I didn't like this album when it came out, I don't like it now. Bowie was inspired by To Pimp a Butterfly and Death Grips while recording this, which is intriguing. But it doesn't make me like it anymore. I love the jazz group he hired to play the music. They are super dialed in. The drummer is especially tight. I'd give this a higher rating if it was just instrumental. The last track is the most Bowie sounding, and it hits harder because it was the last song to be released before he died.

Listening to Hotel California is my Hotel California. I feel trapped and unable to leave. They are undoubtedly good musicians. But this is cheesy and the music is overplayed. If I never heard the song Hotel California again in my life I could die happy.

That they could sound this good and tight without in ear monitors or auto tune is a testament to how good these musicians were. What I wouldn't give to sit in on this show. This album gave me stank face the whole listen through.

My uncle has an Adam and the Ants record that I remember spending a lot of time staring at when I was a kid. But this is the first time I've listened to them. It's fine. There's some interesting stuff. 'Don't Be Square Be There' is ultra catchy and the baseline is incredible. I liked the sample on 'Killer in the Home.' but most of this just runs together. And what the fuck is Jolly Roger? New Wave pirate music sucks.

I believe there is an audience for noise rock. I'm not that audience. I do dig Dracula Mountain and Two Towers though.

I wore this tape out in high school working out in my basement. It's so singable. The three track run at the beginning is unbeatable. This is peak new wave. Which may not be everyone's cup of tea. I love the synths, the hand claps, the at times country sounding guitar, and the unique sound of Ocasek's voice. Of all the skippable songs played on classic rock radio, I'm never turning off Thee Cars.

Ho boy, I am not a fan of Joni Mitchell. I just can't do the rambling run-on stream-ot-consciousness poetry.

Welcome to elevator hell. Hope you like the music.

It's hard for me to be objective in reviewing this album. It was the soundtrack to my junior and senior year of high school. But 22 years later I can say with confidence, this is not a 'you had to be there' album. It's an all time rock and roll classic regardless of age and era. Time Travel with me back to 2003 when garage rock and The The bands were all the rage. The White Stripes, The Strokes, The Vines, The Hives, The Yeah Yeah Yeahs, etc. These bands and music videos were all over MTV. Who was going to rise to the top? Enter Seven Nation Army. Before the song was ubiquitous, and before it had been co-opted by high school bands and sports teams, it electrified the nation, reminding us how good simple rock and roll could be. That's a hook to remember. And Elephant could have easily ridden that single to the heights it got even if the rest of the album was mediocre. But this is not a single only album. From the other hard rock songs like Black Math and There's No Home For You Here to the softer tracks like You've Got Her In Your Pocket and even the Meg song In The Cold Cold Night, the album covers a lot of ground and does it really, really well. For my money, Ball and Biscuit is the best White Stripes song and can stand alongside the best rock songs of all time. I'm listening to this on earbuds while getting my kids ready for school and having the same visceral reaction to it as I did when I was a 17 year old. That should say something because there's a lot of music I listened to then that no longer hits. The White Stripes rule. Long live Jack White, rock guitar's weird uncle who continues to keep the genre alive decades on.

Quintessential 60s garage, blues-tinged psychedelia. The guitar tones are so crisp and buttery at the same time. Janis is at the top of her screechy, wailing game, which may or may not be a selling point depending on how you feel about her. At times the songs feel unfocused. And there are a few clunky transitions between tracks. But this is a classic in the genre for a reason. It's wild that Rolling Stone originally panned this record.

Really solid brit pop/rock. Sprawling, experimental at times. I'm always surprised by the number of instrumental interludes.

If you don't listen to closely, it sounds like somewhat standard 60s British invasion, with psych elements. Occasionally they interject a 50s Doo-Wop and song. But then the kazoo kicks in which perks up the ears. Then pay attention to the words, and rlyou realize this is a weird fucking band. Which makes sense because it's a Zappa project. This is a lot more tolerable to me than Captain Beefheart (which I'm sure we will have to listen to at some point). I love this era of music and am a big fan of psych rock. But I don't love Zappa's weirdness for the sake of being weird. I do 💯 agree with the sentiment "I'm not black but there's a whole lot of times I wish I could say I'm not white."

This album sounds like 1999. I don't love dance music, so I had no problem listening to a minute of a track and then skipping. I do appreciate his use of old blues and gospel samples. Southside was a banger when it was on TRL. It still slaps now. Honey, Natural Blues, Bodyrock, and Run On are still great tracks. I didn't like Porcelain when it came out, and I still don't enjoy it.