I had no idea the back half of this record (or side B of the vinyl) was a medley of many songs. That's what I love about this project. I've been learning so much about records I've been listening to for ages.
I suspect a lot of listeners were introduced to Nick Drake when 'Pink Moon' was so perfectly captured in that ad for Volkswagon that ran in the early 2000s. It was my first introduction. Listening to this album years later it's pretty clear that lyrically this album is a bunch of the nonsense the Folk generation was writing in those years. The songs in and of themselves aren't terribly well composed. The only real memorable track is Pink Moon. And had he not cut his life terribly short, would Drake managed to make it into classic status and not relegated to the halls of one-hit-wonder? It's hard to speculate, BUT what I do know is this album is a complete vibe; a perfect listen curled up with a hot bevy on a cold autumn day. It's the vibe, people!
What an energetic debut. First half doesn't nearly hold up as well as the back half of the album which feels more polished and realized. But let's face it, Pretenders hinges on those deep tones of that one-of-a-kind voice from Chrissie Hyndes. With all due respect to her bandmates, she IS the Pretenders.
Nothing says I'm no longer part of a musical duo than posting a close-up of your mug in a parka as the album cover. This is Simon publicly announcing his new direction as a solo artist, and it couldn't be clearer from the reggae inspired beats of the opening track 'Mother and Child Reunion', just one of his legacy hits. The rest of the album is filled with pep and playful lyrics. There's no doubt this continues to forge the path of a masterful storyteller with music that forecasts the international flavor that would in fuse his music throughout his career.
Here's the thing...I didn't love this. But I couldn't help but really be drawn in by its concept and really far out lyrics. Musically the middling songs are just middling. But when the hits hit, it's a rocker. Suffragette City is a banger that's still stuck on the brain.
Metal with a lot of polish. The clean blends and multi-tracking make this a perfect listen on headphones. A handful of hits with a few new deep track finds. This was a pleasant surprise.
3 1/2 Stars. Solid debut with some groovy tracks. Shout-out to the session musicians that make this whole thing work.
I was never a Hole fan during my grunge days, so I wasn't terribly excited to revisit this album. But after all these years later, the sound actually holds up, while Courtney Love's voice is nearly as grating as I remember. There's even a few more tracks beyond the hits that sound pretty great.
Who knew half of 'Psycho Killer' was in French. Bouncy, light, silly but ultimately a pretty forgettable record.
THIS is why I love this project! Finding hidden gems like this Dolly album that I would've never listened to in a million years. Her writing is simple but earnest and heartfelt. Not to mention catchy as all get out. It's no wonder Dolly is such a nation treasure.
I'm not a fan of Live albums, but this put me in those 70s house party vibes with the smell of weed and Budweiser wafting in the air while trying to talk with friends over that Frampton guitar. Quality stuff here.
3 1/2 Stars: I'm all for the distorted guitar sounds of bluesy rockin' roll, but much like AC/DC, I could never sit down and listen to a full hour-long record of it for fun. Good for bits and bites and crafting a playlist, but a full length Black Keys "album" will never be a go-to for me.
I always thought I didn't like Wu-Tang and that's without having ever listened to them. Rap and Hip-Hop has never been my thing so I've avoided it. Where the hell has this album been all my life. Raw and Lo-Fi with nonsense skits and lyrics. Sorry I came to this record so late. It will fuel my workouts for years to come.
A wholly unique and hypnotic voice, it's unfortunate that Armatrading isn't more well known today than she was in her time. The songs on this self-titled record aren't necessarily "radio-friendly"; Her melodies aren't exactly ear worms, but the production is impeccable and the writing is honest and heartfelt. This has been a nice little find as part of this 1001 project.
3 1/2 Stars: I haven't listened to this album since my college days and it's still the same moody listen carried by Orton's unique vocals. The only downside is the album starts to sound "samey" after a while. To top it off it's got an hour runtime, so by the 30-minute mark I was ready to move on. Still, her sound might make a good first listen for the uninitiated.
It's not unlistenable, but it certainly sounds like a relic from a time and place. Lyrics touching on topics of War and Labor during 1980s UK is standard fare for the time. I favored the back half of the album where the songs are shorter and much more catchy. I appreciate being exposed to this album, but I certainly never need to hear it again.
It cannot be overstated how much of a juggernaut this album and band was when it came out. That raw garage band sound. The upbeat rhythms so sorely needed in the shadow of 9/11. But I never could REALLY get into The Strokes. There was a sort of NYC It-Band Pretentiousness that seemed to permeate their image and the hipster crowds that ate it all up. A silly reason to dismiss a band, but it all just kind of annoyed me. Listening back I appreciate their upbeat tempos, syncopated lyrics and general rawness, but it's still the type of record I'd borrow a few tracks for a mix tape, and not the kind of record I'd spin from front to back. Someday and Last Nite were the radio hits, but for me Hard to Explain is the absolute standout on the album.
Incredible debut! Took me right back to my college days where that incredibly sexy video for 'Criminal' played endlessly on MTV's TRL every afternoon. If Tidal has a downfall it's that the back half of the album doesn't quite stand up to the energy of the front half. This a record made for headphones. The production is so vibrant with it's strings and instruments, that's it's easy to not see (or hear) what's right in front of you. Seriously...for those saying this sounds the same, go back and intently listen. You'll be rewarded.
Johnny Cash has never really been my jam, and I just generally hate Live albums, so I'm already going into this with a bad taste. However, you can't help but hear that some sort of history is being made on this recording that It's at least an interesting spin. Love the prisoner reaction to the lyrics and interactions between songs.
I can see how 'Murmur' can be dismissed listening with modern ears, but in its time there's no mistaking this was a helluva debut. Garage band vibes with a pop underbelly. Lyrics that make no damn sense whatsoever. It's no wonder this was the grandfather of Indie Rock. 'Moral Kiosk' has to be the most underrated unreleased radio track on an album ever!
The Stones aren't generally my jam. I truly don't get their appeal and have always chalked it up to Boomerism-you-had-to-be-there sound. But 'Exile...' straight up sounds like a helluva fun basement party, and I'm here for it. Bluesy rock, playful lyrics. It all sounds like brewskis with the babes and bros with the stereo cranked to 11. They're still not for me, but I had fun with this.
In college, I played in a short-lived band called The Spazzo Funk Monkeys. 'Stir it Up' was part of our catalogue. I thought we did an okay job as a 4-man band of drums, guitar and horns. All this to say this was my favorite song to play as a Funk Monkey and is without a doubt the strongest track on this album. Unfortunately the rest of the songs sound like politically minded filler in a career that pumped out some of the absolute best reggae. I'll probably never find my way back to this record again. Those Spazzo Funk Monkeys, however...
A poor man's Modest Mouse. That seems harsh, but it's got that same playful earworm sound, but not quite as elevated. Light, digestible, but ultimately forgettable.
I'm being a little generous with my rating. I get how important this album is to Springsteen's career and it's place in Rock history, but even at 8 songs it all sounds so...middling. Born to Run is the highlight. and Jungleland is pretty great but sounds like a rip-off of a Billy Joel song. But the rest is just all so-so. I don't know. Maybe I'll revisit at a later date and change my mind.
I only knew the hits, but so many other exceptional tracks hidden within this album. And to learn Stevie played nearly all instruments on most of the tracks?! No wonder it's considered an all time classic.
2 1/2 Stars: Hard to believe this was the seed for Punk Rock. It's much more melodic and not quite as raw as I was expecting. Didn't love it. Didn't hate it. Probably the first album since I started this project that didn't elicit much of a feeling about it one way or the other.
Finally!!! I was wondering when I was gonna see a jazz artist on Blue Note with engineering from the great Rudy Van Gelder. And even though I'm not terribly familiar with Jimmy Smith, there's no denying this is great lazy Sunday afternoon listening. This is a great entry point for jazz -- not terribly heavy on the riffing and improv. Just enough to feel the back and forth and vibing. Bring on more from Blue Note!
So here's the thing...My initial reaction like many on here was to immediately dismiss this album as garbage. BUT if music is considered auditory art, then I've got to at least consider this as an art form. It may not be a Caravaggio or Picasso or Jackson Pollack, but it is a banana duct taped to a wall so it's gotta be for someone out there, right? I was dreading listening to something so experimental, but it's not 100% terrible and there are maybe 2 tracks that I find at least tolerable and listenable. Not for me, but I think I understand it's place in "music" history.
I don't think I've ever head a love song done as rap. Great flows. Great production. I could come back to this one for sure.
2 1/2 Stars: This has been a weird week for 1001 generator picks. Can you throw me something somewhat normal today, please?!
Great grooves, harmonies and musicianship. Half of these songs you'll recognize as covers or originals written by other artists (James Taylor, Seals and Croft, Doobie Bros.). Good tracks for a mixtape.
Pretty sure if everyone on Earth set their alarms to Shining Star we'd reach world peace fast than you know!
Stripped down garage rock/punk isn't my jam and I generally despise Live albums, but there's a lot of spirit in this concert recording from these grandfathers to punk music, that it's actually not half bad. It's raw, unfiltered, kinda messy sounding, but certainly not unlistenable. I doubt I'll ever come back to it, but I appreciate it for being in this collection.
There's some real clunkers on this late Beach Boys attempt at being socially conscious. There's a song that's an ode to caring for you feet. Seriously! And a homage to our oceans and how bathing pollutes them. Uhh...okay Hippie. But it's the back half of the record that really gets going. In fact, Feel Flows has to be one of the best Beach Boys songs I've never heard of. It's got some pretty out there lyrics, but the production and melody are incredible. All in all, Surf's Up is uneven, but the highs hit really high.
This has one best album covers of all-time! Although I had never actually listened to the album until now, I'm very familiar with the album cover which has stoked my curiosity for years. Not much for lyrics, but these songs pack a lot of badass funkery. This is a feel-good vibe record that will go firmly into my regular rotation.
I played Steely Dan when I was a jock on the radio ages ago, and for the longest time I just didn't "get" them. Then I stumbled upon their Live album and it all popped into view like one of those 3-D Illusion pictures. Donald Fagen, Walter Becker, and the whole lot are quintessential musicians and understanding that makes me finally understand their entire catalogue. The lyrics are somewhat goofy, and Fagen's voice isn't the greatest, but the musicianship is off the fuckin' charts, and it's all over Aja. I'm disheartened by all the negative reviews, but hopefully people will find their way back to Steely Dan over and over until they finally "get" it. Also, Michael McDonald on background vocals for the Win!
2 1/2 Stars: Listen, it sounds like a classic country album, but the lyrics at times makes it sound like a parody of a country album -- most likely earnest at the time, but plays differently for modern ears. I just don't know why anybody would choose this record when there are so many other elevated artists of the era.
I made it 22 minutes in and had to bail. It’s like listening to a homeless man beating on pots and pans and speaking gibberish. Who is this even for?!!
This was the age of MTV, Baby! Some real bangers on this record. And what's the deal with all these 1-star reviews? Are you kidding me?! Those Van Halen guitar solos, the tailpipe-imitating drumming opener on Hot for Teacher, David Lee Roth's undeniable charisma, the glorious synth solo on Jump? It's all so glorious and worth so much more than a measly one-star. Who's letting the plebs vote around here?!
5 stars for rhyming 'Romancing' and 'Fancypantsing'. 1 star for his inability to enunciate. 3 star average for average songs.
This swept me right back to TRL when Missy videos played back-to-back with Limp Biscuit and Brittany Spears and Three Doors Down. What a time to be alive! Timbaland beats, Missy's rhymes, this album is Phat! Could've done without the long, rambling intro and outro. It's really kinda silly and breaks the flow of the album, but whatever. Missy can do what she wants.
I had no idea the back half of this record (or side B of the vinyl) was a medley of many songs. That's what I love about this project. I've been learning so much about records I've been listening to for ages.
Undeniable sound and genius from Jeff Lynne. Production is impeccable. Pretty solid record front to back, but there is some filler inside. 'Summer and Lightning' is one of the best ELO tracks I've never heard.
2 1/2 Stars: This album sounds like the color beige.
Sure, the lyrics are a little simple like they were taken from a lovesick high school girls diary, but the tribal beats and orchestrations and Bjork’s one of a kind vocal shouting make this Debut a pitch perfect…err…debut!
I played the hell out of this album when I worked in radio years ago, and it's seared into my soul. That David Gilmour guitar hits those pockets like no other. What a record!
This is the type of music that probably plays better in a live setting that to sit and listen through a pair of headphones. It's all fine. Lots of energy, but pretty percussion focused in very specific niche of music (afro-cuban) that will probably only appeal to a certain audience. I enjoyed listening to it, but have no need to revisit this album anytime soon or ever for that matter.
Doesn't sound nearly as dated as all the other reviewers are making it out. Cohen is a definite vibe with his low, growl. Some decent tracks with the outstanding Everybody Knows as the highlight. A few forgettable considering it's only 8 songs long.
For years I thought this devil worship music, and to think all they wanted to sing about was the plight of the Native Americans. Who knew?!
What felt daring and important in its time comes off pretentious and depressing quite frankly. I've never liked Radiohead from their Beep-and-Boop era on, so I wasn't bound to like this. Come to think of it, I'm pretty sure I bought this CD when it came out, but never even cracked it open. I'm such a completist that way. I guarantee there isn't a soul alive who has a hankering to listen to 'Hail to the Thief' on a Saturday afternoon. Would be nice to see Thom Yorke and crew come out with a record lambasting their own authoritarian government at the present moment, but identity politics only works one direction, I guess.
Just my little gay self listening to 'Purple Haze' singing at the top of my lungs 'Scuse me while I kiss this guy!
This is giving 1970s me doing construction paper and Elmer glue crafts at my babysitters while watching Marian the Librarian on PBS and listening to her talk about the dangers of talking to strangers. In other words, it's a vibe. Good musicianship, but I'll probably never visit this again.
When this album's good...it's very good. And when it's not, it's just okay. The hits are the heights of Appetite for Destruction. Axl's vocals on Welcome to the Jungle are killer. And that Slash opener in Sweet Child O'Mine sends electricity to my soul. It's the rest of the record, the songs that didn't chart, that are just so-so. Regardless, this is worthy of this 1001 project.
They way I felt like I was shopping in an early 80s Brazilian mall listening to this record.
3.5 Stars: After years of playing the Stones on the air, and listening to classic rock radio, and hearing their hits on various playlists...I still can't find my way into this band. I've tried and I just don't get it. Their music's fine, but overall it's just not for me. Don't get me wrong. The writing on this record is great. And the hits on Beggars Banquet are the best in their oeuvre, but I can't help chalk the group as a whole as a "you just had to be there" type of band.
3.5 Stars: It's an ambrosia salad while smoking a Chesterfield at a swinger's party kinda album. I prefer my jazz with far more improvisation and riffing off one another. But if you're looking for something as more of an easy entry to Jazz music, you can't do any better than Jazz Samba.
Sade is the nightclub singer in an 80s film noir. Slinky, black dress, diamond earrings while singing over the saxophone in a smoke-filled room. Sade is a vibe, and if you weren't there, you have no idea how much this album and this sound dominated the early 80s. Sure, it sounds a little dated, but the instruments are tight on this record, and her vocals are sexy and unmistakable. This really was the certain sound of an era.
I've spent my entire life avoiding Black Sabbath mainly due to the myth (Not entirely interested in a band that bites heads of bats) and because "Hard" metal wasn't my thing. Happy to say this project forced me into listening to my first Black Sabbath record and it was...pretty good. Excellent musicianship and the lyrics were surprisingly insightful. I look forward to digging into more of their work.
Never heard of the guy so it was nice to get introduced to an artist I've never heard of. Lots of mid-tempo ballads with a Barry Manilow flair. Strangely his singing from stanzas and chorus follow the same the vocal inflections and notes with no deviating. At times, it felt like you were listening to the same lines on repeat over and over again. All in all, I'm glad I know about Scott Walker, but doubt I'll ever seek out his music.