Always a good listen. Cutting edge 1981.
Some classic amazing songs, some real stinkers, even for the day. Blue Condition was painful, Mother's Lament was a bad way to end a nice experience. Thank goodness for the bonus Lawdy Mama track.
Great all the way through. Every track was outstanding.
So very, very good from start to finish. Some amazing funk\rock jams at the end that just made me want to start again on side 1. So fine.
So good, though I had never listened to most of this album and fell in love with every morsel of it.
Like fine and aging wine, every time I take a sip I enjoy it more. A response to Ramones style punk and a launching pad to new wave. You can really hear the nods to Lou Reed\Velvet Underground (I'm your dog but not your pet...) and this just makes me want to listen to other CBGB bands like Dead Boys, Talking Heads, Television and Patti Smith spring to mind. A musical time capsule with a smirking angel's voice. Absolutely the best.
I was especially happy to see the Beach Boys pop up, with the passing from this world of the genius of Brian Wilson. However, while there are a couple good songs and excellent sound, most of the album is below average for a Beach Boys album. It may have been better than a good portion of the songs that came out on the year of release, it was a disappointing listen in 2025.
I've heard some epic songs from Arcade Fire and saw that this album was rated top 5 or top 3 in many cases for them. Maybe it is just the day, but I'm not feeling it. Deep Blue had a nice feel to it, a little like a muted Neutral Milk Hotel song. That said, I had to stop pausing the album to, in my mind, go do something interesting. Then eventually Sprawl II (Mountains Beyond Mountains) grabbed my attention again and I was able to push through to the end of the album.
I was ready to listen with an ear to Nile Rodgers' hand in the making of it, and some of these songs were definitely hits, but some did NOT age well, Frankie among those. So how do you stack up a release for an above-average DISCO band against the other albums we have been listening to? Should I factor in the fact that the title track has every ounce of vitality wrung out of it by overuse in advertisements and politics? Should I add points because it has been sampled so many times since release? Do the vapid lyrics drag ot down as much if this was intended as dance music? The worst of the lyrics here were still easier to continue to listen to than some of the high concept albums I've listened to in the past, does that bring it up a star?
I think I missed Sugar completely in the 90's, but was aware of Bob Mould as a member of Hüsker Dü. I know the Pixies were heavily influenced by HD, but was surprised how much some of the songs reminded me of the Pixies and other later alternative band's songs. And this could be considered an easily digestible entry point to HD. I feel like I've heard these songs in the periphery many times before and and songs like Changes manage to take me back to places in the early 90's without me having been consciously aware of the band or the album. For some reason, as I listen to it, it reminds me of parts of The Smithereens' Especially for You album from 86, which is one of my favorites and I wonder if there was some inspiration there. I do remember hearing Helpless at some point. And like a flash this album is over with the slightly more aggressive and mildly anthemic Man on the Moon song as a nice ending point. Beaster, I'm told, is a little harder, can't wait to unpack that.
If you ever need a smile, the opening tracks of this album will gift you one. That alone has to be worth some stars. Using a spray paint can as percussion is wacky and brilliant. Happy Valentine's Day may just be the new official song of the demi-holiday. Now if I just enjoyed all the music on the album. I do enjoy some of it, appreciate some more of it and actively dislike a few tracks. Many of the tracks would be better if they were a minute shorter. The length of the album in full made it hard to listen to, but the fact that this is art does not escape me.
I would not consider myself a fan of country music fan, but this album may have carved out one of the few exceptions. The track length and quality reminds me of The Ramones, short sweet and to the point. Lately I've been listening to albums that stay far past their welcome, this one sneaks out the window leaving you wishing for a little more and wondering where the time went.
People from the 80's think they invented "World Music", but this 1957 release would like a word about that. (I know, I know, he was born in NY!) Great music, the time flew by listening to it. Perfect for getting your body moving and putting a little zip in your step.
The sonic assault begins with the first track (Them Bones) with all the early 90's grunge swagger and dirty delivery you could hope for. This is a high energy album, but one dealing with somber subjects: death, addiction and war among them. It was literally recorded during the LA riots of 1992 while the core of the band teetered on the edge of rehab. So be ready for the darkness and your descent into it. 1-800-273-TALK(8255) is the US national hotline if you need help dealing with your feelings. The album feels like a triumph over the darkness, and the members treated the songs like a purge of poison.
When you can listen to music written a lifetime ago and the power and validity of the music and lyrics are still in full force there you know you have a classic. That said, not every track hits.
This album is supposed to be "seminal". Listening to it, I can hear echos of it in later works, and sense the hand of David Bowie in it's creation, but perhaps I'm too far removed from the before and after of this release to fully appreciate its impact. Obviously, Walk on the Wild Side has been considered gold my whole life and Perfect Day is legitimately world class, Satellite of Love has some strong moments but the songs between don't feel cohesive or impactful as I was hoping. I feel the same let down I felt with Never Mind the Bollocks, it was new\different and intentionally controversial but not as seriously good as things like The Rise and Fall of Ziggy Stardust or London Calling. Points to it for inclusion and openness about the lives of persecuted groups.
Possibly the best album from an amazing group.
2020 was a horrible year, but something amazing came out of the grief and anger. A diamond created by the pressure and heat of the times we live in. Hold tightly to this.
If I had been handed a tape of this instead of Kill 'em All back in 83/84, I wonder if my life would have been different. Make no mistake, we had a great time, but I could have used a little more of this in my life. Both are aggressive, dark and with a pinch of quirkiness. The sound quality of the original release have been "improved" by youtube fan remasters, tweaking the drums and bringing the vocals a little bit forward, which definitely helped me to understand the lyrics better. Overall, the lyrics just aren't as deep or relevant as I had hoped when I started the album. And I don't have the urge to immediately replay. I came into the album with a strong desire for it to be a banger, but am leaving disappointed.
Elton John and Bernie Taupin as their most powerful. This is my favorite album of Elton's, and possibly one of the best POP\Rock albums ever made. To say this was Elton John's masterpiece isn't hyperbole. Strangely, the worst song on this album is still as good as his big, later hit, I'm Still Standing.
Now known as the Topanga Canyon sound, music inspired by the musical (and somewhat magical) conclave including various members of CSN&Y/Buffalo Springfield, The Eagles, Joni Mitchel. Linda Ronstadt, and members of Canned Heat, the Byrds and more who passed through or visited the communities there, whose interactions fueled a great deal of music created in the late 60's and early 70's. Not every song is a hit taken individually, but as a unit, they all work to guide you on a beautiful journey.
A good album and it still hangs together fairly well after all these years. It was fun hearing the Byrds version of Hey Joe. I think I had learned at some point that it was a cover, but I didn't realize that other famous bands had covered it prior to Jimi's excellent, slower and more mind-bending release. I love the harmonies and hearing David Crosby at what may be his sweetest and most melodic phase on this album. However, this has almost zero replay draw for me. I can't see myself ever circling back to it, it holds no place in my memories but just stands in my mind for a precursor for amazing things to come.
Stevie was so amazingly creative during this period. The mix of vocals, harmonica and keyboard work is very high quality. It was a solid listen, but with little, personal appeal to pull me back for a repeat listen.
I'd tried listening to Captain Beefheart before, Trout Mask Replica, I believe and found it to be too far out there for me, I'm a simple man who likes melody more than things that combine experimental with acid jazz, as CB's later albums do. This album seems to be rooted more fully in R&B, which to me is much preferable. Ry Cooder is really laying down some great guitar riffs here. I enjoyed this early sound before Beefheart steered more towards acid jazz more than his later efforts.
Dire Straits most widely known album, though nothing beats Making Movies in my eyes. If you lived through the time period where this was on the radio and in MTV rotation you may already be sick of hearing it. It was literally everywhere, all the time. This was the first album Dire Straits recorded completely digitally and to me, the first third of the release sounds somewhat sterile compared to earlier albums, but it gave them the sound quality they desired. Contributing to the "clean" sound were drums set to a click track. They were looking for the sound that ZZ Top had introduced to huge success and got it. Huge success, tons of cash and a bit hard to listen to for me. The 40th anniversary release contains live versions of songs that sound absolutely fantastic, and cover some material from earlier releases that are just beautiful.
I've only ever listened to Radio Head in the post album format, but as a full album it is very powerful. Atmospheric and moody. The Pyramid being well set up as a second song and gaining power in the transition from, "Packt Like Sardines....", and then sliding into a more electronically focused, staccato, revolving doors. There is beauty here, sad beauty with a silver lining of hope. The time flew quickly while listening. But I am not drawn back for another listen.
A fun listen. More fun to think that this may have been on the radio for my parents when they were dating or on the hi-fi of the parties they went to. Rock and Roll star and the Bob Dylan cover, My Back Pages, being the stand out tracks for me. A fun blending of psychedelia, country, rock and jazz.
I had never heard of Elliott Smith but was awestruck by how good this album is, and how it feels like it has always been with me. It is like a missing piece of my jigsaw puzzle that this album just slid into.
The final album in the amazing quartet of albums, starting with The Dark Side of the Moon, Wish You Were Here, Animals and this trippy study on isolation, nihilism and systemic and generational violence. Wish You Were Here may the best of the set, but this is second by a hair's breadth. If you can listen in true stereo headphones, you really should with the foursome of albums. I would have a hard time NOT putting this in the 100 best albums in existence.
"When my fist clenches - crack it open", good advice. This is the best full album The Who gave us. Not a wasted track.
A departure from the guitar driven punk\garage rock sounds of the previous albums. Art is reaching, and they were reaching for something greater here. I'm not sure they reached it, but they gave us at least one more great track.
I was but a wee lad when this hit the shelves, but you cannot imaging what a breath of fresh air this was at the times. A dividing line between the time before and after in much the same way Sergeant Pepper's was for what could be done in the studio. This was like the rebirth of Rock and Roll. Everything on the airwaves was glitter and disco balls and this new animal was on the scene like almost nothing that had been previously seen. The birth of Hard Rock or Heavy Metal. Jazz influenced, post-psychedelic, hard rock with serious subjects and dark themes. YES, thank you very much!
Glad to be able to rate this one so soon after Ozzy's passing. This was a great catharsis.
Not very familiar with The Libertines, I'm getting a the vibe that they were influenced by The Ramones, The Smiths and The Clash right up front. That's a pretty good place to start.
Seeing them at a punk club seems like fun, but the lyrics, melodies and delivery don't make a huge impression on me. I keep hearing nods to different bands but I don't feel a strong impression of who the Libertines are. I think the phrase is, "no authentic voice", but maybe that's just 'cause I'm an old codger and everything old is new again.
A wonderful fusion of Celtic inspired folk and punk that gets my blood pumping every time I hear it. I was sadly unaware of the Pogues in the late 80's when they dropped this energy-bomb, but would eventually have it brought to my attention at some Christmastime playing of Fairytale. I fell in love with the song and have listened to it as part of my holiday mix every year since. Hearing that Elvis Costello had worked with them in the past, and they rejected him because of creative and and temperamental differences, just drew me further towards them.
This is a great album and I'd be glad to know it would be played at my wake.
Pleasant, but not resonant to me.
Hard rock that everyone in my generation cut our teeth on. Amazing drums and vocals. LZ was such a "cultural appropriator" that I hope no one ever uses this phrase in relation to the arts. Blues plus hard rock is amazing synergy and it lead me back to the blues greats that inspired it.
This album rises above all classifications. It is simply on the short list for one of the best albums ever made.
Every decade or so someone comes along to hearken back to an older age. I hear Tiny Tim and Redbone and The Raconteurs in here. A fun snack, but not a meal.
The opening song may be the best song on the album, the others having some serious missteps, sour notes, overuse of repetition and that sort of thing. I'm trying to stay open to the experience, but I think it is just not my cup of tea. First album in the list where I was wishing it would end sooner.
You can hear the echos of this work for decades. It sometimes feels like every dark\emo\mod\goth\postpunk\punk and metal band cribbed notes from Unknown Pleasures. You can hear it strongly pulsing from the edge of the 70's and into the 90's, with ripples and waves lapping into music today. So influential, so amazing dark and moody.
Some nice listening, one banger in the group, Tightrope was quite good. The rest feels heavily inspired by Outkast. The final tracks remind me of listening to Frank Sinatra at his peak, the lyrics are topical\universal, the sound is smooth and the timing is impeccable, but it holds no lure for me.
Every "cool" TV show from the late 70's wanted to sound a little like this. I don't believe I ever listened to this one all the way through before, but all the grooves and hooks sound as familiar as an old friend. It missed the spark with me, but was interesting and pleasant all the way through.
Half the songs are covers, am I rating them or Chuck Berry, Barry Gordie? I like the fuzz, I love the un-produced sound of it. Good enough that if I heard this coming out of a local bar\pub I would stick around for a few.
The opening track is outstanding and the rest are a fine example of folk\ psychedelia, but don't have huge appeal in the modern era. I'm not sure I agree this belongs in the list. Outside of the initial track (Alone Again Or), the best thing about this is the cover graphics, which are the epitome of 1967.
SUCH A GOOD ALBUM! Start to finish all tracks resonate with me and suddenly my brain is on a road trip to the big city with a car full of friends in the late 80's listening to Boy and War and October and wondering why it took us all so long to twig to U2 in the U.S. This is a freedom song. Or rather, this is the soundtrack of freedom, racing towards adventure under hot blue skies.
Pretty decent pop-punk. Pulling Teeth is a good one and not even really punk. Sandwiched between Welcome to Paradise and Basket Case you might not even notice its just a boy band song. I appreciate their adherence to the Ramone's style of punk where the songs are just a few minutes long, so even if there is a song that isn't quite as good as the others like Sassafras Roots comes along, it is quickly passed and on to a banger like When I Come Around. Plus they just give you time to look at the Mad Magazine style album cover, lots to look at! Not many soft spots in the apple like that though, consistently high quality.
Love these guys and the work they did. So much music during this period was HARD, or wanted to be. Tribe could be on point without being gangster and I really appreciate it. Amazing beats, amazing lyrics, great hooks.
My wife hates Bob Dylan, can't get past the voice to get to the poetry. I finally understand a bit better.
This is my first listen to this work. I hear this album has been compared with works by Nick Drake, but I'm not hearing that in most tracks, I Could Be Dreaming is the exception. This feels way more upbeat than his works and feels way more electronic (typed this while listening to Electronic Renaissance, later songs perhaps less so). I'm enjoying it, but not sure it is a triumph of music. The background monologues got really annoying and didn't add much to the songs. Were they going for a Pink Floyd-esque feeling? If so, they missed the mark and just had me pausing to make sure no one was talking to me from another room. Overall, I found it pretty but forgettable.
The absolute peak of Metallica's heavy art. While the black album was the most popular, this was their masterwork and, along with Puppets and Ride, the reason they are still considered a giant in metal despite 6 sad studio follow ups following the black album. This is the last album for which Cliff Burton would receive writing credits after his tragic passing and some of the anger and sadness embedded in this album are due to the band dealing with his loss. The soul and humor he lent to each record is perhaps the only thing missing from this production.
First time listener. Her voice is angelic but it pulled no heartstrings of mine. The lyrics didn't pull me in, nor could I understand most of them. I do like some Cocteau Twins cuts. This is fine and likely above average, but in this context I can't see giving it high marks.
A great, eclectic album. Not every song is top notch, all the way through, but there are quite a number of outstanding tracks on this release, and even the off tracks have a brilliant sections. Crying, for instance, isn't one of my favorites but the electronic section about two thirds through elevates the track.
In the beginning hard rock and metal was a single track to two on a "heavy" Zeppelin, Cream, Hendrix, Deep Purple or Blue Cheer album. Or perhaps a single heavy song on an otherwise Prog Rock or Psychedelia album. This was the dawn of a dark, groove-heavy day. A black sun in the sky and a susurrus of dark birds blotting out the remaining light. And in this time the light in the discos dimmed a bit, the candy pop melted and dripped to the gutter. Many Shuvs and Zuuls knew what it was to be roasted in the depths of the Slor that day, I can tell you! Ph'nglui mglw'nafh Cthulhu R'lyeh wgah'nagl fhtagn!
I liked this back in the 70's, it dominated a portion of the radio airwaves and was certainly of higher quality than a lot that was being put out. Cool jazzy rock in a radio-friendly pop format. Mellow, brainy and sedate it was the soundtrack of every fern bar and Tupperware party.
High quality Afro-jazz. I'm not a big fan of jazz but this is almost good enough for me to carve out an exception for a few of the songs.
There were a couple of good songs here. A solid 2.5.
Subjectively bad. Repetitive, grating and challenging for me to listen to. I'm sure this is just me, but gah!
Papa Was a Rolling Stone is one of the very best songs of the 70's in my personal opinion and this version, while not the first release, was the best rendition. The rest of the album is fine, with some good tracks but nothing else that rises to that epic level.
For some reason I always thought of Nick Drake as an artist of the 1990's, not the early 1970's. While not as good as the unaccompanied Pink Moon album, this is also very good.
A very good album, but it could be 5% shorter with a lot of repetition removed. Overuse of repetition is my single biggest issue with the release, which is a small thing but it seems to hit in every track. Sometimes not having a creative editor is artistic freedom, other times you get this. Still above average and a fun, fun listen ...albeit with some skipping forward. :)
Gonna have a good time!
The date of release says early 1983, but I know I heard some of these in 82. Such a great band, such an iconic sound, eventually we got some mind blowing MTV videos, they were the perfect package, though this wasn't a perfect album it was darn close.
I like a lot of rap artists, I even like a few UK based rap artists, but found Blinded by the Lights to be the first good one on this release, which is four tracks in on the version I listened to. It'll be hard to rate this release above average with that W\L ratio. A couple of good hooks, a couple of good songs. Dry Your Eyes is a nice rap\pop song, it might be the standout song for me. The best thing about this is the continuation of the narrative throughout the songs, so that later songs have more emotional value.
Hitting hard right out of the gate, the first two tracks introduce a packed and lush soundscape. Some real standout tracks, with allusions to and inspirations from old school and a big dose of Jay Z with an all new sound, somehow.
Seminal punk\alternative, so good, so fine.
Back when Albums and 8-tracks were king and there's not a bad track on the whole thing. Hard to not give it top marks, though it has been degraded by time and overplay on the radio. My most specific memory of this album in play was in 1983, in my best-friend's, older-brother's car after a light and warm rain, sliding around on the roads listening to this and him wishing in a loud yell over the lyrics that there was a Quadraphonic version for him to buy, which I don't believe ever came out in any format. I was rocking my Judas Priest Screaming for Vengeance tee shirt and feeling like I was at least adjacent to being one of the cool kids, maybe on the verge of it.
Three songs in until we get to lyrics and they are are just a repeated phrase. I don't hate it, but I'm not sure this qualifies as one of the best 1000 albums or the best 4200 albums.
A couple of good tracks if you can make your way through the nasal whine. Overall this is good, but not outstanding.
I was riveted from the first note. It is hard to understand how every song on an album that came out in 1970 can still hit so hard. Even the dreaded fourth track, with the silliest name possible, Ooby Dooby is just a quick, straight-ahead rocker with it's toes in the rockabilly pool. And in a flash we are back to some of the best music of the decade.
Shining Star is just amazing as is Way of the World. The rest, despite being dated sound pretty good, but those two tracks are stand outs.
Once ground breaking, now comfort food. We know every word and chord change, but it still gives us the buzz that we got the first time we heard it. Music is magic, I suppose. It makes time travelers of us all.
I love listening to her. It isn't fair, some of these songs aren't wonderful, one or two I end up skipping out of, but I will always gravitate towards this album.
This falls between the Western side of Country & Western music and something approaching Pop\Novelty songs. I rarely listen to country and yet I know quite a few of these despite Marty Robbins barely being on my RADAR. My grandparents owned a ranch in the Livermore hills in the 80's and these songs take me to my Grandfather's soft metallic green Ford step side truck and the blanket covered bench seats and a gravelly dirt road on that ranch, the ranch-dogs barking and following in the dust plumes as we worked to clear and chop wood for the winter. And man did this go fast, I let it go in the background and it felt like it was done before I knew it. Like a good punk rock album you start it up, it rages and then ends in a flash.
The first two songs are lit! The third (Last Goodbye) sounds like it was recorded at Paisley Park and doesn't all come together, but it would have been typical mid-90's sound and So Real sounds like a Soundgarden knock off, which isn't horrible but also not great. Hallelujah, is a good cover. Forget her has a great groove.
While I truly love and appreciate their earliest Blues inspired tunes, this is the record where they really came into their own and bridged over from those old Blues tunes, still retaining ones like You Gotta Move, to a new sound for them.
There She Goes is amazing, the rest of the songs aren't bad but not at the same level.
As someone who lives in California it is odd to hear a 2003 band from Ireland singing about Santa Cruz, Big Sur and UCLA beaches. The nods to The Monkeys and the Beach Boys are there and the songs are a refreshingly upbeat addition to my day. Glad we put a smile on your face. A good time was had listening here. Unfortunately not part of the top 250 Albums Ever Made, but glad they got this recognition.
Sometimes groundbreaking albums that influenced so many bands can be mostly crap.
Too much ambient jazz repetition in most of the songs. After OK Computer they can do anything they want, but it doesn't suit my tastes.
The first couple of tracks are really nice and then it slides into ones like Parade, which was just bad. At the end I was done with her voice for a lifetime.
Hard not to like this, very well done and haunting in places.
Energizing music on dark topics. I love it.
We had him for too short a time. Great start of an album, without a dip in quality until Little Miss Strange, five tracks in. Almost all the tracks are interesting, seminal or mind blowing that one track notwithstanding.
When I think of Madonna, I think of the 80's, and this release shows how unfair that is to Madonna. Here she is, at the precipice of a new millennia making some great dance music.
Ushering in the 80's with a nice mix of funk and jazz. Not my thing, but enough funk to take the stank off the jazz.
Not a bad track all through. Peak Jane's in my opinion.
Folk, rock and blues. What more do you need?
Bowie is so consistently ahead of his time that I got into the habit to listening to his new work, then coming back to it 5 or 10 years later. I invariably find that while I had issues with his current works, when listening later I appreciated them much more. However this one is a little easier as it appears to be referential to his past catalog in many ways, like a tour of earlier works including Tin Machine, which is surprising. Such a good album. The stars in the firmament dimmed when he passed from our world.
This was "The Black Album" for Aerosmith, marking a divide between their older releases and the new incarnation of the band and their sound, and all the awards, fame and money that came with it. It is a really good album, even if you don't consider yourself a major Aerosmith fan.
They were already superstars, but this feels like the launching pad for the band that would be one of the greatest the world had ever heard. They came into their own and were tearing their way out of the boy band phenomenon and stepping towards a unique musical voice.
I'm three songs in and wondering if this album isn't one they put in to verify that people are really listening to each entry. I'm seriously considering skipping to "the famous tracks" because this is not my thing. Holy crap this is bad. This is time I will never get back. Instead of music, package contained bobcat. Would not order again.
Some of his best, and that is saying a great deal. Mesmerizing.
This has a career starting two songs on it, the rest of it could easily be thrown in the trashbin of time and nothing of value would be lost. Hard to rank a situation like this. Without the song My Generation, would the band have been a flash in the pan? The Kids are Alright is better than average, but not a showstopper.
This album grabs you by the lapels and pulls you in close from the opening track. I can't believe I've never heard the whole thing before. I'm feeling a very punk\grunge albeit a melodic presentation at play and it is working very, very well.
Roxy Music is out there and ahead of their times, yet also shaping the music to come. It is a shame they were so hard to come by in the States. Fantastic stuff, but the last two tracks may have been too experimental for me.
An early entry of the Nu Metal bands and the sound of New Years 1999, where it was hard to avoid them...try as I might. I'm listening to it again to see if taste and perspective have shifted enough to feel like I'm enjoying this. Drive and Privilege are pretty good, Battlestar Scralatchtica is amusing in its novelty and benefits from the touch of the Ozomatli DJ, but isn't great. The rest of the album just isn't that good.
I enjoy Beck's more commercial songs and try to understand his more obscure work. I fail, but I enjoy the process.
I didn't realize the US and UK versions of this were different, but this track list is definitely different than the one I am used to. Still a great listen, top marks.
This might be the perfect balance between the "old" more bluesy Stones and the rock band that came after. The sweet spot in my mind.
The prelude to most of the Dr. John music you *do* know.
Nick Cave and The Bad Seeds used to be high octane, but now he is just Tom Jones. Things change, I guess. What's new, pussycat?
Time does not diminish the power and pure fun of Elvis' music. Great grandfather of much of what you will hear in pop, punk and rock and roll. So good, so good.
I'm a creaky oldster, but this is an album that had the power to break through to me despite all my attempts to be blasé about new music in the early 2000's. Now nearing a quarter century old and still bursting with power and energy. I'm still in love with this whole album.
After Graceland we'd had our ears opened to this type of folk, a cappella sound. It is something of a best of album as well as they re-recorded many of the songs for this release. Personally, I would trade the haunting sound for a bit of drums.
Interesting for a listen, on the verge of something grander. Not my thing this time around, but musical quality is good. I feel singularly un-hooked.
A good album, not their best, but a good listen.
Mostly interesting music and intriguing, challenging lyrics.
Great music, interesting lyrics. I was hooked from the first song. Really, it goes too fast.... life and this album.
I like the Grateful Dead, I like a few of their early songs. I even like a couple of their studio albums. I like it when album size or desired airplay time constraints make them distill a song down to an essence of how they will play it live. I was once told if I don't enjoy Dark Star (which I don't) then I am not a DeadHead and I agree. I can listen to Jimi Hendrix noodles around all day, I can enjoy King Crimson as they do their version of improvisational, jazz based rock, but Dark Star seems like a good opportunity to check out the merch, watch girls dance or maybe get a beverage. Listening to the remastered version only solidified this for me. This is a groundbreaking, poetic and historic album I don't enjoy... except for Death Don't Have No Mercy, which is a good song.
Listened for a while, got bored and listened to Elvis Costello's, Next Year's Model again instead. Went back to try again and practically nodded off. Ambien on vinyl. Don't Want to Know picked things up a bit with a good message and I'd Rather Be the Devil was experimental and bluesy. Then the song, May you Never was really good and reminded me a bit of Yusuf Islam's early stuff and the album finished out pretty well.
Steely Dan has a smooth sound. This is a beautiful album and they sought perfection by doing everything themselves in the studio, eventually. It came out just like they wanted it, tight and smooth. That said, for people who like a rougher sounds, like me, it loses some appeal.
I didn't twig to B.B. King until the 70's and am happy to hear his music from an earlier era. Very good stuff, and presented live. I can hear the roots of Santana here and can only imagine that this had a pervasive reach.
That Parental Advisory was certainly apt for this one. Starts with The Chronic, which was the song of Christmas and into the summer of the next year, owning the airwaves, and still hitting hard. The second song is one that would NEVER make it on the airwaves, but with lines that would be repeated again and again in other mixes\songs. Then back to a mostly radio friendly track with Let Me Ride. Some solid tracks and some jams with nice hooks, but misogynistic lyrics. Hard to rate this down, especially since it relaunched Dre after NWA.
I loved In the Court of the Crimson King, and there were a few rough spots there. This album is universally lauded, but has the most sessions where I have to physically stop myself from hitting the "skip" button.
The best Pink Floyd album, full stop.
Before they were a record company product and were just a southern rock band having a grand time and making great music.
First listen: It reminds me a bit of The Talking Heads with a more melancholy performance voice, weary and faltering. It has a good sound but nothing that makes the hairs on the back of my neck stand up. I feel like I listened to this release waiting for the "good track" that would shift my perspective of this being a good release to something great and never found it.
Classic Rock in classic style.
