Avant Garde end of the century attempt to bend the senses. Harmonies, heavy gain bass, record scratches, samples, harmonicas, organs, 808s, drum machines and reversed sitars.
All stuff I love but not mixed together. But I see the stuff Beck likes.
Loved folk, rap, rock,The Beatles.
One song I like so far is Novacane but maybe because it reminds me a bit of a MF doom song.
Apart from this middle song there’s not a lot I love. Just wished I wasn’t half way through. Non linear song writing/structure doesn’t do anything for me.
If I think of why he made this album I’d have to guess:
An ode to everything he loved and presenting the amalgamation of those influences in one person. Him.
But like I say doesn’t do anything for me.
You can find loads of cool sounds like the organ in Where it at or the 808s in Novacane. You’d find plenty to sample and reuse. So cool sounds but loads of annoying sounds done to be abrasive or attention grabbing.
First listening - really enjoyed this album and know it will grow on me as time goes on.
Joni’s vocals have their own pacing lending her an identity that is fun but feeling. High falsetto with operatic performance.
Songs like little green and blue convey her emotional intelligence when dealing with topics like familial love or romance.
But then California and A case of you express her admiration for beauty even in its excess.
It’s just classic folk so I can’t say no.
Four listens in one day.
After reading wiki and finding out it’s the ultimate break up album I still find it reductive.
It’s definitely filled with emotions, regrets, desperation for solitude and isolation while admiring all the crazy intoxicating feelings that flow through someone.
Maybe Joni wrote all this just to get all the shit of her chest and say this is how I feel so take part. Removed though, it will be done amazingly with all my best intentions.
Not a fan.
Experimental album bedded in rock.
Gave up on this about a quarter in.
Once again I find great sounds and good performances but the overall album doesn’t knock me for 6.
Maps is the most popular song off the album. But not much in it for me.
Electronic mixed with punk.
Radiohead with some balls.
You get a feel for the grimey urban vibe intended to be felt.
But I'm not a fan.
To look at the album from the artists POV I woul say they intended the album to sonically different from their contemporaries which it is.
Going back to 2003, you would have The Strokes dominating NYC in Rock with bands like Linkin Park and other nu metal artists dominating. Queens of the Stone age drumming out classic rock with unqiue concepts.
White Strips delivering bluesy anthem rock and The Killers launching their new wave Britpop hits.
But none of those bands tread into the terroritory of the Yeah's.
They made this album with punk at the forefront and then used all the tools at their disposal to beef it up.
So totally get why people enjoy this album. Completely different from the landscape at the team
Bluesy Brit rock from the godfather of mods.
Great performances from many different instruments but Weller’s voice really commands authority while throwing flavour into his notes.
Written in the early 90s, so looking back it gave Weller his own identity seperate from The Jam.
He could sing and play the blues. Add some funk into the breakdowns and seasoned it with hints of electronica.
Torn on this album.
This kind of jazz is not really my taste.
All notes playing everything different.
But in my mind this works great as a visual trip by just using the name of the album, song titles and music to fill in the blanks.
If there was an accompanying film then I would be able to really appreciate it more.
Another note is that there are some great rhythms in here that could be sampled.
Not my favourite of Stevie’s work. Not sure what my favourite song is but don’t think this is a grower either.
Maybe a light bulb moment with this album.
Bass lines are funky and the guitars are jangly.
Proper new wave meets the beach boys.
This years girl with its penetrating mockery is perfect to me. No action, little triggers and pump it up just make me eye roll however.
My problem is I just don’t love Costello’s vocals. Put on American accent (saying that I recognise my hyprocisy in American punk or rock mimicking British accents).
Songwriting is top notch though.
Released at the end of the 1970s this album’s a bridge for the kids who grew up on Beatles/Bowie moving into the 80s rock scene who stuck their nose up at 80s pop and 70s disco.
Just scratching the surface of the feelings conveyed just before The Cure, The Smiths, Joy Division and Simple Minds.
My first Taylor album came on a day when I really didn’t feel in a Swifty mood.
Reading the tracklistings put me off.
Saying that though I’m a sucker for good harmonies.
Simple melodies with no special performances.
Not my wheelhouse especially in comparison to any other queen of the genre.
Obviously I have preconceived notions of a Taylor album but I wouldn’t judge anyone for finding joy in these works. Just not for me
Not my genre.
Can see it being influential having come out in ‘77 but it’s a concept that been expounded and taken to new heights in more engaging ways to me.
Cool album and sets up different sounds explored by future bands.
Even nickos bad vocal are great and well used.
One of my favourite albums.
Harrison being my favourite Beatle really gets his moment to show off his strengths.
Interesting. Cool guitars and low vocals
Magical album and I can see why it stays in people’s hearts after so many years.
For me I can pick songs out that I love but it’s not a non stop album.
Production is superb on every song with beautiful Melodie’s throughout. Each member plays their part.
Awesome metal album with face melting riffs. Not my favourite Megadeth album but I still love it.
5 star album. Fast, skilful and still ahead of its time.
Battery’s intro mimics the acoustic intro to Ride the Lighting but instead of just have to sections, the guitars work their way into the song.
Damage inc and Disposable Heroes are melt your face fast.
Sanitarium follows fade to blacks nuances but adds a creepier, heavier dose minus the solo.
The thing that should not be and leper messiah are amazing.
Orion is the best instrumental they’ve done. Cliffs bass skills are on show but so is his composing talent. Ride the lighting and this album have a symphonic quality to them which is lost now. For me this quality helped to cover bad production and Lars’ rudimentary drumming but to be fair, lars is still fast af at this stage.
Hatfield’s vocals are still piercing and Kirk shredding placed in high standings at the time of release. 1986 wasn’t ready for this.
