Overall, I liked this album. There are a few standout tracks I really enjoyed. The lead singer’s voice and the driving beats really impressed me. I also enjoyed the varied rhythms, especially within songs. Dynamic.
Love that their voices aren’t actually incredible, but so pure, raw, and real. The harmonies are so nice. It’s fascinating how they figured them out. Wonder why there are so many covers on this album? Cohesive sound throughout the album is very pleasant and listenable. I can see how The Beatles became huge stars. Cute English guys with an extremely palatable sound.
Crazy listening to this on my beats how the beats jump around ear to ear; it’s like real surround sound. Very consistent sound and message. The sampling is incredible; the layering is so artistic and creative. I miss the sound of mixing and scratching and socially conscious lyrics. I’m proud to been around for this album’s inception.
Really like the drummer and how much you can hear him. Heavy production; very large garage band sound. Not sure if I would revisit. I’m enjoying the themes in the second half of the album more than the first half. Overall, I like the theming of the album, but the music is not my typical cup of tea. Overly jangly 60s rock doesn’t scratch my itch. It’s a very consistent sound throughout and not off-putting; it’s dynamic and I appreciated all of the different instruments and their usage.
Melodically surprising and lovely. Feels like what I assume an anime soundtrack is like. Love the production on the album. I feel like I’m walking through a video game. Surreal. Lead singer’s voice isn’t really pleasing to my ear, but musicality makes up for it. My two favorite tracks were the instrumental ones. Songwriting is hit and miss, but definitely a few little diamonds sprinkled throughout.
Yes just isn’t my type of music. I can’t deny the group’s musicianship and say it’s not “good.” It’s just not pleasing to my ear. Their sound is very dated to me. I’m really not into the space age-y rocket-ship type 70s rock. Is that prog rock? If so, I think it’s not my jam. I’m sad to see there are two more Yes albums on the list.
What can I say about this album? I’ve been listening to it in one way or another since I was born. The only track I ever disliked was Oh Daddy and I found it to be more likable on this listen than I remember, although I’m still not a big fan. Other than that, it is an absolutely perfect album. The only negative is that I wish I would’ve been listening to it for the first time ever with fresh ears and been able to feel how much it blew my mind. The familiarity is comforting, but I wish I could experience that initial excitement all over again.
Milquetoast is a good descriptor for Ryan Adams in my opinion. It’s not that he’s a bad singer or musician; nothing really stands out for me to latch onto. I genuinely don’t like his voice. The songwriting is unimpressive. This is the kind of album that just makes me mad. You’d think it would be something I vehemently hate that would enrage me, but at least the hate would’ve made me feel SOMETHING and that I can respect. This album didn’t evoke anything for me. I knew this was gonna be a rough go, and it’s unfortunately worse than I thought. Gonna Make You Love Me, from Sweet Home Alabama, is the only redeeming song that makes this album deserve at least one star.
The album opener and track 9 are sweet reminders of a simpler time. The album’s sound is consistent and the production is immaculate. I really enjoyed the layering of the multiple instruments on each song. I would’ve preferred more singing by the female leads. Some of the beats and melodies felt a bit wasted with subpar singing or rapping and mediocre lyrics. Definitely a certain vibe throughout though and would be a fine album to chill with.
I had a colleague years ago who only listened to The Beatles. His theory was that they were the only band he ever needed due to their complexity and talent. Being a musicophile, I never got that. I mean, I liked the Beatles OK,
but I didn’t get the hype. With this being my second Beatles album through the generator, I can safely say I get it now.
Revolver is throughly enjoyable. It houses three of my favorite songs of all time. I love the production, the variety of instruments and sounds, and the way each Beatle’s personality shines through their individual contributions to the whole. The themes are simple, yet timeless. I can’t wait to delve into more of their albums.
Bob Dylan? Not a fan. Let’s see if this album changes my mind …
Halfway through, my mind is still firmly anti-Dylan. I feel like Dylan’s writing is an inside joke. Like there’s some real substance there, but I walked up in the middle of a deep conversation and was given no context, just made to listen to the remainder.
I think you just really have to like Dylan’s voice to truly appreciate him. I just don’t. It’s like nails on a chalkboard to me the majority of the time (he has a few songs I can listen to without desiring earplugs).
The musicianship on the album is undeniable. There’s some great guitar work and excellent harmonica. None of that trumps Dylan’s voice. Unfortunately.
My mind continues to be firmly anti-Dylan. Oh lord, do I dare look to see how many Dylan albums are on this list?
I thought I knew who the Cocteau Twins were. I thought they were a semi-obscure 80s band with a hit I loved. I was completely wrong. The first track has me knocked back with intrigue and enraptured. This is the most creative album I’ve heard in a long time. It sounds like it could be the soundtrack of my dreams. The lack of true lyrics really elevates the music to a realm all its own for me.
Halfway through the album, and I already want to listen to it again. It’s scratching some insane itch I didn’t even know I had. I’m blown away. This album makes me want to dance forever.
The album sounds like a precursor to Cirque du Soleil show soundtracks. I hear so much of bands I love in this album from The Cure to The Cranberries. It’s like a musical hug. THIS is why I took on the 1001 albums challenge: to discover depth and be moved musically.
How did I miss this album in the late 90s? Perhaps I was meant to miss it in order to discover it during my late 40s to channel my perimenopausal rage. I’m here for it!
Deep bass seems to be connected to the deepest part of my soul and gives me life. I think the first half of the album is the best. The beats and production blew me away. It kinda hit a lull after track five. Overall, it’s still pretty interesting though.
This album feels like 1982 is reaching forward into 2025 to give me a long-lost childhood hug. There is something so comforting about these tight beats and great samples that harkens back to a simpler time. The nostalgia is much needed.
Wow, the album opener kinda starts it out off-kilter. Thank goodness Dancing Queen swoops in like Will Smith from Men in Black with that memory eraser. The harmonies on the album are gorgeous and ethereal. However, the melodies get old quickly for me; it feels dated and overproduced at times. I don’t think it’s a bad album; it’s just not for me.
This album is silky smooth and satisfying. His voice, the beats, lyrics, and timing all marry so well to create a vibe. I really enjoyed the first two tracks. The album dropped off a bit for me on the last two tracks. Overall, I can see why it’s on the list. Impressive, cinematic, and full of soul. Giving it a 3, but really it’s a 3.5.
I had no idea what to expect from this album. I’m pleasantly surprised. It’s so unique and creative. This is the kind of album I wished to discover via this project. I’m looking forward to hearing more of their work.
This is my first full Black Sabbath album listen. I’m familiar with their hits, but not much else and wouldn’t say their music was my cup of tea. The musicianship on this album is incredible and Ozzy’s voice is otherworldly. I have a love-hate relationship with the lyrical content, which is why it wasn’t a five-star album for me.
Hole became popular when I was not fully invested in rock unfortunately. I was headfirst in the line-dancing, concrete-cowboy country scene. I knew Hole’s hits, but that was all. Too bad I missed this album in 1998, but I think music meets you when you need it most. Courtney’s voice alone sounds like what the voice of perimenopausal rage would sound like and I’m here for it. It was interesting to find that Billy Corgan wrote on this album. I can definitely hear his influence. A solid album that I’d definitely listen to again and picked up another couple of favorite songs from.
I feel so incredibly blessed to have been alive when Prince was on the scene. There has never been and never will be another artist like him. Multi-instrumentalist, vocal range out the wazoo, and unparalleled creativity. He was magical. The only downside to this album is the artwork.
This album is just OK. The musicianship is respectable and the lead singer’s voice is interesting. However, it is terribly lacking in the lyrical department: too many shallow, repetitive lyrics. I feel like the singer is trying so hard to sell the songs, but they have no depth or soul. I’ve heard this style done way better with way more substance. Feels like a third grader could’ve written this album, which is a shame because I really enjoyed it sonically.
I’m a die-hard Tom Petty & The Heartbreakers fan. This album is interesting because I can hear the makings of what the band became when they were fully fleshed out and at the top of their game. Petty’s songwriting is exceptional and I throughly enjoyed it throughout the album. The only reason it’s not a five-star album for me is that I know their potential. It’s about a half-star shy of brilliance, which they achieve with later albums.
I’m not sure what I think about this album. I don’t hate it, but I’m not sure I like it either. The beats and rhythms are certainly interesting. Some of the lyrics are good. However, it’s not something I would revisit or necessarily feel I even needed to hear.
Not my kind of music. The album cover art is the only thing I like about it.
Metal is one of my weakest genres. I only know some of the biggest hits and that’s about it. I enjoyed the drumming most on this album. The musicianship is outstanding. I just can’t get into the lead singer’s voice. The sound is incredible for a live album. I can’t imagine how insane it sounded in the venue; must’ve blown some people’s ears off!
Q-Tip is one of my favorite rappers. His flow is so mellow and smooth. I enjoyed the album, although I felt some of the songs were a bit too long. It’s definitely an album I’d put on in the background for a nice vibe on a chill night.
As a self-proclaimed fan of eclectic and “weird” music, Kate Bush should be right up my alley. Instead, I feel like I’m meeting her in a dark alley and I should run for my life. The album feels like the ravings of a madwoman. The songwriting is intriguing. Her voice is operatic at times and has such a beautiful tone, yet it’s so shrill and unappealing at other times. I enjoyed the second half of the album much more than the first. The songs seem more fluid and their emotion translates well. Overall, I am glad I listened to it, but not sure I’d give it a second listen.
This R.E.M. album brings me back to a very specific time in life. Michael Stipe’s voice is like a phone call from my younger self that I’m dying to answer just so I can be back in that space one more time when things were simpler and life felt endlessly possible. As I swim through nostalgia re-listening to this album, I find it still holds up.
I expected the popular sound of The Smiths when I put this album on. The first couple of tracks took me by surprise as they’re much harder rock than I assumed they would be. Morrissey’s voice contrasted with the heavy guitar and drum rhythms is so pleasing. I’ve never listened to a full Morrissey or Smiths album before. After hearing this album, I’ve come to realize that I could listen to Morrissey sing all day long. His voice is such a tender, beautiful instrument (a stark contrast to what I know of his personality). I loved the lyrical content of the album as well, and thoroughly enjoyed the musicianship.
As a child of southern parents, I’m pretty sure I was born with southern rock running through my veins. One brand of which is certainly The Allman Brothers Band. Let’s put it this way: I can’t remember not knowing their music. I don’t know if one can accurately judge something that’s seemingly part of their DNA, but I will try. This album is so crisp and tight for a live album. It must’ve been killer to witness live! The musicianship is incredible as well as the vocals. I’m gonna knock it down half a star and rate it 4.5 because I’m jealous as hell I wasn’t there.
Beep! Beep! Who got the keys to the Jeep? Vroom! This album was the soundtrack to many a night out in 1997. The features alone on this album are monumental, not to mention the beats. Missy’s flow is so smooth and her rhymes combined with Timbaland’s beats made them a hip-hop super duo. There’s just something about 90s hip-hop that hit so hard and left a lasting impression. I’m eternally grateful to have been around for it.
I’ve never heard of this band before. Who are these guys? Why aren’t they more famous? Is this middle-aged mom rock? Why do I like this so much? Seriously, the vocals are soft and sweet, the lyrics are pretty, and the rhythms are catchy. I thoroughly enjoyed this album. I was pleasantly surprised with the quality of the music because the album cover gives off clip-art vibes. This kind of discovery is why I started the project. I’m now off to listen to more by these guys.
The juxtaposition of talking so eloquently about God and then covering real-life scenarios the way Kendrick Lamar does is really interesting. I can tell he is a guy who wrestles with God and his faith. It’s so rare to get cultural commentary this authentic and raw. The dexterity with which Lamar writes and raps is incredible. I can see why he is so lauded. This album truly made me think. It’s deep, heavy, introspective, and such a fabulous commentary on culture versus self.
I’m completely illiterate when it comes to prog and/or art rock. Is this just experimental music? I’m not sure what to make of this album altogether. I feel like it might be better understood or at least experienced under the influence of something psychedelic, but that’s not my vibe so it feels a bit lost on me. I find myself wondering who this album appeals to and who are King Crimson’s biggest fans. I’m thoroughly intrigued at the intended and chosen audience.
Electronic music is not one of my favorite genres. I often find the repetitive nature to be infuriating to my brain. There are some decent beats on this album, but nothing that really wowed me. I’m not going to say it’s bad because it’s not. It’s just not for me. If Red Snapper’s aim was to satisfy, I better go grab a Snickers bar because this album didn’t do the trick.
I’m only 36 albums into this project and I’ve already been given both Motörhead albums. I’m unsure whether the generator thinks I am a metalhead who will be greatly enthused or rather realizes I am a leadfoot with a penchant for pop who’d rather get the metal out of the way up front in anticipation of more gentle genres. I can’t deny these guys rock. The musicianship is excellent. Lemmy’s voice just doesn’t do it for me. More Motörhead, ma’am? No thank you. I’m all done.
Franz Ferdinand is nondescript music in my opinion. So many mid-2000s bands sounded similar and I can’t tell them apart nor do I want to. I don’t gravitate to this style of music and find myself really bored with it. I mean, it’s fine. That’s the thing that kills me about it: it’s just *fine.* I’m apathetic to it; it doesn’t rouse me in any way. I’d rather music cause complete hatred or intense ecstasy. I need to feel *something* when I listen to music. Otherwise, what’s the point?
This album was just fun to listen to. I appreciate the fact that the rhythms and sounds are varied enough to not feel like it’s one long song. The only downfall is that I couldn’t understand many of the lyrics, but it didn’t take away from my enjoyment of the album whatsoever. I just had to read along on Apple Music while I listened. With that said, Joe Strummer can yell-sing at me any old time; I love his voice!
I’m not saying anything that hasn’t been said before and said better. Led Zeppelin is one of the most solid rock and roll bands to ever exist. It’s like they captured lightning in a bottle with all of their individual talents coming together in an explosion of sound and style. No disrespect to Plant or Jones, but it sounds like a competition between Bonham and Page on who could ultimately sound the damn coolest. For me, they tied. Bonham’s percussion on this album blew my mind while Page’s guitar work blew up my skirt! Plant’s vocals are just the icing on the decadent, absolutely delicious cake.
The Pogues are a new band for me. I thoroughly enjoyed this album and literally wanted to dance almost the entire time I listened to it. Celtic music in general is so beautiful to me, and this album elevates it. The instrumentation alone on the album made me feel so many things. The vocals just added to that experience. I’m looking forward to delving further into their discography.
The Undertones are another fun discovery from this project. I’ve never heard of them, but I’m a fan now. Many of the tracks felt like songs I would hear in beloved 80s movies. Feargal Sharkey’s vocals are interesting, but his goatish vibrato toes a thin line between lovably quirky and utterly annoying. Sonically, I greatly enjoyed this album. I never knew I was such a fan of Irish punk!
My love for ZZ Top runs longer than their beards. I may have been a young’un when this album came out, but you can bet I was rocking out to it (while not understanding most of the lyrics, thankfully)! I distinctly remember watching the Legs video on MTV and thinking how cool their fuzzy white guitars were. This album was a nice nip of nostalgia and a reminder of why I love these guys. The rhythms, vocals, and their overall style still holds up for me decades later.
I was so excited to get a disco album. I knew Chic’s biggest hits. I mean, who could escape Good Times and Le Freak? However, I had never listened to any of their albums. Now I know why. Good Times is the only standout track on the album for me. The rest just felt too similar or overly repetitive lyrically. It would be fine as background music as it’s non-offensive and generally danceable, but I like my disco front and center in my face daring me NOT to dance to its temptingly infectious grooves. My rating is actually 2.5.
The Smashing Pumpkins are one of my favorite 90s bands. Billy Corgan’s voice is so expressive. I love the contrast between his vocal angst and softness along with the contrast between his vocals and the instrumentation. The songwriting is poetic and dreamy while the rhythms are raw and heavy. It’s nearly a perfect album for me save for Silverfuck, but I’m rounding my actual 4.5 rating up to a 5 because the rest of the album is just that good and the cover is iconic.
I wasn’t quite sure what to expect of Beach House. I noticed I like many of the artists that Apple Music tagged as similar, so I was excited to give this album a listen. Several of the song intros are gorgeously gauzy. The lead singer’s voice is really interesting; it reminds me of Alison Moyet. I found the lyricism to be poetic and moving. The lush lyrics combined with the dreamy arrangements make this album such a vibe, perfect for basking on the beach or cooking up some cuisine. My actual rating is 3.5.
This is my first exposure to Lou Reed besides Walk on the Wild Side. I don’t hate his voice, but I don’t love it. I’m not even sure I can say I like it. I will say his voice is pleasant at times on this album, but not enough times for me to really enjoy it. I don’t typically like it when artists incorporate spoken-word delivery.
All that aside, sonically, this album is achingly beautiful. I might’ve gotten more out of it if it were a fully instrumental album. The concept is strong throughout the album though and I felt as if I were watching a film with my eyes closed. It’s gut-wrenching when you get to The Kids; I almost had to turn it off.
As far as a concept album goes, I would probably give it close to five stars. It moved me in the same way a thematically deep movie does where I’m glad I saw it once but I probably couldn’t sit through it again. I definitely wouldn’t revisit this album. It’s too heavy for my hypersensitive nature. However, I’m glad I listened to it and allowed it to take me on its tragic journey.
This is my second Cocteau Twins album. I was excited to receive this album because I was completely blown away by Treasure. The one thing that really irked me about this album was the alternation between songs with actual lyrics and songs with simply vocal sounds. This back and forth made the album feel inconsistent; it’s almost like two different albums intermingled. It really pulled me out of the ethereal dreamscape vibe I expected.
Honestly, this album sounds uninspired. Much of the music seems to drone on and gets lost in sameness. The vocals have beautiful moments, but they feel overly layered on several tracks and don’t allow Elizabeth Fraser’s voice to shine through like it could/should. I’m truly disappointed in this album. I expected greatness and instead heard mediocrity. Thank goodness I have Treasure to fall back on.
Nirvana was a cultural zeitgeist. You couldn’t escape them in the early 90s. I vividly remember watching this MTV Unplugged episode. I’m a huge fan of almost anything acoustic, so this album really scratched an itch for me. The musicianship is top notch due to the enormous talents playing on it. I really like that the album includes some of the banter, which makes me feel like I’m right there with the band presently. The standout about this unplugged album is how interesting and colorful Kurt Cobain’s voice really was. The inflections and tones he displayed in this performance introduced me to a Kurt Cobain I didn’t know; a more emotive, tender singer. Too bad we lost him so suddenly. My actual rating is a 4.5, but I couldn’t justify bumping it up to a 5 due to the covers.
Bossa nova is buried somewhere deep in my bones. It is one of my favorite music genres; I’m a sucker for it any time, any way. Additionally, I find Portuguese to be a gorgeous, soothing language, so I greatly appreciated the sprinkling of it throughout the album.
While listening to this album, it was hard for me not to compare Sinatra’s versions of these standards to my favorite versions that I know by heart and hold so dear. I had to try to block them out and just focus on Sinatra’s takes. Some were surprisingly good and some were a bit underwhelming. Jobim can do no wrong in my eyes and Sinatra’s smooth stylings kept a healthy pace with him on the album. Overall, I really enjoyed it and can see myself revisiting it.
It was gracious of The Hives to keep this album succinct at 28 minutes long. I don’t think I could have taken even another 10 minutes. Sonically, I appreciated it, but didn’t find it remarkable in any way. There was no dimension. The rhythms are nearly all raucously fast. Vocally, I just didn’t connect with the lead singer’s voice. It was borderline annoying and not unique enough to be interesting. He got more unhinged and unintelligible as the album wore on, which was not impressive. Lyrically, it felt ineffective because I couldn’t decipher most of what he was screaming/singing. Unfortunately, The Hives did not live up to their album title. They are definitely NOT my new favourite (no matter how you spell it) band!
This album is everything I could ask for from a live album. Its unpolished nature is endearing and moving. I love hearing Cash’s voice raw, gritty, and warbly in such a tough setting. The banter is fantastic as well. The prison sounds and interruptions as accompaniment give the album such humanity. June Carter Cash brings a sweet spark to the album on the Jackson duet and with her backing vocals. The addition of The Statler Brothers on background vocals was a nice and surprising touch. In addition, I was fascinated to learn that Shel Silverstein wrote 25 Minutes to Go.
Cash’s storytelling ability through song was incredibly strong. I was nearly moved to tears with the closing track Greystone Chapel, especially after reading the story behind the song and that the writer was on the front row of the concert with no clue his song was to be played. Beautiful song to close a brilliant album.
I am well acquainted with Groove Is In the Heart. Let’s be honest: who isn’t? It’s one of my favorite songs. I had never heard any other songs by Dee-Lite. This album sounds like hippie space music, and I think that’s a great thing. Lady Miss Kier’s voice is so crisp and strong. I just love it. The positivity of the lyrical content is really refreshing without being cheesy. I couldn’t sit down while listening to this album. It’s such a funky groove that I needed to move with it. I honestly felt like I should’ve been voguing, waacking, and death dropping the entire 49 minutes. Groove is the standout track due to its dynamic nature, but the rest of the album is a vibe I’m into and could see revisiting often.
Having a father who was baptized by classic rock, I grew up with Deep Purple. I remember always liking the band as I definitely inherited the classic rock gene. Listening to this live album, what struck me most is how enthralled I was by the musicianship yet how ambivalent I was to the lead singer’s voice. This is one of the best Iive albums I’ve heard, even with the nearly 20-minute ear-bending rendition of Space Truckin’. I can’t imagine the melodic feast it was to hear this in person.
I’m not even sure how to comment on this album except to say that I loved it. The musicianship is brilliant (no pun intended). I was entranced and wanted to dance and romance throughout the album. I’ll definitely revisit this one often. My actual rating is 4.5 as it’s nearly a perfect album.
This album made my little 80s girl heart happy! Great choice for a Friday night dance party. It made me nostalgic in a joyful way. I really like Nick Heyward’s voice; it’s so charming and warm. The musicianship is very good. I especially enjoyed the different instruments blending various genres into the band’s specific sound. I heard so many similarities to my favorite 80s new wave bands. The album did suffer from sameness a bit, but it really didn’t bother me as much as it does with some artists or bands. Overall, it’s a solid album I’d definitely dance along to again.
Sonically, this album is decent. Vocally, it is not. The singer has some interesting vocalizations and tones, but it’s just not pleasing to my ear overall. I found that I enjoyed the intros to a couple of the songs most of all. I’m glad I listened to it, as I’m always looking to broaden my musical horizons. This one just wasn’t my cup of tea.
If you asked me what decade is my least favorite decade for music, I would say the 1960s. Perhaps it’s simply because I like all the other decades more or maybe it’s because I’m sparsely familiar with 60s music. This album gave me a glimmer of hope. I knew Groovin’, but nothing else from The Young Rascals. I am happy to say I rather enjoyed this album. I thought the writing was quite nice, the vocals were pleasing, and the music was interesting. I did a double take when I got to You Better Run because I was unaware Pat Benatar’s version is a cover (although I still like her version better). I also really enjoyed their version of A Place In the Sun. Overall, it was a fun, groovy listen.
I’m familiar with a couple of Michael Kiwanuka’s songs, so I was excited to listen to an entire album by him. Let me say I was not ready for *this* Michael Kiwanuka. This album blew my socks off. The lyrical themes are so heavy, but so important and timely. I really like his voice; it’s simple and soothing yet strong and commanding. The instrumentation was excellent. The intros of the songs were so captivating that I couldn’t wait to see where they would go. I will definitely be adding this album to my library.
Wow, this is everything I hate about 60s music. The lead singer sounds like the Temu Bob Dylan and his goatish vibrato is nearly intolerable. The music vacillates between too jangly and too psychedelic for me. Some of the melodies were ok minus the vocals. I should’ve trusted the band when they told me on track five “It Won’t Get Better” because they weren’t lying. I refused to give up on the album though because I haven’t done so yet in my project and aim not to, no matter how much I dislike what I’m hearing.
The only positive from this listening experience is I learned who Beau Brummell was. When I was assigned this album, I recognized the band name from the line “Well you could really be a Beau Brummell baby, If you just give it half a chance” in Billy Joel’s “It’s Still Rock and Roll to Me.” Considering that’s one of my favorite songs and I’d never thought twice about the significance behind that line, I’ll call this a win.
I know some of her contemporaries pretty well (Billie Holiday is my favorite female singer), but I am not as familiar with Ms. Sarah Vaughan. That is unfortunate. I intend to fix this mistake by delving into her discography STAT.
As far as the album goes, I loved the banter and club sounds in the background. If I closed my eyes, I felt like I might’ve been there witnessing greatness. The instrumentation is so smooth and the perfect accompaniment for her voice. I’m a sucker for a jazz trio.
In my opinion, with standards, it’s all about the particular singer’s lyrical interpretation and voice. The highs, lows, vibrato, subtle artistic liberties, vocal inflections, timing, etc. are what make the song enjoyable and unique. I found Vaughan’s vocal stylings impeccable and her tone delectable. I can’t wait to hear more!
Sixties rock is not my jam, not even The Village Green Preservation Society variety. It’s not that it’s bad, it just doesn’t speak to me personally. I found this album overly jangly and just kind of goofy. The music wasn’t particularly pleasing to my ears and I kept waiting for it to be over. I also wasn’t a fan of the vocals or harmonies. Arthur was a much better Kinks listening experience for me. I tend to feel like you had to be there to understand much of the music from the 1960s. I wasn’t, so that’s why I’m clueless as to its appeal and staying power. It was a different time, man. Far out. So much so that I never need to hear it again.
I’d never heard of the Mekons before. I’m not sure how to classify them, but, whatever genre(s) they are, it works. This album is delightfully discordant. The chaotic nature of the song instrumentation really worked for me for some odd reason. I’m a huge fan of British accents in singing, so I liked both the male and female lead singers’ voices. I am intrigued and definitely want to discover more from the Mekons now.
I’m a bit of a walking contradiction when it comes to dance/electronic music. When it’s repetitive and I get it, I can dance to it and it’s good. When it’s repetitive and I don’t get it, I hate it. A lot of times, I think it’s the bass that makes the difference for me. The KLF did not disappoint with the bass on this album. I also found the rhythms complex enough to be interesting. I really like the vocals; they interplay so well with the various rhythms. The album is super danceable. I even found a couple of new tracks to add to my library. I give them major kudos for including Tammy Wynette and creating a unique country-dance crossover song.
Side note: “KLF is gonna rock ya” is seared somewhere in my subconscious in the music file overflowing with limitless lyrics and myriad melodies.
I’ve heard so much about Surfer Rosa and always felt like I was missing out. I was glad to finally listen to it. The musicianship on the album is excellent. The lyrics are a bit too repetitive at some times and weird at other times for my taste, which is a shame considering the instrumentation is so good. However, I think Deal’s and Francis’s vocals (especially the latter) really outshine the lyrics and make every track truly unique; their voices sync so quirkily well. Overall, it was enjoyable, but I would probably listen to my favorite few tracks going forward and not the entire album.
I will never forget the mean tweet Common read on Jimmy Kimmel: “Common is the Pottery Barn of rappers.” It was hard not to bring that sentiment to my listening experience, as I’ve never listened to a full album by Common. I enjoyed the features and samples on the album much more than I enjoyed Common himself. It’s not that his flow is bad; it’s just bland. The lyrical content is actually great, but it’s entirely uninspiring to me due to Common’s flow. Looking back, I think I could’ve been the author of the aforementioned mean tweet, as I feel it’s the perfect description for Common.
Disclaimer: I am judging this album based on the merits of the art and not of the human.
I’m pretty familiar with Kanye West’s work, but hadn’t really taken in one of his albums as a whole. I was struck by the themes, continuity, and ingenuity. Kanye just has the gift of lyricism and an undeniable flow. The rhymes are ripe with creativity and witticism yet they are rooted in reality. The features are well done and the samples were well chosen. I really enjoyed the album. It’s too bad we lost this Kanye.
Electronic music is one of the weaker genres for me. I don’t gravitate toward it and don’t know much about it. With that said, this album started off strong for me. The instrumentation and vocals on the first three tracks were quite interesting and pleasing to my ear. I found myself entranced; hyped yet mellow. This feeling unfortunately morphed into a sort of anxiety and annoyance with the intense and repetitive nature of tracks 4-6. I found the beats to be tedious and unimaginative at times. The album recovered a bit for me with the final two tracks, as I loved their melodies and more mellow vibes. Overall, this was just a so-so album that I probably won’t revisit.
Steely Dan is synonymous with yacht rock, much to Donald Fagen’s chagrin. I happen to love yacht rock, so I consider this a compliment. With that said, I don’t love Steely Dan as much as
I do their counterparts. The musicianship on the album is excellent, but I’m rather ambivalent about Fagen’s voice. Certain songs like Peg sound so good with his vocals and others just fall flat for me. Michael McDonald’s backing vocals on a couple of songs definitely add dimension. I really enjoyed the various rhythms on the album and found them interesting. Some of the album sounds dated, but that’s added value in the yacht rock world. A little nostalgia goes a long way.
This album was my first foray into the Afrobeat genre, which I was excited to add to my repertoire. I found out rather early that you might need to be a pretty big saxophone fan to really enjoy this album (and perhaps all of Femi Kuti’s work since it’s his primary instrument). I’m not complaining, just noting the sax isn’t one of my favorite instruments. I thought Kuti’s vocals were emotive and powerful; I liked the inclusion of (what I learned is) the Yoruba language at different points. The musicianship is undeniably good, but it got a bit too repetitive sonically for me. I thoroughly enjoyed the extended intros of the songs despite the fact that most of the songs are too long. I genuinely love discovering new musical genres and feel like I learned something by listening to this album, which made the experience worthwhile.
BASS. SO MUCH BASS. AND I LOVE IT! Contrasted with her ethereal vocals, it’s so pleasing. Her voice is so clean and the tone is angelic. Love the atmospheric intros. The writing is solid. “Will your love ruin my heart?” is one of the best lines I’ve heard. Production is heavy-handed at times; less can be more. Almost feels like trip-hop R&B. Exactly what I wanted to discover by doing this project.
I wasn’t sure what to expect from FKA twigs, but it sure wasn’t this. I found it reminiscent of two of my favorites: Björk and Portishead. The sounds are hypnotically dynamic, but I started feeling bogged down by them about halfway through the album, almost like I was physically being pounded into the ground. The angelic tone of her vocals floored me. Some of the songwriting was well done and I mostly enjoyed the lyrical themes. I’m glad I listened to it, but I don’t think I would re-listen. It’s quite draining.
What a cool idea for a concept album. It is a lush musical landscape layered so wonderfully that it doesn’t infringe upon itself with overproduction or heavy-handedness. In fact, it seems as though it’s the perfect amount of soundscaping. Stevens’ lilting vocals and the accompanying harmonies only add to the dramatic landscape of Illinois. His voice is a soothing instrument that delivers his thoughtful lyrics in a poignant, sincere way. From his rambling song titles to his medley of melodies, Stevens is an artist who’s clearly doing things his own way and I really admire that. I’m looking forward to delving further into his catalogue, as he’s definitely gained a new fan.
This was just an all-around fun rock record. Raucous, irreverent garage-band feel with spunk in spades. The lyrical content is hilarious and I can’t tell if they’re serious or it’s a spoof, but I don’t care either way. I particularly enjoyed both covers. A short and sweet little ear candy spin.
Man, this album is long and drawn out. It is filled with super-synthetic sounds that left me feeling ultimately uninspired. I think the lyricism is cheated by the sonicism. It’s so busily noisy, you can’t hear how good the lyrics are, which is a shame because there’s some good writing buried within. There are decent melodic elements, but it’s like they couldn’t accept what they had was good enough and decided to overbuild upon it with each track. Summertime Clothes is the only track that I really connected with and would give a re-listen.
This album sounds like generic Gap shopping music. There’s nothing remarkable about it. The songs are entirely too long and self-indulgent. It’s like a train chugging along a track to absolutely nowhere. The singer kinda sounds like a baby Bob Dylan, and that’s no good for me. It’s easily one of the most boring albums I’ve ever had the displeasure of listening to. Finding poignancy on this album feels as futile as the actual war on drugs.
I had never heard of The Charlatans before and I’m glad I’ve been introduced to them properly now. I really enjoyed this little album. Solid melodies and interesting vocals made it extremely listenable. The album’s vibe is cohesive without suffering from sameness. I’m not sure if I’ll seek it out again, but I’m glad I know it exists if I decide to give it another spin. My actual rating is 3.5 stars.
As a 90s teen, it would be impossible to not recognize Alright by Supergrass. I mean, as if!?! I’m just totally bummed now that I didn’t bother to take more interest in the band than Cher Horowitz did in her driving.
This is the kind of album where it doesn’t even matter what they’re saying because the delivery just rocks. The short, explosive songs feel like fever dreams in the best way, while the more mellow ones give a bit of respite. The musicianship is tight and the rhythms are intoxicating. The album feels like it mellows toward the end, but I enjoyed that as a natural progression in energy flow. I’m beginning to realize I’m apparently a pretty big Britpop fan. “To thine own self be true!”
Johnny Rotten is a one-trick pony vocally for me. The rhythms are rocking, but his vocals are so similar on each song that it all just meshes together despite a few breaths of dead air between songs. I really enjoyed the musicianship on the album and found myself drumming along with my pen and bobbing my head, but Rotten’s voice did nothing to add to my enjoyment. I know I’m in the minority, but I don’t get it. I understand that it’s important historically for music, so that’ll have to be enough for me. Glad to have listened to it and won’t plan to ever again.
As a former ballroom dancer, I could listen to jazz standards for days on end without tiring, which I realize is quite biased. The music is rich, complex, and all-encompassing. It permeates all the right parts of my brain to melt it into complete euphoria, while also making me want to break out the old dancing shoes again. It calls forth a yearning nostalgia for a time period for which I wasn’t even present. How amazing it is that music can do that!
This project truly wowed me. The content is as much about Ella Fitzgerald as it is about George and Ira Gershwin. The lyrical composition, musicianship, and vocals are a trifecta made in heaven. My favorite thing about Ella is how crisp her voice is and how she so masterfully bends her notes to create the perfect crescendo of emotion. Her hums, scats, and yodels are eclectic and endearing. As far as the songwriting, I don’t even feel like I can adequately speak on it. I mean, there’s a reason these songs have lasted nearly a century and will continue to last far into the future. Additionally, the composition is lush, vibrant, and transcendent. I was thrown for a loop a bit by disc 6, but after reading up on why it was added, who am I to say anything? Let the Gershwins play on!
Sonically, I really dug this album, even if it was a harder sound than I typically prefer. The rhythms and tempo changes were captivating. hard-charging, and infectious. How do they play that damn fast?!? Where the album lost me is in the vocals. Don’t get me wrong, the lead singer has a cool voice, but it’s not for me. Overly aggressive, angry singing isn’t my vibe. However, I was pleasantly surprised by the introspective and socially conscious lyrical content. This album is a hard one to rate. I’m glad I listened to it and learned more about who Pantera is, but I’m not sure I’d revisit any of it. It’s too heavy for my soul.
Wow. The Dark Side of the Moon is an experience. Listening to this album was like reading an exquisite novel. It took me on a ride from the first heartbeat to the very last. I experienced so many emotions while listening to it. I didn’t want it to end. For once, I can say I wish an album wasn’t so short. I wanted this to go on until I was lulled into a dreamlike slumber. The album is completely cohesive and the dead-air omission between songs makes it meld beautifully. It is agonizing yet soothing and absolutely mesmerizing.
I respect this album for its place in the pantheon of gangsta rap. It’s a bit hard to really judge thematically because that feels like invalidating the personal experiences of the group members and the lyrics they chose to write. The usage and mixing of samples is intricate and certainly historic if not notorious. Most of the songs feel about a minute or more too long, which makes the album feel too long overall.
Despite much of the content, I’ve always been a fan of Eazy-E’s and Ice Cube’s flows. MC Ren does nothing really for me, The D.O.C. is alright, and Dr. Dre got better later in his career. I do think that Express Yourself is one of the best rap songs ever recorded. The bars are creative, the flow is fresh, the sample usage is perfection, and the message is interesting. It’s by far the best track on an otherwise controversial, somewhat cringe-filled album.
I absolutely hated this album. I tried to listen to it objectively, but it is just pure and utter nonsense. I would give it a 0 if I could. The only positive thing I can say about it is the album cover art is cool.
It’s really interesting when you hear a band for the first time and think they sound like a more popular band only to find out they came first and were an inspiration for the more popular band. At the outset, I thought Japan sounded like Duran Duran. Come to find out, they inspired Duran Duran.
This was a decent 80s feel album. I really liked the lead singer’s voice. It was soothing yet interesting. The album got a bit tedious about halfway through. I don’t know if I wanted to hear different sounds or maybe a touch of something different vocally, but something was needed to shake it up a bit to enliven the remainder. Overall, it was enjoyable, but likely forgettable.
I love Elvis. I really enjoyed the raw, unpolished sound of this album. I’m a sucker for all the vocal affectations and swagger Elvis exhibited. The musicianship on the album is infectiously enjoyable. I honestly would’ve given the album five stars, but I know Elvis gets SO much better a few years down the line.
This album was way too heavy for me for Beach Boys’ fare. Call me basic, but I’d take Good Vibrations over this any day. Hell, I’d take Little Saint Nick over this! I didn’t love the vocals although some of the harmonies were nice. I think I suffered from expecting traditional Beach Boys and getting whatever this was instead. Chalk that up to my ignorance of Beach Boys’ lore, but I still don’t think I’d like the album even if I was prepared for it. Definitely looking forward to The Beach Boys redeeming themselves with Pet Sounds!
This is my second offering of Lou Reed (the first being Berlin). I think it’s safe to say I’m just not a Lou Reed fan. This album is the kind of jangly, discordant garage rock that I simply cannot stand. Both Reed’s and Nico’s vocals are just there for me, neither offensive nor outstanding. Some of the melodies are decent, but either jump the shark quickly to disharmony or sound too much like they’re coming from the inside of a tin can. I found the album felt longer than it was, which is never a good thing. I’m glad I listened to it as I’d heard of The Velvet Underground, but never had a sound to put behind them as a frame of reference. Now, I do and know I’m definitely not a fan.
I believe this is my first foray into Krautrock. The drumming on this album is incredible. I didn’t get much from the lyrics or vocals. The album lost me about halfway through when it became too experimental sounding and the song length increased exponentially. This was frustrating because I was really enjoying the more melodic first half of the album. I almost couldn’t finish the two 18-minute songs on the album; they really started to grate on my nerves. I hung in there though and feel accomplished for having done so. I won’t be revisiting this album, but I’m glad I listened to it if for nothing other than discovering Jaki Liebezeit. I really like the album cover art concept as well.
U2 is one of those bands of which I only know the radio hits. I’ve never really been interested in listening further. Perhaps it’s that they’ve had so many radio hits over the years that I didn’t feel the need to delve further into their discography. I’m more inclined to think it’s because I’m a bit indifferent to their sound. The instrumentation is nice and Bono’s voice is decent, but I’ve never connected to the music much. I was curious to listen to this album and see if it reinforced my feelings on U2 or if I would be surprised and become a fan. Unfortunately, I’d have to say it reinforced my feelings. The album is perfectly fine. But that’s about it. There’s some good writing on a few of the tracks, some interesting melodies, and Bono’s voice did win me over at its softer, more tender moments. Overall though, the album got too similar sounding over its course and I don’t like Bono’s voice enough to really want to listen to him for almost an hour. I think U2 is just not my shot of Irish whiskey.
The grooves are fun, swinging, and tight on this album. There’s just one huge drawback: the Hammond organ. It makes the album sound incredibly dated. I really enjoyed the sections of the songs where the organ took a break or took a backseat to the other instruments as opposed to anchoring the entire song. I realized I’m not the biggest fan of the sound of the organ. I don’t find it very pleasing to my ears, but I’m not sure why. I think had a piano been substituted, i would’ve loved this album. As it stands, the organ noodles are just way overcooked on this album for my tastes.
I thought I really liked Cee-Lo’s singing voice, but I was unfamiliar with any of his solo work (besides Forget You). I was a fan of Gnarls Barkley and Goodie Mob, which are vastly different projects, so I wasn’t sure what to expect from this album. I really liked the beats and production on the album, but I felt that most of Cee-Lo’s raps and vocals took away from the music. The self-aggrandizement is egregious in a lot of his lyrics. I did enjoy the features by G-Rock, Ludacris, and Timbaland though. Overall, I wish he would’ve done things differently lyrically and vocally because there’s some really good stuff to work with sonically. The album was also far too long.
I had never heard of Magazine before. After listening to this album, I think I would’ve been fine never having heard them. I didn’t hate the album, but I didn’t connect with it at all. I found some of the instrumentation and rhythms enjoyable, but I didn’t like the vocals. For the diverse sounds the album offers, I found it to be quite boring overall. Thankfully, it’s only 42 minutes. Definitely won’t revisit this one.
Beastie Boys are synonymous with fun. This album harkens back to a time where we all didn’t take ourselves so seriously. Are there some insensitive, stupid things on the album? Absolutely. There’s also creativity, ingenuity, and frivolity. I love the humor throughout the album, especially the closing track with the Mister Ed sample. The samples are skillfully interwoven throughout each track. Girls through Paul Revere is such a solid four-track run. While I love all the Beastie Boys, there’s just something about the whiny, high-pitched flow of Ad-Rock that scratches an itch in my soul. It’s refreshing today to go back and listen to 80s rap with mixing, scratching, and deep bass. No Sleep Till Brooklyn remains my all-time favorite Beastie Boys song.
I appreciate the musicianship of Crosby, Stills & Nash. I found most of the melodies enjoyable and the songwriting to be interesting. However, the vocals and harmonies sound exceptionally dated. That’s not necessarily a bad thing, but I also don’t really care for the vocals and harmonies very much. I’m not going to say they are bad because they aren’t, but they don’t mesh with my taste. I am generally not a fan of folk rock. It feels a bit like I needed to be there to get it. I am curious to see how the addition of Neil Young plays out once I get assigned the Crosby, Stills, Nash & Young album. This is really a 2.5, rounded up to a 3 for the supergroup’s sake.
Oh, Ryan Adams, we meet again … Thankfully, this is a total departure from our first meeting. I already knew and loved the song Come Pick Me Up and was hoping the album would have a similar tone. I was pleasantly surprised to find it does. The stripped-down feel is refreshing. The lyrics and vocals are authentic and supply what was missing on Gold: emotion. I am more connected to Adams’ voice because he is convincing; I can truly feel the heartbreak he’s entrusting to me as a listener. I’m shocked at how much I like this album. It goes to show you that an artist can surprise you, so don’t count anyone out completely.
Wow, listening to this album for the first time in the wake of Chester Bennington’s suicide is heartbreaking. I’ve never been a Linkin Park fan, so I only knew the radio hits and singles. With that said, it’s clear this album had massive success because I recognized several of the songs. I think the radio overplaying of In the End really soured my initial thoughts of Linkin Park and kept me from pursuing more of their discography, which seems like a shame now. I enjoyed the hybridization of genres, the vocals, and the lyrical themes. I’m shocked at how much I enjoyed the album really. I don’t know how often I will revisit it as the lyrics and vocals hit so much harder knowing Chester’s situation; it’s a bit too burdensome for my soul.
I don’t love Love. In fact, I don’t even like Love. This album sits right in the pocket of 60s rock that makes me want to clean my ears with knives while I bang my head against a wall. It’s so drab and uninteresting. I’m not into psychedelic rock or psychedelics themselves, so I’m not the target audience. I appreciated some of the melodies and musicianship on the album, but I really disliked the lyrics and vocals. I feel like the opposite of the old man yelling at the kids to get off his lawn. I’m the younger woman telling the old people to take their hippy-dippy trippy trash elsewhere. Now, scram!
This album sounds really raw and unpolished, but not necessarily in a good way. I like Siouxsie Sioux‘s voice, but it feels lost in a fog in some songs and like it’s competing with the instruments in others. I read that this was all intentional production-wise, but I don’t care for it. Admittedly, the only songs I knew from Siouxsie & The Banshees prior to listening to this album were Peek-A-Boo and Kiss Them for Me, both of which are much more melodic than this album’s fare. I didn’t connect with much on this album, so I probably won’t revisit it. I am going to delve further into their discography though because I’m intrigued at how their sound evolved and I’ve got to hear what Robert Smith’s contribution to the band was during his tenure as I’m an avid Cure fan.
This is my third go-round with The Kinks, following Arthur and Village Green. They’re still as jangly as ever. There’s good jangle and bad jangle, and this is just somewhere in between. I think the harpsichord threw it off for me as well, making it sound dated and Renaissance Faire-esque. I did like some of the lyrical concepts and wished the execution would’ve been better or perhaps even more modern. There are a couple of songs I quite enjoyed and would listen to again. Overall, it’s just a middle of the road album I wouldn’t revisit.
I’m insanely impressed that this is essentially a Dave Grohl solo project. I knew he was talented, but not this talented. The album sounds like a bridge between Nirvana and what becomes the actual Foo Fighters band. I liked everything about this album: the musicianship is great, the lyrics are introspective and interesting, and I’ve always found Dave Grohl’s voice to be soothing. The drums are my favorite part of the album, as I’m percussion-obsessed and have always wanted to be a drummer. I will definitely revisit this album in the future.
Sister is my first full-length album listen for Sonic Youth. The discordant nature doesn’t really appeal to me, so the album didn’t do much for me, but I found it decent and didn’t dislike it. The muffled vocals were a bit frustrating at first, but either they got better or I just got used to them. I liked tracks 3 and 8, which I added to my playlist. I’d have to say I enjoyed the drums the most, probably because I’m partial to rhythm. I appreciated Kim Gordon’s vocals out of the three singers. I’m glad I listened to this album as I’ve always been curious about the band, but never got around to checking them out.
Scissor Sisters apparently came to make me dance. I couldn’t help but move and groove from the first beat drop of this album. It’s fun, funky, and sounds like the lovechild of the Bee Gees and Prince. The album had me traversing a lush melodic landscape dotted with peculiar, tongue-in-cheek lyrics. I really enjoyed Jake Shears vocals. His vocal tone is reminiscent of some of my favorite 80s new wave singers. I’m struggling with rating this one because I truly loved it; there wasn’t a moment I disliked. My only issue is the closing track is quite incongruent with the rest of the album in its somber nature, but it’s still a good song. I’m likely closer to a 4.5 rating, but will downgrade for the official generator score.
Up until a few years ago, if you’d have asked me if I was a Neil Young fan, I would’ve replied with an emphatic no. Then, in some miraculous moment, Harvest Moon (the song, not the album) found me. I fell in love with it, which subsequently relaxed my dislike for Neil Young. Since then, I’ve been a very casual fan, attending two of his Harvest Moon gatherings and enjoying hearing his music randomly.
This is the first full-length album I’ve listened to by him. Oddly enough, the tracks that bookend this album didn’t do it for me. If this album was a sandwich, I’d make it keto: forgo the bread and just keep the cheese and meat inside because, damn, it’s delicious. I thoroughly enjoyed tracks 2-6, which surprised me quite a bit. The writing is interesting, harmonies are beautiful, and some of those crunchy guitar solos are so tasty. I certainly understand his appeal now and look forward to listening to more of his albums.
I have never heard of Deerhunter. When the album opened, I was intrigued by the dramatic melody and looking forward to the journey the album would take me on. That thought quickly soured. I was drawn in by the ambient feel of the initial melodies, but the distorted vocals grated on my nerves. I think the lead singer came across as inauthentic to me and that’s why I can’t connect to the album. I’m not sure if it’s the use of distortion or his tone, but something felt forced. The album as a whole feels uninspired. The somber writing didn’t resonate with me, which is weird because I typically like feeling in my songs. It’s as if the songwriter thought he was saying so much that he ended up saying very little. The lyrical repetition is more irritating than impactful. I think they should’ve left the 60s garage band sound back in the decade it belonged. I cannot understand why this album is a must hear.
This Supergrass album has left me in a quandary. I previously listened to I Should Coco and loved it, rating it a 4. Thus, I was genuinely looking forward to the second offering by the band. I can’t say I liked this album very much. I found some of the rhythms and lyrics enjoyable and the musicianship is great. However, the heavy production and 60s psychedelic feel kept me from getting into the album. I also found the lead vocals quite whiny and annoying throughout, which I don’t recall from the prior album. Thus, my quandary: am I a Supergrass fan or not? I guess I’ll have to take it upon myself to listen to a third tie-breaker album to determine the answer.
The Thrills sound like the jangly, down-home cousin of The Beach Boys and The Monkees. The lead singer comes across like a strange, country Neil Young. I was disconcerted with his accent at the beginning, but his wistful, lilting Irish twang grew on me. I love all the California references and the music feels as nostalgic as it does new. The musicianship and production are my favorite things about the album. It brings forth such lush layers while remaining melodically sound. Nothing feels overdone; it’s just right. It is refreshing to hear the banjo and pedal steel guitar get so much play. As much as I enjoyed the album, I can’t see myself gravitating toward it in the future. For this reason, it’s a solid 3.
Everything is perfect about this album down to the cover art. There’s not one misstep in my opinion. The only gripe I would have is that it’s criminally short. I want more; I could’ve easily accepted this album at twice its length without batting an eye. It’s pure perfection. The lyrics, rhythms, and vocals blend so well, creating a warm, sensual sound that feels like an afternoon spent in deep languor. It is my comfort album.
You know those albums you feel like you’ve known your whole life? I can’t say I’ve ever knowingly listened to this entire album, but I knew nearly every song. This leads me to believe I definitely listened to it in utero and during childhood as well. Listening to it felt like putting on an old, comfy blanket. What a treat. I can’t say much else about it because it’s darn near perfection. It’s a 4.5 for me, teetering close to 5.
Lorde is a difficult artist for me. I like much of her music, but she strikes me as an artist who takes herself too seriously. Maybe she comes across as lacking humility? I can’t put my finger on it. Something about her just irks me. I don’t particularly love her voice, but when it works, it works incredibly well. With all that said, I rather enjoyed this album. Many of the beats were interesting, most of the songwriting is quality, and it took me on an emotional journey. I’m also a fan of Jack Antonoff’s production style overall.
I really love the album artwork as well. I wouldn’t say I’d reach for the album as a whole to listen to regularly, but I did save some tracks to my favorites playlist.
I’ve always been a casual fan of Bon Jovi, but not much more. I like their hits and even count a couple of their ballads among my favorites in rock. Aside from that, I never gave them much thought. I was much more interested in Def Leppard, Van Halen, and Guns N’ Roses. I wasn’t sure why that was exactly until I listened to this album. The hits really do hit, but the misses feel like spineless rock: cheesy lyrics with passable rhythms. I enjoy Jon’s voice and the band is talented, but much of the album feels like those forgettable background songs they’d throw in 80s movies to indicate tension was happening.
I’m tempted to toss an extra point at the album for the simple fact that Jon Bon Jovi has aged better than all of his contemporaries. Dude looks damn good!
The Saints are a band I’ve not heard of before. I was intrigued to listen to an Australian punk band. Sonically, I really liked the album. Vocally, I was perplexed. Initially, the singer’s voice didn’t appeal to my ear at all. Then, on track 4, I could’ve sworn there were two guys singing (it appears it’s just the lead singer changing up his vocals a bit). As I proceeded down the track listing, I noticed a shift in the vocals that was much more pleasing to my ear. I’m amazed at and impressed by the way the singer used his voice throughout the album. The album’s sound suffers a bit from sameness; it was noticeable, but I didn’t mind it much because the musicianship is so good. Overall, I’m glad to have heard it, but won’t revisit it and didn’t find any standout songs I’ll add to my library.
This is the first David Bowie album I’ve ever listened to in total. I am very familiar with his hits, several of which I count among my favorite songs. For some reason though, I’ve never delved into Bowieland. Now that I have, I am intrigued. I generally liked the album, but didn’t find it to be as impactful as I thought I would. His vocals are haunting and pure, the musicianship and melodies are great, but I didn’t feel wowed in any way. I guess I just didn’t really connect with the album very well. I’m curious to hear more of his offerings as it seems I’ll have eight more opportunities to solidify my feelings on Mr. Bowie throughout this journey.
This is the first album on this journey that’s made me ask the existential question: what constitutes music? There are elements of a great album here: deep lyrical concepts, driving beats, and creative rhythms, but it misses the mark. Some of the beats are really likable, but the accompanying sounds and vocals are so harsh and off-putting, I can’t enjoy them. I applaud the heavy, interesting lyrical concepts, even though I feel they’re mostly poorly executed. The album sounds like small-town kids experimenting with music while channeling their angst in their parents’ basement. I’m giving the album a 2, but really regarding it as a 2.5 because of the potential it had to be something better.
Lauryn Hill is the standout talent in this trio for me. Her bars are sick, her flow is smooth, and she can sing like a bird. She’s the total package. This is intellectual hip hop written incredibly well with some insanely good cultural references. I found the beats to suffer from sameness. Also, the album feels really long. I struggled to rate it because I appreciate the ingenuity in the lyrical content and feel the beats are smooth and enjoyable, but I just don’t love the album. I’d much rather take the hits on their own and leave the rest.
This is my first time listening to a full Police album. I’m taken with Stewart Copeland’s drumming. Wow! The band’s rhythms and syncopations are so dynamic and intricate (to my not-musically-trained ear). They really light up my brain in a new, exciting way. The vocals are nice and the songwriting is good, but I am so bowled over by the sonic landscape that I feel like I could enjoy the album fully instrumental. I could give this album a 5 rating for the drumming alone. I’m on a quest for more Copeland now!
If you asked me, I’d say I’m not a Rolling Stones fan. Sure, I’ve liked some of their hits along the way, but I just never wanted to delve further into their catalog. After hearing this album, I’m still not a fan. I understand this album is mostly covers, which are done less effectively than their originals (or even other covers, for that matter). There was too much clapping and jangling for me on this album. It falls right into that 60s rock vibe that is my least favorite. I’ll give it two stars because it’s not horrible, just not my cup of tea.
As an 80s kid, I am a new wave and synth-pop fan to my core, not to mention that the exceptionally creative music video for Take On Me is permanently etched in my brain. Sonically, this album felt as if I was wrapped in a cozy, cohesive, cinematic 80s blanket. Morten Harket’s voice is hauntingly beautiful and his falsetto is soothing. I found the lyrical content to be introspective and thoughtful. I could easily put this album on when I’m craving 80s comfort and get lost in the vibe.
OutKast is one of the most creative rap duos of all time. I love André 3000’s voice so much; he’s got that smooth southern style that sits right in my ears. Big Boi’s deeper voice contains a richness all its own and is a perfect complement to André. This album is a feast for the senses filled with depth, experimentation, playfulness, and wisdom. It took me on a journey I didn’t know I wanted or needed to go on. The album cover is just further proof that they are, in fact, the coolest muthafunkers on the planet.
Chris Cornell had one of those uniquely melodic voices in rock; so powerful yet so tender. For me, there’s a delicacy in listening to artists who have died by suicide. It brings about a feeling of needing to tread lightly when remarking on their art, as if we risk further wounding them when they have already been fatally self-wounded. Perhaps this is an empathic reaction, I’m not sure. It’s especially moving when you consider so much of the lyrical content deals with depression, suicidal thoughts, and the like. It feels so intensely personal, like soul exposure in the most revealing way. Coupled with Chris Cornell’s voice, it’s almost too intense of an experience.
All that aside, this is a very loud album. I enjoyed the musicianship and Cornell’s vocals, of course. I felt a bit auditorily assaulted by the end due to listening to the album at a higher volume in headphones. Spoonman remains one of the most creative tracks I’ve ever had the joy of listening to and is in my permanent rotation. I’m glad I listened to this album, but will only revisit my few favorite songs because the album is too heavy for me to experience again. I’m rating it a 3, but it’s really more of a 3.5.
I had never heard of this band before. Shoegaze is not one of the genres I gravitate toward either. I have to say it’s not altogether bad; I just don’t really like the sound of the album. Some of the vocals are pleasant, but not enough to overcome the noisiness of the instrumentation. Overall, the album just isn’t for me, but I do like the cover art.
This is my second go-round with The Velvet Underground on this journey. After listening to The Velvet Underground & Nico, I declared myself not a fan of the band. This album didn’t change my decision. I did enjoy some of the songwriting, but the music sits right in that 60s rock segment that does nothing for me. According to the book and unfortunately for me, I get one more shot to prove to The Velvet Underground that they can’t turn me into a fan, no way, no how.
I’m familiar with Stephen Stills in all his musical iterations, yet I don’t know much about him. What I do know is that I am not a fan of his voice at all. Some of the songwriting on the album is decent, but his milquetoast delivery ruins it for me. The musicianship on the album is really good, albeit not suited to my particular taste. The star-studded collaborator list is quite impressive. Clapton and Hendrix were the highlights of the album for me. I can appreciate Stills as part of his group efforts, but standalone Stills is not for me.
I was wondering why I’d never heard of Lambchop. After listening to this boredom-inducing album, I know why. Some of the arrangements and melodies are nice, but they’re not enough to overpower the vocals. The lead singer’s voice is not enjoyable in either talk-sing mode or fledgling falsetto. I’m unsure why this was necessary listening, but I am glad it’s over.
I didn’t know what to expect from Tom Waits. On the face of it, I assumed I would absolutely abhor his voice. Quite the contrary, I was captivated by it in combination with the instrumentation and songwriting. What gorgeous storytelling conveyed by a unique voice that makes it utterly believable. In addition, I love the album cover. This was such a pleasant surprise after a run of mediocre music. I’m looking forward to encountering Mr. Waits again down the road on this journey.
The Offspring are pure 90s nostalgia for me. Being an Orange County local at the time, you couldn’t escape this album. It’s infectiously fun and holds up pretty well. Dexter Holland’s voice is unique, verging on annoying, but ultimately interesting. The musicianship is solid, even though some of the tracks suffer from a bit of sameness. The album sent me time-traveling back to sunny Southern California in the summer of 1994 and I couldn’t be happier for the ride!
