Pet Sounds is the best pop album of all time. You’ve probably heard that take before. You may have also heard different versions of it: Pet Sounds is the most beautiful pop album of all time, Pet Sounds is the best produced pop album of all time, and I’d disagree with that, that’s a stretch, at least for me. But I do think the original take is correct, that Pet Sounds is indeed the best pop album of all time, at least from the ones I’ve heard. There’s just something to this album that can never be replicated. Maybe it’s the jumbly sound of the mix, maybe it’s Brian’s vocals, maybe it’s his lyricism, maybe it’s the vocal layering, maybe it’s the instrument layering. I really couldn’t tell you. I can’t think of any way to transition this into a track-by-track but Wouldn’t it be nice to be the most adorable song I’ve ever heard? One of the few (mostly) happy songs on the album, Wouldn’t It Be Nice, is genuinely just fun. I absolutely adore songs written about stuff like this, young love. As somebody who pulls all the bitches, I can really relate to it. With that, the lyrics are so fucking good. They’re not coated in metaphor, they’re not stuck together with filler, it’s just fantastic straight-to-the-point line after fantastic straight-to-the-point line. I went to look at the lyrics to try to pick out a specific example but each line is just so damn good. A guy in a relationship that’s “too young” for true love, too young to get married, and wishing (or waiting) for the day you and your lover can be married. A day you don’t have to fear about breaking up (well, divorce exists). The pure innocence coming from the track is adorable, and it’s amplified by basic childish ways to say things like “maybe if we think and wish and hope and pray.” Also things like “we could be married, and then we’d be happy,” it’s such a normal phrase but it’s not just something you’d say to a girl if you didn’t want her to think you were an immature loser, but that’s the point, it IS immature. I love how the final chorus is kind of tension-building and then it just says fuck that, we should talk about it. The “but wouldn’t it be nice?” (“But” sometimes being replaced with “oh”) ending the choruses and bridge are just so cute, and I’m sure I don’t need to talk about it too much, but yeah the actual music is sick. Perfectly catchy melodies, things starting and stopping and perfect moments, the lush harmonies, the call-and-responses, the vocal styles, it’s basically perfect. Pet Sounds is really a grower, and songs like You Don’t Believe in Me are good examples of why. Compared to other albums coming out from this time, it’s actually pretty weird so if you’re expecting something like Revolver or Abbey Road, you’re gonna be pretty disappointed. Going into this track from Wouldn’t It Be Nice? while still expecting it to be cheery is gonna make it honestly sound kind of terrifying. But then you start humming the cryyyy to yourself, and then the verses, and then you know the whole song, and it’s gorgeous. The track builds but it still sounds perfectly full before building. And it’s not like when it does build, it’s too much, it actually feels better, like an orgasm. Brian’s vocal performance and his lyrics are perfectly looking at immature things that the narrator has done in a mature way. The lyrics are devastatingly beautiful: “I can’t help how I act when you’re not here with me, I try hard to be strong, but sometimes, I fail myself.” It feels like he’s genuinely begging you to explain why you still believe in him. There’s so many wind instruments playing things that feel a little off, which works perfectly in the song’s favor, and there’s of course the “me” note in the chorus. The last part where the harmonies are just repeating “cry” is obviously beautiful and if you haven’t heard it before, I would recommend doing it immediately. That’s Not Me, in my opinion, is the most devastating track on the album, but without the lyrics, I would think this song is about horses and trees and life and shit. Heck, you could probably think it was about that until you hear the line “I went through all kinds of changes, took a look at myself, and said that’s not me.” I used to not be extremely into this track, but I love it now. The melody is fantastic, the instrumental is fantastic, the backing vocals are fantastic, everything about it is just amazing. And obviously, there’s the repeated mantra at the end of the song, that is just literally everything: “I once had a dream so I packed up and split for the city, I soon found out that my lonely life wasn’t so pretty.” How the lyrics feel so personal to Brian but still relatable to the listener is just beyond me. I can totally see why somebody would find Pet Sounds annoying and Don’t Talk is the perfect example. Like half of the song is just falsetto. Anyway, this song is fucking amazing and gorgeous and perfect. I love the stereo mix of Pet Sounds so fucking much because it makes some of the songs feel more full, yes, but I feel like if the vocals weren’t panned like how they are on this track, it’d sound sort of off? The melody is gorgeous, the bass is loud as fuck but what it’s playing is great, and the hi-hat(?) just repeating really makes it feel more dense. The lyrics are a little basic (“We could live forever tonight”), sure, but that doesn’t stop them from being pretty. I really like “don’t talk, close your eyes and be still,” it’s so calming and almost reassuring. The last “listen” during the bridge is the perfect segue for those aweing strings to come in, I love it. It varies from time-to-time, but currently if I had to choose a favorite song on the album, it’d be I’m Waiting for the Day. The way it blends this lush, but still kind of hollow instrumentation and that gorgeous melody with an upbeat, fun, cute, catchy banger is absolutely beyond me. Straight off the bat, things snap into this chaotic, bouncy beat and a flute melody, which after TEN SECONDS, drops into this beautiful verse with these genuinely amazing lyrics. The chorus perfectly attaches to the verse like a puzzle piece that you can barely even notice the switch, the only thing that really changes is some of the instruments get louder and the, I think, oboe stops playing the same thing as the lead melody. Then, Brian says “I’m waiting for the day when you can love again” and we go BACK to the sound from the beginning. This one part would hit so much differently if even ONE aspect of it was changed, even one of the notes were changed, if one of the instruments were removed, if the vocal style was slightly different. It is done so intelligently well that it is almost incomprehensible. Immediately, after the switch-up, we’re thrown into the second verse, WITH the upbeat instrumental. It just flows so goddamn well. I think the lyrics on the first verse are a little better than the ones on the second verse but the lyrics on the second verse are so much more memorable and meaningful to me (and they’re beautiful ofc) so you need to read them: “I kissed your lips and when your face looked sad It made me think about him and that you still loved him so Baby, don't you know that pretty soon, I made you feel glad That you belonged to me and love began to show?” And then things drop AGAIN into the chorus, this so calming but feels so human, using phrases like “I guess” to get it to work that way. And then things are amped up AGAIN for an instrumental break with some backing vocals and then they drop AGAIN for ANOTHER chorus. Brian adds more falsetto to his voice to acknowledge the change from the previous chorus while balancing it with the in-the-moment aspect. The chorus ends and this layer of strings is placed beneath it, ending the track. But no. No, the track doesn’t end. Because things get bouncy AGAIN. And this point, it’s a fucking trampoline with how fun it is. It’s not these beautifully crafted lines, but these genuine statements and that honesty makes it beautiful even if it wasn’t trying to be. I’m immediately stressing out over what to say for the instrumental tracks, like this one, Let’s Go Away for a While, considering how much I’ve been dickriding the lyrics. I think it’s a gorgeous track, don’t get me wrong, but I really don’t know what to say about it. Okay wait. I really like the balance of the instruments being used. I was going to mention which ones are being used most, basically like leads, but I really couldn’t pinpoint a specific one. The glockenspiel gets its moment, the saxophone does too, the strings, the bass, the drums, it’s just so much. And it’s gorgeous, can’t forget that. I really love the little string flair at 0:34 seconds in, it makes the track really memorable. That’s it. Adding not only a cover, but a cover about being on a boat, to an album like this is a risky move, but Sloop John B does not disappoint because it’s honestly one of my favorite tracks on it. Sure, the lyrics are really fucking stupid, but it’s so damn fun, and there’s still a genuine attempt to make a great track. Throughout the track, the band switches through singers, specifically Brian and Mike Love, which works because I mean duh they’re on a boat with a bunch of people, but Mike’s voice just perfectly blends with the rest of the song. While Brian’s voice is childish, I would say Mike’s is even MORE childish, at least on this track, and for a song like this, it works perfectly. Heck, the vibe of the whole song is childish. Literally everything the beat is doing feels like baby steps: it’s either very slowly banging the snare or playing a basic beat (it does something a little weirder in the third verse but I lowk don’t care abt it). I think there’s a kalimba in the mix, maybe that high instrument is something else, but either way those are literally elementary music class instruments. There’s high instruments like flutes or piccolos, but also lower instruments which still feel surprisingly childish as well. I think there’s a bari sax panned to the left, but it’s almost stupid, playing staccato. The part where all of the instruments drop and the chorus sings different things, just to be transitioned into literally the same thing with that high-ass “hoist up the John B-” is just so unnecessary but so fun, I love it. As much as I could argue how overrated of a song God Only Knows is, I still can’t deny how GOOD of a song it is because it is fucking gorgeous. Every instrument is brought in so cleanly that you can barely even tell. The french horn, then the bass. And then, it drops where this really weird melody is being sung. The end of that melody finishes up the first verse, and it’s repeated for the second verse, which is coated with a layer of strings which REALLY adds to it for some reason. Maybe it’s because the bass gets a little louder too. The verse EASILY has the best lyricism of the whole track, mixing what could be interpreted as desperate and sad with something loving; he’s saying if he lived without this girl, the world wouldn’t have anymore meaning. Sure, it might sound cliché in theory, but the way Brian bounces around sounding cliché and still being able to make a lyric that sounds fresh is crazy: “The world could show nothing to me, so what good could living do me?” After some sort of short instrumental interlude, the vocals come back but not singing words, which weirdly makes them feel a bit more lush. Until the babababababas which can be seen as kind of funny but they’ve grown on me so it’s fine. The third verse actually opens up with what is usually the last line of the verses (could also just be called the refrain): “God only knows what I’d be without you” and I’m pretty sure it’s actually sung higher than it usually is here? For the last section of the song, it’s really just the phrase repeated over and over again, but it makes the most of it. Everything drops at the beginning, but it adds more and more instruments and layers so at first, you can barely even notice that it’s repeating the same stuff. And then, after the build-up, it simply fades out, which I’m pretty sure was just a normal thing in the 60’s but it still works. I guess it’s kinda like drinking something, the longer you drink it, the more it starts to go down, and then you stop drinking it and the taste slowly stops. That’s the best metaphor I’ve got for that. Besides the instrumental tracks, I Know There’s an Answer is honestly my least favorite on the album. Not saying it’s a bad song, I’m sure the rest of this paragraph is only gonna be praise for it, but it’s just personally the least memorable for me. Actually, even including the instrumental tracks, I’d say Let’s Go Away for a While is more memorable than it (Pet Sounds, not so much). Anyway, the baritone sax breaking the looped instrumental, which then adds a tambourine was a great move. It makes things flow way better, which this song is great at, transitioning into the chorus from the verse. During the chorus, these absolutely gorgeous percussive hits are just going fucking off, same with Brian’s vocals. The lyrics are really great too. Speaking of the lyrics, if you just showed me the lyrics to the chorus alongside the lyrics to the chorus on the demo (“hang on to your ego, hang on but I know that you’re gonna lose the fight”), I would honestly probably pick the demo, but the lyrics in that were chosen honestly perfectly fit the rest of the song. Yet another reason why this album is basically perfect, everything is done to its max. If you listen to the demo, literally titled “Hang On to Your Ego,” you will hear just teeny tiny errors or things that weren’t added yet, like some harmonies, which make it feel just a LITTLE less beautiful. In the original song, there’s NONE of that, which goes to show the amount of effort this had to have taken. And then, the chorus casually transitions to the second verse, so smooth that you can barely even tell there was a transition (which btw I love this tactic of not being able to tell the first chorus from the second verse). Then, there’s a bari sax solo. I’ve said enough about the bari sax solo. Then, it basically just repeats the pre-chorus, the chorus, and then there’s some pretty flutes, and then the instrumental loop from the beginning comes in, with some added stuff, boom: end of song. It’s a cool moment, yeah, but there’s not much to really add to it. Going back to this song a few times for this, though, made me realize how good the lyricism was, and how good the actual song was too, so I will honestly probably come back to this a lot more. I know I totally just said that I’m Waiting for the Day is the best song on the album, but honestly, Here Today might be one of my favorite songs to come out of the 60’s (</3). Even before I let Pet Sounds grow on me, Here Today was one of my favorite songs from the 60’s. It was the first song on the album, and from the Beach Boys’ entire discography, that I fell in love with. Right off the bat, we’re hit with AMAZING lyrical content. I see it as almost a contradiction of Wouldn’t It Be Nice?, maybe a grown person telling a young kid that falling in love is a mistake and to slow down, almost mocking them. It also perfectly encapsulated a time in my life when I needed it, so thanks, Beach Boys. The music of the first verse starts off quiet, but then it adds a layer of harmonies and low brass, which does help add texture to the song, but THEN, it adds more. The percussion is playing quicker and more aggressively, almost like it’s freaking out. When this happens, the lyrics also change from an acknowledgement to a warning, which I just talked about. And that really helps with the instrumental context. With these two extra layers, things fall into this sad moment, where the narrator speaks from experience, talking about how much love hurts. The only instruments in this section are what I believe is an organ and a bass, so it’s pretty fucking stripped back, ESPECIALLY for fucking Pet Sounds. Then, the bass does this weird little thing I can’t really explain, but it’s basically a transition. The vocals pull another I’m Waiting for the Day too, lowering themselves for a smooth switch. And smooth it is, because the layer of low brass and harmonies and the percussion come back in another warning: “Love is here today, and it’s gone tomorrow, it’s here and gone so fast.” The second verse starts with almost dark humor. It’s honestly a really sad line, but it’s still sort of funny: “Right now, you think that she’s perfection, this time is really an exception.” Then, at the end of the verse, we got a PLOT TWIST. In a song, a plot twist. The narrator tries to explain why they’re being so harsh, and in doing so, admits that they were the person that they’re talking to’s girlfriend’s ex. Yeah, the narrator is warning their girlfriend’s next partner. Now, it could seem like they’re trying to scare the new partner. But maybe, the narrator is being genuine, that the girlfriend broke his heart, and she’ll break his too. During the second pre-chorus, the narrator changes the lyrics talking about how “it” will make you feel bad to how “she” will make you feel bad, which makes it even more sad. And then the happy-go-lucky instrumental comes back though, so it’s aight. Then, the instrumental almost flashes, while the bass plays this thing that I can almost describe as a DJ scratch sound effect, you know what I mean? It sounds nothing like that, sure, but it almost feels related. Then, the instrumental goes off with a snare almost call-in-response, to which it stops, and then the back and forth with the organ and the bass start again, repeating the instrumental from the pre-chorus, without the pre-chorus. Which is great, because directly after, it opens up the actual chorus. It works so buttery smooth that it’s hard to explain it, so if you haven’t heard the song already, please do. It’s worth it, it’s amazing. Brian Wilson is the only person who could make the line “sometimes I feel very sad” actually sad, which he does on I Just Wasn’t Made for These Times. The song starts immediately, no intro or anything. And the lyrics are immediately depressing, talking about trying to find a place in life that’s right. In classic Beach Boys fashion, things get a little faster for only about two lines. They also do this tactic that I LOVE here, where you sing a note, move up to a higher note, and quickly move back down (“I wish they could”). It’s gorgeous. Then, things slow down but there’s more instruments added, so it doesn’t feel unnecessary. That moves to the chorus, which is that line I mentioned earlier repeated, and one added line: “I guess I just wasn’t made for these times.” This line is so poignant because of how human it is. Brian could have just said “I wasn’t made for these times,” and it’d be fine, but he added the human instinct of trying to downplay things and it works so damn well. The second verse is my favorite one lyrically, just because of how depressing it is, but it still manages to be relatable. He’s talking about “every” time he gets the inspiration, like this happens a lot. It’s like a loop, and it’s sad to see. After the second chorus, the woodwinds copy the melody to the first line of the verse, and then a theremin is introduced. Yeah, a theremin. It’s surprisingly not cheesy too. I don’t really think it was the best instrument that could have been used, but it still blends in well, and the solo’s short enough that I don’t really care all too much. Surprisingly enough, this is probably my first time actually listening to Pet Sounds (the track) in detail, and I’m finding so many little details I love. I’m pretty sure that main percussion instrument is a ratchet and I may be incorrect, but I THINK that lead instrument is a guitar? They blend in surprisingly well with the orchestral instrumentation that I don’t even process it. At 1:38 in, there’s this brief part with a percussion instrument that I’m barely even recognizing for the first time right now, but I LOVE it. But what instrument is that?? It works so well. The song is a little too short, considering it’s not even the shortest track on the album (that’s Let’s Go Away for a While, which uses its runtime really well), but it works well for the flow of the album, and it’s just fucking good. Caroline, No was my final piece of evidence to little old me’s “Pet Sounds is the first horror album” theory, and it’s honestly a WAY better reason than You Still Believe in Me imo. Mainly because of the chorus, it’s REALLY unfulfilling, but that’s a good thing. It’s supposed to feel empty, unfinished. This is added onto with how the third verse doesn’t switch into anything, but an absolutely gorgeous flute section just playing the verse melody, which fades out (eventually guiding us towards literal pet sounds). Imagine at the beginning of the track, the two percussion instruments are actually a hi-hat and a snare, right? And it’s hi-hat, hi-hat, snare, repeat. WHAT is that snare, dude?? It’s so ominous, I love it. The two things I THINK it is are either claves or a woodblock–I’m leaning towards claves–but either way, it’s pretty fucking perfect. And the delay on it, too, oh my GOD?? I love how Brian just uses any instrument ever. The lyrics are SO sad too, obviously talking about someone that’s changed that said that they’d never changed. It’s kind of funny too, because the first line is “where did your long hair go?” so it technically could be interpreted as him freaking out that his friend cut her hair because it never really adds any other metaphors like that. It’s obviously not about hair though. That’s it. That’s my Pet Sounds review. I Uhh Love you <3 Favs: Here Today, I’m Waiting for the Day, Wouldn’t It Be Nice? Least fav: Pet Sounds RIP Brian Wilson EDIT: There might be better pop albums actually
Rating Distribution
Rating Timeline
Taste Profile
Breakdown
By Genre
Top Styles
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Second Toughest In The Infants
Underworld
|
5 | 2.85 | +2.15 |
|
Untitled (Black Is)
SAULT
|
5 | 3.05 | +1.95 |
|
Dig Me Out
Sleater-Kinney
|
5 | 3.07 | +1.93 |
|
I'm Your Man
Leonard Cohen
|
5 | 3.1 | +1.9 |
|
Entertainment
Gang Of Four
|
5 | 3.26 | +1.74 |
|
Meat Is Murder
The Smiths
|
5 | 3.34 | +1.66 |
|
The Downward Spiral
Nine Inch Nails
|
5 | 3.34 | +1.66 |
|
Ready To Die
The Notorious B.I.G.
|
5 | 3.36 | +1.64 |
|
Heaven Or Las Vegas
Cocteau Twins
|
5 | 3.41 | +1.59 |
|
Paul's Boutique
Beastie Boys
|
5 | 3.46 | +1.54 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Live At The Harlem Square Club
Sam Cooke
|
1 | 3.76 | -2.76 |
|
Californication
Red Hot Chili Peppers
|
1 | 3.69 | -2.69 |
|
Tea for the Tillerman
Cat Stevens
|
1 | 3.67 | -2.67 |
|
The Cars
The Cars
|
1 | 3.65 | -2.65 |
|
The Genius Of Ray Charles
Ray Charles
|
1 | 3.62 | -2.62 |
|
Parsley, Sage, Rosemary And Thyme
Simon & Garfunkel
|
1 | 3.61 | -2.61 |
|
Natty Dread
Bob Marley & The Wailers
|
1 | 3.56 | -2.56 |
|
Straight Outta Compton
N.W.A.
|
1 | 3.51 | -2.51 |
|
Disraeli Gears
Cream
|
1 | 3.46 | -2.46 |
|
All Directions
The Temptations
|
1 | 3.45 | -2.45 |
Artists
Favorites
| Artist | Albums | Average |
|---|---|---|
| Pink Floyd | 3 | 5 |
| Green Day | 2 | 5 |
Least Favorites
| Artist | Albums | Average |
|---|---|---|
| Jane's Addiction | 2 | 1 |
| Fatboy Slim | 2 | 1 |
| Ray Charles | 2 | 1.5 |
| Elvis Costello & The Attractions | 2 | 1.5 |
Controversial
| Artist | Ratings |
|---|---|
| Leonard Cohen | 5, 1 |
| Simon & Garfunkel | 4, 1 |
| Johnny Cash | 5, 2 |
| Super Furry Animals | 1, 4 |
5-Star Albums (29)
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Popular Reviews
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Last time Phil Spector gave me a Christmas gift I woke up a changed man Phil Spector sure did kill it here Truly an album to die for It's almost as if this dude can do nothing wrong You know I would love to listen to this on Santa's slay Sometimes I feel like I'm in Heaven hearing this This joke is kinda dying out ngl I think I'm just gonna kill it off Merry Christmas 2025 <3
Pink Floyd's second best. Close to their best, but not their best. Second best if you must. This album's incredible. Opening up the first track, you get a fade-in, which I feel like I so underappreciated because they're one of the best ways to start an album. Then, the guitar is introduced. The notes are a bit all over the place but they still manage to be somehow pretty memorable. It's kind of pretty. Then, the iconic riff comes in. It's so empty, like something's missing, like you're speaking to a ghost and it's saying something you can't understand. Then the beat comes in makes it weirdly upbeat. It's not happy, though, it's more mysterious. The riff even changes every now and then to even more ominous notes. Then, ANOTHER guitar starts a solo, and it flows so well with everything else happening. It's also kind of mysterious, like you're looking for something, but then it goes fucking off. Kind of frustrated, kind of like you're searching for something, or someone. Quickly, things calm down and the beat, bass, and guitar loop a basic instrumental while a synthesizer gives a spooky yet empty melody. And that's exactly what that part is: empty. And then, boom fucking guitar solo again. It has the same sort of mysterious vibe to it. It's weird, like, you can bob your head to it but then if you really pay attention, it's kind of horrifying. Then, the vocals come in. I will admit, the vocals are a little bit lackluster, at least the impact of them is. When the "SHINE ON YOU CRAAAAAAZY DIIIIIIAMOND" part happens, it sounds like it's trying to be reminiscent of the Us and Them but it feels a little empty. Not in the way I've been talking about it either, just weirdly empty. I do want to give massive props to the lyricism here though because they're fucking gorgeous: "You were caught in the crossfire of childhood and stardom Blown on the steel breeze Come on, you target for faraway laughter Come on, you stranger, you legend, you martyr And shine" They're simple and there's not many layers besides that second line, but it works. It's not supposed to connect with everyone, it is about who the song was written about and that's it. I also really like "Well, you wore out your welcome with random precision." I could give a couple of other examples, but that'd go on for too long and not really add anything. I'm not the greatest fan of the saxophone part at the end. I usually like when Pink Floyd adds a saxophone to their song if it fits well, but here I fear it just doesn't. I guess the first part is fine, but--and I may be wrong-- I believe they switch types of saxophones a bit through the solo. I think it either changes from a tenor to an alto or a bari to a tenor. I don't know for sure though, I'm no expert about saxophones, it's not like I play the instrument. Actually, I do play the instrument, it's like right behind me, but that's besides the point. The guitar and the synthesizers are sick as hell on Welcome to the Machine; goosebumps. Not really, people who say they get goosebumps from music are kind of stupid, but you get what I mean. I guess the vocals are a bit out of range to the point where it would probably hurt at least a little bit, and the lyrics are definitely layered but not the best layers I guess. Like sucking on a monkey brain-flavored lollipop so you can get to the gum in the middle. Not really worth it. "What did you dream? It's alright, we told you what to dream." Sure, maybe my meaning would be a little more vague, but I could definitely write something like that and then look back at it as "pretty mediocre." There are some good bits, and I like the storytelling but they aren't nearly as good as some of the other lines on the album. The instrumental part after the first verse, which I think also happens after the second one (update: it doesn't), where everything is building and building is just absolutely fucking crazy. It feels something like you're quickly trying to escape something extremely dangerous, or meeting up with an evil you slowly realize is dangerous. Have a Cigar is a masterpiece in its field because of how goofy, yet extremely biting it is. The synths introduced harmonizing with the guitar is catchy but changes things up every now and then, which fits the "fuck the industry" idea. Try singing this song how you imagine the character singing this song would sing it. Did you sing in a lower voice than your usual voice? Did you sing like your alcoholic uncle talking about his fourth wife that divorced him and smoking a ciggie around a campfire? Now listen to the song. Boom, it's just that. The vocals are exact, almost too perfectly fitting that it sounds like a mockery. And the lyrics are fantastic too, they're so over-the-top, you can tell they're mocking the industry rather than sympathizing with it without even thinking. Like I never thought someone could think otherwise until I wrote that sentence. Of course, I have to give a nod to one of the all-time greats: "The band is just fantastic, that is really what I think Oh, by the way, which one's Pink?" Now comes easily the best song on the album and what's a good contender for best song in the Pink Floyd catalogue (Dogs and Great Gig in the Sky are other good choices) and what's even a good contender for best song ever. Which, funny story: when I first listened to this album, that was my third time listening to this song. And I still couldn't find the appeal. I wasn't a Pink Floyd fan on the first listen, which makes sense, but the second time, I enjoyed most of their music and the third, I was basically becoming a fan. Reason why: the melody. It's gotten trapped in my mind a couple times since but it's very much not a "catchy" melody. It goes all over the place, up down down up down up down down blah blah blah, and it adds to the rawness. The instrumental is detailed so perfectly, the piano plays at the perfect time, the guitar and the snare fit perfectly hand-in-hand, everything about the instrumental is genuinely perfect. The lyricism is top-notch too. You know, I made a Reddit post trying to figure out the lyrics to Wish You Were Here once. Okay I copied what I said and put it on a Doc: https://docs.google.com/document/d/118W_jHs0RHheZiCZn7P4zLEDGffiMCG2d-BB8gOttOE/edit?usp=sharing Back to the lyrics. They're fucking fabulous. Dense, textured, yummy. "Did they get you to trade your heroes for ghosts?" is a good example of a 10/10 which is insane considering it's nowhere near the best lyric on the song. Argument can be made over what the best lyric on the song is, but personally for me, it's easily the first line of the chorus: "How I wish, how I wish you were here." It's direct, but it's raw. It's heartbreaking. It makes you think of someone YOU miss. It makes you remember things, it makes you regret things, and it makes you bawl your eyes for hours in the corner by yourself. Then, of course, the rest of the chorus is beautifully crafted lyrically as well. Each line on that part is just so fucking gorgeous that I can't do it the justice it deserves, so just go read them if you haven't already. And read them thoughtfully. I will add this, though, I do love the circle back to the start of the chorus, "...wish you were here." It feels like a desperate plea. It feels so full of hope, yet hopeless at the same time. Genuinely one of the best songs I think I've ever and will ever listen to in my life. And I didn't even get the chance to fully digest it on the first listen. Or second. Or third. Until like maybe the ninth or tenth idk. Admittedly, this song is the one on the album I come back to the least, Shine On You Crazy Diamond 6-9. If I had to guess, I've probably listened to it somewhere from 5-9 times. Wait. 6-9 times. And it's not the song's fault, I think it's a great song still. It just doesn't move me the same way 1-5 does. The latter half of the sixth part is basically a jam-out section, which isn't the only one on this song. It's kind of similar to the first track, where it's very fun at times but weirdly on edge. Like running from the cops on foot. Actually, maybe that's not fun. I don't know, I've never tried. That's not the point. The guitars and bass goes off and the beat is repetitive but works well. Then, another guitar (or just a guitar, I think the leads in the upbeat part are guitars but they may be synths) comes in and introduces the same riff right before the vocals in 1-5. And it's smooth. Really smooth actually. Kind of reminds me of Two-Headed Boy Pt. 2's (by Neutral Milk Hotel) transition, except that one's 10x smoother. And that's exactly what it does, welcome the vocals. If I had to choose between this vocal part and the first one, I would honestly choose the first one pretty fast. The first one has way better lyricism and vocal execution, but I do still enjoy this one. And then the waiting room music time. Hell fucking yeah. No notes on this part really but that the playing is lively and fun. You don't like fun? Fuck off, you fucking pussy. And now, the last part, similar to the intro of the album but different melody-wise. And honestly, yeah, this part is way better than the intro. I don't know if I would consider it melancholic, but it feels a bit uneasy. It's kind of gorgeous now that I'm really paying attention to it. Anyway, yeah that's my review on Wish You Were Here by Pink Floyd. Now fuck off you fucking loser. Favs: Wish You Were Here, Have a Cigar, Shine On You Crazy Diamond, Pts. 1-5 Least fav: Welcome to the Machine EDIT: 4>5 certain moments grew on me
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I don't really listen to hip-hop but my expectations on this were still pretty high. Then the album was a flop, which lowered my expectations, which made me realize this album was actually pretty good.
Pink Floyd's second best. Close to their best, but not their best. Second best if you must. This album's incredible. Opening up the first track, you get a fade-in, which I feel like I so underappreciated because they're one of the best ways to start an album. Then, the guitar is introduced. The notes are a bit all over the place but they still manage to be somehow pretty memorable. It's kind of pretty. Then, the iconic riff comes in. It's so empty, like something's missing, like you're speaking to a ghost and it's saying something you can't understand. Then the beat comes in makes it weirdly upbeat. It's not happy, though, it's more mysterious. The riff even changes every now and then to even more ominous notes. Then, ANOTHER guitar starts a solo, and it flows so well with everything else happening. It's also kind of mysterious, like you're looking for something, but then it goes fucking off. Kind of frustrated, kind of like you're searching for something, or someone. Quickly, things calm down and the beat, bass, and guitar loop a basic instrumental while a synthesizer gives a spooky yet empty melody. And that's exactly what that part is: empty. And then, boom fucking guitar solo again. It has the same sort of mysterious vibe to it. It's weird, like, you can bob your head to it but then if you really pay attention, it's kind of horrifying. Then, the vocals come in. I will admit, the vocals are a little bit lackluster, at least the impact of them is. When the "SHINE ON YOU CRAAAAAAZY DIIIIIIAMOND" part happens, it sounds like it's trying to be reminiscent of the Us and Them but it feels a little empty. Not in the way I've been talking about it either, just weirdly empty. I do want to give massive props to the lyricism here though because they're fucking gorgeous: "You were caught in the crossfire of childhood and stardom Blown on the steel breeze Come on, you target for faraway laughter Come on, you stranger, you legend, you martyr And shine" They're simple and there's not many layers besides that second line, but it works. It's not supposed to connect with everyone, it is about who the song was written about and that's it. I also really like "Well, you wore out your welcome with random precision." I could give a couple of other examples, but that'd go on for too long and not really add anything. I'm not the greatest fan of the saxophone part at the end. I usually like when Pink Floyd adds a saxophone to their song if it fits well, but here I fear it just doesn't. I guess the first part is fine, but--and I may be wrong-- I believe they switch types of saxophones a bit through the solo. I think it either changes from a tenor to an alto or a bari to a tenor. I don't know for sure though, I'm no expert about saxophones, it's not like I play the instrument. Actually, I do play the instrument, it's like right behind me, but that's besides the point. The guitar and the synthesizers are sick as hell on Welcome to the Machine; goosebumps. Not really, people who say they get goosebumps from music are kind of stupid, but you get what I mean. I guess the vocals are a bit out of range to the point where it would probably hurt at least a little bit, and the lyrics are definitely layered but not the best layers I guess. Like sucking on a monkey brain-flavored lollipop so you can get to the gum in the middle. Not really worth it. "What did you dream? It's alright, we told you what to dream." Sure, maybe my meaning would be a little more vague, but I could definitely write something like that and then look back at it as "pretty mediocre." There are some good bits, and I like the storytelling but they aren't nearly as good as some of the other lines on the album. The instrumental part after the first verse, which I think also happens after the second one (update: it doesn't), where everything is building and building is just absolutely fucking crazy. It feels something like you're quickly trying to escape something extremely dangerous, or meeting up with an evil you slowly realize is dangerous. Have a Cigar is a masterpiece in its field because of how goofy, yet extremely biting it is. The synths introduced harmonizing with the guitar is catchy but changes things up every now and then, which fits the "fuck the industry" idea. Try singing this song how you imagine the character singing this song would sing it. Did you sing in a lower voice than your usual voice? Did you sing like your alcoholic uncle talking about his fourth wife that divorced him and smoking a ciggie around a campfire? Now listen to the song. Boom, it's just that. The vocals are exact, almost too perfectly fitting that it sounds like a mockery. And the lyrics are fantastic too, they're so over-the-top, you can tell they're mocking the industry rather than sympathizing with it without even thinking. Like I never thought someone could think otherwise until I wrote that sentence. Of course, I have to give a nod to one of the all-time greats: "The band is just fantastic, that is really what I think Oh, by the way, which one's Pink?" Now comes easily the best song on the album and what's a good contender for best song in the Pink Floyd catalogue (Dogs and Great Gig in the Sky are other good choices) and what's even a good contender for best song ever. Which, funny story: when I first listened to this album, that was my third time listening to this song. And I still couldn't find the appeal. I wasn't a Pink Floyd fan on the first listen, which makes sense, but the second time, I enjoyed most of their music and the third, I was basically becoming a fan. Reason why: the melody. It's gotten trapped in my mind a couple times since but it's very much not a "catchy" melody. It goes all over the place, up down down up down up down down blah blah blah, and it adds to the rawness. The instrumental is detailed so perfectly, the piano plays at the perfect time, the guitar and the snare fit perfectly hand-in-hand, everything about the instrumental is genuinely perfect. The lyricism is top-notch too. You know, I made a Reddit post trying to figure out the lyrics to Wish You Were Here once. Okay I copied what I said and put it on a Doc: https://docs.google.com/document/d/118W_jHs0RHheZiCZn7P4zLEDGffiMCG2d-BB8gOttOE/edit?usp=sharing Back to the lyrics. They're fucking fabulous. Dense, textured, yummy. "Did they get you to trade your heroes for ghosts?" is a good example of a 10/10 which is insane considering it's nowhere near the best lyric on the song. Argument can be made over what the best lyric on the song is, but personally for me, it's easily the first line of the chorus: "How I wish, how I wish you were here." It's direct, but it's raw. It's heartbreaking. It makes you think of someone YOU miss. It makes you remember things, it makes you regret things, and it makes you bawl your eyes for hours in the corner by yourself. Then, of course, the rest of the chorus is beautifully crafted lyrically as well. Each line on that part is just so fucking gorgeous that I can't do it the justice it deserves, so just go read them if you haven't already. And read them thoughtfully. I will add this, though, I do love the circle back to the start of the chorus, "...wish you were here." It feels like a desperate plea. It feels so full of hope, yet hopeless at the same time. Genuinely one of the best songs I think I've ever and will ever listen to in my life. And I didn't even get the chance to fully digest it on the first listen. Or second. Or third. Until like maybe the ninth or tenth idk. Admittedly, this song is the one on the album I come back to the least, Shine On You Crazy Diamond 6-9. If I had to guess, I've probably listened to it somewhere from 5-9 times. Wait. 6-9 times. And it's not the song's fault, I think it's a great song still. It just doesn't move me the same way 1-5 does. The latter half of the sixth part is basically a jam-out section, which isn't the only one on this song. It's kind of similar to the first track, where it's very fun at times but weirdly on edge. Like running from the cops on foot. Actually, maybe that's not fun. I don't know, I've never tried. That's not the point. The guitars and bass goes off and the beat is repetitive but works well. Then, another guitar (or just a guitar, I think the leads in the upbeat part are guitars but they may be synths) comes in and introduces the same riff right before the vocals in 1-5. And it's smooth. Really smooth actually. Kind of reminds me of Two-Headed Boy Pt. 2's (by Neutral Milk Hotel) transition, except that one's 10x smoother. And that's exactly what it does, welcome the vocals. If I had to choose between this vocal part and the first one, I would honestly choose the first one pretty fast. The first one has way better lyricism and vocal execution, but I do still enjoy this one. And then the waiting room music time. Hell fucking yeah. No notes on this part really but that the playing is lively and fun. You don't like fun? Fuck off, you fucking pussy. And now, the last part, similar to the intro of the album but different melody-wise. And honestly, yeah, this part is way better than the intro. I don't know if I would consider it melancholic, but it feels a bit uneasy. It's kind of gorgeous now that I'm really paying attention to it. Anyway, yeah that's my review on Wish You Were Here by Pink Floyd. Now fuck off you fucking loser. Favs: Wish You Were Here, Have a Cigar, Shine On You Crazy Diamond, Pts. 1-5 Least fav: Welcome to the Machine EDIT: 4>5 certain moments grew on me
Holy fuck I forgot how good this album was. I can't lie, when I clicked play on this thing, I expected to write a review out of it and then was completely entranced by the sheer enjoyment I had with it. Everytime I turn this on, I have an absolute... heh, blast. Burnout is the perfect introduction to everything, immediately saying "I declare I don't care no more." It's so fucking pissed off for a random reason. I'm tired, so now I hate everything. I love that about Green Day. The government sucks and I hate everything. My home city sucks and I hate everything. My mom's new boyfriend sucks and I hate everything. God sucks and I hate everything. It's very immature, which works. There is a motive for this next song, though, Having a Blast. This song tells the story of a suicide bomber and while I DON'T CONDONE DOING THAT, this song perfectly encapsulates what I imagine would be going through a suicide bombers brain. The lyricism in the chorus is so blunt and straightforward, I'm not digging up the hidden metaphor, the suicide bomber is telling me to my face "I hate everything and I'm gonna kill you and me." It's not the most thoughtful thing ever written by man, and that's the point. The bridge on this song feels strangely personal. He starts asking possibly the listener(?) questions, questions like if he's the only one who feels this way. "Do you ever want to lead a long trail of destruction...Do you ever build up all the small things in your head to make one problem that adds up to nothing?" While I'm having a, uh... having a blast while listening to this, the things I'm rocking out to feel strangely dark. Sad. It's sad :( When I Come Around has never been one of my favorites. While it has grown on me, I still think it's the second weakest song on the album, behind Pulling Teeth. The effect on the vocals sounds out of place, I can't tell if it's a chorus effect or something? By that, I mean it's probably a chorus effect but I don't want to be made fun of if I'm wrong. The tone on the guitar during the solo also feels a little strange and out of place. Is it a bad song? No, I like it, but it's nowhere near the standout people say it is, at least for me. Basket Case is the best pop-punk song of all time and I don't think anything can beat it. Just the guitar and vocals with this fucking earworm melody. And then immediately, it just crashes into this explosive, incredible pop-punk masterpiece. The drums are going everywhere, like BJA is slipping in a puddle of his anxiety. Then everything calms again, but the guitar riff is going quicker. Then a sexy bass flair, and the drums do the rest. It's like the song is easing you into this building, then when you're close to the door, it grabs you from the waist, chucks you into the building and slams and locks the door, everything from the ceiling falling to the floor from the impact of the door. It's fucking amazing. Is this album one of the most thoughtful and well-constructed albums of all time? No. Does that mean it can't be one of the best albums ever made? Absolutely not. And that's it. Dookie. Shit. Crap, caca, poop, shit, dookie. I'm gonna go bite my lip and close my eyes now. Favs: Basket Case, She, Having a Blast Least fav: Pulling Teeth
It’s great but there are SOME songs I think are kind of mediocre.
Michael Jackson is probably one of the best male vocalists of all time, and even before I changed this from a 3 to a 4, I could admit that. I think I factored in how overrated the album was into my rating prior, or maybe I just was not open enough. Either way, I get the appeal, not the 2nd best album of all time(, Apple Music).
Alright background music I guess.
I enjoyed it, but the fact that it was just 5 minute long instrumentals made it feel like a chore.
This album singlehandedly changed my music taste thank you for your service
3.5 to be exact. Definitely a fantastic album with a fantastic voice, but I can tell it's not for me and that's perfectly okay. Every track here is good enough to be in my personal playlist, but not a zero skips album, if that makes sense? I'll throw on something on here every now and again but would never give it a full listen again.
Literally sounds like if someone took a group of middle school band kids and made them play Sing, Sing, Sing (Benny's Goodman version, the best version). Not mad at it being on the list, but I don't like it...like at all, besides some swing moments.
I was in awe from the third track and the last track was pretty good but this is NOT an essential in any way. Very tedious to get through all the BandLab production for an hour. Spend your hour on LYSFLAtH or even Miseducation of Lauryn Hill, or anything else.
wow
TOO LONG.
Never really been a fan of soul music but perhaps something might change after this.
Beautiful production, vocals, and harmonies. Wonderful album.
One of the best pop albums I've ever laid my ears upon.
why in gods name is this on this list
The rebel child is showing... Fun and nothing too special, as punk should be. Some may argue it's filth, disgusting, noisy, boring, garbage. To all of those people, take this middle finger and kindly shove it up your ass. 3 stars.
A bit of bad, but a whole lotta good. I would’ve preferred shorter songs though, but that’s just personal preference. Fav songs: I’m a Man, Sylvia, Glory Days Least fav song: I think it was Dishes but I honestly forgot
There we some parts where I was like "wait, this is peak." And there were some when I was questioning life. I enjoyed this one, though. Favs: What Have I Done to Deserve This?, Shopping, Hit Music Least Fav: King's Cross
This has no right to be this long.
If you forget the fact that this sounds like a mix of Sex Pistols, a printer, and a two year old fucking around, this album is actually pretty catchy. Still sucks, though. Fav song: Lexicon Devil Least fav song: Shut Down
saxophone
All things must pass, and I'm glad these two hours finally did
Fuck Old Pervert
"Start again"
Great background music, and Paint It Black bangs.
I've admittedly never been the biggest fan of EDM music, but I do have to admit that I had a blast listening to this. This may be my new favorite album over an hour long (besides Lift Your Skinny Fists of course, that album is ungodly). I haven't heard this take that often but I'd honestly say this is better than Discovery. Sue me. Solid 9/10
Got a bit boring at the end, but I still enjoyed it, even if it doesn't belong here. Fav song: Ready, Able Least fav song: Foreground
Fuck Ryan Adams but I can't deny that this album is fucking gorgeous.
Not God's gift to man or anything, but it was solid and it didn't overstay its welcome even with how long it is.
A horrible follow-up to a band's magnus opus. As someone who, doesn't entirely love, but enjoys The Velvet Underground & Nico's Self-Titled, imagine my disappointment when I actually got to playing the album. On their debut, the distortion was an interesting aspect of the album, maybe not entirely for me, but I liked it at least a bit. This album is trying too hard to be noisy, and doesn't have any variation whatsoever, besides maybe a few seconds in one or two of the songs. 1/5, was too busy sucking on a ding-dong to make it sound good :(
There were some great parts, but most of the album was just basic house music unfortunately. I can see why someone would like it though!
My reaction to this is like women’s reaction to me. “Sorry, but no” 💔
Y'all like this? Like.. genuinely?
I mean, I didn't hate it, but it was so messy that I can't see myself giving this anything above a 3. Did not need an eight minute outro.
Section 43 might be the worst song I've ever listened to
Adele's vocals have definitely grown on me with this listen, and I'm honestly questioning why I didn't like them in the first place. There we so many amazing songs on this album, the only issue was a few questionable choices in specific songs that made them kind of lackluster, I guess. Favs: Hello, Love In the Dark, Sweetest Devotion Least fav: All I Ask
Immediately, as soon as I opened 1001albumsgenerator.com and saw this album appear, I thought to myself: "okay easy five stars, right? I mean, it's the Beatles? Abbey Road is, like, a top five album of all time? This has to be good." Am I disappointed? Sure. Did I like it? Yeah. It's not the greatest thing I've ever laid my ears upon, not God's gift to man, and not good enough to make me openly it up at Christmas and not go "shit!" But it's still a Beatles album. The worst Beatles album imo is Let It Be, which is a solid 5/10. This is an 8, probably. I have no complaints about the length. It's interesting to be honest. The thing that moved it down just a tad bit were the songs Don't Pass Me By - Mother Nature's Son. Easily the most boring songs on the album. Revolution 9 is overhated and I kind of love it. Love the Beatles, please don't hurt me <3 I’m gonna go listen to Three Cheers for Sweet Revenge now.
I've never been the biggest R.E.M. fan, and I'm 100% sure the reasons as to why come from personal preference. Maybe it's the genre of the music in general, or a vocalist I don't entirely like. But I gave this album the benefit of the doubt. It's not bad, it's just not fantastic. The band has some bangers, and I'll admit that. The chorus on And I Feel Fine is freaking amazing, even if the rest of the song is.. Not great. The only issue is that R.E.M. is nowhere near an album artist. They have a tendency of just placing songs where they want to, and not really caring if it ruins the album experience because the songs before were pretty good. And that's what ruins this album for me, how it can change from some undeniable bops (like Strange, for example) to the blandest and unmemorable last four songs I've heard in a while. They're not fun, they're not memorable, and they should've been replaced. Or at least put somewhere else in the tracklist so it ended on at least a higher note? Some of the ideas weren't exactly there either. I've already mentioned And I Feel Fine, but the fast-paced energy just kind of feels like a jumbled up acoustic version of We Didn't Start the Fire (which is a killer song, tbf). The One I Love honestly did have a cool idea though. It sounds like a love song on the surface, and I was even in the middle of saying something along the lines of: "aww, what a cute love song" when I was rudely interrupted by "FIREEEEEEEEEEEEEE." It's honestly really good. That's about it. That's the end. That's the end of this review. Love you <3
Simply not for me :)
Beastie Boys should cover Danny Brown
I definitely need to revisited ITANOMTHUB sometime soon There are a few good bops on this thing, but it doesn't work great altogether. There's also a few songs I think are just kind of mediocre which sucks because the vocals are awesome sauce :( Still a solid album all around though. Favs: Lost at Birth, Can't Truss It, 1 Million Bottlebags Least fav: More News at 11
It's really low quality but it's really catchy.
La la la la la la la la la la la la
A third Dylan album in 113 days is insane. What's also insane is that this shit is an hour:13 long. The fuck? With all that said, admittedly, I did like this. As background music too. It wasn't amazing, and the uniqueness kinda dies from his earlier stuff but this is still pretty solid. Minus one point for the length.
You know the albums getting worse when the volume on streaming services randomly decreases. I've never been so disappointed. The first song was pretty good and the second song was honestly great. What happened after that? It's just so bland, kind of annoying. It feels like I've been listening to the same song on loop and I still can't pick up any melody.
Really bland and overstayed its welcome.
This is a weird one because I've been negative to music like this SEVERAL times in the past, but I still kind of enjoyed this. Ew! Slow psych rock! Acoustics? What happened to my electric guitars and keyboards and synths? I want Pink Floyd back! It's still not amazing, and I don't know if I'll come back to any of this... Ever. But I liked it more than I should have, which is what an album from a foreign genre should do. Favs: Light My Fire, Back Door Man, End of the Night Least fav: Twentieth Century Fox 7/10
"I gave you seven children and now you wanna give them back" Wow, I'm loving this! Didn't really love the first song but everything after is just great! I love his energy, I love the guitar playing, I love everything. Besides the first song. Obviously.
Yeah this album's good and all but stop trying to touch me
The entire time I was waiting for the intro to end. It's not bad though, I feel like I'm in a movie soundtrack. Funny enough, I prefer the parts without electronica instruments in this album.
Reminds me of when mom took me to an Elmo concert when I was 2 and I jumped on stage and started yelling curses at the crowd and they all joined in and Elmo tackled me and the crowd and we all yelled "OW!"
This is my first time listening to Tom Waits and I really like it! This made me laugh a ton, his voice fits the music, and the intros and interludes and stuff are engaging (even if a few of them didn't have to be separate tracks). I do think the album fell off a bit after Nighthawk Postcards (from like a 9 to an 8) but besides that I really really enjoyed this. I hope Rain Dogs is like 10x better because I think that's his magnus opus, right?
Dreams is literally my favorite song ever made
I really liked the music and the vocals and the concept but holy fuck there's so much vibrato that my chair started vibrating
The music is boring, the drums suck, the lyrics suck, everything about this sucks. -5 stars.
Wow, I literally gave this band a 4/10 the OTHER DAY, but this album is freaking amazing. The more aggressive guitars to the calmer sections are amazing. The weird synths, the details production, the sometimes kooky percussion, the calming vocals, I love love love this one! And everything just flows into each other so well. I can't even tell when something immediately changes from calm to chaos, it works like an experience. And the melodies are great, I have still have a few floating around my head. Favs: Sidewalk Serfer Girl, Shoot Doris Day, Juxtaposed with U Least fav: Miniature, No Sympathy
The only thing this helped me with is showing off that, yes, I do know what a cuíca is.
God, I really just don't like the lyrics on this thing. When they're not overly sexual to the point where it feels perverted, they make genuinely zero sense, like I'm listening to a newborn try to repeat something I said in front of its face a thousand times. The music itself starts off decent but turns to uninteresting and eventually annoying.
This is my second Tom Waits album and I thankfully enjoyed it. Waits is obviously a great and unique vocalist, and just a funny guy all around, and the music itself, even at lower points, is great. There are a lot of songs on here that I do think are just really nothing, though. The execution of them is good but it feels like I'm listening to interlude after interlude. The other Tom Waits album I listened to (Nighthawks at the Diner) had a ton of those, yeah, but they felt like they worked with the other songs on the album. I could barely tell when a song moved from one to another. Sure, they could have been the same song, but on this album, it just kind of feels like completely random interludes that have nothing to do with everything else that don't flow well with the album. Still goated album though. Favs: 16 Shells from a Thirty-Ought Six, Swordfishtrombone, Down, Down, Down Least fav: Johnsburg, Illinois
Pet Sounds is the best pop album of all time. You’ve probably heard that take before. You may have also heard different versions of it: Pet Sounds is the most beautiful pop album of all time, Pet Sounds is the best produced pop album of all time, and I’d disagree with that, that’s a stretch, at least for me. But I do think the original take is correct, that Pet Sounds is indeed the best pop album of all time, at least from the ones I’ve heard. There’s just something to this album that can never be replicated. Maybe it’s the jumbly sound of the mix, maybe it’s Brian’s vocals, maybe it’s his lyricism, maybe it’s the vocal layering, maybe it’s the instrument layering. I really couldn’t tell you. I can’t think of any way to transition this into a track-by-track but Wouldn’t it be nice to be the most adorable song I’ve ever heard? One of the few (mostly) happy songs on the album, Wouldn’t It Be Nice, is genuinely just fun. I absolutely adore songs written about stuff like this, young love. As somebody who pulls all the bitches, I can really relate to it. With that, the lyrics are so fucking good. They’re not coated in metaphor, they’re not stuck together with filler, it’s just fantastic straight-to-the-point line after fantastic straight-to-the-point line. I went to look at the lyrics to try to pick out a specific example but each line is just so damn good. A guy in a relationship that’s “too young” for true love, too young to get married, and wishing (or waiting) for the day you and your lover can be married. A day you don’t have to fear about breaking up (well, divorce exists). The pure innocence coming from the track is adorable, and it’s amplified by basic childish ways to say things like “maybe if we think and wish and hope and pray.” Also things like “we could be married, and then we’d be happy,” it’s such a normal phrase but it’s not just something you’d say to a girl if you didn’t want her to think you were an immature loser, but that’s the point, it IS immature. I love how the final chorus is kind of tension-building and then it just says fuck that, we should talk about it. The “but wouldn’t it be nice?” (“But” sometimes being replaced with “oh”) ending the choruses and bridge are just so cute, and I’m sure I don’t need to talk about it too much, but yeah the actual music is sick. Perfectly catchy melodies, things starting and stopping and perfect moments, the lush harmonies, the call-and-responses, the vocal styles, it’s basically perfect. Pet Sounds is really a grower, and songs like You Don’t Believe in Me are good examples of why. Compared to other albums coming out from this time, it’s actually pretty weird so if you’re expecting something like Revolver or Abbey Road, you’re gonna be pretty disappointed. Going into this track from Wouldn’t It Be Nice? while still expecting it to be cheery is gonna make it honestly sound kind of terrifying. But then you start humming the cryyyy to yourself, and then the verses, and then you know the whole song, and it’s gorgeous. The track builds but it still sounds perfectly full before building. And it’s not like when it does build, it’s too much, it actually feels better, like an orgasm. Brian’s vocal performance and his lyrics are perfectly looking at immature things that the narrator has done in a mature way. The lyrics are devastatingly beautiful: “I can’t help how I act when you’re not here with me, I try hard to be strong, but sometimes, I fail myself.” It feels like he’s genuinely begging you to explain why you still believe in him. There’s so many wind instruments playing things that feel a little off, which works perfectly in the song’s favor, and there’s of course the “me” note in the chorus. The last part where the harmonies are just repeating “cry” is obviously beautiful and if you haven’t heard it before, I would recommend doing it immediately. That’s Not Me, in my opinion, is the most devastating track on the album, but without the lyrics, I would think this song is about horses and trees and life and shit. Heck, you could probably think it was about that until you hear the line “I went through all kinds of changes, took a look at myself, and said that’s not me.” I used to not be extremely into this track, but I love it now. The melody is fantastic, the instrumental is fantastic, the backing vocals are fantastic, everything about it is just amazing. And obviously, there’s the repeated mantra at the end of the song, that is just literally everything: “I once had a dream so I packed up and split for the city, I soon found out that my lonely life wasn’t so pretty.” How the lyrics feel so personal to Brian but still relatable to the listener is just beyond me. I can totally see why somebody would find Pet Sounds annoying and Don’t Talk is the perfect example. Like half of the song is just falsetto. Anyway, this song is fucking amazing and gorgeous and perfect. I love the stereo mix of Pet Sounds so fucking much because it makes some of the songs feel more full, yes, but I feel like if the vocals weren’t panned like how they are on this track, it’d sound sort of off? The melody is gorgeous, the bass is loud as fuck but what it’s playing is great, and the hi-hat(?) just repeating really makes it feel more dense. The lyrics are a little basic (“We could live forever tonight”), sure, but that doesn’t stop them from being pretty. I really like “don’t talk, close your eyes and be still,” it’s so calming and almost reassuring. The last “listen” during the bridge is the perfect segue for those aweing strings to come in, I love it. It varies from time-to-time, but currently if I had to choose a favorite song on the album, it’d be I’m Waiting for the Day. The way it blends this lush, but still kind of hollow instrumentation and that gorgeous melody with an upbeat, fun, cute, catchy banger is absolutely beyond me. Straight off the bat, things snap into this chaotic, bouncy beat and a flute melody, which after TEN SECONDS, drops into this beautiful verse with these genuinely amazing lyrics. The chorus perfectly attaches to the verse like a puzzle piece that you can barely even notice the switch, the only thing that really changes is some of the instruments get louder and the, I think, oboe stops playing the same thing as the lead melody. Then, Brian says “I’m waiting for the day when you can love again” and we go BACK to the sound from the beginning. This one part would hit so much differently if even ONE aspect of it was changed, even one of the notes were changed, if one of the instruments were removed, if the vocal style was slightly different. It is done so intelligently well that it is almost incomprehensible. Immediately, after the switch-up, we’re thrown into the second verse, WITH the upbeat instrumental. It just flows so goddamn well. I think the lyrics on the first verse are a little better than the ones on the second verse but the lyrics on the second verse are so much more memorable and meaningful to me (and they’re beautiful ofc) so you need to read them: “I kissed your lips and when your face looked sad It made me think about him and that you still loved him so Baby, don't you know that pretty soon, I made you feel glad That you belonged to me and love began to show?” And then things drop AGAIN into the chorus, this so calming but feels so human, using phrases like “I guess” to get it to work that way. And then things are amped up AGAIN for an instrumental break with some backing vocals and then they drop AGAIN for ANOTHER chorus. Brian adds more falsetto to his voice to acknowledge the change from the previous chorus while balancing it with the in-the-moment aspect. The chorus ends and this layer of strings is placed beneath it, ending the track. But no. No, the track doesn’t end. Because things get bouncy AGAIN. And this point, it’s a fucking trampoline with how fun it is. It’s not these beautifully crafted lines, but these genuine statements and that honesty makes it beautiful even if it wasn’t trying to be. I’m immediately stressing out over what to say for the instrumental tracks, like this one, Let’s Go Away for a While, considering how much I’ve been dickriding the lyrics. I think it’s a gorgeous track, don’t get me wrong, but I really don’t know what to say about it. Okay wait. I really like the balance of the instruments being used. I was going to mention which ones are being used most, basically like leads, but I really couldn’t pinpoint a specific one. The glockenspiel gets its moment, the saxophone does too, the strings, the bass, the drums, it’s just so much. And it’s gorgeous, can’t forget that. I really love the little string flair at 0:34 seconds in, it makes the track really memorable. That’s it. Adding not only a cover, but a cover about being on a boat, to an album like this is a risky move, but Sloop John B does not disappoint because it’s honestly one of my favorite tracks on it. Sure, the lyrics are really fucking stupid, but it’s so damn fun, and there’s still a genuine attempt to make a great track. Throughout the track, the band switches through singers, specifically Brian and Mike Love, which works because I mean duh they’re on a boat with a bunch of people, but Mike’s voice just perfectly blends with the rest of the song. While Brian’s voice is childish, I would say Mike’s is even MORE childish, at least on this track, and for a song like this, it works perfectly. Heck, the vibe of the whole song is childish. Literally everything the beat is doing feels like baby steps: it’s either very slowly banging the snare or playing a basic beat (it does something a little weirder in the third verse but I lowk don’t care abt it). I think there’s a kalimba in the mix, maybe that high instrument is something else, but either way those are literally elementary music class instruments. There’s high instruments like flutes or piccolos, but also lower instruments which still feel surprisingly childish as well. I think there’s a bari sax panned to the left, but it’s almost stupid, playing staccato. The part where all of the instruments drop and the chorus sings different things, just to be transitioned into literally the same thing with that high-ass “hoist up the John B-” is just so unnecessary but so fun, I love it. As much as I could argue how overrated of a song God Only Knows is, I still can’t deny how GOOD of a song it is because it is fucking gorgeous. Every instrument is brought in so cleanly that you can barely even tell. The french horn, then the bass. And then, it drops where this really weird melody is being sung. The end of that melody finishes up the first verse, and it’s repeated for the second verse, which is coated with a layer of strings which REALLY adds to it for some reason. Maybe it’s because the bass gets a little louder too. The verse EASILY has the best lyricism of the whole track, mixing what could be interpreted as desperate and sad with something loving; he’s saying if he lived without this girl, the world wouldn’t have anymore meaning. Sure, it might sound cliché in theory, but the way Brian bounces around sounding cliché and still being able to make a lyric that sounds fresh is crazy: “The world could show nothing to me, so what good could living do me?” After some sort of short instrumental interlude, the vocals come back but not singing words, which weirdly makes them feel a bit more lush. Until the babababababas which can be seen as kind of funny but they’ve grown on me so it’s fine. The third verse actually opens up with what is usually the last line of the verses (could also just be called the refrain): “God only knows what I’d be without you” and I’m pretty sure it’s actually sung higher than it usually is here? For the last section of the song, it’s really just the phrase repeated over and over again, but it makes the most of it. Everything drops at the beginning, but it adds more and more instruments and layers so at first, you can barely even notice that it’s repeating the same stuff. And then, after the build-up, it simply fades out, which I’m pretty sure was just a normal thing in the 60’s but it still works. I guess it’s kinda like drinking something, the longer you drink it, the more it starts to go down, and then you stop drinking it and the taste slowly stops. That’s the best metaphor I’ve got for that. Besides the instrumental tracks, I Know There’s an Answer is honestly my least favorite on the album. Not saying it’s a bad song, I’m sure the rest of this paragraph is only gonna be praise for it, but it’s just personally the least memorable for me. Actually, even including the instrumental tracks, I’d say Let’s Go Away for a While is more memorable than it (Pet Sounds, not so much). Anyway, the baritone sax breaking the looped instrumental, which then adds a tambourine was a great move. It makes things flow way better, which this song is great at, transitioning into the chorus from the verse. During the chorus, these absolutely gorgeous percussive hits are just going fucking off, same with Brian’s vocals. The lyrics are really great too. Speaking of the lyrics, if you just showed me the lyrics to the chorus alongside the lyrics to the chorus on the demo (“hang on to your ego, hang on but I know that you’re gonna lose the fight”), I would honestly probably pick the demo, but the lyrics in that were chosen honestly perfectly fit the rest of the song. Yet another reason why this album is basically perfect, everything is done to its max. If you listen to the demo, literally titled “Hang On to Your Ego,” you will hear just teeny tiny errors or things that weren’t added yet, like some harmonies, which make it feel just a LITTLE less beautiful. In the original song, there’s NONE of that, which goes to show the amount of effort this had to have taken. And then, the chorus casually transitions to the second verse, so smooth that you can barely even tell there was a transition (which btw I love this tactic of not being able to tell the first chorus from the second verse). Then, there’s a bari sax solo. I’ve said enough about the bari sax solo. Then, it basically just repeats the pre-chorus, the chorus, and then there’s some pretty flutes, and then the instrumental loop from the beginning comes in, with some added stuff, boom: end of song. It’s a cool moment, yeah, but there’s not much to really add to it. Going back to this song a few times for this, though, made me realize how good the lyricism was, and how good the actual song was too, so I will honestly probably come back to this a lot more. I know I totally just said that I’m Waiting for the Day is the best song on the album, but honestly, Here Today might be one of my favorite songs to come out of the 60’s (</3). Even before I let Pet Sounds grow on me, Here Today was one of my favorite songs from the 60’s. It was the first song on the album, and from the Beach Boys’ entire discography, that I fell in love with. Right off the bat, we’re hit with AMAZING lyrical content. I see it as almost a contradiction of Wouldn’t It Be Nice?, maybe a grown person telling a young kid that falling in love is a mistake and to slow down, almost mocking them. It also perfectly encapsulated a time in my life when I needed it, so thanks, Beach Boys. The music of the first verse starts off quiet, but then it adds a layer of harmonies and low brass, which does help add texture to the song, but THEN, it adds more. The percussion is playing quicker and more aggressively, almost like it’s freaking out. When this happens, the lyrics also change from an acknowledgement to a warning, which I just talked about. And that really helps with the instrumental context. With these two extra layers, things fall into this sad moment, where the narrator speaks from experience, talking about how much love hurts. The only instruments in this section are what I believe is an organ and a bass, so it’s pretty fucking stripped back, ESPECIALLY for fucking Pet Sounds. Then, the bass does this weird little thing I can’t really explain, but it’s basically a transition. The vocals pull another I’m Waiting for the Day too, lowering themselves for a smooth switch. And smooth it is, because the layer of low brass and harmonies and the percussion come back in another warning: “Love is here today, and it’s gone tomorrow, it’s here and gone so fast.” The second verse starts with almost dark humor. It’s honestly a really sad line, but it’s still sort of funny: “Right now, you think that she’s perfection, this time is really an exception.” Then, at the end of the verse, we got a PLOT TWIST. In a song, a plot twist. The narrator tries to explain why they’re being so harsh, and in doing so, admits that they were the person that they’re talking to’s girlfriend’s ex. Yeah, the narrator is warning their girlfriend’s next partner. Now, it could seem like they’re trying to scare the new partner. But maybe, the narrator is being genuine, that the girlfriend broke his heart, and she’ll break his too. During the second pre-chorus, the narrator changes the lyrics talking about how “it” will make you feel bad to how “she” will make you feel bad, which makes it even more sad. And then the happy-go-lucky instrumental comes back though, so it’s aight. Then, the instrumental almost flashes, while the bass plays this thing that I can almost describe as a DJ scratch sound effect, you know what I mean? It sounds nothing like that, sure, but it almost feels related. Then, the instrumental goes off with a snare almost call-in-response, to which it stops, and then the back and forth with the organ and the bass start again, repeating the instrumental from the pre-chorus, without the pre-chorus. Which is great, because directly after, it opens up the actual chorus. It works so buttery smooth that it’s hard to explain it, so if you haven’t heard the song already, please do. It’s worth it, it’s amazing. Brian Wilson is the only person who could make the line “sometimes I feel very sad” actually sad, which he does on I Just Wasn’t Made for These Times. The song starts immediately, no intro or anything. And the lyrics are immediately depressing, talking about trying to find a place in life that’s right. In classic Beach Boys fashion, things get a little faster for only about two lines. They also do this tactic that I LOVE here, where you sing a note, move up to a higher note, and quickly move back down (“I wish they could”). It’s gorgeous. Then, things slow down but there’s more instruments added, so it doesn’t feel unnecessary. That moves to the chorus, which is that line I mentioned earlier repeated, and one added line: “I guess I just wasn’t made for these times.” This line is so poignant because of how human it is. Brian could have just said “I wasn’t made for these times,” and it’d be fine, but he added the human instinct of trying to downplay things and it works so damn well. The second verse is my favorite one lyrically, just because of how depressing it is, but it still manages to be relatable. He’s talking about “every” time he gets the inspiration, like this happens a lot. It’s like a loop, and it’s sad to see. After the second chorus, the woodwinds copy the melody to the first line of the verse, and then a theremin is introduced. Yeah, a theremin. It’s surprisingly not cheesy too. I don’t really think it was the best instrument that could have been used, but it still blends in well, and the solo’s short enough that I don’t really care all too much. Surprisingly enough, this is probably my first time actually listening to Pet Sounds (the track) in detail, and I’m finding so many little details I love. I’m pretty sure that main percussion instrument is a ratchet and I may be incorrect, but I THINK that lead instrument is a guitar? They blend in surprisingly well with the orchestral instrumentation that I don’t even process it. At 1:38 in, there’s this brief part with a percussion instrument that I’m barely even recognizing for the first time right now, but I LOVE it. But what instrument is that?? It works so well. The song is a little too short, considering it’s not even the shortest track on the album (that’s Let’s Go Away for a While, which uses its runtime really well), but it works well for the flow of the album, and it’s just fucking good. Caroline, No was my final piece of evidence to little old me’s “Pet Sounds is the first horror album” theory, and it’s honestly a WAY better reason than You Still Believe in Me imo. Mainly because of the chorus, it’s REALLY unfulfilling, but that’s a good thing. It’s supposed to feel empty, unfinished. This is added onto with how the third verse doesn’t switch into anything, but an absolutely gorgeous flute section just playing the verse melody, which fades out (eventually guiding us towards literal pet sounds). Imagine at the beginning of the track, the two percussion instruments are actually a hi-hat and a snare, right? And it’s hi-hat, hi-hat, snare, repeat. WHAT is that snare, dude?? It’s so ominous, I love it. The two things I THINK it is are either claves or a woodblock–I’m leaning towards claves–but either way, it’s pretty fucking perfect. And the delay on it, too, oh my GOD?? I love how Brian just uses any instrument ever. The lyrics are SO sad too, obviously talking about someone that’s changed that said that they’d never changed. It’s kind of funny too, because the first line is “where did your long hair go?” so it technically could be interpreted as him freaking out that his friend cut her hair because it never really adds any other metaphors like that. It’s obviously not about hair though. That’s it. That’s my Pet Sounds review. I Uhh Love you <3 Favs: Here Today, I’m Waiting for the Day, Wouldn’t It Be Nice? Least fav: Pet Sounds RIP Brian Wilson EDIT: There might be better pop albums actually
It's a fun listen. I don't really think it's an AMAZING listen and it's definitely not the best punk albums ever, but it's a fun listen. The production is really bad though. Really really bad.
Part of me feels like I should've liked this more while the other part of me is surprised I liked this at all in the first place
I assume an album sucks when I have to go to fucking Youtube.com to listen to it. And yeah, it did.
Just because he says bitch don't kill my vibe doesn't make this good
Yes, I've shit on Everything But the Girl before in the past. Heck, I gave one of their records a 10/100. That's tied for my 6th lowest rated album ever so far. That's pretty fucking low for a softy like me. But I found this album to actually be pretty enjoyable. It does drag a lot and the lyricism is still pretty meh but I expected to like this way way less. I like the added bonus track on the reissue version of this album a lot too. Actually, that might have been my favorite if it was on this. Favs: Love is Where I Live, These Early Days, I Always Was Your Girl Least fav: Goodbye Sunday
Let's get this party started right let's get drunk and freaky fly 😝
I've been meaning to listen to this album for a long goddamn time and today was finally the day I did. And oh my god. I genuinely can't believe what's tickling my ears right now. It sure lives up to the name, because this thing is so heavenly. Every song feels like a psychedelic voyage, but it still is hidden behind stuff like I expect out of shoegaze-esc music. This is amazing.
There are a few songs on here I'd consider genuinely fucking amazing but I'd also like to point out that this isn't even an album. Like 1001 albums, hello???? I'm assuming they think this is the best work in their discography which gives me a little less hope bc there are still some weaker tracks. Not bad tracks, but a little more average than everything else.
Did they put an ass on the cover because I the Strokes it to ass
-Omg Creep reference -Let’s Do It Again got my hormones going crazy so they gotta be doing something right -Sexy has got to be the most insane interlude I’ve ever heard
who who im an owl
I will never not hear Feel Good, Inc. in the xylophone solo on Gone Daddy Gone
I'm pretty sure my pea brain is too stupid to understand how good this album is but it was released on my birthday so it gets 3 extra points
live through these nuts
Doolittle more like poolittle
free bird's guitar solo alone moves it from a 2 to a 3
This album works like post-nut clarity
I feel like this wasn't made to pay attention to? Like it's good music, but it doesn't work well as the main focus, more as a backing track, and admittedly a good one.
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I finally finished! It took a while, but it was a great experience actually. I bet the chick on The Rough and the Quick would say the same.
This album would be near perfect but for some reason it chose to jump off a bridge by the end.
This album cover turns me on but you’ll never know who I am so it doesn’t matter anyway
I don't get why people are saying the lyricism is the biggest plus. Like I enjoy Paul's lyricism, and I enjoy surreal, but the surreal imagery Paul cooks up here just feels forced; half the time I wonder if he's truly talking about something or pulling words out of his ass.
Is this what smoking does to a person
Singer-songwriter without the singer and the songwriter. At least it kept me entertained I guess.
I got this on turkey day. Sucks it's not duck day, it'd be funnier. Now it's not funny. Now I'm sad. Good album.
This thing has some of the nastiest riffs I've ever heard in metal, but the album tries to make the riffs the main part of the song rather than a building block of the song, and the rest of the song feel a bit half-assed and in some cases unengaging.
His voice works so much better with more instrumentation than one guitar and it 100% messes with the first half's enjoyability. Judas!
Holy shit holy shit holy shit I've listened to Love Deluxe and I will praise that album to death as well. I'd honestly give it 5 stars, despite not coming back to it very often. But this, THIS is probably even BETTER than Love Deluxe. It's vibrant, the storytelling and lyricism is S tier, the singing is amazing, the backing vocals, the saxophones, the SMOOTH beats, the crisp production, EVERYTHING EVERYTHING EVERYTHING about this is just an entrancing and excellent work of art.
Last time Phil Spector gave me a Christmas gift I woke up a changed man Phil Spector sure did kill it here Truly an album to die for It's almost as if this dude can do nothing wrong You know I would love to listen to this on Santa's slay Sometimes I feel like I'm in Heaven hearing this This joke is kinda dying out ngl I think I'm just gonna kill it off Merry Christmas 2025 <3
My Icelandic diva never fails to blow my mind at least once an album. While I don't think it's her best, I don't think it's the most consistent thing in the world, there are some INSANEEEEEE moments (Where is the Line?, Mouth's Cradle, Triumph of a Heart). The fact most of the album is just vocals is also just insanity for 45 minutes.
I feel like I'm in Frozen
"Party Girl" and the song is slower than a virgin in bed
"Well, a question ain't really a question If you know the answer too" That actually had me thinking, I can't lie.
Sex on Fire is one of those songs that feels like a classic even off of first listen
its all abt dat lasaaaaaaaaaaaaagnaaaa baby
Whoever wrote the interludes on this album needs to start a career in comedy ASAP. Highest three stars ever, just not four.
I Only Said may have the catchiest single melody of I’ve ever heard in my life
Review I wrote a few months ago for this album: There’s nothing harder to watch than a person going insane. A song I’ve praised in the past, Sleep (MCR) revolves around this concept, and it’s one of, if not, THE harshest song I’ve ever heard. Past me wanted more of that. More of that apathy, that hatred, that emptiness. And perhaps exactly what I wanted was somewhere I’d checked before. Plenty of times actually. Heresy and Mr Self Destruct were in rotation pretty often. Closer would get some time in the light too. Then, it was Hurt. Little by little, this thing latched onto me like a leech. Like a tiger slowly stalking its prey. Then, I gave it another listen. It was good, but still not the best thing in the world. And then, I got drawn to it again, and again, and again. Like a moth to a light. Like a junkie to a pill. And soon, the pieces began to fall into place. Nine Inch Nails’ 1994 album is a rough journey. It’s a creak late at night, a monster under the bed. Something that demands to be silenced, yet still keeps your interest. It’s a devastating story about the fall (or the downward spiral?) of a man. It is deep, it is lonely, and it is absolutely disgusting. It’s something that resonates with you, leaving you alone with the skeletons in your closet. Here goes: The Downward Spiral. Mr. Self Destruct - Opening with the sound of BEATING, the album opens up like a book, crashing us into this angry, perverted character. This isn’t the narrator himself, but some compartment of his mind, the inner temptation, lust, desire. He compares himself to a lover in a bed, the first of many sexual lines, but it also pours syrup onto the pancakes: this dude is a weirdo. He’s scary, he’s intimidating, he’s yucky. The track reads as an introduction, and a FIRE one at that. It doesn’t ease you in, it shoves you right into the action, making the next song feel like the true “beginning” of the story. Another album with something like this is American Idiot, in case it’s not clear what I’m trying to get at. This song feels claustrophobic. It almost FEELS like you’re being seduced against your will to do something very bad. And it proves to be very bad indeed with the chorus. The chorus shows you what the album is capable of, what the palette will be like. It is insanely reliant on shock factor. When I spun this album for the first time, I was in complete awe. It is CHAOTIC. Chaotic, it’s loud, it’s insane. Trent’s screaming is a fucking fantastic crux here too, it feels like he himself is rising those distorted chords and then dropping them back. It feels like a roller coaster that’s constantly going up and down. The slingshot into the second verse is done great as well. It’s more shaky, more exposed. What’s the point of being quiet(er) again if you already know this shit isn’t gonna be quiet? Your seatbelt’s already on, your cash has been given away, your kid’s already crying: you’re going down this ride–this spiral–no matter if you want to or not. The second chorus doesn’t open up some secret trapdoor into a dark, quiet place. No no. It grabs wherever you were, and just presses delete. No transition, no special effects, no glitter and confetti. Just sweet, sweet silence. And a whisper. Two actually. One repeating “you let me do this to you” and the other saying “I am an exit.” Both are equally spine-chilling. “It,” AKA Mr. Self Destruct, compares itself to an injected drug. Self-destruction is a dictator upon a throne. Some may see past it and not chase it. Others bow down and worship. Eventually, the glass cracks, and Mr. Kill Yourself is screaming at you again. A nasty instrumental and harrowing vocals drag you towards the chorus just one more time. But he gets too carried away. He repeats it. This time, some strange noise, dissonance, fog, whatever it may be, is covering everything, flooding up like mud. Mr. Do It No Balls himself is caught up in this. Now, connect that to a man with suicidal tendencies. They take up everything. Each brain cell is walking around a mirror maze with a “Mr. Self Destruct” on every reflection there is. It takes over like a virus. It’s terrifying. Just to drop you into some strange noise that obviously represents something very very bad in nature but let’s be real, we’re just waiting for Piggy at this point. Piggy - This track somehow manages to feel like a break while also not being calm. Actually, it’s terrifying too. It’s very hard to dedicate an extensive deep dive to, but it drops us into the world of the ACTUAL narrator: some fucked up dude. He’s talking to some former friend, one who silently fucked him up without him realizing. He’s angrily looking back on everything, basically just saying “hey pig ya fucked me up.” While the… nickname(?) of this douche, Piggy, is very clearly referencing Richard Patrick, “piggy” is a great term here. It’s rude, it makes this dude seem yucky and below the narrator. And that’s the point. The narrator literally opens up with “Hey, pig, yeah, you” and goes on to repeat over and OVER again “nothing can stop me now ‘cause I don’t care anymore.” He’s trying to tell Piggy that he’s superior in every way now, the crashing drums (similar to Trinidad off of Getting Killed btw if you’re looking for not niche recs) implying something. Perhaps the opposite. Perhaps violence. It’s a very menacing song. End rant. Heresy - As much as we respect religion, us atheists need a little something that screams “you’re fucking stupid” every now and then. It feels like I’m being spoonfed fucking Wing Stop right now, everything I want being handed to me like some sort of trophy. “He dreamed a god up and called it Christianity” is a motherfucking bar if I’ve ever heard one, man. Slowly but surely, we’re going down an iceberg. First, you have hatred towards someone. Then, it snowballs to a lack of trust in everyone and everything: including religion. You lose your faith. This may show that the narrator was once a man of God. God being “dead” is strictly an internal battle: the IDEA of God has died to him. If the narrator rejects God’s existence, how can he believe that God is dead? The following line is very strange to me. “If there is a Hell, I’ll see you there.” Feels a little bit edgy, just saying “I suck and I’m going to Hell” but really think about it. What IS he trying to say here? He does not believe in God, and thus he does not believe in Hell. But also he’s saying “them,” AKA everyone, mainly Christians. Perhaps he’s saying the sole belief that there is a god is worthy of eternal suffering. Maybe he’s saying we all fall into this downward spiral, our “Hell.” Maybe “Hell” to him is a placeholder name for the place we go where we die. One dark, miserable. Mental torture. I digress. The instrumental section of the song does not feel like an instrumental section at all. The industrial instruments are going bananas, but it feels like they’re bouncing something off the walls: vocals? Like they’re being drowned by the instrumental, like people burning in the lavas of Hell. Or whatever the fuck Hell is. There is no break after this section. It just shoots you back into the chorus, which is basically the instrumental section with vocals. It feels like Trent being zoomed in on, as he’s burning in this lava. Repeating this sentiment as he drowns. That brings us to another fire line: “drowning in his own hypocrisy.” While, yes, it is related to God, I just thought it was kinda interesting that the narrator would soon follow suit. Following suit would then make him a hypocrite, which would contradict his ideas of hypocrisy, thus making him a… hypocrite. The egg and the chick. March of the Pigs - Yeah, you know how we called that one filthy motherfucker a pig? Well, now EVERYONE’S PIGS. EVERYONE SUCKS, EVERYONE’S GROSS, I HATE EVERYONE, FUCK YOU AND FUCK YOU TOO. Seriously, though, I’ve never seen anyone compare Piggy to March of the Pigs and it’s like HELLOO??? T H E A T R I C S, guys?? The fastest song on the album and in the band’s discography in general, coming in at a WILD 269 beats per minute. This is also another difficult one to touch on because it is meant to be pure and utter societal hell. There’s 3 main sections which I will call: the coocoo bananas section, the kick drum section, and the piano section. The coocoo bananas section has a lot of screaming, a lot of mocking. It’s basically the narrator saying “ooh boy look at me I’m a person and I suck,” very obviously sarcastically. EVERYONE is ruining the narrator. The kick drum section has the narrator actually retaliating, albeit sarcastic still. He’s “peeled his skin” to feed the pigs’ thirst for blood. The piano section, while being practically nothing, is interesting. The question “doesn’t it make you feel better?” really adds to this sense of repetition. The bottle is never full: nothing is good enough. The song repeats these parts before closing on an extended version of the piano section with added lyrics, namely: “The pigs have won tonight.” Battles are fought day after day between the narrator and the pigs. He’s lost time and time again. And truly, there’s no hope the narrator will EVER win. Just the acceptance that this is the way the night will go, try your best tomorrow. It’s harsh. Closer - WOOOO LETS GET DRUNK AND FUCK BABYYY TAKE YOUR MOTHERFUCKING BRAS OFF TAKEEE YOUR MOTHERFUCKING UNDERWEAR OFF CUZ WE ARE GOING TO TOWNNNNNNN The infamous sexual, explicit, and for lack of a better term: “fonky,” Closer. This song reads like your idea of sex growing up. When you’re young, it’s something dumb. Something for people to have fun with, but not something serious. Certainly not something for me. I’ll never have sex, I’ll never watch porn, I’ll never jerk off. Then, the buttons click. The wires spark. You can still have fun with it, but it’s also something that can be seriously over-abused. Something that feels like it HAS to be. There’s some form of sensation you chase with the idea of it. Ah shit. Now, I HAVE to have sex, watch porn, and jerk off. Constant horniness is a topic that doesn’t get brought up enough when it comes to going down some form of spiral. It’s actually something very prominent. Say you got broken up with. They ain’t there no more, but you got yo mind and yo willie. Go crazy. Bad day? Lay down and rub a lotta bit out. The repetition of “help me” is a bit of a double-entendre. The sex is helping him, yes, but it’s also a plea. “I want to stop, help me.” …But nobody came… Well I mean he did but besides that The vocal performance on literally every single “I want to fuck you like an animalllll 😛😛😛” is fucking PHENOMENAL. It almost sounds like he’s trying to censor the word “fuck.” Perhaps in a playful manner, but to me, it simply just fits. “You get me closer to God” is a bit funny here. First: what God? But also, it could mean two things. Getting closer to “God” like: omg sex is good I think I’m in Heaven. But also he’s literally gonna commit suicide at the end of the album. Foreshadowing. I also just wanted to point out: at this point now, he doesn’t like basically anyone. Whoever the “you” is doesn’t matter, the only thing that matters is that there IS a “you.” Sex > people. This ALSO could tie into a future line: “I want to fuck everyone in the world.” No matter who it is, it’s sex, therefore, it’s good. The closing lines to both of the pre-choruses also very clearly showcase that desire for distraction. “Help me get away from myself,” “help me become somebody else.” And when that GROOVY ass synth comes in at the end of the song, and it just builds and builds and builds and builds. It’s like you’re experiencing all of the orgasms people have had while listening to this. Seriously, throw yourself a bone and listen to it again. It’s phenomenal. Ruiner - The flip from Closer to Ruiner is great honestly. Smooth transition that helps the flow of the album immensely. I’m always waiting for that piano to finish just so I can hear the beat of this track start. Strange that Trent doesn’t feel like this song isn’t “right,” it feels like one of the more dense tracks here. The first verse here is very interesting because at first glance, it doesn’t seem to fit in. It’s something said to an audience of the “pigs,” not the Ruiner character(?). But yeah, that’s the point. The pigs and the Ruiner go hand-in-hand. Obviously the Ruiner isn’t a real person, it’s a thought process, and the pigs will very much add fuel to its fire. With that said, it’s still kind of a confusing verse. The first lines seem to address the Ruiner while the last ones are a bit more vague. Perhaps the lies are something like “I’m the goat” which the narrator is denying, key word: DENYING. The Ruiner is in fact the goat in this scenario. The pre-chorus is my favorite section, this garbled mess of screaming, singing, and distortion. The lyrics in this first one are pretty dark shit too. He calls the Ruiner people’s ONLY friend. Something meant to drag you down is your closest ally. He sticks to his title, ruining people’s happy mindsets: “the raping of the innocent.” Very dark imagery but works fantastic here. Trent states he’s “wearing (the Ruiner’s) disease.” Like symptoms. You show them. It’s saying the narrator is clearly not doing too hot. The second pre-chorus has my favorite lines of the song and maybe even the entire album? I dunno: “Maybe it's a part of me you took to a place I hoped it would never go And maybe that fucked me up much more than you'll ever know” Very clear lyrics, but they cut very deep because of that. The mantra chorus is obviously very sexual, but it feels almost astonished. The Ruiner’s got a big ass dick? Obviously it’s a metaphor, representation, whatever. Also ha, there’s a guitar solo in this song?? It’s hard to call it a solo, it feels like it’s not there. The entire section feels like a recording of a recording, it’s not very center-stage, especially with the panning. This transitions into a NASTY build with whispers saying “you didn’t hurt me, nothing can hurt me, nothing can stop me now.” Obviously it brings back the line from Piggy, #1. But it also feels like it can be told from both the narrator and the Ruiner? The narrator could just be in a stage of denial. The Ruiner could literally be saying the narrator’s protests, the whole song, meant obvious jack shit to him. Coin with very interesting sides. The Becoming - Besides the instrumentals, I admittedly visit this one the least. Perhaps I’m biased because of the time signature. Perhaps it just doesn’t leave me becumming as much as the other tracks. I dunno. How do I talk about this one? 😭 The instrumental is very hellish, obviously. It’s literal screaming. There’s also slight builds in tension. After every little section, a little something is added. Sometimes, it’s taken back. Sometimes, it’s left to add to the texture. The lyricism seems to be about drug abuse and how it’s turning him into some form of zombie. He’s slowly but surely growing number and number. He’s “broken and sore,” but he’s not necessarily beaten. Physical scabs (possibly a metaphor too for track marks) lay about, but there’s no reaction to them anymore. The narrator can TRY to get away, but he’s already too deep and he really doesn’t care all too much. He doesn’t necessarily want it to happen, but it already is (“it’s all too clear”). The [WORD] AWAYYYYY part is just very memorable and I like it. I felt like saying that. Ok. Fuck off. An almost cute melody accompanies an acoustic guitar. It doesn’t feel cathartic anymore, but still intimate. And then, of course, you get faked out and now there’s distorted industrial instruments going haywire, literally sounding like they’re being burnt to death. The instruments are almost harmonizing with the screams from earlier (which are still around). The outro mantra is interesting. It could be the narrator fighting off his urges to STOP. He needs the drugs. He thinks no drugs could lead to his death. Perhaps it’s the narrator having a change of heart. The squeakier vocal that comes in could be mocking him. This theory also dips its toes into the next song, so it’s probably the one I’m gonna tag along with. The mocking sound makes sense too, because the next song has kinda two sections. Rough explanation before we get there: Section 1 - I Do Not Want This Section 2 - I Do Want This The “noise” inside his head makes him crave the drugs, the sex, the abuse. This theory is also IRONY, because if the squeaky vocal is the voice inside his head, it is the voice inside his head damning the voice inside his head. I Do Not Want This - Hmm. I have a conspiracy theory about this one. Am I wrong in saying the first half of this track feels cliché? Not the spoken words sections at all honestly. But everything else really really does. “Well, you know how this world can beat you down” “I fear I'm the only one who thinks this way” “You don’t know just how I feel” “There really isn't anything, now, is there?” My little theory is that that’s on purpose? Unlikely, I suppose, but it’s just interesting to me. Because the second half flips the entire concept on its back. This first half is literally him saying “I do not want this pain” and the second half is him saying “I need it.” Four lines. Repeating. Over. And over. And over. And over. He wants to be omniscient. Almost god-like. Also, interestingly enough, he wants to “fuck everyone in the world.” It seems edgy at first but that line’s always stuck with me. He doesn’t say every GIRL, he doesn’t even say every ADULT. He wants to fuck EVERYONE in the world. That is DISGUSTING. And that’s the BEAUTY of it. All of these requests, aimed at no one, begging just to feel something. Anything. To feel like a being, an existing, living, breathing being. To do something that matters. It’s yucky, yes. But the song feels like a necessary pivot. To show how deep the narrator is. Now, he WANTS to stop, but also doesn’t. A contradiction in his mind. Very, very human. Which makes it sadder, of course. Big Man With a Gun - ME AND MY FUCKING GUNNNNN ME AND MY FUCKING GUNNNNN ME AND MY FUCKING GUNNNNN ME AND MY FUCKING GUNNNNN We needed a bit of a party break honestly. And it’s a greatly executed one as well, because this (and I suppose the latter half of the last track) is where the narrator’s mind snaps in half. The ugliest part of a downward spiral. Pure, genuine insanity. He wants to fuck people and kill people. “Just for the fuck of it.” It’s psychotic behavior. The screaming of “shoot, shoot, shoot, shoot” doubles as not only literal shooting, but an ejaculation metaphor. I feel like I’m getting lazy but what the fuck do you want me to add lmao? The outro is definitely my favorite part, it’s just so fucking catchy, no matter how deranged it is. I’ll never not jam out to that shit. Uh End segment I suppose? A Warm Place - “The best thing about life is knowing you put it together” I am not lying when I say that this was my first time ever touching this album. I was listening to some playlist on shuffle with the ENTIRE album on it, and this song popped up. I loved it. It left me looking forward to listening to the full thing. Imagine my surprise. And you know what, it is very pretty. The melody(?) building up just feels so calming, almost hopeful. But at the same time it feels like it’s holding some despair underneath. I could see it being played after a bad dude is defeated by the good dudes, the dust has settled, and the victims are being laid to rest. It also makes me think of that one game. What was it called? The daylight portion of the game No, I'm Not Human. Fantastic game by the way. I’ve only watched it, but I’d recommend playing it. It’s gut-wrenching honestly. Okay enough one-to-one. Let’s get back to the bangers. Eraser - It’s honestly kinda strange this song was put BEFORE Reptile. I don’t think it was a BAD decision, but the song literally ends with the line KILL MEEEEEEEEEEEE repeated and The Downward Spiral is him literally shooting himself. I think Eraser still works with the flow, the beat reeling us in works well, but Reptile conceptually makes more sense to me. This song is insanely underrated honestly. I get it’s mostly instrumental, and sometimes there just isn’t much to talk about with an instrumental. And I’m stuck in that same baby swing, believe me. As much detail as there is in this instrumental section, I don’t exactly know how to put those thoughts into words. It’s mostly just “this part sounds cool.” Okay? Which part? When? I don’t know. How would I pinpoint that with just words? I get it. But that part with the vocals is absolutely mind-blowing. The build beforehand isn’t much, but it drops anyway. There’s ticking sounds on both ears, almost like a bomb about to detonate (worth ittt). He’s talking to a “you,” possibly a girl he’s using for sex. Ok. LOSEEEE MEEEEEE HOLY FUCK This section is insane. It is just genuine terror. It is one of the biggest examples (to me) in music where it feels like they are living this experience while singing the song. The screaming just sounds so fucking troubled, helpless. And the “KILL ME” part doubles down on this. I am not kidding when I say I feel genuine sympathy towards that fucking narrator. That shit is actually terrifying. The screams, once again, just sound so SO tortured. It’s like watching the dude being lifted by a rope in Hell, dragged to a ceiling of lava. The screaming slowly gets drowned out by the instrumental, the man is slowly getting eaten by the liquids. It’s honestly devastating and nearly hard to listen to. With that said, of course I listen to this shit EXTREMELY often, it’s like an addiction. But take my word. Reptile - While Closer was the album dipping its toes into the concept of constant need for sexual gratification, Reptile is the album painting itself in it. There is no more fun, funky instrumental. There is no cheeky lyricism, no facade. This song puts every disgusting bit of sex onto a pedestal. The opening line here is fantastic at setting the mood: “She spreads herself wide open to let the insects in” So many emotions and ideas drip from that line: dominance, sperm, self-destruction, a corpse. The insects feast on her “trail of honey,” female ejaculate. This song is also the narrator getting what he wanted in Closer. In Closer, he wanted to “fuck her like an animal.” Now, she’s calling this girl a reptile, obviously a type of animal. He’s not the only fucked up person in this sex. The girl (referred to as a liar, a whore later) has had sex with countless other people. Maybe she’s a prostitute, maybe she’s just a swinger. Really, who knows? The chorus is near terrifying; it’s something you wouldn’t play for something you’re trying to arouse. It’s TOO inviting, TOO horny to the point where you know something bad is around the corner. The interlude adds a reverb-drowned almost regal sound. It adds to this layer of dominance and territory: do NOT come over here for anything. This song is just a birthday cake of dominance, layer after layer. It is purebred insanity. The second verse claims that their sex is so out of control that spiritual beings–devils and angels–are afraid of it. Angels literally bleed from it, devils highly praise it. It also adds this nasty guitar riff, similar to Rx Queen’s (Deftones) bassline, which I love that bassline so obviously I love this riff. The verse takes a bit of a turn in the latter half, however. “Need to contaminate to alleviate this loneliness” He’s claiming that he now needs this to feel better. There is nothing he can do that will make him feel better than being a grotesque amalgamation of his past-selves. He claims he’s aware the “depths he reaches are limitless,” but he almost can’t change that anymore. He can’t break the cycle, he can’t beat the machine. He is–to him–trapped here, trapped inside of his own lust. Ouch. Another interlude walks in as the second chorus drives home, and this one is definitely the strangest of the two. A sample from The Texas Chainsaw Massacre plays where two characters (one of them is definitely Kirk, the other one comes up as Pam but I don’t know how to fucking fact check without watching the movie) are walking down a tiny hill, and one of them falls down. Very normal scene. It was also a very fitting choice though? Replay the clip: https://www.youtube.com/watch?v=9bkBXMjrQ_0 with no video and for the most part it sounds like sex. I always thought the audio was of sex, maybe not ACTUAL sex, but an orgasmic act. Side note, one of the people in the comments said: “always thought it is sample from some porn,” which would have been insane. Honestly, a good idea too. One day, I’ll make a hit and sample a porn video I’ve been obsessed with and force people to find it. Hopefully, they don’t go down a pornified downward spiral or anything. What was I talking about? Right. That interlude definitely reads as orgasmic. Could also be some form of pain, considering the narrator doesn’t seem to be sure of the difference anymore. But as the interlude goes on, and adds this weirdly calming instrumental, invoking the same feelings as A Warm Place. Honestly, Reptile and A Warm Place feel a little similar to me. It’s hard to pinpoint why. Maybe that means my warm place is somewhere it shouldn’t be and I need to seek therapy or something. A Warm Place is considered by some to be a moment of reflection. Perhaps this part is another one? The tone switch gives you a false sense of hope. I dunno. I don’t really read A Warm Place like that, but to the people that do, is that what y’all think? The third chorus repeats once, moving up a bit higher for two lines and moving back down, adding to the insanity of it all. But there’s also a backing vocal added. I’ve tried tying it into an orgasmic, but really, it is very clear to me he’s rejecting insanity here. He doesn’t want to go, he’s reflecting on everything, he wants to change, but he’s literally a tree stuck in the ground at this point. Nowhere to go. Stuck here, until eventual death. The Downward Spiral - After so, so long, of continuous pain. One single decision. One single moment is the end all, be all. An acoustic guitar takes over the Closer piano leitmotif. While Closer’s wasn’t exactly full either, the rest of the song was. The rest of the song felt fun, so at least the piano section was in the same ballpark. Ruiner is literally Closer if you scraped out all the fun from it like a pumpkin. Ruiner was empty, and now this song is too. There’s one sound on this song that sounds like an eraser, it’s right before the switch. Fitting, but also disturbing. Feels like the end of Communist Daughter (NMH), just the sounds that were hiding in the background without you even registering it. Then, the switch builds to screaming and storytelling. The screaming represents the narrator’s entire life, perhaps flashing before his eyes. The storytelling I feel is obvious: the narrator killed himself. It’s insanely distorted, it feels like a black and white video of every stupid thing the narrator’s done on display for the world to see. The narrator of this song, likely the Ruiner, literally says “bang!” to say that they shot themselves. It’s nihilistic, it’s apathetic. Such a big decision for one person is such a small decision for the rest of the world. You’re really just another number. The Ruiner here almost praises the death, calling it a solution. “A lifetime of fucking things up fixed in one determined flash.” Then, things switch to the narrator of the album. Again, the Ruiner is really just another part of the narrator’s mind. It reads as a bit of a reminder. It also tells us that the narrator regrets nothing he’s done. He doesn’t try to cope, to get out of it. He simply acknowledges: “Everything's blue Everything's blue in this world The deepest shade of mushroom blue All fuzzy, spilling out of my head” Hurt - My favorite cover of Johnny Cash’s “Hurt.” Seriously though, the amount of times I have to tell people Johnny Cash didn’t make this song is almost irritating because he’s always credited for it simply for making a cover. Plenty of people make covers of songs. Is it a good cover? Yes. But why is he being attributed to it? Opening with the lyrics “I hurt myself today to see if I still feel,” this is immediately 100% the saddest track on the album. Most people, including me, view this as a form of suicide note. There is a garbled sound in the background, mixed with a guitar that varies in dynamics, making it feel more real. The guitar works really well with the vocals, it’s almost a call-and-response type of thing. “I focus on the pain, the only thing that’s real” When you hurt yourself, everything is in your head. The catharsis. The anger. The only thing that truly exists is that you hurt yourself. A cut, a mark. It’s almost existential and extremely nihilistic. In the narrator’s last moments, he wants to forget his past, the drug abuse, but he can’t. No matter what he does, it already happened, and he can’t get that out of his head. The pre-chorus simply asks “what have I become?” It’s one of those rhetorical devices in songs that just works. Through everything, he ruined his own life. He made himself into this addictive monster. It is entirely his fault. And that shit hurts. The second type this line is said is performed really uncomfortably, which always hits me like a brick. The narrator is accusing himself of everything. No one wants to be with him because he hurts everyone. His life, what once started as a bright grassland, has turned into simply an “empire of dirt.” He’s nothing now. Worthless. Dirt could also be a metaphor for heroin but I personally don’t want to associate this song with drugs too much. Even the needle line, while obviously a drug line on the surface, could be a representation of self-harm. The song chorus adds these pounding instruments. Drums that make this feel like something important. A slight sliver of hope. No one was there with the narrator, but YOU. The listener. YOU stuck with this man this entire time, YOU got to watch him change into this mess. Don’t you feel bad? Don’t you feel emotional? YOU cared for this person, so the album will impact YOU. It’s like someone you know actually committed suicide. The way the album puts this into music? Light years beyond me. The thumping continues, but the vocals hush, reading out what are usually considered THE lines from the album. It’s the centerpiece of the whole thing. The crux, the thesis. Misery and hope shoved into just four lines: “If I could start again A million miles away I would keep myself I would find a way” If there was any way to break time’s back, he would take that chance. It’s a really honest sentiment and feels really personal. Everyone has a time in their life where things begin to fall apart. Where everything falls out of your hands. Perhaps some form of spiral, albeit usually not this hard. But that’s the point of the album: you don’t need to go clinically insane to relate. It shows how people cope and tells a story of the darkest examples of it. That’s what connects to the listener. That’s what makes it feel so deep. The album closes on distorted power chords, simply wiping everything else away. At the end of the day, reading the note aloud doesn’t bring the narrator back. He’s already gone. Emotionally, another story could build off of this. "When one door closes, another opens,” if you must. But at the end of the day, the narrator’s story is just over, and that is it. The Downward Spiral is a tragic album, one that sits in the back of your mind constantly. It serves as a reminder of how easy it is to snap. A protest towards influences such as egocentric people and drugs. And really just a warning. It’s an extremely grand statement, and insane that the band was able to pull it off as well as they did. With that, this review is coming to a close. Thank you for reading mi loves <3 Favs: Mr. Self Destruct, Ruiner, Reptile Least fav: A Warm Place