Some good 60s funk. A couple pretty good songs. Not my absolute favorite, but fun to listen to.
Great album. I love the full sound and driving tempo of their songs. They remind me of AC/DC: maybe not the most complex songwriting or virtuosic musicianship, but you can't deny that this album is 45 minutes of solid rock music.
I was not expecting to like this as much as I did! Cat Stevens’ voice pairs so well with the folk sound. The songs are short and seem simple, but they turn out to be surprising rich. “Wild World” and “Father and Son” are classics, and I also really liked “Sad Lisa”. The whole album was a very pleasant surprise. As a bonus, “Tea for the Tillerman 2” is a really interesting re-work of the album from 2020.
Very solid metal album. Dave Holland is fantastic on the drums. Tracks like “Living After Midnight” and “Grinder” are timeless, but others, like “Rapid Fire” and “The Rage,” are a more forgettable.
I don’t totally get the appeal of R.E.M. I think their music is perfectly fine, and I enjoyed this album, but I don’t see how it belongs in the echelon of top albums all time.
It starts off strong, with “Drive” and “Try Not To Breathe”, but the rest of the album, after “Everybody Hurts”, can’t keep up. I wonder how well R.E.M. will endure as the poster child for 90s alternative music.
Not great. I get that it’s supposed to be his feelings of vulnerability and loneliness, but this album just doesn’t do it for me. I listened to it three times and didn’t find one song that stood out, or any emotional beats that resonated with me. I don’t like Neil Young’s voice, the music was forgettable, and the production was poor.
This album is only four songs, but it is a fantastic fusion of jazz and funk music. "Chameleon" is a great start, with its memorable synthesizer bassline. I really enjoyed the afro-influenced rework of "Watermelon Man". "Sly" and "Vein Melter" make up the back half of the album and are solid jazz-funk songs. "Vein Melter" grew on me as I listened to it more. I listened to this album multiple times on repeat, and expect to come back to it often in the future.
From the moment the beat hits on the first track, you know exactly what you’re in for over the next hour. Soul II Soul epitomize the 90s London R&B dance sound, and this album sets the standard. Maybe it comes off as corny, but I really enjoy the positive, funky, danceable sound of songs like “Feel Free” and “Keep On Movin’”. I even like the completely ridiculous vocals from Jazzie B on “Holdin’ On” and “Dance”. It just makes me want to move.
This is kind of a strange album, in that it sounds like three or four separate albums mashed together. There’s a little bit for everyone: the classic harmonies of CSN, the counterculture anthems of “Cut My Hair” and “Woodstock”, the incisive songwriting from Neil Young, even a cameo by Jerry Garcia on the steel guitar. I personally love the harmonies of Graham Nash in songs like “Teach Your Children” and “Our House”. “Country Girl” and “Carry On” were pleasant surprises as well. Very enjoyable album overall.
It's hard to evaluate an album like this, nearly 70 years after its release. The late 50s were such an interesting time, when Rock & Roll music was in its infancy and artists were creating the sounds that would define the genre. You can hear on this album the transition from a rockabilly sound in songs like "Send Me Some Lovin'" or "You've Got Love" to [what would now be considered] more straightforward rock like "Tell Me How" and "Rock Me My Baby". It's insulting to say that the music sounds dated, but this album is more of a historical monument than something I'd be listening to frequently in the 21st century.
I loved this album. Several of the tracks have made it into my favorite songs playlist. Phenomenal music all the way through.
I did not particularly like this album. Joni Mitchell's light voice, combined with the very simple guitar instrumentation, give the songs a thin, airy sound. The songwriting is obviously the focus here, with extremely personal, candid lyrics describing the vicissitudes of her relationships. This makes for some truly profound moments, like the first verse of "A Case of You" or the loneliness underlying "California". But those moments are too fleeting on an album filled with similar sentiments that don't land as well.
Maybe this is the sort of album that will grow on me as the lyrics wedge themselves into the depths of my brain, to be rediscovered years later when they apply perfectly to my own deep emotions. But for now this isn't an album that I have much desire to listen to again and again.
Tales of self-destruction, booze & drugs, and failed relationships set to neo-soul music that doesn't sound like it could have come from 2006. What sets this album apart is that she is a phenomenal singer. There are so many singers who write songs about drinking and cheating, but none of them sound like Amy Winehouse.
Apparently Brian Eno and David Byrne teamed up in the early 80's to make an experimental album consisting mainly of samples? It sounds like something DJ Shadow would have made 15 years later. A really unique, fun album with a couple great songs.
I had never heard of this band or this album. It's sort of a concept album about the dysfunctional end of a relationship. They have a grungy, alternative rock sound with varying levels of heaviness that reminds me a bit of Smashing Pumpkins, with a little Minus the Bear thrown in there. I thought this was a perfectly serviceable 90s rock album.
