Clear nods to James Brown in the opening track, while also establishing a distinct funk identity of their own. This is done through the heavy layering of synthesizers and inclusion of sound effects that character the sound as more edgy, overt (including the funkin’ lyrics) and modern. This is NOT disco. Solid drum, bass, and guitar solos. I find the some of the use of synths to be excessive, or at least not that well balanced with the remainder of the mix. The lyrical stylings feel more of a social statement than political protest music. “Music to clean your shit by” sums it up perfectly.

This album has aged particularly well- as well as any nineties riff-rock has. That's not a backhanded compliment. The quality of the recording and production is excellent on the 2011 remaster. This album has track ordering that serves to make each doing a unique expressive. It highlights the dynamic range of The Smashing Pumpkins. From headbanging breakdowns to Billy Corgan's enchanting and introspective performances on songs like Soma. I feel like this album has the ability to communicate the same experience today as it did in 1992. For me, that's represented by disillusionment with the idea of "purpose." But also dissatisfaction with the relationships answers and experiences life has provided this far. I am unsure why, but that's what I associate this music with.

Neil Young is a songwriting genius. What I find less enjoyable is his performance of the songs. Aside from the classic songs of "Heart of Gold" and "Old Man," which are iconic, I don't connect very well with the rest of the songs.

"to me, it's nothing" the attitude of the album Super tempting to play this album too loud and play air drums. The mix is a bit too Punk Rock for my tastes.

What an incredibly tight band, especially the brass section. They seem impossibly locked in and syncopated. Masterful treatment of pianissimo dynamics gives a sense of deliberation to each aspect of the arrangements and choice of soloists. A sense of ‘it wouldn’t be there if the Duke didn’t want it to be there.’ An Absurd level of understanding and execution of jazz piano.

I had previously assumed that Iron Maiden would be 'too metal' for me, and hadn't explored beyond their music beyond the hits. I was pleasantly surprised that this album had not only a heavy sound but also some lyrical and expressive guitar work- and a fair share of face-melting metal licks too. I found this to be a great 'housework' album.

Interesting use of binaural/stereo effects, but overall a not really my style.

How does one even describe this music; Swampy prog-rock blues-funk? This is an enjoyable album, but I think it’s the musical equivalent of an impressionist painting. When you ‘zoom in’ on the particular lyrics, or the individual instruments in each arrangement it becomes less enjoyable. But when you focus on how it generally ‘feels,’ it feels very good- and somehow sounds simultaneously familiar and fresh. My favourite is the opening track; “Sure ‘Nuff ’n’ Yes, I Do.”

While I do have an affinity for Muddy Waters, it's primarily during his later, more electrified recordings. But mainly, you can hear the wind as a low rumbling in the recording, which really distracts from the music.

I watched the video of this album in a packed theatre at MoPop in Seattle on the 30th anniversary of Kurt Cobain's passing. It seems obvious that Kurt is aware that he is a shell of himself, hollowed out by heroin. In light of what we know now, I cannot name a more visceral musical expression of passion and pain.