Snotty, brash, and unapologetic songs. I tend to enjoy the bands the Pistols inspired more, but this collection of songs was a great starting point. Good Punk primer, but comforting to know it gets better from here.
The first half was great. There were some neat experimentations in the second half, but ultimately it all left me indifferent. It's a good 70's pop rock record.
Snotty, brash, and unapologetic songs. I tend to enjoy the bands the Pistols inspired more, but this collection of songs was a great starting point. Good Punk primer, but comforting to know it gets better from here.
Good clean American Rock music; but that's the problem. Don't get me wrong: there's a pop sensibility here that can't be overstated, but the music's dull. The songs are simple, the songs are mostly sweet love songs or break up songs, so... not a lot of depth. Thank goodness the album's 12 songs pass in 25 minutes, though it feels longer. I am also forced to admit that I'm just not that interested in this era of music. It seems to exist entirely to sell records to pre-teens rather than out of any kind of artistic merit, but I know this is but one dull period in an otherwise enthralling history of music in the United States. To be clear: Not bad, just not for me.
Lively, funky, and cool. Not many negative things to say about this record. I would definitely play it again, though I find myself doubting how often I would play it. It's a mood, for sure, but it's a mood I'm seldom in. In review: I really like the record, but I don't love it.
This album hits one of my sonic sweet spots as far as mixing mastering. It really transports you back to the late 80's/early 90's. I love Tracy's voice and how it shapes the depths of her songs. That said, not all the songs are great, but thankfully there's only a few outliers. The reggae keyboards on "She's Got Her Ticket" rob this lyrically powerful song of its punch in a really awkward way. The next track, "Why" suffers a similar problem of strong lyrics paired with instrumentation that doesn't carry their weight. Despite this little inconsistency, It's still a good album. "Fast Car" still rules.
Boring. I get it. It's English and sexual and alluring...The Smiths did it better. At one point I actually asked myself, out loud, "people enjoy this?" I can see where there would be appeal, but It's truly. not for me. "F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E." was the best track because it sounds the least like the rest of the album. That was actually interesting. The rest is trash.
I've never been a Creedence fan and this did nothing to change it. It isn't offensive to me, but bland, boring, and a little obnoxious.
I've never been a Neil Young fan. I hate his voice. I think his music is generally bad. That said, I think collaborating, or at least harmonizing, wiith Crazy Horse really helped polish. out the qualities I dislike. "Cinnamon Girl" was enjoyable. Same with the title track. "Running Dry (Requiem for the Rockets)" was the dud here. Everything I hate about Neil in one song. "Cowgirl in the Sand" was close to meeting that same criteria, but it was a. little jammier and that momentum kept me from skipping the song entirely. By the album's end, I found myself a little surprised. Finally, a Neil Young album that isn't awful. That said, I don't think I'll ever come around to Neil Young.
It's fine. A nice gentle morning listen.
The high of "Someone Great" followed by "All My Friends" is incredibly high. I appreciate James and his dance punk aesthetic, these more chill momements with brilliant lyricism, and just a killer vocal performance speak to me and make the biggest impression. While most of the album was dancier, I found myself losing interest at times. The second half of "The Sound of Silver" definitely reinvigorated the album. The long groove is moody, driving, and and compels you to move. "New York, I Love You but You're Bringing Me Down" took me out entirely. Not a bad song, and seemingly a deeply personal one, but this is not what I wanted from LCD Soundsystem.
The arrangements are beautiful, and so are the vocals, but it's not really for me. A bit to "heavy" for casual listening.
Nice lil rocker from Elvis Costello. "Allsion" and Welcome to the Working Week" are the highlights here. This albums has been one of the most consistent records I've heard so far.
The combined strengths of Ella Fitzgerald’s incomparable performance and the Gershwins’ pop sensibilities make for one enjoyable listen. At almost 4 hours in length (the deluxe version) there’s plenty to sink your teeth into. That said, yet another album that requires a specific mood that I’m rarely in.
This album kicks open the door with "Movin' Out (Anthony's Song)" and Billy Joel doesn't stop letting you know how smooth he is for the duration off the album. Beautiful storytelling, great instrumentation, great voice, with minimal lulls. Not quite my style, but a very good listen
Enjoyable. Idiosyncratic. The fist LP from the Talking Heads has glimmers of what would would come, but this is a valiant first effort. "Psycho Killer" is a jam.
I saw "Back to Africa" and "Master Race Rock" and was ready to give it a zero 'cause racism sucks. After listening to the album, I realized it was more of a piss-take than anything. The tunes are decent power pop songs that hint at the future of punk rock. Most of the songs were decent, including a cover of "I Got You Babe", but ultimately I probably won't listen to it again.
Radiohead was too weird for commercial rock radio in the mid-2000's so they called up Muse to do a shameless impression of what Radiohead would sound like if they just kept making albums like The Bends. From the get go, I found them irritating and insincere. Not much has changed, I was very bored by it. Though, "Knights of Cydonia" gave me Guitar Hero 3 nostalgia, so there's that. The album felt entirely too long at ~50 minutes long. Not sure what Muse doing on this list.