Had never really listened to the back half of this album...the first half is where all of the radio hits were. A good example of the popular opinion getting it right...the back half is less exciting. Belive Me Natalie is a notable exception - really good song with excellent use of horns.
Amazing I've never listened to this album all the way through. The Band influence really speaks to me, even in the first few tracks. In addition to the big hits (My Sweet Lord and All Things Must Pass), I'd have you Anytime (co-written with Dylan), Wah-Wah, What is Life, Awaiting on you all are all totally standout tracks.
I think I agree with Robert Christgau on this one: Lot of ambition on this record, but it only really comes together on a few songs. Tonight Tonight and 1979 are by far the best singles. Galapagos and Muzzle are stand-out album tracks. The lyrics (when easily discernable) are lacking as compared to the music, and some of the music is *very* much "of its time", meaning for me it sounds a lot less fresh and unique than it may have in 1996. I'm sure I listened to this album on repeat in college, but it definitely left less of an impression on me than other albums from the time. Also, some of the songs (and their titles) remain cringey to me 30+ years later.
Enjoyed more than I thought I would, especially the Wizard and N.I.B. The cover of this record is an iconic image, which is both opposed to my view of "classic" heavy metal aesthetic and at the same time totally effective in giving the sense of psychedelia decaying towards foreboding. The riff from 'Black Sabbath' is a weird tri-tone arpeggio that is hypnotic and feels like it has little connection to the heavy blues rock of the rest of the record. A world-shifting riff.
An absolute classic album for me. Taxman is a weird opening, but many of the songs on this record defined the psych-pop music that I love most.
Love Elliot Smith, but I still find this album a tough listen. Much of the music sounds...quiet. No matter how loud you turn it up, it seems like it's being whispered at you. Which is charming for a song or two, but becomes a drag across 37 minutes. There are a few big exceptions, notably Ballad of Big Nothing. Of the whispery tracks, Angeles stands out for me.
I have such a soft spot for this album, ever since I first heard it about 20 years ago. I love the goth vibes of the album cover (way ahead of actual goth culture), and the stark contrast between the dark, sad-looking album cover and the first notes of "Luckie", which feels so upbeat and maybe even sunny. When I first heard this album, the thing that struck me was not just the musical or verbal complexity, which both felt totally unique compared to anything before (and most everything since), but the variety packed into each individual song. I think of Laura Nyro a bit like Van Gogh or Coltrane...no one understood the available box of musical and lyrical tools exactly like she did, and no one saw the world quite like she did. Particularly the patchwork way that she integrated tempo, key and meter changes within a song, and her unique vocabulary and phraseology make this record absolutely essential for me, and I'm a passionate advocate for it.
Even though several of the songs on this record are better known as covers by other people, the versions here are often superior for Nyro's delivery. Since her writing style was so unique, it stands to reason that her delivery was more aligned with her original vision. Not to say that there aren't other good versions of Stoned Soul Picnic, for example...I just prefer hers.
To be fair, there are some moments on this record that slow it down - maybe more than I prefer - and signal toward the more mournful music she subsequently released. But as a collection I believe this one holds together as a singular artistic statement.
Good record, but not great. I feel the mixing especially on side 1 is extremely muddy, especially between the drums, bass and Lemmy's vocals, the low end lacks depth. Even on their biggest hit, its always felt that way to my ears. This pulls the punch in a big way for me. Some great somngs on this record which are under appreciated, but also there's "Jailbait" which...ick. But "Roadcrew", "Dance", and "The Chase Is Better than The Catch" are all excellent songs.
This album is deeply ingrained. Having never counted myself as a Moby super-fan, I was surprised as to how many of these tracks were very familiar, even beyond the singles. My main reaction to this record is surprise at the subtle variety of it. It has elements of pure dance music and trip-hop, but it also loops in so much jazz, blues and rock. And I assume that's Moby singing on a few of these tracks, but part of the mystery here is what is a sample, what is live instrumental, and what is something in between. It's an enigmatic record, and I'm not sure who he thought it was for when he was recording it (was it for DJ sets, live performance, crate-digging music wierdos?). It remains a mystery to me, but its a better album than I remembered at first blush.
Such a fun album. I was super familiar with the title track, but my favorite here is probably the saxophone feature on Minor Chant. Also, an excellent, loose interpretation of Sunny Side of the Street.
This album is so close to perfect, just a couple of tracks drag it down from 5 stars( most notably the closer). But the grooves on this record are iconic and not to be missed.
Obviously some incredibly famous songs on this one, but it really is just not my cup of tea. Probably needs a revisit at some point in the future. Other than the title track, I'd say 'Lost in Music' was the standout for me.
