It cannot be denied; the sound of violent femmes is fun. A glazey wall of wobbly, folky, bouncy, and intentionally imprecise folk punk rock. Lyrically lacking in depth, but isn’t that kind of the point? Look at the big picture here: juvenile, offensive, and crass desires go hand in hand with the sonic landscape.
Not my favorite Dylan. I think tracks 1,2,6,9,10 are my favorites. The thing about the later Dylan albums that I don’t like as much as his early electric albums (that amusingly pissed off the folk purists) is the lack of dynamism. His writing is, for the most part, strong enough to carry the rather monotonous instrumentation but I found myself missing the energy from that electric period. What I appreciate is the world weariness that came in his age in regards to the stories he’s unspooling, I just yearn for the energy he had about 10 years prior. If you have an issue with his vocal performance, I have some words: You’re a big baby. Grow up. Open your mind up. And finally, skill issue on the listeners’ part.
What a journey. While I don’t see myself revisiting this album, I’m glad I took the trip. Tracks 2, 3, and 7 knocked my socks off. Those are definitely going into my regular rotation. Equal parts hopeful and heartbreaking. Beautiful.
In my opinion, Elton John can’t make an album without filler. There’s no denying his talent, it’s just that he’s an artist that shines on greatest hits collections rather than a top to bottom album with a story or overarching message. That’s fine, he’s still great and this might be the best album of his I’ve heard so far. Jamaica jerk-off is, however, my least fav song and the best example of the aforementioned “filler”. A nothing but fun song that didn’t leave me with a particularly strong feeling by the end. I knew the hits in here but I’ve seen that movie too is the surprise favorite of mine. At its best, there’s a glitzy, glamorous sound tinged with weariness and sadness. At its worst, poppy and unremarkable. There’s more good than bad and for that, I liked it.
Very cool vibe. Bounces between 60s lounge jazz, instrumentals that could easily be used in film scores, and lite tejano . My favs here were black heart, across the wire, crumble, and guero canelo. I’ll definitely be coming back to this.
Goatrethra Franklin
My main issue is that it isn’t longer. (That’s what he said) So in Love is my favorite track. The whole album is sublime and thoughtfully composed. No throw away pop filler here, every piece hit with a message and interesting musical ideas.
Didn’t really do much for me. Blue moon is the one here for me. It’s a little haunting and spooky and chill too.
Not very good or enjoyable. List for life and the passenger are the only things I didn’t terribly mind. Iggy pop? More like icky slop.
It’s fine. Didn’t feel strongly about it one way or the other.
It had soaring moments of fun and kinetic energy. I liked it.
I really dig the sound. There are hypnotic electronic loops and hooks with a chunky glaze of alt rock guitar work. Singer fits into it all flawlessly. Some neat samples of older songs by other artists given new life and color here. Being born the year this released, I don’t recall what popular music sounded like but I’m sure this was a new and whole different approach and I appreciate that.
Simply boring. Nice voice, damn shame the music isn’t more interesting
Great energy. Loved free money and Redondo Beach. I wish there were more tracks
“All these things that I’ve done” deserves what “Mr brightside” had.
My second favorite Dylan album behind Blonde on Blonde. The standouts IMO: the rollicking opener Subterranean Homesick Blues, the warm and charming ballad Love Minus Zero, the haunting and surreal Gates of Eden, and the well known Mr Tambourine Man. Dylan gleefully casts aside his status as folk hero and comes into his own here. The first half is an electric middle finger to folk purists happy to keep Dylan in an easy to label box. It’s clear the whole band is having fun; the sounds are loose, bluesy, and energetic. There’s no aim for technical proficiency here and I think this makes the album all the more appealing in its earnestness. His vocal performance here might actually work at times for those who aren’t usually receptive to his delicate style (tambourine man and subterranean homesick both play to his strengths IMO) but if this album doesn’t work for you, nothing will (this is a you issue btw). The second half settles into the traditional acoustic sounds folk purists were accustomed to at the time. Hates of Eden is my favorite here. Dylan wailing about the injustices both in and outside those mythical gates is just so cool to me. Besides that track, the rest of this side is fine to me. If I had this on vinyl, I’d probably not flip to side B very often.
Just fine. I feel like from everything I’ve heard about CSN, this album should’ve been more remarkable?
Took me a few tracks to get into the groove. Second half of the album I enjoyed more. Luscious and funky sounds. “Smooth” and “Cruisin’” were my favorites
Sugary fun pop hits sprinkled between mildly repetitive filler tracks. Britney’s performance is consistently terrific within a few of these samey trappings. Besides one more time, I enjoyed “I will be there” and “the beat goes on” is a surprisingly good cover.
Playful, expressive, dynamic. There’s something here for everyone. I think this would be the album to show a self-proclaimed hater of jazz to turn their ways around. It’s fun, bouncy, precise, and maybe one of the best albums to play alongside to any task. What a delightful thing.
At times it swings too far into a few unsatisfying and unorthodox places but overall I enjoyed the quirkiness. It’s easier to get into the swing of things when you listen to it as purely a performance rather than looking for a traditional song format or structure. It’s play.
The Beatles influence is apparent here in melodies and sensibilities in song structure. I’m impressed by what smith can pull off with so little. It feels intimate and yet big and bursting through the minimalist seams. Fav tracks were big nothing, pictures of me, and say yes.
It was dense and never boring.
I applaud Paul. It’s not often you listen to an album with only one good song (you can call me Al). None of this comes together in a satisfying way. Would also like to add that Simon’s take on zydeco is embarrassing.
It was fine. She has a great voice and this is a great debut. Some lively accompaniment fitting well beside her performance. My standouts are “twenty hours from Tulsa” and “you don’t own me”
I found the first half more captivating. I found the melancholy (hate using that word as I feel it’s overused) tone to be never boring and meandering to cool places. But it admittedly feels a bit samey by the second half (of maybe it’s because the whole album felt that way and I got bored). Under the pressure, red eyes, and suffering were my fav tracks
Didn’t do much for me tbh. A little too overly Brit for my taste. I really enjoyed a few tracks like “history song”, “nature springs”, and the title track. Others felt like little oddities that didn’t make it to gorillaz albums. Not a very dynamic album as a whole.
Lively and vibrant. Maybe a little nitpick: some songs went on simply too long. I enjoyed “Live for Today” and “Plenty of nonsense” the most.
I didn't dislike it so it wont get a two star rating. While I found this album to be a bit toothless and muzakesque, it’s well produced and well performed by Ute Lemper. I don’t think it’s a good sign to be checking the track list while listening to see how much of the album is left.
Sea Change but I wish I could’ve heard a change in sound at any point in this album. Round the Bend is one I enjoyed the most.
I listened to the UK version (as it has the same cover art as the appearance on this list) The usual bluesy Rolling Stones signature sound is here but sort of fed through a lite psychedelic filter with some baroque pop touches. Some songs more than others shine but there is undeniably filler here. I liked the opening track a lot and lady Jane might be my favorite here. I have a huge issue with this albums version of Out of Time: why the fuck would they go with this when the superior orchestral version exists and was relegated to an outtakes album (Metamorphosis, please listen to that version of the song instead of this sloppy shit). That creative choice alone keeps this from being a 4 star album IMO.
Stellar tracks like White Rabbit, Somebody To Love really standout among some groovy but kind of samey offerings here on this Surrealistic Pillow. Pretty much anything Grace Slick isn’t singing lead in is a bit of a bore.
What a fun album. There’s a sense of play I really liked about this album; Beck gleefully hops to some unexpected and satisfying sections between its entrancing loops and samples. An example of this happens midway through Hotwax with a really cool guitar solo (I guess you could call it that). It’s like making a sort of new picture with pieces that shouldn’t fit together but somehow work in delightful ways. There are instances where he maybe goes too far between places and feels too jarring, it’s certainly never boring or indistinct. Like at times where the listener may be getting bored, Beck slaps you with a new little weird sound to keep you engaged. Lot of fun pieces he’s playing with here and I was mostly for it. Standouts for me: Hotwax, The New Pollution (also a wonderful music video), Jack-Ass, Where it’s at, High 5, and Ramshackle. I think the last track actually keeps this from a higher score; just a needless nothing loop for like 40 seconds. Fuck off lol.
By track 3 I started liking it. Some soaring moments grabbed my attention amidst some fine shoegazey and spacey rock sounds. Sleeping Pills and Breakdown I enjoyed the most.
Marc Bolan has the perfect voice for this. I liked Cosmic Dancer, Bang a Gong, and Life’s a Gas the most, but most of everything else here is enjoyable glam rock in of itself.
Look, I like the Beatles as much as the next guy. There’s some undeniably sublime stuff here and great disco slanted production, but when I want to listen to the Beatles, I’ll just listen to the Beatles. Standouts: Sweet Talkin Woman, Jungle, Summer and Lightning, Mr Blue Sky (obviously).
I enjoyed the muscular, mischievous, and energetic sound. Kim Gordon has an incredible voice. Much like Jefferson Airplane, I enjoyed the tracks with her leading vocals more than the rest. But all in all, this is a lot of fun.
I’m happy that this genre does something special for others. That’s good for them and I guess it my loss that I found this a bit one note. Fantastic workout album but I’d definitely not revisit it as it didn’t make me feel much of anything. Fantastic production work and the whole band is TIGHT, but I’m not much of a fan of screaming/yelling lyrics (also some of these lines are a bit embarrassing and work only when yelled in context, so… sure I guess) All that being said, it’s fine. I enjoyed the slower moments. My standouts: Walk This Love Hollow
Sublime swampy rock marred by a few filler tracks. I loved Lodi and Wrote a Song for Everyone.
It’s chill, but I feel like it only came truly alive sporadically (notably with A Forest). It’s moments of glimmering vibes lost in a mostly forgettable album as a whole.
Tapestry has some thoughtful songwriting that rarely loses its grip on the listener; King is always engaging in her lyrical work and dynamic accompaniment. I also love her voice; it’s powerful and unpolished and that adds to the authenticity of the music. I liked the whole album and loved half of the tracks, so I say it’s a success as a whole piece. My favorites were: It’s too late So far away Beautiful Tapestry Natural woman
On Aja, (pronounced “Asia” btw) Steely Dan boldly answers the question: how great can something boring sound? The most interesting thing here is how CRISP everything sounds. Instrumentation is on point, and yet nothing stands out as remarkable. What a funny problem to have.
Brian Wilson had a wonderful mind for crafting melody and interesting textures (his ear for vocal harmonies is a given being a member of The Beach Boys). Not everything here fully works but god damn I never was bored. I think the first half of this album is definitely the strongest (I find myself humming and singing sections from these tracks more than the rest) and I’d go farther and say the original beach boys era recordings of some of these are superior. Brian Wilson’s vocal performance is just a tad better back then but it all works just fine here. Some latter tracks border close to full cheese and camp, maybe that’s intentional. Standouts: Heroes and villains Roll Plymouth Rock Cabin Essence Wonderful
I’d love to hear a great top to bottom Rolling Stones album, but I’m beginning to lose hope that such a thing exists. The standouts are the 2 hits, no surprise there. I gotta say, when they do blues or country it feels like more of a pastiche than an earnest attempt.
It has interesting moments where the instrumentation soars and shines but beyond that, this is kind of a jokey (or is it actually self serious) mess. Good thing it was short.
Groovy and full of interesting and pleasing sounds. There’s a tinge of sadness throughout that I enjoyed. One of the rare cases of an album having a singular sound and it not being a detriment to itself.
Man, that was pretty boring. I think ryan lacks any sort of interest edge or character in his voice. At worst, it sounds like bland radio music you’d hear like in a movie. At best, some shit you’d hear on someone’s Spotify at a family’s bbq that nobody’s really paying attention to. Not giving it a 1 because it didn’t actively harm me to listen to.
I was originally going to dismiss this album after the initial listing, but felt pulled to come back to it for another try. After some repeated listens, I enjoyed it more, particularly Sioux’s demanding voice. There’s some fun stuff here to be had with its early alt goth punkish sound. My standouts: Spellbound, Sin in my heart, Halloween, monitor.
This doesn’t feel like their best album, thus making its inclusion on this list perplexing to me. I think they do better in their psychedelic bag than this country bluesy sound. Riders in the storm is atmospheric and cool. LA woman is groovy. I didn’t like Love Her Madly lol
Run Charlie Run is a real tough track to get through. Good lord. But with Papa Was a Rolling Stone immediately following it, I was about able to get right back into the groove
Damn. I actually found the back half of ambient tracks to be more interesting. Very cool sounds that are somehow unmistakably Bowie.
Very enjoyable. The vocals are like Bob Dylan but more radio friendly and mainstream but regardless this was good. sultans of swing is a generational banger.
Another questionable list inclusion. This is just showtunes with some interesting tempo changes
A deft blend of country folk rock. Lyrically, melodically, and sonically there’s always some interesting choice made that keeps each track from being an easily categorized genre. Alt rock drumming choices in a bouncy country jangle (Dreamer in my Dreams) or some unique steel guitar usage that doesn’t quite feel country for example. I’ll be revisiting it. My standouts: Red-Eyed and Blue Sunken Treasure Dreamer in my Dreams
Wow
A masterpiece. If there’s a track I like least it’s Mr Kite.