Great guitarist, obviously. But quite middle-of-the-road as a rock album. It might just be dated now, but I didn't find anything particularly special about it. Would probably listen again if I was in the mood
I know this album inside out, but listened to it again anyway. It deserves its legacy as one of the best albums of the 70s, and one of the best in all of rock music history. No bad tracks, and features some of the most iconic rock songs of all time. A genuinely legendary album, but still not the best Led Zeppelin album in my opinion (Physical Graffiti is better).
Just not my cup of tea. I don't enjoy the industrial sound very much, and the artistic decision to make the lyrics almost indecipherable didn't land with me. I'm sure it's an important album, and well loved by people who enjoy this genre, but I found it hard work.
A fractured but wonderful album. This is a band that have mastered the clash between form and content; able to package familial resentment, working class angst, and obsession within the bright wrapper of synths, flowing guitars, and shining vocals. The references to nature and decay add a feeling of permanence to the work, and there is an almost Lovecraftian tilt to some tracks.
A feeling of oppression looms over many of the tracks. The dark omniscience of the party in Miss Gradenko, the creature in the Scottish lake, and the voice of Every Breath You Take lend a deep unease to the record.
Highlights:
Miss Gradenko
Synchronicity II
Wrapped Around Your Finger
A funky post-punk album that showcases the band's quirky, art-rock sound. The combination of David Byrne's unique vocals and Brian Eno's innovative production creates a fresh and off-kilter listening experience. Tracks like "Take Me to the River" and "Found a Job" highlight their ability to blend funk, punk, and new wave influences seamlessly. While the album is experimental in places, it remains accessible and engaging throughout. A great listen for anyone interested in the early days of alternative rock. It is also extraordinarily danceable.
A masterpiece, and one of the best albums of the 21st Century so far. This is a rap opera, ostensibly about Kendrick Lamar's early life in Compton. The themes of violence, redemption, community, and faith bubble and brew together to produce an album steeped in fear and hope, delivered with a lyrical ability reserved only for the greats.
The album subtitle reads "A Short Film". The potency and clarity of this records imagery lend credence to this choice of words.
Phenomenal.
Highlights:
The Art of Peer Pressure
m.A.A.d city
Sing About Me, I'm Dying of Thirst
Undeniably, Adele is one of the finest vocalists around, and is in contention for top British vocalist of all time in my opinion. This is a good album that showcases her phenomenal ability, but I think it lacks any real depth. There is a lot of sentimentality, which I think one should expect from Adele. I like sentimentality, but only in doses. I think the album bordered on samey at parts. Good Sunday morning listening, I think. The production is good.
Highlights:
Hello
When We Were Young
River Lea
Everyone has that one major artists that they just don't understand the fanfare over, and David Bowie is that artist for me. This album is widely lauded, and I did enjoy it mostly, but it never reached the heights that I expected it to, given it's legacy. I enjoyed the Brian Eno-led production, and found the ambient tracks in the second half to be quite interesting. They were much more in keeping with the supposed German Expressionist inspirations for the album. I feel, with Bowie, that I'm just missing something that his biggest fans aren't. That could change, as insure there will be other albums of his on this list. It may even change if I listen to this album again.
Highlights:
Beauty and the Beast
Sons of th Silent Age
Sense of Doubt
A pretty remarkable debut album, and one that I think merges classic rock music formula with the more artistic aspects via Michael Stipes lyricism. The guitars are bright and sparkly, and the baselines are groovy and intricate. There's very little to dislike about this era defining project, and it certainly laid the foundations for the wonderful career that REM went in to have.
Highlights:
Radio Free Europe
Moral Kiosk
Catapult
A remarkably cool and eclectic album, which shows Adamson's ability to blend genres from across the spectrum in to one cohesive piece. There are elements of jazz, ambient, big band, electronica, and hip hop present across the whole album, and even single tracks. Vocals from Jarvis Cocker, Nick Cave, and Billy Mackenzie add a more accessible element to this (at times) rather avant-garde record. You'll even be treated to some trumpet parts written by Miles Davis, in the standout track of the album.
It's conception as the soundtrack to an imaginary film encourages the listener to imagine the scenes to which the music is set. And with ambiguity and number of layers to each track, it's hard to think that each listen will evoke the same images.
Highlights:
Set the Controls for the Heart of the Pelvis
Miles
The Sweetest Embrace
A good soul/funk album, that came at an important (and appropriate) time in American cultural history. There is no shortage of energy here, and there is a clear and purposeful social message. The forays in to psychedelia on some of the tracks are an interesting take on the genre. It does tend to get a bit repetitive as the album goes on, particularly the reliance on the simple bass lines to carry the music along. It's hard to expect more from an album that relies so heavily on its energy, and it is enjoyable when it works. Would listen again.
Highlights:
Stand
I Want to Take You Higher
Everyday People
A cool and very 90s album. Lots of enjoyable electronica, which strays in to acid house and techno at times. Some of the tracks are a bit experimental for my tastes, and I don't think there is enough vocal work, which is a shame as it's often the highlight of the album. It's a very brave debut album, and would have been pretty groundbreaking in the early 90s I think.
Highlights:
Only Love Can Break Your Heart
Girl VII
Stoned To Say The Least
I have a nostalgic attachment to this album, and listened to most of the Iron Maiden catalogue on repeat during my teenage years. Listening to it as an adult who is not really in to metal can still see why I enjoyed it so much back then. This is good old fashioned heavy metal, and was unlike anything I had listened to up until that point. The riffs are slick, the rhythms are thundering, and although I prefer Bruce Dickinson, Paul Di'Anno's vocals are splendid.
Highlights:
Prowler
Transylvania
Charlotte the Harlot
Pretty bad. The whole album is corny, lyrically and musically, but is interspersed with these jarring moments where Cee-Lo seems to be cosplaying as to what he thinks a hard man is. It's hard not to be perplexed when listening to a song which could be from a Lin-Manuel Miranda soundtrack, while Cee-Lo threatens to shoot his enemy's unborn child and it's mother.
You can hear his attempts to imitate Andre 3000 all over this record. And, it goes without saying, he's not him.
That said, he's a good vocalist, and some of the more experimental tracks are interesting, and even enjoyable. But they're hidden amongst total guff.
Highlights:
I am Selling Soul
Let's Stay Together
An interesting record, and one that I feel o should enjoy far more than I actually do. There's a capable blend of genres, techniques, and styles, which should be enough to keep anyone interested. It just didn't quite click for me, though.
Matt Bellamy is a very decent vocalist, and does interesting things with the guitar and keyboard, and I think the content of his lyrics is quite apt, both for the time of release and the current climate (political and ACTUAL climate). The second half is much stronger.
I could learn to love this album one day, I think.
Highlights:
City of Delusion
Hoodoo
Knight of Cydonia
A classic of the genre, backed by Dr Dre's exceptional production. The performances of Snoop Dogg on the mic make up for Dre's lyrical shortcomings.
The G-Funk heavy production and Moog bass lines really carry this album along, but the lyrics themselves are also catchy, edgy, and dripping in style.
It's hard to imagine the landscape of mainstream rap without this album, both for it's musical legacy and it's pivotal role in establishing Death Row Records.
Highlights:
The Day The Niggaz Took Over
Lil' Ghetto Boy
Stranded on Death Row
An interesting blend of folk and jazz, with mellow, haunting melodies and Buckley’s distinct voice. The album is captivating at times, however the experimental sound can feel meandering, and some songs drag on longer than needed. While it’s an interesting listen, it might not appeal to those who prefer more structured compositions. A solid effort but not immediately engaging.
Highlights:
Buzzin' Fly
Gypsy Woman
