1001 Albums Summary

What a closer for the 60’s! With sounds reminiscent of the likes of the Beatles, Rolling Stones, and even some Jimi Hendrix, this album works wonders at taking the best of the decade and adding its own creative touch. The rock elements aren’t too hard on the ear and the folk brings a simple yet elegant feel that permeates through the record. Songs like Woodstock and Our House will have you bobbing your head while Helpless and Country girl give a very introspective touch. Also, it can’t go without mentioning the beautiful harmonies on many of these tracks. No matter the person behind it, each song has terrific harmonies that accompany its tune. There is such a nostalgic feeling here that brings me from classic rock tunes to solemn, acoustic melodies. The title track does not hit super hard for me and the lyrics can be quite sappy or cliche at times, but this is definitely an album I’d return to.

Ok... this is coming from someone who has never sat down to listen to a jazz album ever, knows next to nothing about music theory, and has long considered jazz boring and unlistenable: Jesus Christ that was incredible

The vocals, the instrumentals, the ENERGY!! What isn’t there to say about this album? It’s super enjoyable from start to finish and keeps the energy up the whole time, a feat I wasn’t sure possible. Alas, I must save a 5 for the best of the best, but this was still very enjoyable.

Honestly was gonna give it a 3 cause it didn’t hit too hard for me, but I feel the insane lyricism and influence give it that deserved 4.

The whole album is such a bop, it doesn’t even need words to convey its message. Also, this project gave us one of the best Beatles hits and I am eternally grateful.

This album is consistently amazing. Every track brings the same, rich feeling of the last in a totally new way. Obviously Once in a Lifetime is great, but compared to the rest of the tracks, it’s a wonder how THIS was the one to hit it big. In addition, the mixing of genres and overall feelings is a true marvel. The lyrics are weird yet relatable. The melodies are modern yet classic. This record is a true joy to listen to for any occasion.

I hate to chalk up someone’s sound to being similar to somebody else’s, but I’ve listened to A LOT of the Beatles, and this album constantly reminds me of their greatest moments. Tracks like Picture Book and Sitting by the Riverside would definitely be considered some of the best Beatles songs had they been written by them. It takes sounds from both their earlier and later albums while adding their own, wonderful touch throughout the record. These simpler, more standing out songs were the best on the album in my opinion. Despite all the positives of this album, the title track and a few others drag it down quite a bit. The best tracks are doing quite a bit of heavy lifting to keep this album at a 4, but it is still deserving of such a ranking.

I listened to London Calling a big ago, and it was by no exaggeration the best punk album I’ve listened to and perhaps one of the best rock ones ever. I expected nothing less from their debut and boy did they not disappoint. This record is filled with the same energy, catchiness, and influential lyricism on every track. For a debut, it is absolutely impeccable that they came out swinging with an idea in mind and sort of sound that stuck through all their later albums. However, I must save that 5 for London Calling, truly their best album.

Long songs are very hit or miss. Led Zeppelin and much of Queen does a terrific job at doing the most with their songs. It does not feel like a song is 10 minutes long just to be 10 minutes long. It is filled with key changes and interesting moments to keep you engaged the entire time, demonstrating everything the band wanted to put in there. This album is not that. While I can appreciate the immense talent (The guitar and drums sound really good), it drags on way too long. I could sit through the concert, since there would actually be interesting moments and fun from the crowd, but this just feels so soulless. Really, do we need a nearly 10 minute drum solo? Is that absolutely necessary? It is repetitive and boring, and I feel that gives it a definitive 2. It's not terrible, and as I've said, the band is clearly talented and amazing at their craft, but this feels like something for just them and their biggest fans. I want my hour and a half back.

This album is amazing. It keeps it somber and heartfelt while also managing to venture into many different genres. While Sinead O’Connor is praised for her rendition of Nothing Compares 2 U, it pales in comparison to the beautiful melodies of Feel So Different, the power of I Am Stretched On Your Grave, or the lyrical wonders of Three Babies, just to give some examples. This album is beautiful and daring from start to finish, but I fear three isn’t much replay ability in some of the longer, slower songs. Definitely worth at least one listen.

While Jazz is not my cup of tea, I feel it must get a good ranking just for the technical and musical ability being showcased. Not only that, but with Duke Ellington behind the album, it’s gotta be amazing. Still, the album is long (and live) and I probably wouldn’t listen to this whole thing again.

Easy 5. I am yet to find a Folk Rock album I don’t like. The combination of complex solos and a classic, strong sound with the tenderness and beautiful melodies of folk give this album a well earned appraisal. This record is wonderfully placed in that you get the somber songs that make you genuinely feel things, but not without getting too monotonous, making sure to throw in some louder, energized tracks. Yes, Neil Young’s voice can be a bit corny at times, but the words are strong and clear. This album is a classic and a great part of Neil Young’s already terrific discography.

Right off the bat, I love this album from first listen. As a The Kinks album, it’s amazing. As a part of 60’s British Invasion, it’s amazing. As a part of music as a whole and regarding its influence on future artists and records, it’s amazing. Everything about this record, from the silly tunes to the introspective lyrics, is amazing. The last record that made me genuinely feel this much emotion was In the Aeroplane Over the Sea. I started to realize what this album was all about during Yes Sir, No Sir, and it hit hard. Some Mother’s Son then really drove the point forward, offering some truly heartbreaking and poetic lyricism. The rest of the record continued to provide deep, clever words with easily digestible and lovable tunes. I also love almost any concept album, if it’s done right. It’s usually so creative and daring and offers true meaning to the record and what the artist is trying to convey. The Kinks have proven themselves not only remarkable in the landscape of British rock but also capable of doing their own thing and being even more daring and creative than their contemporaries.

I’m starting to realize I really don’t like long, drawn out albums. You’ll be listening to a song and feel like it’s starting to end but NOPE, there’s still 7 minutes ha ha you dummy. Not to say there can’t be good, long albums. There are some amazing records over an hour long that deserve a 5, but not this one. Not at all. These songs are pointlessly long with nothing but repetitive, boring, sleepy melodies. I like the voice and that’s about it. Even that gets monotonous about halfway though the album. But the bare bone instrumentals, the sappy lyrics, and lack of anything truly intriguing give this record an easy 2. It was not enjoyable to say the least.

This album is FUNKY. From its first moments, it sets the stage for the awesome beats you'll be expecting to hear. That Lady is obviously a huge hit, but songs like Summer Breeze and their rendition of Listen to the Music get me feeling amazing. It's a record you can't help but move to, and it never gets boring. The record has also had wide influence, not only on future artists, but also the Isley Brothers' own career. The mix of funk, disco, and even rock make this project very special and memorable. It's already one of my favorite R&B records, and I will continue to listen to it.

I feel I must at least give it a 2 for popularizing the genre of progressive house and it’s influence on electronic blah blah blah whatever… This was a boring hour and I completely zoned out several times. Wish I could have zoned out the whole time but oh well.

I’ll admit, I knew next to nothing about Marilyn Manson before listening to this record. I read a bit about Brian while it played and I don’t really know what to make of his character. I heard that he’s been accused of some terrible things, but I don’t know how much of it is confirmed. Either way, I feel a lot of people are judging this album purely based off the accusations against him that may not be true. But on the other hand if the allegations are true then it’s hard to separate the art from the artist here. Especially when the lyrics are so provocative and the accusations are very disgusting. Ignoring the many, many allegations for a second, the record is fine. I like the Nine Inch Nails obvious influence, and the hour long project certainly isn’t boring. However, the vocals and lyrics are a bit much at times. It’s very edgy and without the same tenderness bands like Nine Inch Nails or Nirvana could have. Obviously Brian has had many controversies, but I still feel that this record is a tad over-hated and I actually was fine with it more than I thought I’d be.

Not Bowie’s best IMO. I enjoyed some songs like Fame and Fascination, and the concept seems fairly well thought out, but overall I feel this doesn’t really work as an album. As individual songs, they’re great. I’d listen to them anytime. But it seems to be too much of the same to be a whole 40 minute record. In addition, just a personal gripe of mine, but Across the Universe pales in comparison to the Beatles original and doesn’t really do the song or the band justice. All in all, I don’t have many problems with this record or each of its songs, but it just doesn’t have the same energy or gravitas as other Bowie projects, so for that it’s a 3.

I don’t care if “this has been done a million times before” or “they’re just copying other artists”, I love this type of music to death. Artists like Cage the Elephant, Arcade Fire, Spoon, that’s my JAM! TV On The Radio, as a part of this sub genre, also did not disappoint. The instrumentals are great, the singing is great, and I just love the vibe. The first half of this record was interesting but the second half with Family Tree, Red Dress, Love Dog, oh my god it’s incredible. This genre does have its downsides as mentioned before, where most of it has been done already, but as long as the artist does it well and pushes the limits as best as they can, I don’t really care. Strong 4.5.

This album is worse than boring. This album is a piece of garbage that throws grenades down your ear while masquerading as an art exhibit. To start, the vocals are straight up not good at all. The voice is annoying, tacky, and frankly gets on my nerves. In addition, the instrumentals are far too loud and chaotic, and not in a good way. There were points in the record where I genuinely found myself wincing and having to pause the song to keep my ears from bleeding. I imagine looking at the audio file for most of these songs would just be like looking at a wall. Oh, but maybe the lyrics make up for the beyond terrible vocals and instrumentals, right? Almost, if you’ve never listened to words before. They might appear to be deep and full of wisdom and whatnot, but half of the lines do not seem to form a coherent theme and the other half are the most basic, overused lines in the history of music. Basically, this album can be summed up as everything people say is bad about Imagine Dragons but scaled up to 11. I will say, I do seem to notice some resemblance to the Foo Fighters. That is, if all the instrumentals were being destroyed in a Nirvana set and Dave Grohl actually did drugs. Speaking of Nirvana, some of the songs that aren’t absolutely garbage just sound like they’re pulled straight from a Nirvana record. The riffs, the instrumentals, everything. So basically, when they’re not making the worst “music” you’ve ever listened to, they’re copying Nirvana. Absolutely terrible execution on what seemed initially to me like an interesting album concept.

While it may not have aged super gracefully, this record still seems to have a lot going for it. The voice is obviously incredible, and so are the instrumentals and harmonies. This is everything I want from an R&B record and it does it very well. Not to mention Solomon Burkes amazing influence on the world of soul. It’s insane how he isn’t talked about as much as the other greats.

I don’t know if it’s just bias (I love 60’s British rock), but I really liked this record. Obviously I’d listened to Sympathy For the Devil a million times before, but every other track hits just as well for me. The genre mixing with the actually deep lyrics for the time give each track a sense of originality and deserving of placement on this album. I also enjoy how consistent The Rolling Stones have been, at least within this decade. If you enjoy one of their 60’s hits, chances are you’ll enjoy them all. There is the caveat, however, that they haven’t been very daring with their music, at least not as much as the Beatles were in the second half of their discography. That being said, this record still holds up pretty well and has many enjoyable tunes, whether I’m biased for them or not.

It was fine. It made choices. There was music. It was sometimes interesting. 3/5, 🤷‍♂️

What a very interesting record. It’s crude, thought provoking, and wonderfully produced. It’s no wonder they had the same producer behind Nirvana and Pixies. In fact, this whole record seems like a lead up to the grunge revival and Nirvanas debut. I listen to Nirvanas records ritually, so that only shines positively on the album. Still, I like how Nirvana and other grunge bands polished up the sound more, as points in this album could do with a bit more time mixing, but that’s probably the point so what do I know. This album also seems like it’s taking ideas from early Led Zepplin albums and dialing them up ten fold. It’s very abrasive, yet it catches your attention. Pretty good collection of songs.

Yes!!! Not only do I get a hip hop album, I get one of the best classic hip hop albums of all time??? Sign me up! Seriously though, this album is great, and so is the Wu-Tang Clan. The blend of cultures and abilities seen in their records is nothing but admirable. Every member has something unique and powerful to offer, yet under the same amazing production as everyone else. The Clans ability to make songs so adventurous and lyrically deep while also pushing these songs, and the genre, into the mainstream, is amazing and a great example of their huge influence on all of modern hip hop. The Wu-Tang Clan has always been known for doing their own thing and reaching out to millions instantly, and this record is the greatest example of that. Despite all the subtle references and raw production, the songs on this album are still all classics and still brought many people into the world of rap. Wu-Tang Clan has rightfully earned their place among the greats like Dre and Pac.

I wish this was English so I could understand what they’re saying but wow, why is this better than most British and American albums I’ve listened to? And why haven’t I heard more of these soundtracks?? This was so much better than the stereotypical Indian music I expected to hear.

This album is the epitome of classic rock. Major blues influence combined with meandering guitar solos, over an hour of runtime, songs purely about love, no conceptual theme between said songs, and a lead singer who turns out to be a complete piece of garbage. Not to say classic rock is bad, per say. I’ve probably listened to hundreds of these type of songs, per my dad’s constant playing of them on the radio/song recommendations from his youth. I’ve come to really enjoy most of it. But when you listen to so much of the same sounding song, it becomes a bit over saturated of a genre, and songs don’t hit the same anymore. Still, this album has its highs. Obviously Layla is a masterpiece and there are other songs here that match the vibe, but the album title does really fit the album: it’s Layla and some other love songs you’ll never hear again. All in all, it’s an alright album.

I’ve only gotten into rap fairly recently, and I think it’s so fascinating to see its origins and evolution. Going from a world dominated by rock into a surgence of rap in the 80’s and the widespread experimenting with the genre in the 90’s is something I find very interesting. That being said, Run-D.M.C. is one of these bands that really popularized and made the genre, bringing it to so many around the world and showing what could be done with some sampling, mixing, and vocals. This record in particular really shows the talent in the band to maintain a steady feel throughout the record while also keeping things fresh. The first few songs are obviously amazing, but this remains pretty consistent through the record, without meandering on too long. I’m not sure some of the songs aged too well (I’m looking at you “Dumb Girl”) but culturally and influentially speaking, this record has yet to age at all. Great listen, 4/5.

I feel that I can’t give this album anything other than a five. Not only does it hold a special place in my heart as a foundation of the modern indie-rock genre, but it also holds together so amazingly well. The beautiful, layered instrumentals the band was built on are so pervasive throughout these tracks. They carry you carefully through the story being sewn while giving you a chance to admire the scenery. It’s amazing how Arcade Fire managed to craft such a rich atmosphere and populate it with so many differing tunes that all come together to form the ecosystem that is this record. Every track feels brand new and pleasant, yet part of a larger narrative. It also can’t go without mentioning the profound lyricism in many of these tracks. I don’t often pay attention to lyrics but when there’s something that catches my ear, it means a lot, and this record caught my ear many times. Arcade Fire really came out swinging with a distinct yet nostalgic sound that made the start of a terrific discography.

Let me get this out of the way, it’s not THAT bad. I like the classic rock sounds that remind me of the likes of Styx and other great 80’s rock bands. However, this album feels like it’s trying too hard to replicate that 80’s rock band fame. The vocals, as many have pointed out, are pretty abysmal, sounding close to an REM ripoff but bad. Also, the production and mixing on this record is… wow. How did this get through to the final product? The lyrics are obviously as cheesy as 80’s gets. This album feels like it’s taking everything from the 80’s, but mostly the bad stuff.

A quintessential metal album. Just focusing on the band for a second, it’s amazing their huge influence on the creation of heavy metal and the fact that they still are so popular within it, adapting to the world of music around them and remaining both a classic band and one for all modern listeners to enjoy. Every member is insanely talented and helped build the genre we know today. Now it’s time for some specifics on this record: it’s easily one of the most recognizable albums in the world of not only metal, but music as a whole. It may not be their debut or magnum opus, but it sure opened the door for many rock listeners to venture into the harsher sound of heavy metal. In addition, Metallica doesn’t just play loud sounds and repeat edgy lyrics. They have method to their madness. Every song sounds like a cohesive piece and more than noises; there’s a story being told. The lyrics can actually be incredibly sentimental and powerfully poignant in a way you wouldn’t expect from such a band. They are everything a metal band should be and remain a constant example for aspiring metal bands even today.

What do you get when you cross Eazy-E, Dr Dre, and Ice cube? Some fire bars and lines that absolutely did not age well 😎 Really though, it’s unbelievable how influential this record has been on modern rap, but it’s not perfect. It’s long and there are a lot of weird bars… Anyways, solid 4/5.

Aerosmith is easily one of the most overrated bands out there. Sure they had Dream On but other than that their records are some bland, basic classic rock songs lazily thrown together. They’re also incredibly weird. This album feels like the band creating some weird fantasy where all women love them, all women want to have sex with them, and their music is actually worth listening to. Anyways, it’s not bad. Definitely not essential, but not bad.

Very enjoyable listen. Listened while working on school stuff and it does wonders.

It’s really just not all that. Everything they do reminds me of other 60’s bands that just did it better. They’re not as boundary pushing as the Beatles, not as technically masterful as Jimi Hendrix, not as fun as the Kinks. They’re just… part of the decade. Not daring enough to be considered influential or even long lasting. I will say, the second half of the record seems to take it up a notch, but still not creatively enough for me to give this anything other than a 3. It’s also not helpful that most songs here blend together and sound mostly the same with the exception of maybe Space Odyssey and the instrumental tracks. Really did not care much for this album. Not bad but not great.

I love the cool, slow, acoustic feel this album brings. Each song is soothing yet unique and refreshing. This is how you do acoustic rock right.

I really love Arcade Fire. I have such a soft spot for their genre and style. The powerful, overlapping instrumentals with incredible vocal work and amazing lyrics is something to be admired. But for some reason this album didn’t hit as hard as their debut, Funeral. Maybe it’s the length. Maybe it’s the lack of anything really new. It just doesn’t really work as an album. I love a bunch of the songs on here and cherish them deeply, but it just does not fulfill the same album astonishment as other projects have, and for that it gets a 4.

It was a very mid Nirvana rip off. Only made me wanna listen to actual Nirvana and good alternative rock.

What can I say that hasn’t been said about this album? I guess to start, this is by no means the best Pink Floyd album. Wish You Were Here is probably better, Animals is better, and don’t even get me started on The Wall. However, I can’t imagine in any world this record in particular getting less than a 5. It is competing with also amazing albums by the same band after all. And of course, it’s so beautiful and instrumentally and lyrically filled to the brim. I mean sure, Roger Waters is a piece of garbage and he made a new rendition of this album that I refuse to believe exists, but you gotta admit this album is a damn masterpiece. From maybe the most iconic album cover ever to the insane influence of the album both in the band and its cultural impact, The Dark Side Of The Moon is just as close to perfect as it gets. I’m sorry I don’t have any controversial opinion on I this record, but cmon, is any hateful opinion of this album even worth listening to?

Obviously it’s great. It’s Jazz.

I’ve never listened to earlier country before but wow, that was pretty good. I really don’t get the hate, even if it isn’t super original. The instrumentals are great and the vocals are obviously amazing. Sounds like Frank Sinatra, as many have already mentioned. Anyways, maybe I should listen to more old country.

I hate the French.

The thing about Bowie is that every album is a different experience. He reached a point where he could just do whatever he wants and thank god for his creativity. He’s released countless albums that just continue to push the envelope that is David Bowie. Station To Station is no different. It’s certainly no Ziggy Stardust but boy does this one bang. It ventures so many different ways with haunting, metallic melodies and poppy, folky songs. Favorite tracks? Couldn’t begin to choose. 70s Bowie is something else I swear.

One of the greatest punk albums of all time you say? Heh, well we’ll see about tha- oh yeah this is good. Oh my god this is great. This album drags you right into the center of the storm and does not let you go for a second. It is truly quintessential Green Day. Too bad they haven’t released anything since 2016…

As a whole it is pretty slow and uninteresting. Electronics never been my thing anyways. At least throw in a guitar solo or sick wordplay to spice it up a little 😒 Really though, it’s fine but kinda boring at some points with not great structure. Karmacomas kinda fire though.

Hear me out, Talking Heads is kinda like the Kinks of 70’s and 80’s alternative rock. They’re weird. They’re not what you expect. Yet somehow, it works. It works so well that they manage to immediately jump into the mainstream and create a record so enthusiastic and easily listenable. All this to say, I enjoyed this record. I mean, I wasn’t expecting not to. It’s Talking Heads after all and Psycho Killer is on this record. But the bands consistency is something to be admired. They know what they want to do and achieve it with excellence. Anyways, good album.

That voice does sound pretty special. How dare they tell me to enjoy myself right before showing me the most obnoxious near hour of my life. Maybe if we tell them to like it they'll like it? "It's all a load of bullocks," Yeah I'd be inclined to agree. Who let the most stereotypical British chaps into a kindergarten music room anyways? They sound like they're trying to mock a British accent yet be even more disappointing. The tunes are fairy-tale like, but not the fun ones. Not the ones with cute dogs and rainbows. The ones where the child gets horrifically eaten because they didn't eat their vegetables but with the veneer of troubled kid's play music. A fate better than listening to this album. You do have to get give them props for being so daring to stray away from what makes music good though. It's a solid 1/5 and if I could give it lower I would. Giving themselves a 2 in the corner is pretty generous I think. Less Specials please.

It’s definitely metal.

I mean, the voice is nice. But you’d be kidding yourself if you think this should’ve gotten bigger. While it’s better than any Tim Buckley sad times and miserable tunes, it still falls short of being exciting: being new, interesting, or even just enjoyable. It’s for the background and should probably remain that way.

I am a changed man. I used to agree with all of you. Eminem sucks, he’s too edgy, whatever. I used to hate Eminem’s popularity, until I actually listened to his music and… it’s not bad. In fact, he’s got some really good albums. Sure it’s ’misogynistic’ or ‘super edgy’ but I think that’s the point. This record tells a story. A story about a bad person. In fact, Marshall mentions many times that what he’s doing is wrong, ie. Guilty Conscience or Role Model. He knows he’s not someone to be looked up to and the record reflects that. The album cover literally has someone dead in the trunk of his car. You think he actually believes in murder? I don’t know man, until he actually commits some heinous acts I’m gonna chalk it up to a story being told. Isn’t that what good concept albums are for anyways? Whew, now time for the actual music. It’s pretty enjoyable. Eminem’s got the word play, the beats, flows, features etc. that prove his rise to fame was deserved. Many of these songs got the mainstream fun and catchiness to them while also committing to the edginess and sense of fear that drove Eminem’s career miles. As I said earlier, I love the story and the use of sounds to tell said story. It all makes for a great experience, albeit with a touch of lines that have not aged well. Overall, strong 4/5.

Actually so much better than I expected. There are so many blues albums out there and I thought there was no way this would be any different, and while it does hit the same beats, it is still wonderful. It’s boppy and energizing and oh my god!!! I do prefer my albums to have a little more depth, however, and you don’t often get that from an album like this. Anyways, it’s still really good so 4/5.

When did country get so bad??

Some good ol- soul. Can't really go wrong. Still, its not really an album to listen to on its own. Its got its moments, but its more of a background piece. Might listen again if I got a lot of work to do.

I don’t know it’s just kinda mid. I’ve heard very mixed reviews on Iggy Pop and I look forward to hearing more from him, but this just wasn’t good. It doesn’t really nail the genre as well as others have, as well as the mixing being… something for sure. Realistically, I don’t know much about music reviewing but this just did not settle right with me for whatever reason.

It wasn’t bad, but a lot of the songs sounded very similar and uninteresting. Probably won’t listen again.

Come on, it’s a classic. And one of the best 80’s alt rock albums out there. Can’t go wrong.

Dude I love Supertramp. They’re so creatively different. Ok, maybe they’re not the first to do what they do, but still, they do it SO WELL. When I found out a long time ago that Breakfast In America and Logical Song were by the same band I was dumbfounded. How could a band make two of my favorite songs? Preposterous! Anyways, since then I’ve really dived in to their discography, and every bit of it is incredible. Not as incredible as Breakfast In America but still. It’s all good. Ok enough swooning. This album is just as great. It’s filled with tunes that’ll make you jump and lyrics that’ll make you laugh and cry. Well I may be exaggerating there. But School, Bloody Well Right, Asylum, Dreamer, ugh! Every song on this record is incredible I can’t gush anymore. Review over.

Meh

How is this so highly rated?? It was genuinely so bad. The rhymes are terrible like “Pete went to get some meat in the heat” IT SOUNDS LIKE A KINDERGARTNER. Phew I need to blow off some steam. But it’s also sooo long and boring. Oh my god this really sucks I’m sorry.

I’ve kinda grown a bit tired of 80’s pop-rock records but this one really spices things up. The instrumentals are amazing but not overwhelming, and it truly brings back a classy, blues feel while managing to stay relevant and even cruise forwards. This was genuinely really good.

It was fine. Probably the most enjoyable electronic record I’ve heard. But still, there’s not much substance. There’s nothing to toe it all together and to form a cohesive album. It just doesn’t feel complete, and I have to deduct quite a bit for that. It also dragged on a while, which wouldn’t normally be too bad, but the songs just aren’t worthy of being so long when the styles are all so similar. I still can appreciate the mixing up however on some of these songs. Going from Breathe to Diesel Power was an experience for sure. Anyways, good electronic album, but still not good album as a whole.

For an album comprised of nothing but sound and no words, it sure does hold a lot. It is truly instrumentally dense and full of key moments. There were energizing moments, soothing moments, and wtf is happening moments. No part of it was boring. I don’t tend to listen to albums like these but I am glad I listened to this one.

This is a perfect rock album. It’s rock at its best. Electrifying guitar, iconic drum beats, perfect mixing of instruments. It just all comes together SO well. There’s songs that bring a nostalgic, 70’s rock feel with groovy tunes, and songs with some truly instrumentally dense, more funky and morose music. I don't understand how this isn’t considered one of Bowies best. Obviously it’s no Ziggy Stardust, but cmon you can’t compare anything to that masterpiece. I love this record and… I’ll say it. This is right up there with any of Hendrix’s albums. It’s that good.

A really well done mix of country and rock. There are some super groovy tracks here and just good feeling all around. Good job Moby Grape! 👍

Bro it’s just Bob Dylan. How can I not like it?

Come on man. Giving this anything other than a 5 would be insane. Still not sure if it’s better than electric ladyland (they’re both amazing), but nonetheless it is a GREAT album. Where else can you get such terrific songwriting, guitar playing, and lyrics from one person at such a time? George Harrison, although great himself, could never be on the same level, both guitar-wise and (arguably) lyrically as Hendrix. Eric Clapton did have the guitar prowess but not the same emotional capability of Hendrix. Jimi Hendrix was a huge inspiration to so many and a well respected artist, but still took the time to give a story in every album. Every song. It was personal, and it was inspirational. He took the medium in places few saw possible and ways aspired to be replicated for decades. He was open about drug problems and personal issues up until his death, may he rest in peace. This record specifically is classified as one of the best of all time for a reason. Not a single miss here, though The Wind Cries Mary and Highway Chile are personal favorites. And this album was such a splash in the rock landscape at the time, though psychedelic rock wasn’t unheard of. The likes of the Beatles and Pink Floyd had already played around with it before Hendrix debuted. But there’s a difference: Hendrix kept it alive and fresh. He wasn’t doing it for the sake of something cool, he wanted to challenge the norms of classic rock and make defining statements in music history to be written. The psychedelic rock genre today would be nowhere without Hendrix’s willingness to shape culture in an expertly done way. And that’s what it all comes back to. Sure he changed rock. Sure he checked the artists around him. Sure he made award winning albums. But what it all comes down to is how he did it. Not boastfully, but with the technical mastery and patient skill of a band front runner musicians across all genres and decades would only expect from hundreds of years of experience. So in that sense I guess, Hendrix answered his own question. Are You Experienced? Hell yeah, more experienced than a life time could give.

I mean, I have a soft spot for this type of alternative rock. Still, it’s very cliche without much substance.

Nirvana would never do me like this.

The best mix of Elton John, the Beatles, and the Smiths I’ve ever heard. Truly, how T. Rex manages to create pop hits reminiscent of Elton John using psychedelia and bizarre instrumentation is beyond me. I mean, this thing is pretty weird. “Telegram Sam”, “Rabbit Fighter”, “Ballrooms of Mars”, etc. Yeah this is definitely 70’s. But it’s just all so exciting and fun to listen to! Forgive me for a second, I listened to a hard rock album right before this and really needed something like this. Anyways, it’s just so full of good vibes and genuine creativity. It’s really good. But weird.

It seems everything I enjoyed about this album tends to be the reasons people don’t like it. Which I can understand partly. I do really like the influence of Radiohead, Queen, Red Hot Chili Peppers, and many other alternative rock bands so obviously seen on this record. For some reason that’s a bad thing? I get that it’s not super original, but you have to give it credit for the grandiose, electrifying sound this record brought. Maybe at the time the genre was a bit over saturated and people were tired of listening to “what if Radiohead did grunge?” but I think it still holds up. Today, in this moment, this record remains a staple of the genre and has persisted to be a must-listen to album. In that respect, and because of the strong alternative rock feel I’ve been missing, this album gets a 4. The “critics” can go listen to some indie band that “I swear is actually original.”

I’m shocked I’ve never heard of this before. I thought I ventured into every crevice within the 80’s rock genre there was to explore, but this record is about as 80’s as it gets. Which has its good and bad of course. I like the solos and prowess, as well as the introspective lyrics I wouldn’t expect from the time. However, it is still just your pretty unoriginal blob of guitar and drums packaged into a collection of hits sent off to the audience of adults who miss “the good stuff” or the kids who also for some reason miss “the good stuff”. That is to say, it’s fine.

Oh my go oh my god oh my god oh my god. Prince is AMAZING!! His use of R&B and rock and pop and electronic to make the most emotional, powerful pieces of brilliance ever is nothing but admirable. He clearly has so much mastery over the medium and uses it in the best way possible. 1999, Sign O' the Times, PURPLE RAIN!! You have to admit his insane influence on music as a whole. He just brings so much to the table. Anyways, let's talk about this record specifically. Every record is iconic. Let's Go Crazy is such an energetic and representative start to the album, When Doves Cry is obviously a staple of a generation, of course the ending, Purple Rain, is an 8 minute masterpiece of composition and poetry, and every song in between is an easily recognizable tune sure to raise some ears and childhoods. But these aren't just singles. They are songs rooted in a time, filled with personal challenges and questions and stories. The trauma represented in When Doves Cry may easily be misunderstood combined with the irresistible melodies. The psychedelic erotic fever of Darling Nikki (my favorite) is such an underrated part of this album that brings up a perhaps taboo part of Prince's life. Purple Rain explains the journey of both Prince and the whole album: one of discovery and dealing with personhood. All that is to say, Prince is a genius in crafting spectacular stories in the most unorthodox way of the time: that is, hard truths with easy tunes. It's no wonder both fans and critics have adored this album for so long, maybe for different reasons, but nonetheless admiration of the detailed writing involved.

It’s just so boppy!

You know what?? Screw all of you guys this was great! It was a very well written concept with album with beautiful melodies and lovable tunes! I’m sorry it wasn’t disco or anything, give the band a break!

I appreciated the tone down beauty of this album. I’ve never listened to Grateful Dead before and this is certainly not what I expected. Anyways, not much to say. It has some good singles and the whole album is fairly consistent. Pretty good.

What to say that hasn’t already been said…? Nothing. It’s a perfect album. Now is it the best Led Zeppelin album? Maybe, I’m not sure. But still, this album is about as good as it gets. Starting off with Black Dog, wowwwwww! Who hasn’t heard the amazing vocal performance and riff on this track before?? And the solo????? It’s such an energetic piece to start off the roller coaster that is this record. 10/10 Of course next you have Rock and Roll. Again, superbly popular riff with spectacular drumming as well. Everything is just so coordinated and comes together so well. 10/10 The Battle of Evermore? This is where things slow down a bit, showcasing the path Robert Plant aimed to take for this album. You got your classic heavy rock mixed with some folkish, beautiful strumming and mystical singing. A real underrated piece of Led Zeppelin history. 10/10 Stairway to Heaven. Of course, many have probably heard it a bit too much (especially Led Zeppelin themselves), but that doesn’t make it any less amazing. The riff, the soft vocals, the amazing lyrical prowess, all leading to one of the best payoffs in music history. 10/10 Misty Mountain Hop, honestly this might be my favorite on the album. I don’t know why, it’s just so entrancing. The simple rhythm and the strangely mixed instrumentals bring about so many mixed feelings, I just can’t explain other than it sounds great. 10/10 Four Sticks, aptly named after the drummers tendency to play with 4 sticks. And the drumming is obviously amazing. And Plant’s singing?? This has got to be up there with one of his greatest performances. And of course Jimmy Page is doing great but you already knew that. 10/10 Going to California, another beautiful track. Really, you’d never expect this from Led Zeppelin of all bands. It’s just so beautiful I can listen to it for hours. It’s wholesome and nostalgic and every good feeling you can have all at once. 10/10 When the Levee Breaks, what a closer!! Everyone’s abilities are on full show. The band ends their phenomenal record with a conclusion that gives the best of everything rock. 10/10 I know none of my thoughts are particularly original, so I’ll keep this review up as a diary to myself: you need to keep listening to this record. Trust me, it’s pretty good.

This is NOT the R&B I was expecting…

It’s just some guy noodling on the guitar for an hour. And it’s not very good.

Now here's some blues!

One of my favorite blind R&B musicians, next to Stevie Wonder of course. God Ray Charles really is a genius. Thanks for writing my states theme song!

Wow. I’ve never listened to PJ Harvey before and really didn’t know what to expect. Given that it’s fairly recent my expectations weren’t very high. But wow. It was quite enjoyable. Major Pixies vibes. And that’s obviously a good thing. 4/5

You know what, it really wasn’t as bad as people are saying it is. I don’t know if it’s because of some complex music listeners have where anything released after 2000 is terrible, but this really wasn’t bad. Gives off vibes of Taylor Swifts Evermore and Folklore, her best albums, obviously. It’s slow and calm, and yet moving. Still, it’s not that great. Perhaps, it may be a little too slow. I don’t know it’s not really my style. But still, it’s… not bad. Whatever.

It’s not really my stuff. This is my first time listening to a full Pearl Jam record and it’s close to what I expected. That being said, it’s still pretty damn good. I might not listen to it again but I can see the appeal.

Guess who just found a new favorite album!

It’s Aerosmith. Painfully average. Better than Pump though. Pretty low bar I know.

There’s something encapsulating about Jack Whites music—a sort of flavorful spin on that bluesy, classic rock that you can tell Jack admires. You get some laid-back vocals and synth and guitar on the opening track, Missing Pieces. Following that is a piece that matches the White Stripes’ highs and rock staples: Sixteen Saltines. It’s a song that anyone could put on the radio and have a jam-packed van of middle-aged white dudes bobbing their heads, forgetting that it’s even from the last 15 years. Freedom At 21 has the same catchy, old-school rock nature, but with Jacks own pizzaz added (those wobbly vocals, man, what the hell). The title track is reminiscent of Led Zeppelin, emulating the slow beauty of much of Led Zeppelin IV, ie. Going to California. I’m Shakin’ brings back more of the classic, bluesy rock that started the whole genre, truly making this album a compilation of many of the things that make rock great (just wish he didn’t say “I’m noivous”). His first solo work since the White Stripes, Jack White continues the same-old style of alt-rock that made his previous duo so immediately and immensely popular. That being said, not every song is a banger, and the album holistically plays like more of a greatest hits compilation than anything cohesive and genre-pioneering. It’s clear Jack had his moment to shine in The White Stripes, and while he did change the alt-rock scene for decades to come, he’s decided to just have fun with his newer stuff. Though I’ve heard No Name is really good, and Jack White seems to be leading the charge on resuscitating rock, so have to give him his praise where necessary. Anyways, solid album.

I’d never heard of Pulp before listening to this record. They yield a very similar vibe to The Cure—well it’s mostly the vocals but also the instrumentals… a bit. Ok it’s really the vocals. And to be honest I was at first not impressed. The singing from The Cures lead, Robert Smith, has been mostly what has held me back from truly enjoying their music, and I feel the same situation is working a bit against Pulp as well. Maybe it’s just personal preference and nobody else feels this way, but the sort of husky voice on I Spy and the depressing, English accent throughout (Sorted for E’s & Wizz) detract a bit from the wonderful storytelling and at times beautiful orchestral elements. I’ll get into such in a bit, but I’ll stick to the complaints for now. The vocals did grow on me towards the end of the album a little, but some of the lyrics are pretty questionable. Maybe it’s on some meta level that I don’t understand, but: “I really love it when you tell me to stop; oh it turns me on” from Pencil Skirt and the weird talk about underwear on, well, Underwear is just weird and distracting. It seems like at times Pump kinda lost the plot. Oh yeah, about the plot, time to give some praise. Man, there are some actually deep and chilling line deliveries on this record. The crescendo on Common People into Jarvis Cocker yelling “you’ll never live like common people;” damn. Really fits the title—Different Class: about the divide in not only wealth but experience and culture between those more and less fortunate is expressed beautifully on this record. The mature, societal discussions of wealth disparity throughout are also accompanied by some thoughtful lyrics on relationships and, yeah, sex. A lot of sex talk. But some of it isn’t weird. Like in Live Bed Show, “now every night she plays a sad game; called pretending nothings wrong.” This poetry is truly pervasive throughout and shines when put next to some of the more sexual lyricism. This combination of themes is all covered over by some amazing instrumentals. I adore the haunting melody of I Spy, the slow melancholy of Bar Italia, the boppy beats of Disco 2000, the sort of musical metronome on Mis-Shapes (if that makes sense); it all makes for a blend of feelings that still feel tied to the core sound of the album. Overall, this is a very cohesive piece, yet I obviously still have my complaints. Pretty solid.

When I first heard Alice Cooper compared to Marilyn Manson, I was a bit worried; not that Manson is a terrible artist, but his edgy lyrics and persona do not rub me the right way. However, this album is (at least from my view) not edgy at all. It’s got some commentary on society—any good album should—but it’s thoughtful about it and not the gritty Zach Snyder style. Sorry I just saw Superman and he was on the mind. Anyways, the hard rock of this record. Eh. It seems very accessible, which isn’t necessarily a bad thing. One could easily say the same thing about Black Sabbath being a wide open door to metal. It’s metal, kinda, but like, only for people who consider Nirvana metal. God I keep getting off track. So yeah, there’s a lot of easy listening throughout this album. Songs like the title and opening track, Schools Out, have the hooks, catchiness, and just right amount of guitar solo to make anyone feel like they’re into rock. However, I wish there was more to work with, particularly with the guitar. There was never anything really special or unique going on. The singing too, though good and very full of range (such as on Gutter Cat vs. The Jets), doesn’t really offer anything new that you wouldn’t see better done from Zeppelin or The Rolling Stones. And let’s talk about The Rolling Stones. Public Animal #9 just sounds like a Rolling Stones track. Alma Mater, too, has some of the same style and pizzaz of Beggars Banquet and perhaps later Beatles as well. I wonder if the cover art is inspired by Beggars Banquet, mayhaps. But yeah, I see the influence and appreciate it, yet it only makes me wanna relisten to some of my favorite Mick Jagger and John Lennon and Paul McCartney songs. Lord knows George Harrison has better guitar solos. Again, this album is more of Hard Rock 101, nothing crazy. To give credit where credit is due, however, the theatrics do offer some fun and creativity throughout. You have the interesting, wordless storytelling of Street Fight and Grande Finale, the la-da-das of My Stars, and some crazy poetry work of school and prison life as seen on Alma Mater. It’s more Glam Rock than Hard. I also have to say, I love the bluesy vibes from Blue Turk. Probably my favorite track. So yeah, this album is definitely good for those interested in delving into some hard rock or perhaps metal, yet who are scared to check it out. Though I’d more so recommend Black Sabbath for that. And I’d more so recommend Rolling Stones or Beatles for the vibes. And I’d more so recommend Pink Floyd for the theatrics or T. Rex or David Bowie for the glam. Ok I’m gonna go listen to them instead.

I feel that I’m not at all qualified to review this album. The first and only I’ve ever heard of Elliot Smith was from a guy I know who’s been obsessed with him. And so I was certainly intrigued when his name popped up yesterday. Anyways, I have to talk about the writing for a second—this is that Bob Dylan, Kurt Cobain shit that you know is poetic godsend but can’t muster the hundreds of hours deciphering what everything means. I can tell Smith put a lot of effort into his writing, and I apologize if/when I don’t understand. I’m just not smart enough. But for what I do know, the figurative telling of addiction on Between the Bars, trauma on No Name No. 5, loneliness on Rose Parade, etc. are all lended in a mature manner that proves Smith was too wise beyond his years. And if only he had more of them. But yeah, Smiths writing is for the poets and scholars, definitely not me. I can talk about the actual music, though. You truly get a bit of everything from this genre that Smith pioneered. The first few tracks and their solemn, acoustic feel placed me next to a campfire with the fire burning bright and the friends sharing stories. I began thinking about Phoebe Bridgers and Lucy Dacus and all those other singer songwriters with a similar vibe, and then it hit me; they were all created by Smith. Not literally of course, but Elliot Smith was able to popularize this new way of music that would be replicated for decades to come. So while it doesn’t sound so original now, any artists inspired by him could tell you he was game changer. He invented this sort of simple instrumentally yet dense lyrically style of music that so many adore. Of course he had his influences. You can definitely hear the Beatles in Alameda (the harmonies that kick in later in the song are beautiful), the acoustic sound of a Kurt Cobain outtake in Speed Trials, the Radiohead (Bends) on Cupids Trick. You can tell Smith is taking the best acoustic, slow vibes he can find from all these amazing artists of the time to create something both inspired and inspiring. I really enjoy Pictures of Me, a nice track in the middle to spice things up a bit throughout the slow, melancholy. It seems more playful and mood-shifting, yet with the same deep lyricism interweaved within. All together, I do wish to learn more about Elliot Smith and his wonderful passion for poeticizing the mundane. Maybe one day when I’m deep in my sorrows from a heartbreak, I can truly enjoy this record. But alas, today is not that day. Solid 9/10.

I really don’t have a lot to say about this record. I tried giving a review of each song, I really did, but I just completely zoned out after the first instrumental. The only way I can put it is that these songs weren’t made for an album. Individually, they would…well they’d still be pretty garbage. But putting them in a near hour long album just makes them far worse. I was initially gonna give this a 2, but then there were 30 more minutes of the exact same song. I have no idea who these songs are even made for. The lyrics are as uninspired as the instrumentals. The album stars out with Sunflower: “We have no future, we have no past.” I’ve heard that line probably more times than minutes are on this album. It continues with the ugly repetitiveness of “I miss you so.” It’s fine if a song has a repetitive chorus but at least make it mean something. Also, throughout the album are these Marvin Gaye-ass lyrics that fall completely flat about peace and war and love and humanity. They sound good coming from Gaye. Not you, Weller. Be more poetic about it next time. Really needed those two instrumentals so that I couldn’t hear the god awful lyricism. But yeah, in short, the singing is boring, the lyrics are boring, the drums are boring, the guitar “solos” are SO boring, etc. etc. I wish I could remember anything from this album. Actually, scratch that, glad I don’t. Well, the title track was fine.

I’ve listened to a Deep Purple album before. It was a live album. I thoroughly did not enjoy it. But, that was a while ago and since then, I’ve had friends tell me to listen to their magnum opus, perhaps, Machine Head. And so here we are. And man is it good. I wouldn’t say this album is rock at its finest (it’s not really doing anything new or crazy), but it’s certainly rock at its… rockiest. You have these bluesy riffs that are reminiscent of the likes of Hendrix and vague bluesy lyrics that tie back to rocks roots. You have such killer guitar solos on every track that really end up being the focal point of the record. But it’s not just the guitar doing the lifting. It’s not even the drums (amazing drum solo on Space Truckin’ btw) or bass or singing that carry the record. It’s the chemistry between them. You can really tell all these band mates were born to play alongside each other. Every rock element comes together so well in a way you don’t often see. No where is this seen better than in Lazy, where it seems like the instruments are in almost conversation with one another. The chemistry between the players is really what brings this album together and gives it soul. Now, the singing is also great, yet it seems like more of an afterthought, in that the solos take precedence in most songs here. And I love that. That’s what rock is about. Of course, this album has hits, and one is still amazing while the other may be a little overplayed. Just a tad. However overplayed Smoke on the Water is, though, it doesn’t diminish the other songs and the technical mastery seen on them. Highway Star lures you in with the familiarity, but Maybe I’m a Leo keeps you there. It’s in such a similar level of catchiness and rock that matches the allure of the opening track, despite the opening track already being so popular. In short, what I’m saying is that every song on this album, without familiarly, feels familiar yet a little fresh. Fresh enough to keep you entertained, at least. Ultimately, it seems that I do enjoy Deep Purples music. Just not live music. Except for MTV Unplugged that’s where it’s at (love you Kurt and Lauryn, yeah we’re on a first name basis).

Yeah, this is definitely prog rock. In the best and worst ways. Only 6 songs, yet 42 minutes of guitar noodling and genre blending. They nailed it from the get-go. It does make sense that Yes is the first band to show up when you search prog rock bands. However, in typical prog rock fashion, they switched it up. It seems that most songs are not actually heavily guitar-driven. From the first track, Yours Is No Disgrace, you can tell what you’re in for: an album where the band members made great use of every instrument they had available. It seems that the synth, guitar, drums, singing, and even bass are all on the same level in such a way that one can easily discern the overlapping sounds from one another. I’m just saying I’ve never heard bass so clearly, except for during a bass solo. And the singing too, oh my lord. When you have a 9 minute song of synth and guitar solos, you don’t expect so much effort to be put into the vocals, but god do Yes deliver. The Beatles-esque harmonies grant a slight respite from some of the heavier rock sounds, offering a contrast between beautiful, overlapping melodies and the sickest solos. Each song is just structured very well. You see even more sounds and instruments tried out on The Clap, with a more acoustic feel. So, in the first two songs you should really understand exactly what this album and the band are about. And back to the structuring in these songs, I’ve never seen artists lay out the structure of a song in the title eg. with A, B, and C. It makes for a sort of story centered track, sequenced with a beginning, middle, and end. I adore the crescendo at the end of Your Move, transitioning completely into All Good People. Those are the small things that bring this album together. So, the sequencing very interesting and I’m not exactly sure how I entirely feel about it just yet. But it sure is different from what I’m used to. Actually, much of the album feels this way. I think that I could definitely review this album better if I only had more contextualization for not only the band but also prog rock in general. As current, this is my first Yes album, so I have nothing to compare it to on that front. But I have listened to some prog rock. Problem is, only the good stuff: King Crimson, Rush, Pink Floyd. When you’ve only listened to incredible music from bands like these, it’s hard to know what’s on the other side of the spectrum, or even the middle. Yet, I know that all the albums I listened to by these artists (In The Court Of The Crimson King, The Wall, DSOTM, Fly By Night) are better than this Yes album. At least for now. And so it seems, with only the best of the best to compare this album to, it just falls short of expectations. Hopefully I can come back in a few months time and thoroughly enjoy this album for what it is. But now, it’s only middle of the pack for me. Still got some great moments in it though, like the slow, almost jazzy part on Perpetual Change into a more uptempo, gaming-like beat, ooh! Also. Thanks for teaching me chess on Ive Seen All Good People. Ok, yeah, good album, but not great.

Well, here it is. A Tribe Called Quests debut. I first listened to Low End Theory a while ago, and I gotta say it is absolutely incredible. That album is for sure a 5. However, venturing from Tribes sophomore album to their debut, I was interested in what improvements, if any, they’d made or how consistent their discography would be. This album did only release a year before Low End Theory, after all, so I was expecting similar quality. And I was definitely not disappointed. The album, and really Tribes entire legacy, begins with Push It Along, a 7 and a half minute rap song. Like, for a rap song, let alone a 90s rap song, let alone the opening track to an album, let alone the opening track to their career, that’s pretty long. Tribe is really showing from the get-go that they are a force to be reckoned with, a group that doesn’t engage in the typical formula. Pair that with the lyrical ability in societal commentary and the oh so wonderful execution of jazz rap pervasive throughout the record, and you have a band making a statement, one they would hold onto for their entire career: this is the new hip-hop and it’s here to stay. They make sure to maintain some old-school rap group elements, however. They finish their opening track by introducing all the members of the group one by one, a style reminiscent of that 80s and early 90s staple. I’m looking at you, N.W.A, Beastie Boys. And I’m loving that reprise of the chorus at the end, more echo-y and all together a completely different vibe. Tribe is just flexing their flexibility at this point. So yeah, incredible opening to their discography and really setting the vibe for the record. Oh my god I have 13 more songs to talk about so I’ll have to pare some of this down a bit. Luck of Lucien offers a chill, rap vibe. The rhyming is immaculate and beautiful. The flow is perfect. Everything you could ask for from Tribe. But I do have something else to ask, is that All You Need Is Love? The sampling on this album is incredible, as also evident in the next track, After Hours. Taking a beat and immediately scratching the record, ooh! This album really is old-school hip hop at its best. On d again, the rhyming scheme on this song is impeccable and entrancing. It all kinda reminds me of Everything is Fair from Low End Theory, my favorite song off the record by far. And so this is probably my favorite song off of this album, at least as of current. Next song up is Footprints and… is that a Stevie Wonder sample?? They know me all too well with these samples man I swear. It’s like the Beatles sample on Beastie Boys’ The Sound Of Science. You also get some playful lyricism on this record like you with the Beastie Boys; they ask for a “level on the bass and on the treble” as such instruments come in. Peak. Every song on this album just proves further what Tribe is doing: hip-hop is still gaining popularity yet this group is already trying to flip it on its head. Change the game in the first inning, if you will. Reinvent the rules at the start of the first quarter. Ok I’ll cut it out. But really, they were way before their time. I don’t have much to say specifically about I Left My Wallet in El Sugundo, other than that the story telling is wonderful. It’s so clear and coherent. And of course the beat is just as beautiful. Now, I’m gonna be honest: I thought the song was called Public Enemy for almost all the time I was listening to it. It’s no doubt a play on words, but that was quite the surprise. Anyways, this song offers some of that more up-tempo, no breath songs that I love from Tribe. The story telling here is also just as amazing as in El Segundo. But… you know who’s the main prop master? Meeeeeeeeeee. So stupid. It was only really at Bonita Applebum that I realized how many of the songs lead into eachother, same with Rhythm into Mr. Muhammad. There’s an overarching story here that I can’t even begin to digest. Maybe later. Same with much of the lyricism and commentary that hip hop is known for. I didn’t live through the 90s and so I am not as tuned into the references as 90s kids would be. Still, I can recognize the poetry and lyrical mastery that Tribe has. Ok, after Bonita is Can I Kick It? the number one hit from this album and Tribes whole career. And probably for good reason cause it sums up their vibe so well. And man is it catchy. It kinda feels like a De La Soul hit with the chemistry between lead and background vocals. It’s also got some changing of the chorus in the same fashion that Push It Along did. But yeah, love this song. All I can say for Youthful Expression is: the bass and pen must have been on fire in the booth. I can’t tell which part I like more. The amount of entendres and play-on words here are too much to count. Everything means everything. To wrap this up, Mr Muhammad is funky as hell, Ham N Eggs has superb flow, and Description of a Fool has the cheekiness that I only wish to have a fraction of. Alright this is a pretty long review and took me a while to write so TLDR; this album is really good. God I didn’t even talk about the influences it had on so many modern day artists and Tribes career going forward! Another time!

So I’ve heard plenty of praise for Sonic Youth, yet I’ve never known their sound (except that they were something tied to rock). Yet, rock takes on many, many, many forms and so Sonic Youth could still have a near infinite amount of possible influences and styles. That was, until I recently heard them compared to Pixies. Now that piqued my interest. I’ve listened to… quite a bit of Pixies, with Doolittle being my favorite album from them (and their best it’s all objective obviously). And so I was very interested now—how would they compare to one of the best rock bands of all time? (Again completely objective) The opening track is the number one hit from the album, as many know, Teen Age Riot. Now, to me, this didn’t feel Pixies at first. At least not their early stuff. It sure was catchy with quite the entrancing intro, but the rest of the song had more of a classic rock sound, like what Pixies began to emulate in their later career. However, on relisten I realized: that intro is so Pixies. It’s like the calm before the storm energy that Pixies mastered in many of their songs ie. I Bleed or Tame. And Sonic Youth seems to do it just as well. The total shift from the psychedelic intro bit to the up-tempo, catchy rock track is beautifully done. As one would soon find out, however, an indie bands hits are not representative of their deeper cuts. This song is, sorry for all the Pixies references, in similar vain to Here Comes Your Man, in that its more pop-adjacent vibe detracts from what the rest of the catalogue actually sounds like. And so, while both of these songs are amazing in their own right, they’re more for the casual listen. Honestly, Sonic Youth, putting this song as the intro could be a bit misleading for what’s soon to come. The next track, Silver Rocket, is probably my favorite track from this album, at least currently. The way it combines so much of my favorite alternative bands styles into one song is impeccable. The beginning riff reminds me of a mix of Red Hot Chili Peppers and The Strokes. Though neither of these artists were popular or around just yet, I love the similar feeling and familiarity that this intro brings me. Once the vocals kick in, the restrained yelling, for a lack of better way of describing it, is also seen in Anthony Kiedis and Julian Casablancas, singers for RHCP and The Strokes, respectively. It’s a complete shift in tone and vocals from the track before, teasing Sonic Youths incredible range of sounds. The chorus brings in another of my favs from the modern, alternative scene: Matt Shultz from Cage the Elephant, one of if not my favorite modern rock bands. Just the flow and delivery are so familiar and fun. It’s probably not that all these artists took from Sonic Youth directly, but moreso Sonic Youth and these artists took from the same inspiration ie. Pixies, The Velvet Underground, etc. I know the distortion greatly reminds me of Nirvanas distinct, grunge sound, yet Kurt Cobain was greatly inspired by Pixies. And going back to The Velvet Underground. You can tell they were just as influential on Sonic Youth as Pixies, especially with that wall of distortion in the middle of this track reminiscent of Heroin (amazing song btw). Yeah I’ve already said so much about this one track, but only because it represents not only the best of everything alternative but also the huge influences that Sonic Youth and more modern artists take from. So in short, Silver Rocket is definitely entering the rotation. The Sprawl brings back the Pixies vibe, particularly with the high-gain guitars and spoken word with a more feminine tone. Very Pixies. And I’m loving it. And then a 5 minute solo?? Changing tempo and bringing in new instruments??? Incredible. For ‘Cross the Breeze, all I wrote was “love the intro so hype. Actually it’s all so hype.” And I stand by that. This is Sonic Youth tapping a bit into the mainstream of 80s rock. Not that that’s a bad thing. This whole project was Sonic Youth attempting to maintain their indie aesthetic whilst simultaneously stretching their accessibility. And this song screams classic 80s rock. So yeah, something for everyone. Eric’s Trip matches the energy of every track before it, yet this time with a different vocal style. It was by this track I realized how varied Sonic Youths repertoire truly is. They can master so many different sounds, yet it seems they mostly decided on one: that Velvet Underground, pre-grunge vibe. Hey Joni is also a display of the bands prowess, crafting another classic track that sounds like Jimi Hendrix yet somehow with more distortion and drugs. Had no idea it was possible. And then there’s Providence. I have no idea what the hell is going on but it scares me. I need to know what drugs the band members were using. Kissability is another one of my favorites from this record. The psychedelics, feminine voice, and questionable lyrics—yeah that’s Pixies. It’s just so cool that Pixies and Sonic Youth were both pulling from The Velvet Underground around the same time to make such similar styles of music. Coincidence? I think not! Anyways, the album ends with a trilogy of songs, and what a way to show how you go against convention by making part 3 of the trilogy z. A, B, Z. Yeah, you could say we’re punk rock. And so, in the end, this album is very good. I just have one teensy, tiny problem. It’s long. Too long to keep up the same energy. Like individually every track is amazing. But the whole album is 70 minutes. There’s a reason Doolittle is only 40. And that Nevermind and The Velvet Underground and Nico have slower songs. It’s all about structure. This album is go go go for 70 minutes. I’m not at the gym for 70 minutes. But yeah as I’ve said, great album otherwise.

Ok let’s get the praise out of the way. Apparently this album pioneered the drums n bass sub genre of electronic music. Very epic. Also, State of Mind and Adrift are okay. I like the jazzy instrumentation on Adrift… yeah that’s it… So what don’t I like about this album? Well, it’s too long. Like way too long. Like you don’t need a 21 minute opener long. Like every song doesn’t need to be an average of 8 minutes long. Like WHY IS IT 2 HOURS long. This was a pain to get through. I wish I could’ve fallen asleep to it (I don’t know what else this album would be for) but that goddamn whistling and whining and distractingly terrible lyricism filled me with a desire to get out of bed and jump into the setting sun. Yeah. This album isn’t great. Can’t remember a single moment that really stood out. Sea of Tears is coincidentally what I was in by the time that 5th track came on. A Sense of Rage for track 7 as well. This album really got me going through the stages of grief.

This goddamn website deleted my near 10 paragraph review of this album. Ok so, I love the harmonies, amazing poetry in the lyricism, interludes, varying song lengths, nostalgia waves through children’s choirs, overarching concept and sound, and the mix of styles (like jazzy, poppy, experimental, and folksy). I just wish the voice had more range and matched the ever changing sounds of the record. Whatever I’ll just keep my unfiltered thoughts here. Fuck this site. Concerning: the harmonies are beautiful, and the lyricism is poetry The black hawk war: very Beatles-esque, like abbey road. So far these songs don’t overstay their welcome. Nice easy length. Come on: oh well here’s a 7 minute song. This is like a song from a musical. It’s pretty jazzy too. It’s soothing yet up beat, but I hope the flow and/or structure changes soon. There’s 4 more minutes. Ok this instrumental is nice. Kinda nostalgic in a way. Not at all how I expected this album to make me feel. John Wayne gacy jr: this seems a little too edgy. Like even in 2005 excusing murderers was a bit old. “He was a quiet child, nobody knew” blah blah I don’t care. Jacksonville: I like the flow and music, very orchestral, but I feel like these vocals don’t match. Do you perhaps have range? Decatur: see this new vibe is nice and refreshing, but the voice doesn’t change. Wish the voice would match the ever changing vibe. The lyricism is still on point though obviously. Definitely not on same level as Dylan but similar feeling. Chicago: I feel like the slow then loud progression isn’t done well often (especially with pop… imagine dragons) but sufjan Stevens does it pretty well here by not overdoing it or overly producing anything. It’s all fairly grounded throughout with little whiplash. I think the sort of wholesome vibe comes from the child-like chorus that many of these songs have I realize. The man of metropolis: the way the song changes styles so many times in the first 30 seconds is crazy. Just wish he stayed with one of the more experimental beats. Not too much variety. I love the way some of these songs seamlessly transition into each other. The intense varying of song lengths does remind me of in the aeroplane over the sea. Despite the distinct sounds from each song I do appreciate the musical-esque callbacks in these songs, with segments of some songs mimicking parts from earlier songs. Really makes this feel like one unified project and concept album. The tallest man: oh yeah that’s the nostalgia I was getting before. These interludes are really what keeps the album interesting.

This album is boring as hell. Which is super disappointing. I wanted, I truly wanted to enjoy this piece, I feel like I’ve heard great things about it. But right away from the first track, I realized how dull the vocals were. Like my god, have some tone. Express emotion. Relying on lyricism alone to make your point and stance will not work. Especially when the lyricism itself is lacking. There are some lines that scream creativity, but the majority of this album has the most cliche lyrics I’ve ever heard. Something interesting happened at the beginning of War on War, but then it just switched back to the same-old formula of boring instrumentals covered by even more boring vocal delivery. And that trend continues throughout. For some reason, Wilco decides to add in some experimental elements that actually grab your attention. But only, in the last 30 seconds of the songs! Aren’t you supposed to grab the attention in, perhaps, the first 30 seconds? And some of these songs are long. For no reason whatsoever. Nothing happens. Anyways, at least it’s not total trash. Definitely not worth listening to again however.

First things first, RIP Ozzy. Absolutely wild coincidence that I just got this album. But second things second, this album is pretty damn good. You open with Black Sabbath, a fitting first track to the band’s discography, both humorously and thematically. I mean, the start to this track is spooky as hell. The bells and thunder really set the mood. And man what a mood it is. Since the beginning, Black Sabbath were masterclasses in crafting this bubbling tension and holding that tension for minutes on end. Yet there is payoff, and when it comes, it’s sweet. On many of their songs, you’ll find a slow, methodical, haunting melody that holds you in your chair for perhaps minutes before hell finally raises in the most epic guitar solo you’ll ever hear. And let’s talk about those solos. Obviously, they’re amazing. The riffs are on point. And the nonchalant noodling on tracks like Wicked World gives no wonder to how Black Sabbath was such a breakout success. This is not just a band that prides itself on talent instrumentally (though the drums, singing, guitar, and HOLY SHIT WHAT A BASS SOLO are spectacular) but also care for the medium. They were pushing the envelope since it started being used. They took the heavy noise that Led Zeppelin pioneered, as well as their excessive Tolkien references, and pushed it far beyond what anyone saw possible, at least for that period. You got these visceral screams from Ozzy that fill you with dread, multi-part songs that keep you engaged in a way only Black Sabbath can do, and overlapping guitar solos that have you questioning the limits of rock. It’s almost as if you step into the recording studio with Ozzy and the gang, seeing their genius at work and their aptitude for exceeding any and all expectations. Also one last note: that harmonica (I think) on The Wizard is one of the most amazing things I’ve ever heard. Might be the best usage of harmonica in any song ever. And so with that I’ll conclude. Though they really perfected their sound on later projects like Paranoid and Master of Reality, that doesn’t negate the fact that this record slams. It is the perfect debut for Black Sabbath and their long reign of metal prowess. May their legacy never pass. RIP Ozzy miss ya already.

This album represents the best of the 70s and why this decade continues to resonate with so many (me). I don’t have much time to write a full piece but I’ll start here: the genre blending of this record is nothing short of inspiring. You’ve got jazz that soothes the soul, folk that teaches lesson through excellent storytelling, and an avant-garde pop and soft rock style that combines ethereal chord progressions with high gain, indistinguishable instrumentals (see The Jungle Line). Some of these songs are just so entrancing if not beautiful. To be honest, something about this record stuck out more to me than Blue. Perhaps I am more accustomed to Joni’s work now and can thus appreciate it more, but I believe the variations of singing also may have done it. Of course, Joni’s always been one of the best pop singers out there since her debut, but I believe that she truly shines here in a way not widely seen today among pop contemporaries. I would go more into depth on the song-for-song ratings and overall sequencing, but alas this website once again decided to delete my thoughts from prior. And so I leave it with this: easy 5.