This is the definition of a 3 star album. Not great, not bad. Just okay. Listenable, but not overly enjoyable.
I put off listening to this one for awhile. Because it's Adele, and it's 21, and it dominated everything when it was released. But finally I decided now would be a good time to listen to it, and honestly, I've probably only heard three songs off of it.
Going in, I expected to hate this. Through Rolling in the Deep, all I could think about was how overplayed this sounded. Then Rumor Has It kicks in and frankly, that's a great song.
But as we go along through this album, it becomes apparent what this album lacks - any sort of rough edge. It's overproduced to a degree of Spinal Tap. It's too clean. Too perfect. It begs for any sort of feeling, soul, or rough edge. A Janis voice crack. A guitar just a little late or early. Something that says that we're feeling this with you.
It becomes very present on Lovesong. A Cure cover that should be emotional and haunting. It's just....technical. And boring.
It's not a bad album. Definitely doesn't deserve a crazy low rating. But I gave Beth Orton a 3 and I'd rather listen to that. On the other hand, I gave Hole a 2 and this is better than Celebrity Skin. It's a low three. An asterisked three.
At least it's not the Eagles.
By the time I got to 1983...(A Merman I Should Turn to Be) I was not ready for another 13 minute track. It hurts to give Jimi three stars, but the albums drags as a whole.
This may be the first album that has come up that I was honestly surprised that I enjoyed as much as I did. Sure, there have been some, like Jeru The Damaja's "The Sun Rises In The East", that I had never heard. But anyone around in the late '90s has probably heard Praise You and Rockafeller Skank. So to put this on and enjoy it start to finish, color me surprised for the first time in 139 albums.
Not earth shattering. Not groundbreaking. But solid. Will listen to again.
I get it. I just don't GET it.
Two stars because it deserves that at least.
Two stars also because I just don't get it.
Somebody to Love and White Rabbit are classics. Go to Her is an unexpected jam. The rest are pretty forgettable.
I debated on ranking this a 1 or a 2. I looked at my one rankings. It's not that bad. I looked at my 2 rankings. It's not that good. It's a solid 1.5. It slides towards being a 1 because it's completely and utterly forgettable. I wish I could understand the cultural significance as to why this ended up on the list, because I don't see it. But Tracey's voice is really nice. It would be great background music if you were at some stuffy cocktail party where you didn't really like anybody there but had to go for work.
Is it a bland, inoffensive 1 or a just not my style 2?
By the time I hit Lonesome for a Place I Know I was looking for how much time I had left. But really, the sax solo at the end of Tears All Over Town was probably the nail in the coffin.
It's a 1.
Why am I wavering so much on this one? It's not a good album. It's not groundbreaking in any way. The lyrics are dumbfoundingly bad. But I have a hard time giving it a one, mainly because "Take A Look Around" is actually decent and I made it through the whole album (okay, I quit 2 minutes into Outro, but really, was there something amazing in the last 7 minutes?). On a 1-10 scale this would be a solid two. There are worse. There are much, much - much - better. I guess I'll go with 1 here. But really it's like a 1.5. Only saved by "Take a Look Around".
The production is great. The basslines are really good. But it's disco. And no matter how good it is, you lose at least one star for disco.
Okay, stay with me for this one.
Is this Metallica's best album? No.
Is this a great thrash metal album? No.
Is this one of the best metal albums? No.
Is this one of the most important albums ever? Yes.
The Black Album is forever the gateway album to other things. This was the album everyone got into (thank you Enter Sandman and The Unforgiven). It was the album everyone owned and everyone had to own. For some, maybe it was the heaviest thing they'd ever own. For many, many others though from The Black Album we learned about Master of Puppets. And from Master of Puppets we learned about the Big 3 (though truth be told, it was probably just Slayer because Megadeth was just as big with Symphony of Destruction) . And from the Big 3, we learned about Flotsam and Jetsam, Anthrax, Testament, Sepultura, Overkill.
This isn't Abbey Road, or The Wall, or Kind of Blue. It's musicality will surely be in question by many. But it's importance in the culture of 1991 and the metal world in general can not be understated in the ability to bond wayward youth together into something larger.
And for that it earns every one of its five stars.
The cool thing about this album is that you can hear the influences on Hanoi Rocks here - The Ramones, The Stones - the sax even feels a bit Springsteen. But you can also hear how this albums influences a bunch of music to come. I knew of the connection to Motley Crue of course, but you can really hear what an impact the band had on the whole hair metal scene. Take that for what it's worth because, well, hair metal.
I'm sorry, I couldn't make it through this one. If there's something great on this album past track 8, let me know. But this is scattered in all the worst ways. But mainly it's like some overdone, horribly 80's sounding Lion King soundtrack without Elton John's talent. Why did this make the list? I'm going to now go listen to Faith No More's Angel Dust, which didn't make this list, is 10 times more deserving of being on this list, and doesn't remind me of Simba.
U2 deserves to have albums on this list. This is not one of them. All the power and songwriting from War and The Joshua Tree were long gone by this point.
I usually reserve 4 star rankings for albums I personally love, but may not be deserted island classics, for example. Here we have the Sex Pistols with inarguably one of the most influential albums of all time. However....I just can't say that I love it. I'd much prefer The Clash, or The Damned, or The Ramones, or Wire. So on the album itself - this to me is a 3. But recognizing the significance of it, and frankly on the strength of God Save the Queen and Pretty Vacant (I've never loved Anarchy in the U.K.), I'll give it a 4. It's a low 4, but they gained a 4.
My previous album was the Sex Pistols "Never Mind The Bollocks, Here's The Sex Pistols". And while that album got a 4 due to cultural significance, this one gets a four on just being really good. I hadn't listened to much Siouxsie And the Banshees before, though I've heard of them, but this was excellent early punk with some variety in sound.
I went into this not expecting much. Sure, I've heard the hits, and Simple Man and Gimmie Three Steps are awesome. But a whole album? Nah. I didn't think I was up for it.
But, this is really good. I know that people have their issues with the band. But frankly, people have issues with Pantera too and I still listen to them despite Phil's antics.
The best part of this album is that it doesn't have Sweet Home Alabama on it. It does have Free Bird though, and frankly, it kind of drags the album down a bit. Sorry Free Bird lovers. Been there, done that, don't even think it's their best.
But Gimmie Three Steps. That song is an absolute beast. Same with Simple Man. Tuesday's Gone is a much better song than Free Bird too. Then you get to round out the album with the lesser known, but still great tracks of Mississippi Kid and I Ain't The One.
It isn't a 5. Not quite that level of great and I can't give it a historical significance bump here. But way higher than I expected to give.
This probably would have been a really great 45 minute album. But at 99 minutes, it's just too much. Too much of the same. I got really tired of listening to the drum tracks.
Surprisingly better than I expected. The problem that I have with this album is that the hits are the hits for a reason. They're good - Movin' Out, Just the Way You Are, Only the Good Die You, She's Always a Woman. But they're weighed down in equal weight by Scenes from an Italian Restaurant, Everybody Has a Dream, Get It Right the First Time. So after the whole album, it's an equal weight of "that's unsurprisingly good" and "oh yeah, this is why I don't listen to a lot of Billy Joel."
So The Fat Of The Land isn't what all The Prodigy is like? That's too bad.
I wanted to like this, I really did. Atlantic City is a great song and I wanted to like the rest. I don't mind Bruce. But this Bruce is a boring Bruce. I get the songwriting quality is good. But...yawn...I just don't get the Bruce that is a single guitar and harmonica Bruce.
Big Boi's Speakerboxxx - solid 3, if not low 4.
Andre 3000's The Love Below - esh. Hey Ya! everyone recognizes and Roses is good. The rest is just to up to anywhere near OutKast standards. If it was its own album, it would be a low 2 or even really high 1.
If this double album taught me nothing, it's that I'm more of a Big Boi fan than a Andre fan musically.
Sorry, but it's a high 2 for me. Wish it was more.
Any album that features, Stand!, I Want to Take You Higher, Sing a Simple Song, Everyday People, and You Can Make It If You Try on it is a instant 5. This album is nearly a greatest hits in and of itself.
When reviewing albums pre-1970s or so, the thing I keep in mind is that the world was a bit different. The Everly Brothers put out their first album in 1957 - then follow-ups in 1958, two in 1960, 1961, two in 1962, 1963, 1964, two in 1965, two in 1967 and 1968. It was just create albums and hope for a hit on them. Sell the single. So is it a great album? Not necessarily. But times were different then and Cathy's Clown is a great single. Then we get Love Hurts which I doubt most people even know as their song. Plus, the album is short and actually quite listenable. So I don't get the overall low rankings here. Solid 3.
In 1998 we all thought that Lauryn Hill was going to release album after album of greatness, but alas, all we're left with is really this. And it's so good. So, so good. When that bass kick comes in on Doo Wop after that bouncy little piano part, it's soothing 90s all over again. While Doo Wop was played everywhere, this mix of acoustic folk, hip-hop, jazzy influences, and singer songwriter across the whole album just plain works in Lost Ones, Ex-Factor, To Zion, and Forgive Them Father. This was everything that was right with the 90s. Initially, I thought 4. But I'd listen to this about any day, any time. So it deserves a 5 and so it will be.
I will say it's aged a lot better than a lot of early 2000s indie rock. The bad part of its aging is that it doesn't sound overly impactful in any way. It's fun music, but not earth shattering.
"What do you get when you kiss a guy?
You get enough germs to catch pneumonia
After you do, he'll never phone you
I'll never fall in love again"
I just can't.
Then we get to Mr. Guder. Seriously, I had to look at the song title to realize they weren't singing about cheese. Only to find out that the song is about a supervisor that fired them.
I mean, let it go people.
I swear this spawned Adele.
Other albums from 1970 that did not make this list: Elton John - Elton John, The Velvet Underground - Loaded, Funkadelic - Funkadelic.
And in no world should this be on the list where Weezer's blue album isn't.
I may ~may~ like this more than Daydream Nation. A bit more song structure and melody here. The songs that bring Kim to the front are great. Sure, it fades a bit on the back side, but Tunic, Kool Thing, My Friend Goo are so good. Plus there's the whole "does a band get extra points for just being really influential" and Sonic Youth scores those in spades for Goo and Daydream Nation.