I love how loud the bass is on this album. The true winners of this record are the bass and keyboards. This felt a lot like ELO, not in a bad way. Very fun record and would definitely listen again. I also didn’t realize “blood well right”—a killer song—was Supertramp.
Excellent album start to finish. Can and have listened to this on repeat many times in the past. Would recommend to all ears.
It was fine. Classic sound, fun songs. I also had no idea, after some Googling, that “I just want to make love to you” is a Muddy Waters song. Up until now I was only familiar with the Foghat version I heard in the film Dazed and Confused.
Opening riff for “Caught in a Mosh” sounds strikingly similar to the opening riff to Nirvana’s “School,” or vice-versa. Strong riffage, killer double-bass, but still have a tough time with the vocals.
Bunch of bops. Feels like they were creating the soundscape they’d (re)use across most of the Suburbs. Fun album.
Much more alt-90s mixed with surf rock than I remembered. Tre Cool’s drumming is great.
This is so good. I listened to it at least 5 times today. Smooth, funky, psychedelic—and reminds me of a hot day.
First song came with a side of cheese. The song with Canned Heat was great. Last track on the album was a stunner, loved it. Was going to give it 2-stars, but something about the last track hooked me.
I wanted to like it more than I did. At times I heard many different bands I really like: Nirvana, Mastadon, Pearl Jam—but most of it didn’t sit right in my ears. Would return to this again in the future to try again. For now, most of the songs felt like the worst of Dinosaur Jr songs, which was both surprising and difficult to get through at times.
The opening riff of “Limelight” immediately puts me in a good mood, always. First 4 tracks are heavy hitters and latter 3 were all new for me. Who knew about Rush’s epic “The Camera Eye?!” I wonder if that’s what inspired Billy Corgan to name his song “CameraEye,” though very different. So much has been documented about this album and it makes sense: they found a harmonious connection between prog and pop. Would return for many listens.
So happy our randomizer took us back in time in the Rush catalog. This is more a purest prog album reflective of the other prog titan contemporaries at the time: Yes, Genesis. Fun listen. I did not like “Tears.”
Vibe was very main-character energy. Like any late-90s/early-2000s main-character contemplation montages, perhaps under rainy conditions.
Yes.
His playing, his voice so angelic. To me, the songs themselves are better than the arrangements. This album feels like it got too much of a Phil-Spector treatment with all the accompanying parts. I’d love to hear a stripped down version of this album of just Nick and his guitar.
Listening to this felt like sitting in a traffic jam when you’re a kid and your parents insist on only listening to a talk-radio show where the guest and host don’t speak directly into the microphone so the volume is inconsistent. You get a headache, you’re unsettled. Said differently, it was like refreshing your Instagram feed for 1hr and 9min and only seeing the same meme you didn’t think was funny the first time. Said differently, I didn’t like it.
Essential.
Mario Paint soundtrack, sort of.
This is the blueprint for Australia’s Tropical F*** Storm. It’s as if they took aspects of this album and added more punk rock to ultimately yield their sound. I have mixed feelings about this album. At times I enjoy it at other times I feel I’ve been coerced into liking it.
Separating the art from the artist, this is an incredible album. It flows perfectly, the flexes of Paul McCartney and Eddie Van Halen truly capture the era and the fact that MJ had endless powers. “Human Nature” is one of my absolute favorite MJ songs, too. Could listen to it on loop.
Very mature zep. Love that the song “houses of the holy” was chosen for this album.
There’s a cool power that runs through this whole album
No.
It’s all about Syd, right? “Shine on…” is famously about him, but hearing all the other songs bookended with “shine on” got me thinking the album is a love letter.
All right notes. All the right beats. So many feels for this one ⭐️
Oh man, what a blast. Love this album and the band’s obvious and passionate love of the Big Muff.
This is a checkbox one for me.
No thank you
This is lovely.
At “waiting for the night” the album turned around and became more fun and dragged less. Rounding up from a 2.5 star review.
This is why the Caesars sound the way they do. Love when the thread to an ancestor is so clear.
Heck yeah. Witchy.
Ok, ok, ok. I think I might finally “get” Johnny Cash and why he’s truly the legend that he is. This whole album is badass. He sounds great. June sounds great. The band sounds great. JC throws shade at the establishment, pretty gutsy. I’ve been bitten by the bug and now want to dig through the archives more. Also, love the fact that he played “San Quentin” twice back-to-back. No rules. Love it.
It’s a 4.5 and I’m rounding up. No, who am I kidding, it’s a 5. I’ve listened to this album so many times, but this close listen was different. There’s a flow, a swing, a mood that keeps the energy high and constant. I think using similar-ish chord patterns across some songs do something that makes the album feel like a dream. Will continue to return for listens again. I also remember feeling particularly proud in high school when I used the lyrics of “Time” as an away message; I’ve never forgotten that and also the lyrics are even more haunting the older I/we get—which I guess is the point of the song. in
That voice.
😎
This is why Caribou is Caribou.
It’s a crusher front-to-back. Now some non-sequiturs. 1. I remember watching them play “Since I’ve Been Loving You” on a DVD from a performance in the late 70s and my brain exploding with the speed and sheer coolness of JP’s playing. 2. It sounds like Heart took the opening riff from “Gallows Pole” and repurposed it for “Crazy on You” and honestly killer move if so. 3. Way more acoustic jams than I remember. Honestly, fantastic album. It’s incredible that by number 3 (and those that came after) they were staying true, tweaking the formula, and taking some risks that had big payoffs.
Phish should cover this album. That’s more or less what I thought about throughout this listen.
“Disorder” is a 10/10. After “New Dawn Fades” the album got a little sleepy. I did however like that the main riff sounded like the outro from Black Sabbath’s “War Pigs.”
I’m rounding up. The first couple songs had so much fuzz I felt like I was walking into a Halloween exhibit that had too much fog machine and the music was coming out of a washing machine. Like the dryer. As in the dryer is running and a speaker playing music is on full blast. The sounds are seeping through cracks in the doors but you still can’t really tell what’s coming through. The fog cleared as the album progressed and some of the songs were enjoyable.
Best part of the listen was when Angelo Badalamenti from the “Twin Peaks” soundtrack auto played after the album finished.
The album felt like a dream. A dream where things feel disjointed but also make sense. At times the energy of the instrumentation felt differently paced from the vocals, and vice versa. It was like hearing 2 different songs at the same time, but everything somehow came together. I need to give this another listen.
♥️🌤️
Give a 5 year old a microphone and a backing track of machine noise and you’ve recreated the first song. I considered bailing after the first song but am actually glad I didn’t. The rest of the album is hit or miss for me. One of the biggest distractions is that the mastering feels extremely all over the place. I want to say that was an artistic choice that pushed boundaries given the time and genre, but idk maybe that’s too generous. Through the discord I heard origins of bands I really enjoy today, many in fact who joined dischord records. Lol. “Poptones” and “socialist” are my faves.
It was fine