5 ⭐️ Obviously some of their bigger songs come from this record (Lovesong, Pictures of You, Lullaby), but this one has always held a place in my heart. It always seems like their best blend between their darker side and their pop side. The guitar tones are so spacy and futuristic and Robert Smith’s vocals just perfectly compliment them. The echoes and hush sounds play off of each other in a manner that few others could ever match.
If you asked me 20 years ago, I probably would have given this a 5. Unfortunately for them, I’ve listened to a lot more music in that time frame.
I remember getting into AC/DC in my youth as sort of an act of rebellion against the yacht rock my dad listened to. It was the quintessential turn the amps up to 11 kind of record.
Re-listening all these years later and there are still things that stand out. First and foremost, the Young brothers playing and riffing off of one another almost telepathically. Another thing that stands out is Mutt Lange’s production. This is probably his peak of capturing the rock and roll sound in a way that’s made for stadiums rather than small clubs. Lastly, Brian Johnson steps in without missing a beat after the loss of Bon Scott, matching both the sound and attitude, and actually elevating the band to a level they had not previously seen.
As for the overall thing, I’m big on songwriting and lyrics. AC/DC? Well, they’re not. While the in-your-face approach works in a way with their sound as a big middle finger to the late era disco stuff that was happening at the time, the subtlety and delicacy of what I desire to listen to aren’t there. Plain and simple, most songs ever written are probably consciously or subconsciously written about sex in some manner and the beauty is sometimes in how well it’s disguised via metaphors and other emotions. Not our friends here in AC/DC. These guys fuck. They want you to know that they fuck. They want you to believe they’re never not fucking. They want you to know that they will rock & roll, but as soon as they’re done? You guessed it…back to fucking!
Anyways, 3 stars because it’s a fun sound that influenced a lot of what came immediately after, at least musically. Not came like cumming came although…
Also, there’s no way that they saw into the future and knew 45 years later that their shirts would be a top seller at JC Penney’s, but alas, here we are.
Okay, so both the US and UK versions have all time great opening tracks. Paint it Black is a classic and Mothers Little Helper is one of my personal favorite Stones songs, but most of the fun kind of ends there for me. Both versions just lack the fun, rock & roll element of a Stones record. Based on timing of the release, it sort of makes sense that it was still very early on and they were in the midst of finding their sound, but this feels like they were stuck in 60s psychedelia.
Under My Thumb is a track that stands out musically. It’s one that I assume most have heard at some point, but boy those lyrics don’t really hold up, huh? Even if it’s sort of a tongue-in-cheek jokey presentation, the song itself feels gross. I’d never paid too much attention to the lyrics because my mind was always drawn to the marimba and the unique sound that Brian Jones was adding. His playing throughout the album stands out.
My personal favorite track is High And Dry. It’s honkin and tonkin and feels like it could have charted on the Billboard Country charts in any era, but again they played around with their sound so much on the record as a whole that there was nothing else that even sounded similar.
Overall, not a great album front to back because of the lack of consistent sound. I’d much rather listen to one of the classic Stones records where as the few highlights from this album and era are best thrown into their 64-71 comp. I’d give 2.5 stars if I could but we’re going to round down today.
As time has passed, I’ve become less of a Zeppelin guy year after year. However, this drew me back in. The longer songs don’t feel like longer songs because they never lose momentum.
The run of tracks from “In My Time of Dying” thru “Kashmir” is an all time great four track run and features so many of their best moments as a band.
Obviously each member of the band is amongst the greatest of all time at their respective craft, but the drums in particular stand out the most as John Bonham just absolutely kills it on this record.
It’s wild that so many of the tracks on Physical Graffiti were cut from III, IV, and Houses of the Holy because they somehow still feel cohesive on this album, which feels like a step above the others.
I will happily revisit Physical Graffiti until I die because I love this album front to back.
Admittedly, Deep Purple has always been a bit of a blind spot for me. Like most, I obviously knew Smoke on the Water and to a lesser extent Highway Star, but beyond that I could not have named a song, nor had I knowingly listened to one.
I think there are things on the album that are certainly innovative for the time of its recording. The hard rock and heavy prog sound that influenced and pushed other acts to follow is genuine. The keyboards, in particular, stand out in a way that would still feel fresh today.
That said, there’s nothing that would draw me back in to listen again. If I’m looking for similar acts from the same time frame, I’ve always connected more with Thin Lizzy and Black Sabbath who pack a lot of the same sort of punch, but for any number of reasons connect with me more.
This is a good candidate for 2.5 stars but I’m rounding down to 2.
Is Clapton a good guitar player? Sure, but if you listen really closely, you can hear his guitar shouting slurs on his behalf.
Anyways, this album bored me to tears. Painful listen. Would not recommend to anyone unless they asked “hey man, do you know any shitty blues albums that sound worse than the average rock & roll after school program band?” In which case, I would probably still forget this album exists because I’m going to delete it from my memory ASAP.
While it was cool to hear the obvious influence the sound and song structures had on artists like Bowie and Leonard Cohen, the best thing I can say about the album is that it was short.
It starts strong with Amsterdam, but that was also the peak for me with none of the other tracks quite grabbing me like that one did.
Many of the songs felt very repetitive to the point that I was forced to hit the skip button once they got about 2 minutes in and nothing new was happening.
I’m not much of a jazz guy and jazz player in a language I studied 20 years ago? It felt like a homework assignment all over again
I’ve always been dismissive of Steely Dan. Somewhere between the pretentiousness of the average Steely Dan fan, my dad listening to “Can’t Buy A Thrill” constantly growing up, and Seth Rogen telling Paul Rudd “Steely Dan gargles my balls” in ‘Knocked Up’, I made it my thing to be a Steely Dan hater.
Something happened since the last time I listened to Steely Dan. I…became a dad. This album is purely dad proof. I didn’t get it, but now I do.
There are technical aspects of the musicianship on Pretzel Logic that really grabbed me. The little keyboard filler parts that Donald Fagen put in cancel out the pure cheesiness of a song as dumb as “Rikki Don’t Lose That Number”.
I know the pretentiousness stems from them trying to make everything so complex that no one else can play it, but now I kind of picture them giggling like little kids as they go through the arrangements and it feels more pure and fun.
Anyways, 4 stars. Probably would be higher if I weren’t convinced that Fagen & Becker had used some dad devil magic to put a spell on me and that I actually still hate Steely Dan.
It’s hard to believe that Illmatic is over 30 years old. The production still feels fresh.
It’s hard to put it into words, but there’s something different about this record that sets it apart from any other hip-hop records of its time. While it is undoubtedly East Coast, Nas’ rhyming patterns and lyricism definitely rise above most of what came then and immediately after and should still be viewed as a benchmark.
Favorite tracks: The World is Yours, Halftime, It Ain’t Hard to Tell
This would probably get 3.5 stars if I could
I looked and saw 6 tracks and was like “wow, this one is going to be easy” and then I remembered that it’s prog rock.
Coming in, I was only familiar with “I’ve Seen All Good People” which is like on of the quintessential radio prog bops of all time. I did not know what to expect beyond that track.
Overall, it’s the keyboard playing that stands out above anything else on this record.
I think there were a few times where songs dragged on too long and some of the playing got repetitive even if it was outstanding instrumentation (i.e. Starship Trooper).
For me, it’s definitely got a lot of things that are well done musically, but not something I would feel like I need to come back to ever again. I’m good with just hearing “I’ve Seen All Good People” pop up on the radio while on long drives.
Probably a prime candidate for 2.5 stars if that were possible.
Okay, this is very much out of my comfort zone. It’s one of those things that I’m glad I took the time to listen to, but don’t think I ever would again.
However, if someone asked for a recommendation for something in the realm of world music or African sound, I’d be happy to point them in this direction.
A prime candidate for 2.5 stars but I guess I’ll round up this time
While Melodrama doesn’t feature many of my favorite tracks, it definitely feels like Lorde’s most cohesive record.
The production gives it an edge over Pure Heroine.
I find her voice a bit monotonous but I think at times, it’s covered up by the melodies on this record.
It’s not an album that I would go back to listen to intentionally, but not one that I dislike either.
It falls somewhere in the middle for me and since it’s Friday and I’m feeling generous, I’ll round up
I will say that there are definitely some fun little guitar jams on this album, but I need a little more than that, especially for the length of the songs. Only having one track with vocals, singing about a pimp, and drowning out a funky lead guitar riff? Come on, man.
If jazz psychedelia is your thing, then go for it, but this is not even close to an album that I would intentionally put on for anything other than background noise.
I had never listened to all of Tusk before. I knew a few of the songs individually but had never heard the album in full. I was very curious to hear it all and view it from a “post-success” standpoint.
I am always interested in how a band changes or embraces their sound that brought them into the limelight on the previous record. While their self-titled album eventually went to #1, they had already recorded all of Rumours before that happened, so there was no time to embrace or rebel against the success at that point. By the time Tusk came around, they had been at the top of the charts for quite awhile. Rather than pulling a rebellion, they leaned in and leaned in hard.
I was honestly expecting more of a departure from the sound of Rumours, but so many songs on Tusk felt like they could have been interchangeable with Rumours tracks. I’m wondering if the “commercial failure” of Tusk was that folks were expecting something different, because quite frankly, these songs still sound fantastic, even if they failed to chart at the level of some of their predecessors.
Lindsey, Stevie, and Christine all contributing songs equally to the album is exactly what I wanted to hear and it’s what I got. God, I love the bastardized American version of Fleetwood Mac so much even just for their sound without any of the messy drama behind the scenes. What a great band.
I think the individual performances on the record are really strong, but it definitely has that non-cohesive jazz sound where everyone is doing something different and trying to keep up and it does not serve my ADHD well trying to hear different parts at the same time.
I have zero doubt that this is a great jazz album if jazz is your thing, but man I just prefer music where everything is in sync and the instruments work in harmony to compliment one another.
I had to skip ahead on each track because I couldn’t do 8+ minutes of them. I’d give it 1.5 stars ideally but I’ll round up because this feels like a me problem
I would give 0 stars if I could.
Bad Company makes music for the 60 year old woman at the bar who has consumed entirely too much and is bouncing back and forth between two leather jacketed gentlemen and you’re not sure which one she’s actually with. The answer is probably neither, but those 3 people enjoy Bad Company, but everyone else can see right through this crappy buttrock bullshit.
While it doesn’t do a whole lot to differentiate itself from much of the other British alt-rock of the late 80s and early 90s, it’s still an enjoyable listen.
I kind of giggled when the 2nd track came on and sounded more metal and I looked and saw the title was “Satan”
Going in the only song I was familiar with was “What You Do To Me” which is a good song but also blends in with the era and could pass as a Lemonheads song or something.
Good but unremarkable. I would probably listen again and maybe certain songs would grow on me. Probably somewhere between 3 and 4 stars for me
The sheer emotion from Janis is worth coming back to this album again some time. She just has so much power.
Obviously Piece of My Heart will always stand out but there are other great tracks like Ball and Chain and Turtle Blues. Just a good album.
Probably worthy of like 3.5 stars
I have always loved this record, but it’s been a long time since I’ve listened to it all the way through.
While the production and mix can feel a bit sloppy, there’s a part of me that dismisses that and says that makes it even more punk.
Tom Verlaine and Richard Lloyd trading off guitar parts has always been such a cool dynamic for the band’s sound.
Marquee Moon stands above others as sort of the quintessential CBGB era new wave, artsy, post punk album.
Venus is my favorite song on the record because it has such an obvious Velvet Underground influence, but the lead guitar on Friction is better than I remember as well.
I love this album and will 100000% listen again and again.
I’d probably give a 4.5 but I’m overdue for a 5. Let’s round up, baby!
This is objectively the worst album we’ve had so far on the list.
There are no redeeming qualities whatsoever. The music sucks. The vocals suck. The lyrics are genuinely awful.
I’d only ever heard No More Mr Nice Guy going in and had heard it outside the context of the album, where it was fine. Put it in the midst of songs about rape and necrophilia and WHAT IN THE FUCK.
Do not listen to this. 0 stars
There was nothing that really stood out about this record beyond hearing Phil Spector’s production all over it. There was nothing bad about it. It felt like music that was made to play in a grocery store
This is a rare, very easy 5 star record for me.
I first dug into this record about 15 years ago because I was intrigued by the timeless cover of Hallelujah. What happened was that I realized that it was not even the highlight of the record, but rather a compliment to the overall sound and feel.
Jeff’s voice is unlike anything else I have ever heard. He could sing reading from a phone book and it would pierce right through me. The vulnerability with that much strength at the same time? God damn, man.
The guitar tones throughout the record also have a phenomenal sound that perfectly compliments everything else happening.
The whole record is really beautiful and dark. It will lift you up and haunt you just the same.
A fucking perfect album start to finish, highlighted by some of my favorite tracks: Grace and Eternal Life
This album genuinely did nothing for me. I could not tell if it was older or more contemporary with the intention of sounding a bit older and had no intention of wasting the energy to look it up.
I was bored more and more with each track and most I had to skip ahead after a little over a minute. I would never listen to this again willingly.
There’s nothing wrong with this album. There’s also nothing particularly great about it. It was an easy listen as all of the songs were smooth and made for good background music.
I think it’s the type of album that got kind of lost in the fold of its era. There are many other bands with similar sound like Snow Patrol, Coldplay, etc who had much more sustained success really for no fault of Travis’ own.
Again, it’s genuinely a perfectly fine record that doesn’t do anything to set itself apart, but also didn’t make me want to skip any tracks. A perfect 2.5 candidate, but I will round up
Again, an album that doesn’t do much for me. If I wanted the horns mixed with a new wave sound I’d go with some of that early UK ska sound like Madness or The (English) Beat.
It felt like none of the big sounds they were trying to get fit together. It’d be interesting to hear later stuff to see if it blended any better in my eyes, but it seems like this is THE album unfortunately.
Not offensive or anything, just felt like a big swing that mostly missed when there were better bands coming from the same era doing similar things.
I’m not even the biggest Who fan, but this album rules. Everything seemingly holds up after 54 years.
I love that they hit you with a punch right out of the gates with Baba O’Reilly. It feels like one of the best opening tracks anyone could have ever selected for an album. There’s a few more decent rock numbers, highlighting each member’s talents as well.
Going to the ballad of Behind Blue Eyes then immediately kicking your ass again with Won’t Get Fooled Again to close it all out feels like you’re getting a perfect live music experience and they’re sending you home on a high note wanting more.
Anyways, fantastic record. 9 songs filled with emotional highs and lows and nothing that feels like it’s going on too long. God, Keith Moon was so good.
I’ll straight up say it: this album fucks.
This is the quintessential Elvis Costello sound with those bassy guitar tones and nasally vocals and it all works so well.
It has a few bigger tunes like Pump it Up, (I Don’t Want to Go to) Chelsea, and on the US Version: Radio Radio, but I think my favorite is Lip Service.
Fantastic record all the way through and unless we get to Armed Forces, I don’t have to deduct any points for slurs. 5 stars for a slur free album.
This was a cool little glimpse into an early post-punk sound that I’d overlooked over the years.
However, I just did not connect with it the way I kept hoping I would. I kept thinking that I’d heard things that reminded me of Modern Lovers, Echo & The Bunnymen, or Joy Division, but nothing pulled me in as much as those artists have.
I think there’s a lot of artistry in the tracks and when I focused solely on the music, there were some fun uses of the synthesizer specifically that created a big sound.
Anyways, not a bad album, but left me wanting more with that sound potential. Somewhere between 2.5 and 3 stars ideally.
I loved that we finally got a punk/hardcore record on this list. It was over so quickly that I don’t have a ton of thoughts, which is exactly how I like it.
Ian MacKaye’s vocals and Jeff Nelson’s drumming stand out most to me, but the guitars trading off riffs was cool as well. This album is a great example of DC Hardcore at its best.
This is a strong debut record and a true introduction of what was to come for Rage, but there are also a lot of tracks that kind of get lost in the mix and don’t measure up to the material that came later.
They definitely hit you with a punch right out of the gate with Bombtrack and Killing in the Name, but it sort of levels out a bit after that. Still you hear what makes each of them such talented individuals.
This is truly a 3.5 star album in my eyes but I suppose I’ll round up
Not exactly the best Elvis album. Really just a glorified covers record.
The soulfulness is definitely on display and his takes on the songs seem genuine rather than trying to rip them off and make them entirely his own, but it just doesn’t do a whole lot for me.
Elvis is more of a greatest hits type of artist and trying to listen to full albums of his music can be grueling.
If I’m being completely honest, I zoned out entirely while trying to listen to this album. There was nothing remarkable about it in any way and it felt like a run of the mill Britpop record that probably deserved to be lost in the fold. It felt like a label’s attempt to keep up with the scene, but did nothing to separate itself from anything else
This album felt a little bit overproduced, but it was definitely solid and a unique sound, especially for its era.
I obviously knew a few of the singles from the record, but it was interesting to hear some of the lesser known tracks and recognize the emphatic sound behind them that was consistent from track to track.
Overall a solid 90s record worth revisiting in small doses
This was a nice and easy listen compared to a lot of the other albums on the list. It was interesting to hear Stills as a solo artist and combine a more radioesque pop sound with his folk roots. I can’t say that every track was a home run, but it was enjoyable enough
So is an album that almost works like a greatest hits record for Peter Gabriel’s solo career. It’s filled with plenty of prog-pop bangers and should be respected for that. No further thoughts, your honor.
I once wrote a 12 page paper in college about the cultural impact of Lou Reed and The Velvet Underground. I, however, will not be doing that again. We’re going to keep it short this time.
Still a solid album, but it has always felt like something is missing compared to previous records and that is more than likely attributed to John Cale leaving.
There are great tracks like What Goes On and tracks where the band is obviously enjoying themselves like Murder Mystery, but more than anything this record feels like there’s forced vocal collaboration with less worthy vocalists and is probably what pushed Lou to do solo work.
Kind of a fun peak into gothic UK post-punk. There have certainly been artists to do the sound better and more cleanly than Echo & The Bunnymen did here, but a solid effort nonetheless. Would be a prime candidate for 3.5 stars
This is a good, but not great Wilco album, while also still being a fun listen.
I love Monday and think it’s an all time Tweedy banger, but this album is mostly a good listen to hear the band first kind of finding themselves before later perfecting it.
It’s still my favorite of their early records but totally get it if it isn’t someone’s thing at all.
I like the Dead and I am very much in the minority that probably prefers their studio stuff, especially albums that came from 1971 on, so this really did not do much for me at all. St Stephen is really the highlight and this wouldn’t come close to being my favorite version
Not as cohesive as some of their later records, but it definitely felt like they were announcing their presence as a heavyweight in the grunge scene moving to the forefront of contemporary music.
There are some great tracks individually, but they were still just finding their sound.
Some really fantastic acoustic guitar work and finger picking. Also, some great harmonies and lyrics. You can totally hear how this album and S&G in general influenced so much of the modern stuff I listen to. It was a quick and easy listen and I would definitely listen again
Look, there are some good Nick Cave songs and probably a good Nick Cave album or two out there, but I find it hard to believe that this is one of them.
There was just nothing spectacular or anything at all that stood out about the music or songwriting.
The guitar work on this record is truly top notch. The slide playing in particular is peak Harrison.
The Spector production is possibly his best as well. It has a lot of his usual elements of sound but feels even more complete.
Yes, it’s one of the songs I was most familiar with coming in, but What is Life definitely stands out as my favorite track.
The album is definitely a LONG one, somewhere between 24 and 28 tracks depending on which version and clocking in around 2 hours, so it does drag on a bit and I mentally checked out somewhere around song 13 or 14, which is its reason for 3 stars instead of the higher score it could have earned based on taking the 10-12 best songs from the sessions.
Lyrically, my man was GOING THROUGH IT. Between the ending of the Beatles and a failing marriage? Good god there are some sad ones in there. Men will literally release a triple album with Phil Spector instead of going to therapy.
Complete and utter dogshit but there are some hilarious lines.
The best compliment I can give this record is that if someone approached me and said “hey Justin, I’m looking for the perfect soundtrack for when I go out at night and steal catalytic converters from the cars parked overnight in the Big Lots parking lot uptown. Not the one downtown near the Home Depot, but the one next to the old Arby’s where that guy tried to sell us hash that one time. Anyways what should I listen to?”
Well, my answer would obviously be “Night Moves” by Bob Seger and the Silver Bullet Band, but maybe, just maybe, and strictly as a bit, I would suggest Devil Without a Cause after thinking it over for awhile, thus changing the answer I gave to my friend probably hours after he already committed the crimes. I’m also wondering how he’s planning to get around because ever since his third DUI, the one on his bicycle on the interstate, I’ve had to be the one to drive him to his PO’s office.
Am I now complicit in this small crime spree because I listened to this album one time, via YouTube in an incognito window? Who is to say.
A fine album. Janis, as always, has extremely powerful vocals. Sometimes they can be a bit much, sometimes they’re exactly what’s needed.
Some of the roughness is likely due to it being a posthumous release and not having a chance to go back in and re-record things. Still more polished than some of the Big Brother stuff though.
As always, the fun part of Me & Bobby McGee is realizing a stoned Kris Kristofferson couldn’t quite remember the actual name of the person he was supposed to be writing about but managed to turn it into gold no less.
