Amazing playing, great funky jams and experimental jaunts. Extremely fun and listenable.
More interesting as a capsule of a place and time than an album. The imprisonment and death in the lyrics seldom permeates the mood, full of fun and gallows humor.
Never dull; you get some of the Kathleen Hanna Bikini Kill sound, in a blender with hip-hop, 60's bubblegum, and urban feminism sharpened to a point and heading toward the new millenium.
You know the Janis vocals will get you, but the searing psychedelic blues guitar tones are really something as well. Great loose vibe, partly thanks to the faux-live element. I am partial to the SF 60's rock sound
Very interesting to have an album where i've heard half the songs a million times and half maybe never. In the big year 2025, some of this doesn't quite hit for me but there is some amazing Quincy Jones work and synth sounds are crazy sick. I will say that some of the big ones: Smooth Criminal, Bad, TWYMMF, etc. could be taken for granted by me at this stage in the game.
Interesting sort of footnote almost to the Foo Fighters experience as it continues today. On some tracks, ol' Dave seems to have found his voice and vibe, and others I find to be more generic '90's Rock' fodder. Very interesting that this made the list of must listens for me, as the Sophomore effort has all the big tracks.
Stole this CD from a Goodwill when I was about 16 or so, had to do it because of the name. Another amazing Radiohead record; at times propulsive, melancholy, uneasy, affirming.
A bit overlong, some cuts could have been made in my opinion. Nothing here quite as sticky as Stills best work in other groups, but good playing and the band excels when locking in genre; bluegrass, blues and the like.
First album in this journey I had zero context for and had no idea what it would sound like. Unique, summery album with good production. Nothing to rush back to for me, but would put it on at a backyard party for sure.
Really solid bluesy rock record, impeccably recorded. Most of the songs remain interesting all the way through with good energy. Must have been a trip to get bombed with these lads.
Not my fave CCR but they are all HEAT. Fogerty rules - love his weird southern fried imagination
Very interesting record! I start rubbing my hands together when I read the studio time and cost was exorbitant. Country and western/weird cosmic vibe/ baroque pop stuff
Can’t believe it’s been 10 years since this came out - a modern masterpiece. An album the rewards a full listening experience. Music that is cathartic, clever , and is able to look back and forward in the scope of hip hop.
The first two Big Star records are so good, the heartfelt , sweet, lush music of those is somewhat present here but gives way to raw, frayed ideas. Worth listening to but definitely some less good cuts scattered throughout
Had no idea The Temptations were doing Superfly / Shaft type soul music , predating the stuff I knew. Half is more straight forward pop vocal stuff but great production all around and a breeze to listen to
This whole thing is cool because I never would have listened to a full Aerosmith album probably. It is not my fav vibe, the kind of cheezy sleezy hard rock thing, but I see why they were a big band. Definitely foretold the 'hair metal' trend, party but not a lot of substance, riffs but nothing too deep to hook into.
I did not have the right perception of this group from context, had never heard them but had seen the name. I liked a lot of the tracks, some of that weird dark British folk influence, some stuff that could be on Mac Demarco radio. The Bob Dylan songs are not his strongest. Highlights - Genesis Hall, Autopsy, Sailor's Life jam.
A cannabis-tinged elixir of Bob Dylan and British folk, Raga, Ye Olde Fantasy imagery and proto-psychedelica. Complete with two all-time classics. Must have been a real mind blower.
Fun to revisit this one. A lot has already been said about this landmark album…a rich tapestry of sounds, does well to create a sense of atmosphere. Also works as great text to discover music
A fun listen, you can sense the group is pushing beyond the sunshiney pop rock of the 60s. Good production, sounds killer.
It was a different time back in the day! As exuberant as can be, a snapshot of the naivety and arrogance of youth. Swaggering, funny and punk in energy. Some great samples. Not my fave Beasties but you should hear it before you die, can’t argue that
Interesting one, you can feel the pieces really clicking and coming together for some uncharted territory. Loveless is a singular record imo, and this does not reach those heights but still very cool sounds, unique compositions of grain and noise.
First time with this one, was familiar with Ege Bamyasi, which I like. Can rocks! Deep grooves and hypnotic rhythms, textured and spacial playing. Like a film score at times, traveling through atmospheres.
This was a big one in my parent's rotation. Father & son always hits. Some good tracks but lacking some kind of edge or POV for me? Pleasant, certainly and with a childlike innocence at times.
Absolutely awesome sound, Ginger Baker is an animal as we all know, and Fela's influence/power cannot be highlighted enough. 4 not 5 because the drum solo is indulgent
Classic - was nice to hear some of these tracks I never heard before, in addition to the heavy hitters. Some Paul Simon melodies just make you tingle and think about your life. America is a personal top track for me - I feel like it speaks to the state of the country and the people in it so well. Timeless. Save The Life of My Child is too Bob Dylan ripoff for me, but everything else is great.
First one on this list that is a skip for me...don't think this is one you NEED to hear. Don't know anything about XTC except 'Making Plans For Nigel', which I like. Easter Theatre & Last Balloon are highlights, but overall found the orchestral production and vibe like a low budget musical stage play. Didn't vibe with me! But certainly unique.
Not to be cliché here, but this is a 5 Star record. What can you say? Once you get to the medley, you have to admit the lads are cooking. It is a capital A album, with repeated motifs and a real feeling to it.
Truly industrial music - sounds like an evil factory at times. Grinding, thumping and abrasive. Experimental and harsh. A unique listening experience, almost like a malevolent production of STOMP. Truly wild and would only listen again if I had to give a WWII soldier PTSD.
Sounds like a landmark artist coming into his own - Lush, groovy and dramatic. Well composed soul music that hints at the heights of Shaft! to come. The payoff after the long monologue in the final track does not quite justify itself to me.
Reznor atomizes the dark electronic music of it's predecessors (I am no expert but I would say Joy Division/Depeche Mode/and other emerging synth-goth stuff) into a landmark 90's album. Spawning a slew of similar artists into the mainstream. The textures and carefully destroyed and deconstructed sounds throughout the record hint at his future as a great film composer, while the themes of harm, sex, hate and technology feel visceral still today.
I am not a huge Dylan-head, but it was enjoyable to get a live snapshot of his shift away from the folk music. First side of the record is him with acoustic guitar and harmonica, not my favorite but as always some moving poetry in there. Second side you get proto-The Band playing with him, which is much more my style. Ballad of a Thin Man sounds very modern in arrangement and playing for instance. To know that half the audience was hating it is also extremely funny and bizarre.
A tantalizing mix of funk and hard rock, reflecting the turmoil and uniquely American strangeness of the late 60s / early 70s. The title track is indelible, and I found the rest of the album to be in support of it in one way or another. Birth and destruction, all while still maintaining some fun.
Albums of this ilk really sound like the era, for better or worse. Some really great synth sounds and textures but some of the tracks veer into cheesy territory for me. The 'world music' influence is beneficial if not overstated. Sledgehammer & In Your Eyes are classics.
This group had escaped me, so I was not sure what I was going to get, even though I thought I had gotten the gist of the 'Britpop' movement. This is a great record- energy and hooks, high spirits and young fun. I experienced it as a kind of a Cheap Trick-ish power pop for the grunge generation. Could see this being an influence on the likes of Arctic Monkeys, Strokes, etc.
Would Andres Serrano's Piss Christ be as effective, without the viewer knowing the context of the photograph? This album begs the same question - would these songs hold up if not within the framework of a 69 track compendium , variations on the theme of love? My short answer is that some would and some would not, but those that would not are propped up by the concept of the record and therefore are part of the greater tapestry. Some songs are knockouts, some are silly, some like worse Yo La Tengo, one sounds like it could be a Stevie Nicks demo? There is country, jazz, indie, and so on - most with a very New York theatrical cabaret vibe. Funny how a majority of these 'love' songs are about loss or love going wrong - but thats life! There will definitely be something on here for everyone to relate to and dig - rudimentary or frivolous as some entries can be. Papa Was A Rodeo is GOATed.
A fun time-capsule album. I think the artist captures the vibe if hip-hop in the late 80's through a unique lens, due to her being European. While some of the rhymes fall flat and the subject matter gets into 'after-school special' territory, there is enough here to enjoy and some beats/production elements really stand out.
Did not make it through this one - On top of Brian seeming like a piece of shit, he drops the N-word on the first track? The music is derivative to me, and the sources they are pulling from are not my favorite vibe anyway. Back in the day, the 'i'm so edgy and spooky' schtick did not connect with me and by today's standards seems tacky and threadbare.
I was more familiar with Mr. Costello's debut - and was happy to dive into this record. Lots of fun songs in a jittery, new wave style. He jams a lot of ideas and words into most of these tracks - the emotions are ironic, angry, horny, discontent - but never feels negative or like a downer.
Bowie rules, everyone knows its true. This is a great record. Heroes is an iconic song and the highlight of Side 1 - although Sons of the Silent Age harkens back to classic era sounds in an enjoyable way. Side 2 is where I think this thing really starts to sing. You get some lovely ripoff Kraftwork, a modern-ish German Expressionist soundtrack, pan-Asian sounds and a moody track reflecting urban unrest before an anthemic closer. Big ups to Eno as well!
Music like this I tend to appreciate more than enjoy, if that makes any sense. I understand the significance of Germs moving the genre of punk forward and being a part of the lionization of the LA hardcore movement, it just took me a little while to get into the same headspace of the songs. Once you lock in, though, you totally get it. I think Darby's unfortunate end really pushes this into the stuff of legend and embodiment of the music's worldview - but in my humble opinion that can only elevate the material so much.
I was in early-ish on TWOD, seeing them open for Guided By Voices in Central Park circe 2012 so I was familiar with this one. These songs unfold before you, stretching out a wide open sonic path propelling the listener forward. The album is thematic, so everything fits together but does not get too same-y for me. Awash in synth and guitar tones and a strong emotional core, a simple distillation would be yearning 80s style rock with ambient and Dylan-esque influence but this does not put a finger on the mood created.
I am a Dan-head, and had a blast buzzing through this record. Jazzy pop rock that is as tight as can be and chock full of hooks and grooves. They dip into some country, blues, dixieland, etc. but firmly sound like Steely Dan; unique lyrics and pristine sound.
First time hearing any Pretty Things I think and I was pretty floored with this record. The bones of the album are a story of a soldier's life journey, fairly cliche 'concept album' fodder but it takes unexpected twists and jags in sounds and feel. I was surprised to see it got panned by some critics. I guess when White Album, Village Green, Tommy, Beggars Banquet etc. are coming out of the UK at the same time, there is not a lot of room at the top. Both groovy 60s psychedelic and morose British blues, they cover a good amount of ground with their sounds and textures for 1968 - including some Sabbath-esque stuff and instrumental soundscapes. Sounds great in the car, no doubt thanks to Beatles engineer and Pink Floyd producer Norman Smith.
I think this is one of those records where it won't connect with everyone but will sink its teeth into a smaller base of fervent fans. Some of the frantic poetry doesn't make for a comfortable experience, but the raw energy and runaway train vibe is arresting. People have locked this into being a proto-punk album, which I am not totally sold on. But it is fascinating - interpolations of two rock and roll songs from the 60s in a totally new style, alongside Patti's original compositions ranging from the slinky dub of Redondo Beach to the piano-led dirge of Elegie. You can see Television, Talking Heads, and more synthesizing when the music is at its best - not to take away from it but quite the opposite.
As stated when speaking about the Live bootleg previously, I am not a Dylan-head. This is definitely the album I have listened to the most though, and therefore would say its my favorite. I think most of the songs being steeped in southern blues aesthetics really help to elevate the material. Some of the poetry is pretty impenetrable to me, so its best to let the images wash over without looking too deeply. I think the players on this album are firing on all cylinders. Its a mix of sweet and sad and silly, all flavors welcome. Pill Box Hat is the top track for me, and the only one I have issues with is the closer...a little too long and repetitive.
This album is the first step in transmogrifying the jumpy new wave punk-y music of the band's debut, into the gloomy goth rock to come. There is nothing here that reaches the heights of the back half of the 1980s, but it strikes a mood. Some songs feel just out of reach, like when you can't quite grab something in a dream. Lyrics evoke people in their room at night, in a dark forest, whispering, telling secrets. Classic Robert Smith stuff!
Second PG album so far and superior to So...This still smacks of Genesis/prog in a good way, widely varied and unafraid. Where So... gets sappy, this maintains more imagination and edge. I hear some Phish influence in this - Its rock and barbershop and theatrical and earnest ballad etc etc. Lots to delve into, which I appreciate. Solsbury Hill is so played out, it made me laugh hearing it!
I bring a lot of baggage to Dead stuff, being a fan, son of a fan, etc. I think it goes without saying this is a gem of weird, wobbly americana. Continuing the country stylings of Workingman's Dead (which I believe is a better indicator of what makes the band click)....this album is an experiment in melody and studio texture instead of the psychedelic form-breaking of early recordings. Till The Morning Comes is the most Lennon/McCartney I’ve ever heard Garcia/Hunter go and the reserved lead guitar/soloing and contributions from the whole group provide a folk-y , big group playing in a room together vibe. I listened to the 50th Anniversary version that has a live show tacked on from Feb 71 – great stuff all around.
First time hearing any Ryan Adams to my knowledge, and I can understand why people were hyping this up 25 years ago...some choice cuts on here of the Alt Country variety, some more sensitive 'Dylan in a toxic relationship'-type stuff. Minus a star for him being a dirtbag
I am by no means a jazz expert, but this collection of Miles Davis and band's early recordings is phenomenal. A departure of current styles at the time, it now sounds so classic and immediate. There are a lot of players, but the horns work together well and do not overwhelm or feel crowded. Nothing too out there like Davis' playing/arranging would become, which I think lends to this batch of tunes a familiar feeling. Birth of the cool is right - this shit is cool!
I liked this better than the Germs record, which is another 'landmark' hardcore punk album predating this one by a year or so. To me, this collection has more of a POV, has some humor and better playing. 14 songs scorching through 15 minutes - pretty classic stuff!
A huge leap forward for the group on this, their sophomore effort and in turn, a leap forward for hip hop. Beats stuffed with samples and soundbites, a technical achievement as well as artistic. The Beasties rhymes have grown as well, still silly and macho but more clever and thick with entendres and references. To me, its nice to re-visit this one since there is always something more to notice.
A landmark record in the genre of funk, mixing with soul, rock, R&B etc. into a blend that inspired countless acts after it. It's defining characteristic is its moodiness, a kind of '60's peace and love dance party is over' vibe - still groovy but with an edge. It sounds robust and thick. Sometimes when the primary artistic force in a group starts doing hard drugs, you get a home run or a strikeout...This one is out of the park.
A unique strain of orchestral folk, Nico's solo debut is uneven in quality but interesting. Mostly gentle and melancholy, the timbre of her voice is very unique and lends the songs a smokey/mystical take on the 60's Greenwich Village singer. You can definitely hear the influence of her collaborators/songwriters - some of the best in the biz. Title track slaps and is the highlight for me. Nico ain't paying any drummers!!
Really interesting to dive into this, I am not a huge U2 person but a more noisy, personal album from them works for me. Clearly a Pop/Rock thing but they take some influence from Alternative, 90s type stuff, and likely set up some of those sounds for success. Still hits some overly sentimental beats for me but sounds great!
Top tier Radiohead - Pushing past anything too mournful / worldweary into a more jammy, propulsive vibe that never gets stagnant and never loses the core of what makes the band great. A while back, I rated HTTT 5 stars and re-listening to this one, it is clear that In Rainbows eclipses that. For me, it never gets too anything - meaning too whiney, too electronica etc. If you like the Radiohead thing, this is another banger in a long line of bangers.
A very British record, full of folk and rock tunes that have a foot firmly planted in the early renaissance music style. Unique for the all-acoustic instrumentation, and borrowing from jazz, blues and 60's American folk stuff, this is a cool album of hippie renn faire vibes. Amazing cover art!
Phenomenal 60's California psychedelic country rock. Way ahead of its time sonically, with all the synth, panning, flanging and other studio action. Definitely some high guys working on mixing but in the best way. Jangling and breezy, with some poignant songs in the mix. 'Goin' Back' for instance, should be corny but was very emotional for me. Loved the odd stuff on the end of re-issue as well!
Kind of Grungy, kind of NIN - That is to say - very 90s! Learning a bit more about how this came kind of from the Fugazi camp is interesting, as I do not hear 'punk' like that per se. It has a sleezy vibe to it and some thumping baselines. Nothing really clicked for me but I can dig it.
Wild to think that the 4 Smiths studio albums came out in less than a four year span! This album is a fitting end, with the band stretching the sonic palette of their jangly, catty yet sensitive pop rock - Complete with the typical Morrissey special; frankly dour lyrics regarding lack of love, death, illness, greed, etc. It does not top my personal list of Smith albums but there is a lot here - that theatrical, dramatic style that makes you wonder where they may have gone if they kept the group together.
Crazy to me that by 1965, the BBs were putting out their 8th studio album. This is significant as a stepping stone, a precursor to the world altering Pet Sounds. You can begin to hear the shift away from the car/surf sound into a more lush, emotional tone. None of the songs really stick out to me but as a whole it is an enjoyable listen. Not going to be top five BBs albums for me but Brian Wilson is such a weird, alchemical songwriter that it compels the listener no matter what and obviously the players are top tier.
A well produced neo-soul / R&B fusion, full of introspection on black culture and identity in America. Ahead of it's time at release in 2016, predating the reckoning of BLM that would come a bit later, for better or worse. The sonic space of the songs is rich yet contained, with indie influence from the likes of Dirty Projectors/Vampire Weekend/Chairlift collaborators. The interludes are very welcome, speaking to Solange's theses and connecting everything together. Nothing aside from Cranes In The Sky jumps out as a sticky melody to me but impressive as a whole.
