge songwriting, those will be disappointed. Many reasons to dislike the whole thing. It is a mess of self-indulgent and pompous waste of time. But hey, that is exactly what makes this a fun listening, because they are shredding away with passion. Out of tune and out of synch, noodling and drawling away. I take this for amusement, not for its importance. Surely it does not belong on any albums-you-should-have-heard list, but being that serious sometimes is just not appropriate.
Arguably I am culturally very remote from anything Rap, HipHop etc. So I cannot really judge the woth of this effort in its context. But from out of context, it flows nicely with me. I like the atmosphere, I like the rhythms, the production - and like the flow of the individual performances. I could not listen to this kind of music the whole time, but this one resonates with me, and from what I can make up off the lyrics by just listening, it is def. no brutish Gangsta stuff or such kind. It will not end up on any of my lists, but in the context of what has been presented here so far, it is def above average...
This is a cornerstone, one of the most impactful Jazz albums ever. Of course, much is about the playing, the display of artistry and the fun of interaction. But it is beyond that, it is mainly Monk's approach on time and rhythm, the way he is capable of of free-floating, that set him apart. At his time this was extraordinary, and only few could follow him. This tension is not resolved here, which makes it difficult to really appreciate.
I cannot understand the wave of disgust this record causes. It simply is somewhat meeh. Not hard to listen to at all. What is all the fuzz about the noise? There is not too much of it, instead rather traditional songwriting with a tendency to overextend the content, both lyrically and musically. There are moments to be cherished, moments better discarded, and a lot of overblown nothingness inbetween. It feels dated, most of all. I did not know it before and will surely quickly forget. Nothing to have listened to before dying. 2.5, but down rating due to its insignificance.
Quintessential.The very record to show an artist channelling momentous inspiration. A sole person and his instrument in parley. Listened to it potentially a hundred times and will do again and again. Not an easy listening, despite some moments of beauty and bliss. How exhausted he must have been after these concerts.
While I have never been a huge fan of Dylan - musically speaking - there are some notable exceptions to it. Time Out Of Mind is such. A very warm record, attributed to Daniel Lanois' production. Frankly, this is a producer's record, and I would even say that stripped from the production the musical content would be mediocre at best. Unremarkable bluesy Americana. If it weren't for the lyrics. These are what sets Dylan apart most of the time. A nice record to listen to once in a while, but nothing to justify it being on a 1000 albums list.
One of a kind genre defining Album. It is rare that a band creates something genuinely new but still is rooted deeply in what was before. This is one such record. Always gets me and keeps me listening attentively. I understand people who do not like it, it is for sure not meant for easy entertainment and it really depends on what you look for in music. That is why I will not give it 5 stars as it is a little bit too deliberate in some passages. 4.5 down to four for some imbalance. Still a great record and for sure belongs to this list.