I thought this was cool, definitely outside my ordinary wheelhouse. Enjoyed a few of the tracks more than I thought I would but honestly, the problem here is that nothing felt super memorable to me?
I liked it though - it was a cool album despite being entirely unfamiliar with Neil Young.
Damn. I really thought I knew what Amy Winehouse sounded like from hearing a few cuts here and there in passing, but I've never sat down and really listened to it. It's something else. There's SO much going on here, lyrically and musically. This whole record oozes cool and she's was a badass in a way I didn't actually understand before listening to this record.
Pumps, In My Bed were especially cool tracks
Well. I heard it before I died, that's for sure.
It was mostly fine but The Murder Mystery was *terrible.*
I went into this one only really knowing Message in A Bottle but it's great the whole way through. I had no idea it would be so punky - I can really hear a lot of the bands who would be influenced by this record later. Can't wait to dig more into The Police.
Not a ton to say about it except that I was pleased the whole way through. Mostly just background listened but it was cool - I can see why someone would be super into this record.
Been looking for a reason to revisit this album. That intro track is a haunting masterclass in atmosphere and the video sticks in my mind to this day. The new versions of Sue (Or In A Season of Crime) and Lazarus are incredible highlights, and the former, I *think*, is my favorite. Knowing that Bowie knew it would be his last gives the whole album a sense of finality and permanence that permeates everything and is difficult to forget about.
Completely went into this blind - had never heard of the artist, didn't read the description, nothin.
First thought is what the heck this is cool. Kinda psychadelic, suuuper outside my wheelhouse. "Back at the Farm" almost feels like the drumming and bass playing wouldn't have been out of place on a Sabbath record. Lots of cool noodly solos.
Overall super positive on this one.
It was cool to revisit an album I'm already so familiar with and grew up loving - unfortunately, some songs are not nearly as amazing as I remember it but I also appreciated some of the songs I used to gloss over more than I used to so it's a wash and it turns out it's still a fantastic, nearly no-skip record.
Not sure what the hell has happened to Dave politically to go from writing Holy Wars to being the loser he is now, but there's at least there's a record somewhere of him at one point being against atrocity in the world. Great album, just wish Dave wasn't such a washup these days.
I've never listened to anything like this before. I know nothing about jazz/swing/big band music. It's super, super energetic and fun! I really enjoyed it more than I thought I would, even if it's not really my thing. I'll have to revisit the genre at some point. Also, badass album cover art lol
I liked the music but I don't really care for the genre to be honest. I think my issue with this record is that either the genre is so uniform that I've already heard all of these classic, groundbreaking-for-their-time riffs, or I've heard so many people who were influenced by these classic, groundbreaking-for-their-time riffs that have already taken these ideas and fleshed them out in compelling ways already - in genre's I more prefer. In either case, it's a good record but every few songs I couldn't shake the feeling that I'd already heard some variation on the theme already.
A cool record, but not necessarily a record I need to hear before I die - at least not anymore.
Had no idea how many of these songs I actually knew. Enjoyed it the whole way through even if it's not entirely for me.
Overall, didn't really like it. There were a few cuts like Superstar, Final Hour, and that Frankie Valli cover that I enjoyed but overall the record mostly missed me. I'm just not into R&B and overall, the immense length of the record and the sheer amount of 5+ minute long songs is just a nonstarter for me. The concept is cool and learning about Ms Lauryn Hill's inspirations behind the album helped contextualize it overall but I can't say this is one I'll be excited to revisit outside of a few tracks that appear to be on the less-beloved part of this classic-but-not-for-me record.
Super cool record, aside from that super fucking weird skit towards the end. Liked it overall, though, despite the runtime being so long. I would revisit this if it were shorter for sure.
Delightfully weird record that wasn't as strange as I thought it would be based on only knowing Rock Lobster. Also, a bizarrely horny record.
It was fine - I expected more, to be totally honest, judging by the amount of artists I love who have covered Patti. I feel like I'm missing something here, but mostly it just kinda felt like a Lou Reed record or something.
As someone who has never listened to much of the Beatles, and this being my first full-record listen, I'm feeling like it's incredibly one-note. This is perhaps the band I'm coming into this project with the highest expectations for and while the bangers are obviously undeniable, I can't help but feel like I was just waiting to get through a few of these tracks. I don't know what it means for my feelings about the record but, I guessed and later confirmed that this had to be an earlier album in their discography. It was fine - I think there's almost certainly more interesting works from The Beatles than this record.
What the hell is a beetlebum? There's so many cool bits of guitar work that I enjoyed (M.O.R scratchy harmonics., Country Sad Ballad Man....whatever that was) but I ultimately just don't enjoy the vocal style they use for the majority of the record, which is a departure from the one song I actually knew (Song 2, naturally). Genuinely full of surprises though - Chinese Bombs threw me for an absolute loop. Overall, I liked it, even past the vocals.
What a bizzare and crazy record. Like, there were moments I was absolutely repulsed by the jingles and the overt endorsements, and just overall bizarreness (derogatory), but then there were tracks like I Can See For Miles and Rael that made me feel like I was on a different album. I may have made a mistake listening to the extended edition I found online, which realllly made the album drag, but, on the other hand, my favorite tracks wound up being on the extended portion - Sodding About has some rad riffs, and Summertime Blues...the latter of which, well...unfortunately, wound up being a cover. Not really a great sign, if you ask me. I still wanna try other Who records, but this one probably won't getting much of a revisit (or at least, if I do, it'll be a version with all the ad/jingle tracks cut out).
PS: Where the heck did that rad rendition of In The Hall of the Mountain King come from?!
Damn, this one disappointed me. I knew the singles, of course, but Jane's Addiction was always a band on the knife's edge of enjoyability for me, mostly thanks to Perry Farrell's voice which is a...taste I have not acquired. Overall, I thought I'd find more songs I liked here but a lot of the jam sessions and extremely weird and drawn out songs don't do anything for me the way that Stop or Been Caught Stealing do. If you subtract the songs I already knew and liked, the remainder isn't all that enjoyable for me.
