I do not understand the hype around this album. I am going to give a really good second listen through.
Listening to this brought back memories but man, it also re-cemented my dislike for West Coast rap. The album itself is incredibly creative and playful, with Dogg just providing his chill vocals and smooth lyrics to a very unserious album. A different time, a different place for this kind of subject matter.
Previously, I've only listened to one or two songs on this album. Listening to the entire song list was a treat. I had no idea that they were so varied in their sound. They don't sound at all like Lowrider or Why Can't We Be Friends or Spill the Wine. Great songs but Cisco Kid is seriously underrated.
That was... definitely an album. A style of music that I had not heard of before from Blur. It was a nice surprise for a Monday morning. It was easy listening and not the most complex experience, but definitely enjoyable.
What has not been said about this album that I would be of interest? It's a classic that continues to be relevant and fresh through the years. This album is created by exploring all reaches of the noise spectrum. It is unapologetic in it bite, making the listener produce an audible "what the fuck did I just listen to?" Without the fatigue, prodding, or pretentious notes, Odelay is not peak Beck. It's just Beck. And Beck is pretty good at this sort of thing.
Well...
This is definitely something else entirely different. It scratches an itch I didn't know I had. Eclectic and full of possibilities.
Not all albums that are considered classics are good. I am looking at you, "Rumours." I know, it's a hot take and its controversial as fuck. Never Mind The Bollocks is a good classic album. What makes it a classic? The messaging of its resistive nature can be heard throughout the ages. Before it was made? Relevant. After and beyond? Completely and authoritative. What makes it good? It is about itself and only itself. The Sex Pistols provided a platform for the whack, the weird, and the wild. You don't even need to know what punk actually is or who came before them or after them to know that Bollocks wasn't about the Sex Pistols: It was about the internalized raging cacophony of the world's people.
Prodigy's Fat of the Land, an anthem of my youth that I listened to on tinny little speakers and headphones from 1997 to 2000 (I was in high school). I am now more educated in the science of sound and the physical constraints of hardware so I am sitting here just getting on with my job with my Sony headphones on... and I cannot emphasize enough of how I was transported back to a 14-year-old. Simultaneously, I am being wowed by the thump of the bass from Smack My Bitch Up. It's thunderous! The depth of the synthesizer is something I've never paid attention to in Breathe and Firestarter. The separation of the instruments in the calculated chaos is just so enjoyable.
Just on Smack My Bitch Up alone... 10/10 album.
Banger after banger but boy was it confusing when Bowie stopped, and Iggy started.
fuck...
well, yes. That's all there is to it, huh? I don't even have to listen to it. It's just been on rotation for the past 20+ years. I used to think it was taboo to listen to something this gritty, this dank, this good. It's not. It's a celebration of a musical supernova event that hasn't been replicated since 1992 (HA! I didn't even have to look up the year. I knew the year. Go me).
Man, this album is pure fire! Muddy Waters and his band absolutely tear it up at Newport. The energy is electric, the guitar riffs are scorching, and Muddy's vocals are raw and powerful. From the blues classics like "Hoochie Coochie Man" to the newer hits like "Got My Mojo Working," every track is a masterpiece. It's like being transported back in time to witness a legendary performance. This is a must-listen for any blues fan, or really anyone who appreciates good music.
Captain Beefheart & His Magic Band's Trout Mask Replica is a wild ride that's not for the faint of heart. The music is experimental, chaotic, and often downright bizarre. Beefheart's vocals are like nothing you've ever heard before, and the band's instrumentation is equally unconventional.
It's definitely an acquired taste.
This album is a total blast! Louis Prima's energy is infectious, and his band rocks. If you love jazz, swing, or just want to have a good time, this is the album for you.
Peter Gabriel is a weird dude. Like Brian Eno weird. Like David Bowie weird. Just weird. This is a classic 80s pop album that's both catch and cool... but not weird. "Sledgehammer" is a big hit but it's not weird.
Peter Gabriel didn't sell out because every now and then, people need to get paid. But this isn't what Gabriel is all about.
This is a badass rock album. It's got those bluesy riffs, killer drums, and Billy Gibbons' crazy guitar solos. If you like classic rock, check this album out.
This album is a lyrical masterpiece that blends grit with grace. The British rapper's flow is smooth as butter and her lyrics hit harder than a heavyweight boxer. She tackles everything from societal issues to personal struggles with a raw honesty that's both refreshing and empowering. It's a must-listen for anyone who appreciates intelligent, thought-provoking hip-hop.
What we have here is a wild, energetic ride from start to finish. Little Richard's signature screams, piano-pounding, and outrageous stage presence are on fill display. Hits like "Tutti Frutti" and "Long Tall Sally" are classics for a rason.
Disclosure: I am a Beatles fan. Sgt. Pepper's is more than just an album; it's a sonic adventure. From the psychedelic soundscapes to the introspective lyrics, every track is a masterpiece. The Beatles' experimentation and creativity shine through, making it a timeless classic.
The Who's Live at Leeds album is like watching a band possessed by rock and roll gods, unleashing fury of energy that's both exhilarating and exhausting. Every track is a highlight, from the raw power of "Won't Get Fooled Again" to the frantic energy of "Substitute." This is a must have album.
Marquee Moon is a sonic masterpiece that defies time. It's a record that is both intensely personal and universally relatable. From the pulsating rhythms of "Venus" to the ethereal beauty of "A Dream from Dreamland," this is a record that is as challenging as it is rewarding. It's a record that rewards repeated listed, revealing new layers of complexity.
I can't stand Green Day. Even when listening to it objectively for good points. I just cannot do it.
It's a powerhouse of raw energy and infectious riffs. It's like a sonic punch to the gut that leaves you wanting more. Dave Grohl's drumming is a force of nature, and his vocals are full of passion and grit. The whole band is firing on all cylinders, delivering tracks that are both heavy and melodic.
This album is a psychedelic powerhouse that's as much fun as it is iconic. From the opening riff of "Travelin' Band" to the soulful crooning of "Looking Out My Back Door," this album is a non-stop party of rock and roll.
Superunknown is a timeless classic that cemented Soundgarden's legacy as one of the most influential bands of the 90s. From the iconic opening riff of "Limo Wreck" to the haunting melody of "Black Hole Sun," Superunknown is packed with memorable tracks that showcase the band's prowess. Chris Cornell's power vocals, combined with the intricate guitar work of Kim Thayil, the driving rhythm section of Matt Cameron and Ben Shepherd, create a unique and captivating listening experience.
This album is a masterpiece of sardonic wit and musical craftsmanship. Newman's signature piano-driven melodies provide the backdrop for his cynical, yet insightful lyrics that explore themes of power, corruption, and the American Dream. Songs like "Sail Away" and Good Old Boys" offer biting social commentary, while tracks like "Lonely at the Top" and "Last Night I had a Dream" delve into the darker aspects of the human psyche. The albums' blend of humor and pathos makes it a timeless classic.
It's got all the twists, turns, and screaming vocals you could want. From the epic title track to the spooky "22 Acacia Avenue," there's something for every metalhead.
Sure, the production might sound a bit dated now, but it's part of the charm. It's like listening to a classic rock record. Even though it's old, it's still got that raw energy that makes you want to turn it up to 11.
This is a dream, hazy escape. It's like a warm summer day, where everything feels a little slow and a little sweet. Beach House's music has a way of washing over you, and this album is no exception. It's perfect for a lazy afternoon or a late-night drive.
It is a laid-back, funky blend of blues, hip-hop, and rock. G. Love's soulful vocals and harmonica playing blend perfectly with the band's infectious grooves. While the album's casual vibe might not be for everyone, it's a perfect soundtrack for a relaxed summer day.
"Kiwanuka" isn't just an album; it's a journey. Michael's voice, rich and soulful, wraps around you like a warm blanket on a cold night. Tracks like "Hero" and "Hard to Say Goodbye" hit you right in the feels, their raw emotion laid bare. It's the kind of album you can lose yourself in, letting the music wash over you. While some moments might feel a bit overproduced, they don't detract from the overall experience. It's a masterpiece that deserves a place in your soul.
Smokers Delight is like a warm blanket on a cold night - a comforting, laid-back listen. It's got this cool, vintage vibe with a mix of jazzy, soulful samples and smooth beats. It's the kind of album you can put on and just zone out to.
While it might not be the most groundbreaking or experimental, it's definitely got a timeless quality. If you're into chillwave, trip-hop, or just good old-fashioned chill music, this one's a must-listen.
Zombie by Fela Kuti is a funky, politically charged Afrobeat classic. It's a groovy protest song with a biting critique of the Nigerian military regime.
"Bright Flight" by Silver Jews offers a unique blend of country and indie rock, showcasing David Berman's clever and often surreal lyrics. While the album features some catchy melodies, it sometimes feels like the music doesn't quite match the brilliance of the lyrics, leaving listeners wanting a bit more in terms of musical variety.
A timeless classic that blends anthemic rock with introspective lyrics. The album's iconic tracks like "With or Without You" and "Where the Streets Have No Name" showcase the band's ability to craft powerful melodies and emotionally resonant messages. While some may find the album's grandiosity excessive, its impact on popular music is undeniable, making it a must-listen for any rock fan.
a classic heavy metal album that is considered to be one of the best metal albums of all time. It was released in 1980 and has been certified platinum in the UK and gold in the US. The album is known for its raw energy, aggressive sound, and catchy hooks. It is also considered to be one of the most influential metal albums of all time.
This is a wild ride from start to finish. The Pixies blend raw energy, catchy melodies, and weird, wonderful lyrics into a sonic assault that's both exhilarating and disorienting. Tracks like "Debaser" and "Gouge Away" are pure adrenaline, while quieter moments like "Here Comes Your Man" showcase a different side of the band. It's an album that rewards repeated listens, revealing new layers of complexity and brilliance with each spin.
I do not like Van Halen. Never have.
Venom's "Black Metal" is a classic. It's raw, aggressive, and super influential, even though it doesn't sound like what we think of as black metal today. Think chaotic riffs and Cronos's insane vocals. It's a bit rough around the edges, but that's part of the charm. A must-listen for any metalhead.
Very mellow. Minimalistic. Slightly haunting and depressing.
Honestly, this album is just...wow. It's one of those records completely flip your expectations and leaves you with your jaw on the floor. Charles took classic country, swirled in his soulful genius, and BAM! You've got this incredible, genre-bending masterpiece The string arrangements are lush, his voice is pure emotion, and it just sounds amazing. It broke down walls and showed everyone what real musical magic sounds like.
It's too produced. Reminds me of M83 electricity fused with Bon Iver's musicality but it is a touch unsure of itself. Taylor wants the country but is stuck in the pop world. "happiness" is an incredible example of this. It's just a weird dichotomy. Normally, this would speak to my sensibilities but it's missing passion, emotional investment. She wanted folklore, she presented an academic paper: cold, edited, distance.
It's a thrilling fusion of punk ferocity, industrial innovation, and primal rhythms, crafting an exhilaratingly dark and powerful soundscape.
"She's So Unusual" is just pure, unadulterated fun! It's like a burst of colorful, joyful energy. Cyndi Lauper's voice is so unique, and the whole album is just a classic slice of the '80s that still holds up. It makes you want to dance and sing along every time.
The Crusaders themselves? They're legit legends. The instrumental is so tight, it's insane. The sax is doing its thing, the rhythm section is locked in, and the whole thing just flows. It's giving sophisticated chill, but with a serious groove. It's the kind of song you put on when you're feeling yourself, or when you need to level up your chill playlist.
Basically, "Street Life" is a whole vibe. It's timeless, it's iconic, and it's still a banger. If you haven't heard it, you're missing out.
Bob Dylan's "Bringing It All Back Home" is a landmark album that famously signaled his move to electric music, a shift that polarized folk purists while simultaneously broadening his artistic scope; the record showcases a significant evolution in Dylan's lyrical style, moving away from straightforward protest songs towards more abstract and complex themes; musically, it blends folk, rock, and blues influences, demonstrating his versatility; it is widely regarded as a pivotal work that redefined the possibilities of popular music and a cornerstone of his mid-1960s trilogy of albums.
Weird album. That's it. That's all.
Okay, so "Jagged Little Pill" by Alanis Morissette? Huge deal, right? It's basically a massive dose of pure, honest feelings, especially when it comes to being a woman and just being pissed or vulnerable. The music itself is a cool mix of rock and pop, making it super catchy. Yeah, some people nitpick about her singing or how "Ironic" isn't, well, ironic, but honestly, who cares? This album hit a nerve, changed the game for female artists, and still feels real today. It's like a time capsule of 90s angst, but in a good way.
"The Who Sell Out" is just plain fun. It's this weird, cool concept album, like a fake radio show, with actual killer songs mixed with goofy jingles. Think "I Can See for Miles" blasting right into a baked bean ad. Super creative, super 60s, and just a really interesting listen. The Who were clearly having a blast, and it shows. It's a bit of a quirky gem in their catalog.
Alright, let's ditch the "classic" vibes and go for something a bit more, uh, "artisanal." "The Band," yeah, the self-titled one, it's like, way more than just some dusty record-bin find. It's this whole vibe, right? Like, they managed to distill the essence of some forgotten backroad Americana into these perfectly imperfect tracks. The whole thing's got this raw, almost grainy texture, with those vocals that sound like they've been aged in a whiskey barrel. And the way they weave those instruments together? It's not about showing off, it's about creating this whole mood. It's the kind of record you put on when you want to feel something real, something that's got a story to tell.
Look, Moving Pictures was Rush figuring it all out perfectly. They made smart, complex rock that somehow everyone got into and bought. The downsides? Pretty small, and mostly just about whether you preferred their earlier stuff or got tired of hearing "Tom Sawyer." It's not about the album messing up. It's just the sound of the band totally killing it at their peak. Definitely a must-listen for any rock fan – it's a huge, undeniable classic.
This is Queen at their most ambitious and flamboyant. It's a thrilling, genre-bending ride that showcases their incredible musicianship and Freddie Mercury's unparalleled showmanship. While sometimes bordering on excessive, its sheer creativity and iconic moments make it a masterpiece of rock.
This is THE seminal shoegaze album known for its dense, innovative "wall of sound" guitar work and ethereal vocals. It blends overwhelming noise with delicate melodies, creating a unique and immersive sonic experience. While not always immediately accessible, its influence is undeniable.
Abraxas? Oh man, that takes me back. Santana, right? Before he went all 'Smooth' and started collaborating with everyone under the sun. This was Santana.
'Black Magic Woman' and 'Oye Como Va' were the jams, no doubt. You heard those riffs and you were instantly transported. It was the kind of album you put on when you were just hanging out, maybe cruising around in your buddy's beat-up Trans Am, windows down, smell of exhaust and cheap gas in the air. Or, you know, when you were trying to impress that girl from your homeroom who was way into classic rock.
It wasn't like, 'whoa, deep artistic statement' for us back then. It was just good, solid, unpretentious rock. Groovy. Perfect for a Friday night after a week of trying to avoid your parents and sneak in some MTV before they changed it to news. We didn't overthink it, we just felt it. And it felt good.
Dude, this album was a trip. After all that Beatlemania, the screaming fans, the whole polished Abbey Road vibe, McCartney just kinda… made this thing in his house. Like, he literally grabbed a bunch of instruments, hit record, and just laid down tracks. No big studio fuss, no George Martin magic, just Paul being Paul.
Man, that album was way out there for its time, right? Total prog-rock opera before anyone even knew what that was. Freddie was already a full-on rock god, just belting it out, and Brian May's guitar work was absolutely insane. How did he even do that stuff? It was definitely a trip, a little dark and dramatic for some, but if you were into that theatrical vibe, it was pretty epic. Not exactly "Bohemian Rhapsody" accessible, but a solid listen if you wanted to go on a journey with your headphones on.
Back in the day, when you thought "music" you thought guitar bands and maybe some synth-pop, but then Coldcut dropped What's That Noise? and it was a total mindbender. We had no idea what to make of it. It wasn't rock, it wasn't strictly hip-hop, and it sure as hell wasn't the top 40 drivel on the radio. It was a digital collage, a mixtape on steroids that grabbed sounds from everywhere: TV commercials, classic funk breaks, random dialogue. Stitch it all together with an attitude that said, "Yeah, we're making this on a newfangled computer, and we're not asking permission." Hearing "Doctorin' the House" on a late-night show felt like a transmission from the future, a sign that the old rules were gone. It was equal parts smart, chaotic, and completely irreverent, basically a perfect anthem for anyone who felt like they were just watching the world's most ironic, low-budget puppet show. A real wake-up call that proved you didn't need a band to make a masterpiece.
It's the G.O.A.T. The fuck am I supposed to say about it?
