Composed jazz with third stream elements, at its best among the best of 50’s jazz all time. Propelled by its two centrepieces - Blue Rondo and Take Five - and otherwise filled with attractive piano-trio structured songs, elevated by the extrarodinary talent of Paul Desmond on alto sax in mellifluous and tone-perfect (though often-brief) solos.
The best album by the best band in the 90’s alt rock movement
Essential seventies classic that has lived on for almost fifty years due to its sparkling production, technical innovation, and a few brilliant songs.
The song writing is very high quality at times, but the album is ultimately by the mundanity of 1/2 or more of the songs. Absent any noticeable passion, the well-constructed nature of the music is such that it begs you to listen carefully, which for me at least lacks the payoff in the songs themselves.
The gold standard for anthemic full-throated guitar rock. Extraordinary song writing and performance.
A remarkable partnership that cemented a genre in North America and featured 2 or 3 of the greatest songs injure modern pop oeuvre.
A remarkable leap forward from ‘77, groove filled with crisp and trend setting production from Brian Eno, and three or four utterly remarkable songs. Extraordinary record
Overlong but with some extraordinary songs and sounds. My one complaint is the metallic and flangey guitar sound throughout much of the album
Although it was an album recorded together and mostly live, it’s not an in the evolved state that the form took later in the sixties and beyond. For the quality of the songs and moreso the energy of the performances, a clear 4
Among the best debuts in rock history, played in a day and featuring a fully mature voice, rich in subtle harmonics and laced with biting and hilarious lyrics.
Probably the single most important jazz piano recording from the pre-eminent creator of modern jazz piano. Incalculably vital.
Among the very best rock records of all time.
Third stream classic nonet recording, immensely important in its day, somewhat of a timepiece, as Jazz moved in different directions afterwards, largely due to the influence of a number of these participants
Surprisingly strong record written and recorded largely by the band. Mickey Dolenz learned the drums, and Pete and Michael played a lot of the guitars. Chip Douglas was the George Martin for the record, a key collaborator and played the bass guitar. Nesmith’s steel guitar and stork’s keyboards are standouts in an otherwise appealingly garage-sounding band. Most importantly the songs are of a high standard and contain some of their very best : You Just May be the One, For Pete’s Sake, Sunny Girlfriend, You Told Me, and the truly remarkable Randy Scouse Git were never bested by the band. Very much worth a listen for those who think of them only as “the Pre Fab Four”.
This record defined the rock scene in the early 00’s.
Interesting but not essential
Simply one of the greatest albums of the 1960’s. Perhaps a little overlooked among so many “Pantheon” releases from the 1966-1968 period, and even among Byrds’ albums themselves, but for me, doubtlessly their greatest synthesis of psychedelic rock, jazz-rock, folk-rock, early (and better than later) country rock, in pristine 2-4 minute songs. Post Gene Clark, it showcases the surprising emergence of Hillman and Crosby as major songwriters. The sonic landscape on the album is extraordinarily rich, and their guitars and harmonies never sounded better.
Simply iconic and changed the game for female singer songwriter music
Epochal pantheon record of dirty blues rock, backed up with numerous extraordinary songs.
Massive leap towards country rock in one record. Gram Parsons’ impact is inescapable. For those like me who love “the Byrds”, this is not them. Go backwards to the glory of their first five records.
Great songs don’t constitute a great album. But these are great songs
A top 10 album of all time, with extraordinarily rich, complex melodic pop songs, perfumes with muscular simplicity and grace. To my ears, far beyond anything the Beach Boys did, and equivalent to the best of the Beatles from the same era.
Essential album that re-established thinking-person’s rock as a viable form of popular music
Absolute classic CBGB stalwarts create a new sub genre of edgy guitar art pop.
One of the top two or three debut albums of all time. An utterly unique format for a band - no bass player, a jazz-obsessed drummer, and a keyboard player with a wacky setup, not to mention a sui generis guitar player AND Jim Morrison - the instantly create a sound and a style that both reflected current LA sounds and broke stunning new ground. And this album has some of their and the rock era’s greatest songs.
Epochal !
Very good but not classic Costello
Great music at times, but doesn’t belong on this list.
Perhaps the first real rock album with sonic themes and mature lyrics. A major stepping stone for the band and the rock movement as a whole.
Soulful and excellent group of tracks played some of 60’s jazz pantheon, highly valued in any jazz collection. But nothing more than that.
Just love this record and the journey that FP took from folk-rock inspired by the American movement, to leaders of the traditional English folk movement with Liege and Lief (which should be on this list)
A more sophisticated version of themselves, capped with some of the most enduring songs.
Remarkable
Epochal 70’s (or post sixties if you will) singer-songwriter that captured the zeitgeist and made Neil Young a star forever
These early-mid period Sonic Youth records are classics in the guitar-noise art-rock milieu. Their previous albums EVOL is my personal favourite (stacked with remarkable noise pop like Tom Violence, Star Power, Madonna, Sean and Me) but many fans prefer Sister, which is tougher and noisier than EVOL. Highly recommended.
Essential proto punk garage
A record that sounds utterly different from their earlier efforts. It feels like a seventies album sonically. Some great songs, though I've never been a big fan of a few of them (Maxwell, Oh Darlin', the song suite)
Ugh
Great to see The Fall on this list. This isn’t among my favourites but it’s still classic Mark Smith (Nation’s Saving is more fully realized by a ways).
Extraordinary album that bridged the sixties and seventies
A great collection of songs but not a cohesive album
Epochal
Extraordinary record combining social history, outre jazz and remarkable songwriting
A band that deserves a bit more fame and/or notoriety that it received in its day, and certainly more than it is remembered today. Intelligent, morose, diverse songs. Like a good version of The National.
Honestly I was surprised how unimpressed I was with this one when I revisited it. The blues songs, played well of course, are nevertheless somewhat desultory, and the folk-based songs - typically talked about as the defining sound of the record - are a bit hit and miss. It certainly pales substantially versus II and IV, perhaps that its biggest problem.
It suffers from overexposure but no matter how you cut it, this is a brilliant album, ahead of its time and yet timeless.
Essential Manchester zeitgeist album, ultimately a one trick pony band, but at the time it was splendid.
Great songs in dark times for Neil Young.
Absolutely vital jazz in transition, Miles always restless and moving to the future. Brilliant playing and atmosphere.
Brilliant atmospheric chamber folk
Infectious, energetic, irreverent, and stoned. The band sounds great and the songs are strong, to which you add the dulcet tones of Evan Dando.
Popularized township jive and brought African music to the fore. The combination with Simon’s voice and poetry works brilliantly at times.
Perhaps the most important indy record of the 90's, bringing the alt / lo fi movement to the masses, and (speaking personally) changing the way I thought about rock music ever since ( and I was almost 30).
Classic blue eyed soul with strong songs
90’s chamber pop with some outstanding tracks
Great introduction to EC as a true blues man (moreso than Yardbirds) and JM always brings energy and credibility to the material. Excellent
Essential ! Heavy if simple no holds barred guitar trio with Osborne’s sui generis vocals. Template for much that came after.
A glossy and successful version of of the Pogues, with some great songs though arguably not their best. For those, go to Rum Sodomy and the Lash.
Such an important record for the 80’s alt guitar movement. Filled with noisy crappy and occasionally gorgeous and rocking tunes, it was as good as guitar music got in its day.
In my world, early Cure is better. 17 secs is a timepiece and despite or because of its “simple everything” musical approach, still captures my attention and has me listening and admiring it.
Both a template for socially driven psychedelic rock album-ry, and an idiosyncratic and personal look into the drug fuelled mind of a black man living in LA in the sixties. All through the lens of a rare multi racial band.
So many things to like about this album. The mix of pop, folk and psychedelia, all with an oh-so San Franciscan vibe. It could be described as ramshackle if the songs themselves weren't so perfect. The band was packed with major talents, all of whom shine at different times in different ways. Marty Balin, Paul Kantner, Grace Slick, Jorma Kaukonen, Jack Cassady and Spencer Dryden, yowza.
An essential 80’s pop album. The songwriting and production craft is top notch.
The early Who at their best, with energy and cheek galore. Fantastic few songs, but not a true competitor for greatest album.
At the time this sounded absolutely glorious
No thanks !
Perhaps the apotheosis of sophisticated singer songwriter. More complex musically and arrangement wise and therefore seemingly less personal than others. But it’s brilliant
Brilliant early album with knockout songs that established B&S as leader of a new movement of twee pop.
Partnered with Bee thousand, perhaps the quintessential lofi record of the 90’s, and filled with ideas, and some songs too. Motor Away is one of their very best.
I much prefer their earlier records, which by and large distilled folk into their “thing”, versus this soulful jazz incarnation. Honestly can’t listen to this, much as I have a fondness for the duo.
Mature and remarkable record! Give it a listen.
Not likely to bring a smile to your face, but serious rock played very well.
Essential late 70's power pop that broke this deserving band into the mainstream and influenced rock bands everywhere. Plus it asked the question, "where the hell is Budokan"?
I prefer their debut album by quite a bit, though critics generally say that it doesn’t capture these essence. Happy Trails is interesting but to me lacks variety and is a more intelligent release. The band had a lineup of significant talent and is always worth a spin.
Simply their best record imo. Unabashedly borrowing from blues standards and moulding them into a sonic world that only this group of performers could have created. The period from LZ 1-4 someone great rock era runs of records in only a few years. And with apologies to Physical Graffiti - great but bloated - they never made a better record afterwards
This album starts with a shot wow - Jacqueline - one of the great openers for a band. And is remarkable afterwards too. It’s still probably the best song but others round out their promise of amped up dance guitar rock with disco syncopations and ironic delivery galore.
Essential
Not my thing
Such simple folk purity from a 19 year old JB. Astounding stuff.
Wildly derivative of various (great) sounds of yesteryear, but full of joy and musical talent. A very solid three stars
Strong songs that to my ear weren't enhanced by MOR 80's pop production. Still, some very memorable numbers.
Genre defining, the album where NY figures out his sound, both individually as a guitar player, and collectively with Crazy Horse as an arranger and writer.
Ugh
One of those albums that captures a time perfectly, and in this case also the zeitgeist of “the 60’s” becoming “the 70’s”.
Acknowledging the awesome ethos and creative energy of RFTC.
Lush and evocative. Also revoltingly saccharine, production wise. Sunday morning music.
One or two songs on a mix are outstanding, but an entire album sends me from the room silently screaming (in attempted three part harmony).
On the front of double five songs, this is a compelling crossover record for BB, sounding like himself but with some powerful tunes and lyrics that stick with you.
Original, honest, jazzy, unique
At times this record has been derided as lightweight Floyd, or in some other way derivative. I would only say, just listen to it.
Lovely stuff from the daughter of my favourite Brazilian singer
Absolutely essential (perhaps last great) collection of songs by the most important writer of his generation.
I do enjoy Hot chop but this isn’t my favourite album of theirs
An essential group, though not always easy listening
Probably a better record then their first, but less cacophony and more song styling might make it less important
It’s very nearly a five star record, but for me, Stevie’s oeuvres - even at their absolute pinnacle - always contain works that are overly sentimental, borderline saccharine. Key of Life is true to that form with Summer Soft, If It’s Magic, and others. One is reminded of the artist responsible for I just Called to Say I Love You. Mind you, half of the tracks are absolute classics of the era and the genre. It’s a string record and deserves the accolades it receives.
This type of show tune production across various songwriters and eras is 100% not my thing. Putting two stars in recognition of the underlying craft. But no thanks.
The original psychedelic blues band, with great originality, vocally unique, and a surprising amount of propulsion in its rhythm section. The extended jams are noisy and somewhat enervating, but undeniably innovative for their time
This is a stellar idea and collaboration. Many memorable songs combining Guthrie lyrics with Bragg / Tweedy music, played with heart and spirit.
Good but not great. Overrated because they are beloved.
Essential alternative guitar record
Perhaps the best Belen of rock, Lo fi and rap, this from a guy (me) who really can’t abide most rap. So take that with a grain. Either way, this record proves that BB’s were real.
My favourite Sinatra album and one of the better vocal albums in jazz-pop history. Frank was feeling blue, midnight blue, with the (predictable) demise of his relationship with Lana Turner, and it really resonates in the choice of material and the performances.
I really really can’t stand the National; pretentious morbidity, want-to-be dark poets. Godawful.
Though I mourned the loss of the new wave version of TH at the time, this record clearly anticipates and leads a mini revolution of sorts.
A more muscular version of the Doors, showing evolution as a band. Worthy of four stars.
This channeling of new wave and pop punk was a great breath of fresh air when it arrived in ‘94. Ear candy and really well made, but not best album calibre imo.
This channeling of new wave and pop punk was a great breath of fresh air when it arrived in ‘94. Ear candy and really well made, but not best album calibre imo.
Sacrilegious perhaps but really not my thing
Highly regarded by many, and perhaps it suffers as a result. For me Summerteeth is the better record, and YHF feels a bit self conscious and cold.
Important in its day and an unexpected breakthrough, this merger of grunge and power pop was misunderstood as a heavy rock record. The Fannies continued to evolve and peaked a few albums later with Grand Prix and Howdy.
The best Pogues record, improving the sound and song mix from their first, though retaining their raw edge, and featuring some extraordinary songs from McGowan. Sick Bed, Sally Mac, Old Main Drag, I’m a Man You Don’t Meet, and most of all, Pair of Brown Eyes, are enduring marvels. Phenomenal record.
The apotheosis of pun rock, with brilliant songs and playing by a tight band. DS was never better.
It’s a landmark piece of modern jazz and a bravura performance, but it’s not a real favourite of mine. The improv style has more to do with folk harmonics then anything jazzy, which to my ears is a bit anodyne.
Surprised to see this one on the list, though I enjoyed it a lot upon its release. Highlighted by a few great songs, but probably not epochal enough for consideration on this list.
An important record bringing some of the energy of punk and girl rock into the mainstream, though built around (and perhaps forgotten) a few beautiful mid tempo and ballad numbers. A remarkable first statement for Christie Hynes and her stalwart band, most importantly James Homeyman-Scott.
Ahead of its time, stylish blend of dance and new wave. Really strong record.
A couple of brilliant songs but an overall inconsistent album with a few too many unmemorable psych folk strummers.
Classic 80’s hard core, not difficult to listen to by today’s standards. Important in its time
Always found this a bit overrated despite being recorded around the block from my house at the time. I’m a fan of the Junkies but not a super fan. Ultimately they outed themselves as a one trick pony imo
Better than expected
Sorry, still prejudiced
Never liked her pop take on 90’s heavy rock. Utterly unconvincing.
Effective mood music for the dreamscapey film in question. Air are craftsmen and the music reflects that. But this nowhere near a 1001 album sorry guys.
Enjoyable hard rock.
Subversive heavy rock, pretty fun. Worthy of Uber regarded classic
Quirky, remarkable, ground breaking in a way. A difficult listen unless you allow yourself to sink into the strange sonic world of ISB
Some strong songs and beautifully played (talented musicianship in this trio format) makes for an enjoyable listen. Not ambitious enough for consideration as a top album of all time though.
Gene Clark’s records of the early 1970’s were a treasure, mostly discovered after the fact, and his career never crystallized post Byrds. No Other was his most ambitious and most rock-oriented effort, well worth a listen, and its commercial failure crushed him. I enjoy the record but find it a bit boasted versus the extraordinary one two punch of Roadmaster or White Light.
Much beloved though pretty anodyne collection of songs, and Taylor got only more boring, and more popular, from this point forward.
Eno created a genre here, but it’s a bit of a dead end. Fascinating but best as a one off for me.
An enjoyable 2.5 star kind of thing
Slick and well played singer-songwriter classic. Probably Joel’s apotheosis.
One of the benchmarks of early 70’s folk-roots-pop (lacking a better description, as it’s also very uniquely Van Morrison),
Many now-familiar almost iconic songs grace the record. Production is exquisite, this is Van’s Harvest.
Likeable pop garage-grunge, enjoyable in its day (if a bit glossy) but sounds better today. Inevitably and needlessly coupled with BJM, and in fairness to the Dandies they were shooting for broader appeal I believe. Good crafty guitar pop (but nothing more)
# ALBUM RATING GLOBAL
589 CURRENT Signing Off
UB40
Reviews
Wikipedia
588 Mar 04 2026
A Love Supreme (opens in new tab)
John Coltrane
5 3.63
Reviews
Wikipedia
A top ten album for me, the blend of attractive chamber-folk and uncompromisingly Teutonic interpretation from Nico, and subtle subversiveness, is extraordinary. As much today as it was in 1966, this record has the power to polarize….always a good sign.
587 Mar 03 2026
Chelsea Girl (opens in new tab)
Nico
Rate
A top ten album for me, the blend of attractive chamber-folk and uncompromisingly Teutonic interpretation from Nico, and subtle subversiveness, is extraordinary. As much today as it was in 1966, this record has the power to polarize….always a good sign.
Essential transitional album, from increasingly reluctant folkie to rebellious blues-folk rocker
Perhaps the most important rock album of the year 2000’s. The urgency, the channeling of great artists from the past, the insouciant charm of the band. They didn’t belong in the limelight and yet somehow they ended up there….and weathered it well, for a while.
Really enjoyable somewhat retro LA sound, great melodies and rock or folk rock arrangements.
I enjoy this one but slot it into his post-peak period. It’s more self conscious and less pure pop than his first three absolute classics. Perhaps the end of the beginning of his remarkable career….he was never as good again.
A top 20 album for me and one of the better releases in the 1970’s. The combination of world weary anger, intelligent political commentary and great playing and production is just brilliant.
A top 20 album for me and one of the better releases in the 1970’s. The combination of world weary anger, intelligent political commentary and great playing and production is just brilliant.
A really important album in its day, great confessional songs delivered in Cole’s unique vocal style. One of those artists whose first effort was probably his best, although he shone intermittently in the 40 years since.
Quirky, string laden, and at times beautiful. This one is a grower. Chilton sure can sing….such a wasted talent.
Still packs a punch after 45+ years. At its core is the metallic, echoed, and amateurish sounds of the band and Curtis’s baritone. It embodies emotional disenfranchisement
despite IC’s attempts to bridge the gap with words that seem to conflict.
Different from their others, more soft-edged in production, and some of the songs more anthemic are almost Beatlesque (Last Night eg), so perhaps not classic Smiths, but a fine album.
Quite intriguing modern soul jazz. The musicianship and arrangements are strong - occasionally stunning - and diverse, the vocals, often falsetto, are an acquired taste but by no means bad. Interesting artist with great chops and pedigree, and accompanied by the top players on his scene (K Washington among others).
She’s a phenomenal talent, this is a great record.
One of the earlier and better pop psychedelic records, fronted by the improbable hit single “Too Much to Dream”. I’m an outsized fan of this band and therefore of this record - but would rate their second album “Underground” ahead of this, given its focus on band-penned songs, and a more consistent mellow psych sound. This has a few beauties and showcased production effects that changed the game in their day….very good stuff and important in its day.
Pete Ubu is fucking awesome
One of the better pop rock records of the seventies. The list of great songs is impressive, and the musicianship is of course very solid. McCartney’z best.
Unique and affecting artist and singer. But for me at least, an album full of it is a few songs too many.
I adore The Damned, and this record is a great scholar of why. Hard-rocking but difficult to categorize, neither particularly angry nor political, at times more garage than punk, clever and self-deprecating, very well played and conceived, and featuring a few different writers and therefore sides /personalities. This is their best since Neat Neat Neat and while I love their early 80’s work (Strawberries and the Black album) some would say their best ever.
Perhaps Bowie’s best, certainly his best early work. Absolutely chock full or memorable songs and brilliantly arranged and sequenced. Written primarily on piano, which gives it a different feel than his subsequent work.
Just love the irreverence of Gainsbourg. The mix of cinematic jazz stylings and loungey singer songwriter works great on this record. 4 stars
Maybe the first of the “modern-sound” version of this quintessential band, mature and more likely to be found on adult-oriented radio than college stations. Not a bad thing, but it lacks the zeal of their earlier work and their sound palette changed over the previous couple of records as they wrestled with stardom. Give me the first three records….i do occasionally spin this and enjoy it. 3.5
Love this record. Walker started out as a disciple to early 60’s Spector Wall of Sound style pop and over the course of his first four solo records - quickly in fairness - added layers of complexity, lyrically and sonically, and even iconoclasm that not only make clandestine but subtly exploded the simplicity of that earlier sub-genre. The darkness of the lyrics, the real drama, and sonically, the strings and clever song structures, are at their best a most challenging on Scott 4. Try Seventh Seal, Old Man’s Back Again, Duchess.
Undeniably brilliant lyrically and with song variety that benefits from the sensitivity of the Nashville vibe. For me it’s a little overhyped though - versus say the more ground breaking Highway 61 - and it doesn’t quite work its way into the pantheon. Impressive but a little overlong, and the often absurdist lyrics are starting to grate a little bit by this point.
Not bad.
Ugh
In a way a quantum leap from their debut, showcasing a leaner sound and the use of distortion and feedback in pursuit of art rock. Ultimately perhaps the songs are not as strong as on their debut (although sister ray’s swallowing up half the record may make that points moot?) but it’s a powerful and important artefact.
I like this record, mostly on the basis of a few songs - Down to Zero and Love and affection chiefly - and it shows Joan moving into her peak phase, finding her voice etc As she incorporated a bit more rock edge into her sound (on Show Some Emotion and thereafter) it elevated here even further. Still, a remarkable artist and happy to see her on this list.
A bit of an odd choice of album to showcase Astrud, whose airy bossa nova helped lead the wave of this extraordinarily popular movement in the 60’s for me her debut from a couple of years earlier is much more significant, followed by Look to this Rainbow in 1966. But Beach Samba is still representative of the sound, though La La some of the peppy arrangements of the debut, and the songs are simply not as good.
Bossa Nova can divide a room, some “get” its existential sadness and mellow reflection, others hear elevator music and run screaming. I’m of the former, but do understand the latter. On this record, particularly. On the plus side, Stay and Canoiero and the title track capture some Bossa magic, whereas much of the rest of it is a bit, um, bland. Not her best and well worth going back to her self titled debut to understand why the music was so popular in its day.
Often cited as their best and perhaps most modern record (although the iconoclasm of their first two shouldn’t be discounted), its hushed mood ballads (Candy Says / Pale Blue Eyes / Jesus) and mid tempo percussive rockers (What Goes On / Beginning to See the Light / I’m Set Free) all sound very fresh today, and Reed’s lyrics are a bit less shocking and more mysterious and questioning. The band sounds completely different without John Cale, and would never again be as avant garde, but this new normal-ness suited these songs. Phenomenal and important record.
Quirky ever so English classic of rock satire.
An unbelievable leap from the first records, prompted by Ashley Hutchings’ convalescence after the band suffered a tragic car accident. His fascination with the origins or British folk led to this extraordinary blend of traditional, in some case centuries old, folk music, reworked by FC, and original pieces by Richard Thompson and band. Sandy Denny’s vocal performances are powerful and at times breathtaking - she was never better - and the band rocked with enormous conviction, in a “folk rock” sound that simply didn’t exist prior to this. One of the best and most important records of the rock era imho.
Oh wow. 1/5
Very likeable gloss to the evolving sound of Hole on this record. Some excellent power rock, songs with massive hooks but still enough anger to pack a punch. Ignore all of the noise around the making of the record, the songwriting etc, and just give it a listen.
Very likeable gloss to the evolving sound of Hole on this record. Some excellent power rock, songs with massive hooks but still enough anger to pack a punch. Ignore all of the noise around the making of the record, the songwriting etc, and just give it a listen.
Their best record and one of the best LA / SoCal records of the sixties. The titans each produced fantastic and ambitious pieces (Young with Broken Arrow and Expecting to Fly, with the help of Jack Nitzsche, and Stills with Bluebird and Rock N Roll Woman) while Furay’s Child’s Claim to Fame is gorgeous proto country rock, and the secondary songs are all excellent as well. With the exception of Mr. Soul, for which I can’t unhear the theft of the Satisfaction riff, and is otherwise a banal number, escorting the exceptional guitar break. And all of this as the band was fracturing badly. 5 stars.
Stunning record, in a period where jazz and rock met more on the rock end of things, this is a creative powerhouse of a debut record from a band that would go on to help define the 70’s and 80’s with finishing returns. Young men with guitars and horns, singing soulfully, and in some cases writing some with massive hooks. The energy jumps off of the stylus. 4.5
Costello’s best and one of the great albums both of its time and of the punk / new wave genre. The songs are diverse and yet unified, with the pounding musicality of the Attractions enhancing every moment of the record. It’s an extraordinary listen, combining sarcasm and spit with deep skill, unlike any other group of musicians working at that time )though there weee certainly other great bands). An all-timer.
I’ve owned this record for almost forty years, and friends of mine hail it as outstanding, but I’ve never liked it. The rich dramatic vocal style doesn’t work for me, the production is commercial and sounds now horribly dated (didn’t sound great then), and the songs are a real mixed bag. I don’t understand the reverence in which it’s held, and am really surprised to find it on this list. 2/5
Isaac Hayes has a sort of mellow sophisticated soulfulness, not jazzy, and not poppy. He’s political, he employs some classical music devices, he’s cerebral, but still soulful. Sui generis in that genre. 4.5
Tortured and challenging, more of a shriek of separation than a fully realized collection of songs. Great moments though
Just an extraordinary album, so sonically interesting, mixing joy, vulnerability, confessional narrative, poetry. I was 40 when I heard this and a serious musicologist….still, it changed the way I think about and listen to music.
My favourite Radiohead album, less conceptual perhaps (though not entirely) then their other classics, but the quality of the songs wins the day. And the playing is as ever, committed and fascinating. One might say that Radiohead made three leaps in their artistic journey. This is leap one, and an extraordinary one at that.
Didn’t love it then, though I have a bit more appreciation now for the percussive jazziness that underpins their sound.
Love the lofi poetry and mix of sincerity and irony in David Berman’s delivery. There are some brilliant songs here too.
