Look I’ve only taken a spin at one full album by The Cure and there’s a reason this one is it. It’s so rich and tremendous in scope while the melodies and tones feel like a fragile flower. And yeah, it’s dated, but not in a way that hurts. “Plainsong” and “Pictures of You” still hold as one of the best 1-2 punches to kick an album off, ever. Whole album is shoegaze before anyone really knew what it was, which also, see The Cure. But still the arrangements going into this are so much deeper than anything they did before or after. Lovesong is still such a sneaky great dark love song. Robert Smith had a way of making love songs or pop songs desperate, sexy and sinister at the same time. Annoying when they play it on the radio all the time but perfectly placed in the album. Lullaby is a masterpiece of gothic horror, bless you Robert, you absolute weirdo. Fascination Street is the closest to metal The Cure ever got but hot damn is it fantastic. One of their best. Also the way that the album just continues to descend into darkness and loneliness and despair - yes there’s some same-iness but there’s a concept here and I dig it. Someone could score a film to this album and it’d be pretty damn good. OK I’ll admit once we hit “Same Deep a water as You” it’s a little samey, things moving a bit slow. Second half drags though Robert is a desperate sad boy. “Homesick” is lovely though. And “Untitled” has its moments. The first half is so solid; the second wanders off instead. But still some of the most lush, intricate arrangements The Cure would ever do.

HA. My father’s love of classic rock has led me to this moment. First of all, AC/DC was always better with Bon Scott at lead vocal, so this album, while solid, doesn’t scratch the itch that the 70’s albums do. First of all GOD the double entendres are a lot. It’s like Angus and crew wanted to make a whole album of “Big Balls” and then a couple of solid rock songs. If you ignore the lyrics, the riffs are still really good. Angus Young is one of the few rock guitarists who had his own tone and feel, even if it was bar rock supreme. “Hell’s Bells” is still a fucking great opener; “What You Do for Money Honey” has awesome riffs and chorus. The second side has a lot more impact than the first though - starting Side 2 with “Back in Black” and “You Shook Me All Night Long” is inspired. One thing you notice on listening deeply is they really beefed up the production - you hear a lot of buzz and noise on the Bon Scott albums and this sounds pristine. And for AC/DC, I don’t think it’s a good thing. This just misses how propulsive and powerful the band was in the 70’s. Beyond just the hits, the band straddled the line between punk and arena rock, and this album firmly put them in the latter. Still, “Rock and Roll Ain’t Noise Pollution” remains one of my favorites of theirs and a consummate album closer. The slow build, the crowd effect - it’s a fucking awesome rock tune. And a fitting tribute to the lost rock legend at the front of the band. I just wish the whole album had that vibe.

It’s hilarious I’m listening to this after everyone has aired their grievances, lol. Reading into this a bit it’s objectively hilarious that they picked this as part of the Stones’ canon. This feels like them desperately trying to find their voice. I actually love “Mother’s Little Helper” as a satire of how much speed had saturated normal life, it’s genuinely good and a decent tune. And then, abject idiocy. This band wrote some legitimately great tunes what are they doing with “Stupid Girl”? “Lady Jane” is begging for someone other than Mick to sing this song. I feel like Brian Jones thought this was a good idea but Mick is the absolute wrong person to sing this tune. The music is kinda gorgeous though - almost gives the same impression as “Golden Brown” by The Stranglers. “Under My Thumb” still slaps with the overfuzzed bass and the marimbas, which is the only saving grace cause yeah what in the actual fuck were you thinking, Mick. Some of this is almost worse than the more objectively criminal lyrics because it’s sung like it’s absolutely ok. Blurf. “Doncha Bother Me” is just the Stones doing their early blues schtick with a few more bells and whistles but like - they did so much better just two years later, why is *this* seminal listening? “Going Home” is a snoozefest after the first verse and there’s 11 minutes but OK. I’ll just go listen to Ten Years After jam on “I’m Going Home” for 11 minutes at Woodstock instead. Anyway while they’re fucking around I will say - there is an element of this that is fascinating to hear a band figuring out their sound. However I would not call it something that’s required listening; just interesting for fans of the band itself. Brian Jones is doing so much heavy lifting here. They’re still going with this bullshit jam god bless them. What trash. “Flight 505” isn’t terrible, though it’s way overproduced with the organ - it’s indicative of a ton of the problems with overproduction on this album. They don’t have a George Martin to tell them “no that will sound bloody awful boys”. Also lol they just wrote a song about crashing a plane into the ocean. Cool, great ending. The fucking rich irony of writing a song like “High and Dry” after being an absolute fucking monster the rest of the album. “Out of Time” is the second legitimately good song on the record, the doo-wop skewering works and the harmonies actually work. Mick’s range is actually on display here. Even if it is about telling a woman she’s frumpy and bad because that seems to be the theme of the album. Boys. The song ended a minute and a half ago. C’mon now. Again THE IRONY OF SINGING THAT IT’S HARD TO BE ALONE. GEE I WONDER WHY. I do love “I Am Waiting”, a genuinely beautiful song with incredible harmonies and a gorgeous sentiment. “Take It or Leave It” is also incredibly solid, damn did you figure some shit out? Some legitimately great tunes here at the end. Nope there we go with another gaslighting song. Fuck off man. I can think back to what a fucking sack of donkey shit you were the rest of this album. Christ what a spiteful album, except for a handful of gorgeous tunes.

Hell yeah, the album where Zeppelin let loose for a bit. Led Zeppelin was the first band I was ever like “whoa you can do this with music?” band and they’re still an all time fave of mine. This is a weird one since it’s an album and a half and then some rarities, but it’s a band who had burned so bright so fast and then just wandered down another path for a second half. This album is the peak of them just being like “hey what else can we do besides blues”. Said a lot of this in the chat but this is an album of extremely high highs and extremely mid lows. The songs that I love from this album are some of the band’s best, and then there’s a lot where I wonder if it could just get released later on the box sets. “In My Time of Dying” is still Top 3 of their work, just absolutely blasting blues better than anyone of their era. So dark, so hardcore, so punchy. John Bonham is KILLING it on the drums. It’s truly an incredible tune, one of my faves. Also on my good list is “Houses of the Holy,” “Down by the Seaside,” “Ten Years Gone,” and “Black Country Woman.” “Sick Again” gets an honorable mention because what a fucking riff but yeesh the lyrics. Down at the bottom are “Trampled Under Foot,” “Night Flight,” and “Boogie with Stu”, but that’s splitting hairs because I’m still bobbing my head to all of them. Anyway, I can’t fully divorce the nostalgia and vibes of Zeppelin, but this definitely isn’t their peak, and I totally get some of the lower ratings that’ll come.

The sheer level of Dad Rock™️ has been off the charts but the one note here is we have something a little different to listen to. Some origins of metal here even if it’s DEFINITELY dated. First of all, shout out to the organ running through a rock amplifier. Such a good sound. “Highway Star” is absolutely predicting Judas Priest and Iron Maiden, though with a slight prog twist with the organ going all over the place. The twin leads solo is super fun but a little sloppy (which means you know these dudes were doing it for real). Song rocks, even if it’s incredibly dumb. “Maybe I’m a Leo” is…certainly a follow-up. They can certainly rip but this blues riffing is a) nonsensical and b) boooooooring. Real momentum killer here. “Pictures of Home” gets back in the groove and sweeps me back. It’s missing the edge and deeper groove of the Sabbath greats but have real “Children of the Grave” vibes, with a prog twist. Much better, and should’ve been the second song. Side note: some of these solos fucking rule; they’re not perfect, but that makes them all the more enjoyable. You feel like you’re listening to the cool older kids shred while you’re watching. It’s a neat vibe. Sigh, and then we’re back to the blues funk stuff which is just not good. “Never Before” is just more boring generic dad rock. It honestly makes me wonder if this album is gonna be back and forth the entire time. Also, is this a song about their estranged mom? Cause it sure sounds like a whiny teen. Ah, yes, “Smoke on the Water.” The first song anyone learns on an electric guitar. Though it should be an organ given this album. Anyway that fucking bass is DANK and the organ distortion is just perfect with the guitar riff. Plus, it’s a legendary rock story too. Classic song, perfect riff and a banger of a chorus. Again - everything in this album sounds like dudes just fucking jamming out with little to no effort to refine. I kinda love it. “Lazy” goes hard on the organ to start, which is always fun…and then it goes back to bullshit blues jamming. HOW DO THEY KEEP GETTING AWAY WITH THIS!!! Now I do know of “Space Truckin’” and I love it. Because it sounds like a song a trucker in space would love. Does what it says on the tin. Simple as. I’m not including “When a Blind Man Cries” for my review but general notes: 🤢🤢🤢 This is a deeply stupid album that I somehow mostly enjoyed. A very dumb rock band but they know it and I appreciate that and love that journey for them. Keep it up boys.

Ok for all our complaining about dad rock this might be the worst dad rock offender of all. Buncha white dudes just blues riffing while the blandest kids discover that maybe black music is cool but attribute it to Clapton and spray paint “Clapton Is God” on walls. Yuck. Hey how do you make Ray Charles boring???? Asking for a friend.

First of all, thank fuck for an album that isn’t dad riffs. Sure it’s dad jazz, but I’ll take it over everything else we’ve been listening to. “Amsterdam” is worth the price of admission here, with such understated power arranged behind “Greensleeves”. It’s a stunning tune, with passion and swagger for days. It’s hard to dive too deep into some of the other songs as they can feel a little same-y; “Les vieux” and “Les plat pays” are both excellent but some of the songs at a little chintzy. Still, there’s no denying the power here. I give it a 3 rounding down from 3.5; if there were more standouts I’d go higher. Breath of fresh air from where we’ve been though.

God I love Steely Dan. This is definitely not their best but there’s still a ton of magic to go around. High points are “Rikki Don’t Lose That Number”, “Any Major Dude Will Tell You”, “Barrytown” and “Charlie Freak”. Low points - look we can do without the Duke Ellington tune for no reason boys. This is really a band in transition, moving from a rock band with jazz influence to a jazz band with rock sensibilities. They’d really hit their peak by The Royal Scam and Aja, but still a worthwhile record. 4/5. Not my fave of theirs but still so many good moments.

Yes is a band I haven’t spent a whole lot of time with but as I’ve kicked around the edges of prog now and then (and recognized their hits) I’ve felt like they’re a band I would enjoy. And here is a delightful example of that. Yes, this is all very noodly and goofy and no I wouldn’t think everyone loves it. But the sound, the directions they’re pushing, the mix of folk, organ, rock, shuffle, metal - it’s a heavy dose, and it’s really, really solid. One of those few albums where you go “oh no dig deeper dudes, there’s a lot more to get to.” “Yours is No Disgrace” has this funky country twang and picking under a truly fuzzed blown out bass, clean licks and a truly punchy organ. There’s a lot going on, but in a good way. “Clap” is more folksy and a bit of an outlier. It’s pretty but it’s not doing a whole lot here. “Starship Trooper” fucking rules, especially the last third. When the organ comes in at the end with a roar to back the riff, we’re deeply into prog metal and it’s absolutely perfect. Seminal tune. “I’ve Seen All People” is the one song I definitely knew from this album. The first movement is honestly the better half, as the chorus, church organ and band builds behind the refrain and pulls together. The rest of the song runs more as an extended jam riff, but it’s not as powerful as the first half. “A Venture” is a jazzy little number that’s got a lot of fun twists and turns, even if it feels a bit like carnival music sometimes. BTW, among all of this, the lyrics are SOLID. There’s real poetry here among the prog, not just weird fantasy images that some attribute to the genre. These are real brainy tunes, but not in a way that’s over the top. “Perpetual Change” is a little more ponderous and wandering than the earlier tracks. And then THAT part happens where the polyrhythmic split happens and…ok well now we’re into the full limits. This band knows how to BUILD. Really cool album. Love digging deeper on these dudes, can’t wait for more.

A beautiful and jazzy debut, full of fun and smirking nightclub joy. This feels like Miriam being brought to a nightclub to create whatever set she wanted, and her taking full advantage of the opportunity. It’s no wonder this is deemed a classic. There’s really only one weak track, “One More Dance”, that’s taken over by an overbearing duet partner who laughs the whole way through. Without context, it just fees out of place in an otherwise perfectly cohesive set. This one will be a return trip for me for sure. Belongs in the “perfect vibe” stack of albums. Really solid.

Here we go - an album I have zero real conceptions to offer. “Green Light” has a solid build, lots of good twists and turns. There’s a lot of that 2010s piano pop but with a disco beat building. Nice way to start. “Sober” is fine, a little on the nose lyrically. Also yeah I can REALLY tell this is a Jack Antonoff joint. That sound is so hit or miss, it’s though he is so committed to highlighting the artist that if the song is weak it only reveals that weakness and feels cheap. When the song is good, it adds a bright layer. It’s noble, but there’s very little that his production enhances. “Homemade Dynamite” is better with a little more passion, but hoooooo boy that chorus is rough. I will admit, my initial blush on Lorde was always tied to “Royals” and how much whisper singing she did. There’s a lot more here, but her vocals still stay on a single level a lot. “The Louvre” is also solid, but god these lyrics. Right when she has me hooked she throws in “broadcast the boom boom boom” and I’m lost again. Some of these songs seem allergic to a real cathartic build, for the sake of a dance breakdown. It’s frustrating, cause there’s a lot good but it’s always undercut. “Liability” stands out perfectly because it’s fully stripped back. It’s not insisting in the production. She writes great songs, it’s just getting messy in the production.

I haven’t spent a deep amount of time with Zappa and have had it on the list for a while. And this album…look it’s jazz funk fusion wankery but god is it done well. I think the thing that keeps me into all of this is how propulsive the tunes are. There’s a LOT going on, and that makes sense for Frank, but it’s always moving forward. It’s a continuous groove, which keeps you in the rollercoaster. The first side is probably my favorite, with “Peaches en Regalia” as a perfect table setter for Beefheart’s cameo on the riff-fest that is “Willie the Pimp”. But “Son of Mr. Green Genes” is my favorite of the whole album - it just has a gorgeous groove and counterpoint, with the chorus feeling like a psychedelic big band. The second half is a bit less cohesive, though “The Gumbo Variations” builds really well around the funky swampy vibe. For an artist whose output is both prodigious and intimidating, this is a heck of a great album to dive into. Not perfect by any means but this is one I’d return to if I needed to just vibe out. And it makes me want to explore more of Zappa and the Mothers.