1001 Albums Summary

This album really cements Dire Straits place in rock and roll mythos. Mark Knopfler’s guitar work is inimitable and in a league of its own when it comes to style and sound. It gives you even more respect for him when you realize he’s also the singer! His vocals sometimes feel very Bob Dylan inspired, which works in the albums favor. The instrumentation feels very inspired by soft rock and blues rock bands like The Eagles and The Grateful Dead. John Illsley and Pick Withers lay down a solid rhythm section on every song, with Withers bringing in some very exotic sounding drum rhythms. David Knopfler is the cherry on top, backing up his brother on rhythm guitar. Songs like the Up tempo groove Down to The Waterline, the almighty guitar epic Sultans of Swing, and the smooth and laid back Lions, really show how tight the band members were and how they were all masters of their craft. There are some points where the songs can blend together, but I don’t think it damages the overall album experience.

This album hits you like a steel chair. Rage’s first album is a testament on why they’re regarded as one of the best and most revolutionary bands of the 90s. A lot of people may say this album is,”Too Heavy”, or,”Too Aggressive”, but that’s the point, to shock you out of your comfort zone in order for the band to get their message across. The band are tight as ever on this album, with Tim Commerford and Brad Wilk laying down funky bass lines and interesting drum grooves for the other to band members to be supported by. Tom Morello is seen as one of the great guitarists of the day, and I wholeheartedly agree with that. His use of effects on this album give his guitar parts an otherworldly feel on songs like Bombtrack and Bullet in The Head. The lyrics on the songs are as sharp as ever, with Zack De La Rocha cutting through the injustices of the world they lived in like a hot knife. The standout song is obviously Killing in The Name, which became a protest anthem and a symbol of rising up against injustice. But other songs like Bullet in The Head and Take the Power Back also shine on this album. Overall, a powerful addition to 90s rock, and an album that, in the time we live in, we need now more than ever.

Man, is this album a weird one! Still pretty dang cool though. I hadn’t heard of Siouxsie and The Banshees until this album, and I’m glad I got to experience them. Siouxsie Sioux has a very good voice, almost like a female version of Robert Smith from the Cure. Some of the lyrics on this album are wild, and I don’t think that the band could get away with them today, especially on songs like Arabian Knight and Head Cut. John McGeoch’s guitar is very new wave esque, and the album has some great guitar riffs on it that are quintessentially 80s. Steven Severin and Budgie finish off the band, laying down some good Bass and Drum rhythms. Some of the standout tracks are Spellbound, one of the band’s biggest hits, Halloween, which really sounds like 80s horror movie soundtrack material, and the up tempo Sin in My Heart. Some of the songs could drag on for a little too long, but the majority of the album is solid and a good album for anyone looking for deeper new wave cuts.

This album is definitely one of Radiohead’s best. Their penultimate album before Ok Computer and before their style switch to a more electronic sound, this album has so much to offer for people who like the band’s rock material. Songs such the title track and Black Star are standout heavy rockers on the album. The album almost has more soft, reflective moments on it, such as High and Dry, (Nice Dream), Bullet Proof… I Wish I Was, and Street Spirit(Fade Out). Jonny Greenwood’s guitar playing in this album is superb as always, with his echoey guitar riffs filling songs such as Planet Telex. Thom Yorke’s lyrics and vocals are also great, with the lyrics, in typical Radiohead fashion, being cryptic as always. His voice can carry from the heavier sections of the album to the lighter sections, feeling at home in all of the songs. Ed O’Brien backs up his brother on guitar, adding his own riffs throughout the album, and Colin Grrenwood and Phillip Selway complete the band, creating rhythms that hold up the rest of the band. Overall, this album is a standout of 90s Alt. Rock, and one of Radiohead’s best albums.

This album was certainly interesting. I’ve listened to one of Muse’s previous albums, and these two are both similar, and way different. This album goes a lot more down the electronic rabbit hole than Absolution, the other Muse album I listened to. This works in some cases, but in other cases, like Supermassive Black Hole(which I don’t see why it became a hit) it weighs down the song and makes it feel too dense. Matt Bellamy’s guitar playing on songs like Knights of Cydonia, which is the standout track on the album, is epic, but more often than not, the songs stick to similar guitar riffs throughout the songs. The lyrics are pretty good, not much to say there, and there are some good songs, like Soldier’s Poem and Starlight, but too much do the songs stick to a similar formula that doesn’t really go anywhere. I’d check out Knights of Cydonia, that song rocks, but if you want to start with Muse, I would start with another album.

This album is definitively a staple of new wave. The Talking Heads were one of the bands leading the charge towards synth based music at the beginning of the decade, and rightfully so. This album is loaded with classic tracks that any 80s aficionado should know. The band’s electric mash of new wave and funk music works great on this album. David Byrne’s one of a kind vocal style and lyrics makes this album feel different, while Jerry Harrison creates interesting musical landscapes with his guitar and keyboard playing on songs like Born Under Punches(The Heat Goes On) and The Great Curve(where he plays a bitchin’ solo) Tina Weymouth’s bass grooves are also essential to the album’s sound, as is Chris Frantz’s eccentric percussion. Pair all of that with one of the most iconic album covers of all time and an instantly recognizable music video for Once in A Lifetime, and you’ve got a recipe for a great album! Edit: After thinking it over, this is a five, this album f**ks.

I didn’t know what to expect coming into this album. I did some research and saw that the band is from Mali. In all honesty, I wasn’t big on this album, but I can certainly see why other people would enjoy it. The main hurdle I couldn’t get across was not being able to understand the lyrics. As someone who usually listens to the lyrics first, this was hard for me to stomach. But, for everything I’ve said, I am willing to give the band its dues and say that the album did sound pretty good. The songs all had good rhythm and guitar work, and it really had that exotic feel to it. The album didn’t sound bad, it actually sounded pretty good. I may not come back to this album, but if your a fan of African music, or even if you’re from that culture, I’d suggest checking it out.

(Que Mr Blue Sky Intro). This album is amazing! I had listened to one of ELO’s previous albums, and it blew me away! So I figured I’d get another album I liked from them, and I did! The main thing I love about this album is its variety. It has slow ballads like It’s Over, upbeat pop numbers like Mr Blue Sky and Turn to Stone, groovy rockers like Across The Border and Wild West Hero, and everything in between. Jeff Lyne’s writing and production on this album are great, with all the songs feeling like they have their own distinct sound. Bev Bevamn’s drum grooves are always a welcome surprise, and Roy Wood, the other multi instrumentalist on this album, works well off of Lyne’s parts. Overall, this is a great album fusing orchestral pop and rock, and I would highly suggest checking it out.

Well, that was different. This album was pretty decent, but I’d say it was bogged down by one major flaw. The first three songs, Leave Home, In Dust We Trust, and Song to The Siren, were all musically interesting, with good use of effects and beats. Song to The Siren really caught my ear with its ethereal sounding electronic backing vocals. But the album seemed to hit a wall at Three Little Birdies Down Beats. This song, and the two songs following it all sounded the same to me, and curbed the interest I had in the first couple songs. The album sounded good, but it didn’t really catch my ear after that. Not a bad album, but besides the first three songs, nothing I would really go back to.

Talk about “I Want My MTV”. This album is a rare specimen, something I haven’t seen yet in my journey. It’s really, really boring! I can think of maybe two or three songs on this album that actually sounded different to me. The rest of them sounded the same. They all sounded over produced and awash with heavy synths. I would be able to excuse that if the songs were catchy, but none of them stuck in my head the way some other new wave classics have. No song felt like it had its own distinct identity or even a theme that I really liked. I’m trying not to say anything nasty about the band, because I know they tried their hardest to create a good album, but it really didn’t stick for me. Like I brought up at the start, it sounds like it was made to be played on MTV, and that’s it. Nothing more, nothing less.

METALLICA!!!(Yelled out in an Otto the Bus Driver Impression). This album rocks so hard! While not my favorite Metallica album, this album still has some killer tracks that still get radio play to this day. Songs like Enter Sandman and Nothing Else Matters are staples of classic rock radio, and for good reason. Kirk Hammet’s guitar riffs are incredible on songs like My Friend of Misery and The God That Failed, his presence really brings the heaviness of the album to new heights. Lars Ulrich and Jason Newsted make up a strong rhythm section, and James Hetfield’s vocals are some of the most recognizable in rock history. I’d recommend checking out Master of Puppets or Ride the Lightning first on your Metallica journey, but this album certainly has lasted the test of time. Rock on!

Now this is an interesting little album. I did not expect it to sound like this. I had heard that The Jesus and Mary Chain were a nineties band, but this album came out in 85. The songs are drenched in feedback, and feel like they were a precursor to what music would become in the 90s. Jim Reid’s vocals are reminiscent of New Wave Acts like Joy Division and The Cure, which he definitely succeeds in emulating their style. William Reid’s guitar is a staple on songs like Never Understand and Something’s Wrong. Douglas Hart and Bobby Gillespie make up a solid rhythm section, too. A lot of the songs are pretty short, so the one’s I don’t like as much I probably won’t be coming back to. I tossed around giving this album a 3 or a 4, and I ended up going with a three, but I like it more than the albums I’ve already given 3s, so let it be known that this album seems more like a 3.5/3.8. Still a pretty solid album.

Talk about don’t judge a book by its cover. This album was actually a lot better than I’d originally expected it to be. Going into it, I thought it would be just another indie album that I’d forget within the day, but this one has actually stuck with me. The best way I can describe it is if you loaded a bunch of Beach Boys, ELO, and Radiohead songs onto a computer and tried to play them all at once. Now that might be a messy analogy, but all those styles feel present on this album, especially the Beach Boys influences on the catchy pop number, (Drawing) Rings Around the World. But songs like Presidential Suite and Run! Christian, Run! are longer tracks about more complex topics. The album has good variety on it, from songs that will turn into ear worms, to songs that may not stick out as much. The band, whom I’d haven’t heard of before this album, really pulled together to deliver a cohesive album.

(Insert Aqualung Guitar Riff Here). This album is awesome! Probably Jethro Tull’s most remembered album besides their even Proggier Thick As A Brick, this album really is a staple of Prog Rock. The songs on this album all feel very cohesive, like they were all meant to be on the album, and it doesn’t feel like you could remove any of them. Ian Anderson is definitely one of the great prog rock singer, and it shows on this album. He can go from soft and melodic to grizzled and percussive with the flip of a switch. He’s also regarded as one of, if not the only, greatest rock flute player of all time. His flute parts in songs like My God is an impressive feat, and his acoustic guitar playing on songs like Wond’ring Aloud is also great. Martin Barre is also another stand out musician on the album, from his iconic riff on the song Aqualung, to his acoustic solo on My God, he really brings the power behind a lot of the album. Jeff Hammond, John Evan, and Clive Bunker round out the band on bass, piano, and drums respectively, and all of their parts on the album are a great foundation for the band to work off of. Throw on some amazing lyrics ranging from schoolgirl prostitutes to the manipulation of religion, and you have the recipe for a classic progressive rock album.

Do you think these guys want the funk? I think they made it unclear. Just kidding, this album is funky as all get out! I’ve only ever heard one album adjacent to this, that being Maggot Brain, which I’ll review at some point down the line, but this album and that one sound nothing like each other. While that album is more of funk rock, this album is pure, undiluted funk straight into your veins. Instead of just a regular album opening, we’ve got George Clinton playing a black radio DJ space pimp, if that even makes sense! I’m not going to mention ever musician in this review because so many of them played on this album, but all of them contributed in their own unique way to bringing the funk to this album. One of my favorite instrumental parts is the keyboard on Night of The Thumpasorus Peoples. The bass on this album is also incredibly groovy. I’d say the two standout tracks are the first two, P. Funk, and Mothership Connection, both incredibly funky tracks that are 7 and 6 minutes respectively. Overall, this album is definitely an epic funk album, and if you’re a fan of funk, get on The Mothership as fast as you can!

…I think I need to go lie down. I barely have the words to even describe this album, it’s incomprehensible. I haven’t seen anything like this throughout all the albums I’ve listened to, an experimental album, which felt like the longest hour and eighteen minutes of my life. Literally everything about this album felt fine tailored to make you lose your sanity. The vocals felt sounded like an old hillbilly being dragged down a gravel road behind a truck. The music would sound passable sometimes, and then sound like a fight between overly territorial turkeys on the next song. But, in all seriousness, it’s hard to rate an album like this because although it sounds bad, it’s the sound that they were setting out to achieve, so does that make it good? Or is the album bad simply because it sounds bad? I think that’s a philosophical debate for another time, so all I have left to say to those going to listen to this album is, good luck, and you’ll never be the same… Edit: After thinking it over, I’ve decided to give this a one, I rebuke this god foresaken album.

…And welcome to everyone’s favorite show, Do You Believe In Life After The Velvet Underground! This is certainly an interesting album. I hadn’t really thought about the fact that Nico had albums on this list, but, I guess I was wrong. This album is not what I expected it to be. I thought it was going to be some weird experimental album, but I was pleasantly surprised to realized that it teetered more towards the side of baroque pop. The songs an are decently good, Nico has a good, strong voice, although it can kind of begin to drone when you hear it for a whole album. The songs also have some instrumental help from members of The Velvet Underground(So that’s a no if you were waiting for the answer to the question I posed earlier.) The album also has a variety of string arrangements, which sound pretty good, even though Nico was upset to realize they were added without her consent, which I get. I don’t feel this album has much I’d come back to, but it was still a decent album.

In all honesty, I really don’t have too much to say about this album. I wasn’t a huge fan of it. I didn’t feel like I heard anything that I would latch onto or remember the next day. Heck, I don’t even have anything funny to say about it! That’s how little of an impression it left on me!. But, I can still say that Monk is a great pianist, and his band at least tried to put something good together. I’ll just say it wasn’t really my taste. I’m giving it a two, but I’ll say a high 2 because the musicianship is good. Maybe I’ll like the nexts jazz album I get. Edit: After thinking it over, I’ll give it a three, Thelonius don’t deserve a 2

Now this is what I’m talking about! This is definitely better than the last album I got. When I got the album and saw that it was a jazz band, I was dreading listening to it. I thought it was going to be as forgettable as the last one. But I was pleasantly surprised to find out this one had more funk and R&B influences. The titled track feels like a progressive soul track, clocking in at 11 minutes and 28 seconds. This is the only song on the album with lyrics, sung by Randy Crawford, and it’s just a really catchy tune. There are other songs I liked on. here, like Rodeo Drive(High Steppin’) and Carnival of The Night. These are the songs where Wilton, Joe, and Stix(on saxophone, keyboard, and drums respectively) really get their chance to shine, with some really good, funky instrumentals. The album kind of sags in the latter half, where the last songs kind of blend together, but overall, not a bad album, and maybe it’ll help build up my tolerance for jazz.

I don’t have much to say about this one. You know, I’m starting to recognize a theme. I keep getting these R&B albums I’ve never heard of, and they turn out to be boring and I can’t write a very good review about them. But, I digress, as you can tell, I really didn’t like this album. I though that at some points Nina’s voice could become grating to listen to, and it wasn’t very musically interesting outside of some cool piano on If I Should Lose You, otherwise, there isn’t anything on this album that I couldn’t find better somewhere else. Edit: After thinking it over, this is a 3, Nina doesn’t deserve a 2 even if I didn’t vibe with it.

There’s so many great things that go together: Peanut butter and jelly, cheese and wine, how about Gorillaz and being bone tired as 12 at night? Yes, that’s how I spent my time listening this album, I guess I shot myself in the foot for not having good time management, but I digress. In all honesty, I wasn’t that big on this album, but to be fair, I liked it better than the last couple albums I got. Damon Albarn’s vocals can get kind of grating at times when he attempts to go into a higher register, but when he stays low on songs like Tomorrow Comes Today, I feel like it works. I also really like the instrumentals on this album, it all oozes with this kind of apocalyptic hip hop vibe, which I liked. Del The Funky Homosapien does a pretty good verse on Clint Eastwood, which I would say is the standout track on the album. But the songs can feel repetitive at times and it took until the first couple songs were over for me to get into it. I’ll probably listen to Demon Days at some point, so I still haven’t given up on the Gorillaz. Let’s hope that they impress me.

Huh, this one was different. I have never heard of this band or this album until when I got it, so I didn’t really know what to expect. The album wasn’t my favorite, but it wasn’t awful. It feels like the took inspiration from bands like The Smiths when making the album, and it shows on songs like, Like Dylan in the Movies and The Stars of Track and Field. The album had some good spots like Get Me Away From Here, I’m Dying, but a lot of the tracks I just don’t feel like I’d come back to. This is another case where I don’t really feel like I have much new to say about the album except for, it was fine.

N/A-Accidentally deleted my review. This album is definitely better than the last few albums I’ve gotten.

Paul on the Run! Paul on the Run! God, this album is fun. Paul’s fifth album since he left the Beatles, this one really shows his songwriting strengths, even though he only had two other main band members in the studio to make it, he had his wife Linda, and former Moody Blues pianist Denny Laine. The album seemed to have been plagued with issues, with two band members leaving before recording started, and even Paul and Linda getting robbed at knifepoint. Nevertheless, they still managed to make a fantastic album. The album shows off so many different sides of Paul’s songwriting. The title track shows a blend of pop rock and a little prog rock, while songs like Bluebird and Picasso’s Last Words(Drink to Me) shows his more laid back acoustic sound. The closing track, Nineteen Hundred and Eighty-Five, is a great full circle moment which wraps back to the beginning track. They even got Ginger Baker of Cream….to shake a tin can full of gravel! In all seriousness, this definitely is a great album, and we truly will be searching forever more for that elusive band.

And I’m going down! All the way down! Sorry, just had to get that out, this album is a lot better than I thought it was gonna be. I’ve liked AC/DC, but I’ve never loved them as a lot of their songs are played a lot, so I figured that this album would basically just be a collection of singles, and it was…But it was a collection of really good singles. Singles that actually work together due to most of the songs having a similar subject matter. So what I’m saying is it actually works as an album. This album was the last album to feature the late Bon Scott, whose vocals are great, though unnatural. Everyone would agree that both AC/DC frontmen have strange voices. The Young brothers are a great addition the band, with Malcolm laying down some crunchy rhythms, and Angus dishing out some great riffs and solos. Cliff Williams bass and Phil Rudd’s drumming are both essential to giving the album that hard rock sound that AC/DC is known for. Overall, I’d say it was definitely a great album, and I feel as though it got me to change my tune on AC/DC.

RIP Ozzy Osbourne🦇 Your contributions to music will never be forgotten. You were a great person and a joy to everyone who knew you. Now, with that out of the way, onto the actual review. This album is one of the greatest metal albums of all time. It’s also one of those rare instances where there isn’t a single bad song on the whole album. The band is firing on all cylinders this album, with Geezer Butler and Bill Ward creating an incredible rhythm section, especially on songs like War Pigs and Iron Man. Tony Iommi’s legendary riffs and solos are essential to this album. Tony is one of the only guitarists who can stand beside Jimmy Page in how many iconic riffs he’s created. Ozzy’s vocals are just the icing on the cake to this iconic record. His performance on the title track is one of the greatest in rock history. The album also has many great deep cuts, such as one of my favorite songs on the album, Planet Caravan, and Hand of Doom is another great song. Overall, this album is just legendary in every way, shape, and form. Thank you Ozzy, for leaving us such an incredible album, and thank you to all of Black Sabbath for making it possible. Rock On!

Well, this one is different. It’s both simultaneously odd and uninteresting at the same time. In all honesty, I wasn’t that big on this album. It probably doesn’t help that I’m not into the late 80s noise rock albums, so that already puts this album at a disadvantage. I wasn’t that big on the vocals, they felt like they got drowned out in the mix a lot, and even then they kind of just sounded like they were copying Ian Curtis or Robert Smith with the vocal style. The guitar parts sounded atonal to me, they distorted the sound a lot, but it still felt like it was being restrained, like they needed to crank the amp up a few notches. None of the songs really stuck with me, they kind of just went in one ear and out the other. So, overall, I wasn’t a big fan of this album, but hey, maybe I’ll like Loveless better.

So, my second funk album, did I like it better than Mothership…no, no I did not. This album was certainly a weird one. I’ve heard the name of The Temptations before, but I’ve never actually listened to any of there stuff or knew the names to any of their songs, so this was a first time listen for me. The first song, Funky Music Sho Nuff Turn Me on, was a catchy funk jam, but then we got to Run Charlie Run. I’ll be honest, that song sounded kind of ridiculous. The whole time I was listening to it I thought it sounded like it would have a better home in an episode of Veggietales. I then got to Papa Was A Rollin’ Stone, which was the best song on the album, but I felt like it needed to build up to something, as it stayed the same for most of the song. After that it kind of just became a wash of R&B ballads that I never really got into. So, overall, I didn’t like too much of the album, but it wasn’t atrocious. I’m gonna roll my stone over to a better album if you don’t mind.

And Welcome back to everyone’s famous game, Do You Believe In Life After The Velvet Underground! This time we have frontman Lou Reed and his album Berlin. I’ve listened to both The Velvet Underground and Nico, and Nico’s Chelsea Girl, and never really gotten into either. In all honesty, I think there are two main problems with this album. But first, I’d have to say that this is a step up in quality from my last couple albums I’ve gotten, Lo: songwriting is pretty good, and the instrumentation in the whole thing is really good, my favorite part being the piano in the opening track. I think my main problems with it are, number one, it’s too raw for me, Lou’s vocals are unpolished, in a way that kind of makes him sound like he’s imitating Bob Dylan at some points, and the song topics can be unpleasant at times, especially near the end. The songs are also really long, and they don’t change in a way that keeps them interesting for that runtime, when they could have been pared down to 3-4 minutes and been practically the same. So while I didn’t really get into this album, this is one instance where, if you like Lou’s stuff, I’d say give it a try, it might not be my thing, but it may be yours.

This album reeks of fish, because this is cod reggae at its finest! Wow, I did not like this album. It sounds like if Bob Marley and The Clash has an ugly love child. The songs meander and are really random at some points, with songs like Stupid Marriage having pointless skits involved in them, or songs like Little Bitch just being plain up stupid. The vocals can be grating, and there isn’t any distinct musical elements for me to grasp on to besides a couple of guitar solos. Another issues is that, for the life of me, I can’t see why Too Much, Too Young was such a big hit, it’s literally just the same boring song played twice. I also just realized they got Chrissie freaking Hynde to do backup vocals on a song, weird. Overall, I found this album to be thoroughly unpleasant, now I’m gonna take my dreadlocks and Jamaican flag and go find some actual reggae. Edit: After thinking it over, this is a one, this album is about as pleasant as dead fish smoothie

FREE BIRD!!! YEAH!!! This album is pretty dang good. Skynyrd songs get a lot of play on the radio, so I didn’t know whether I’d be bored by the album since I know literally half the songs. But I was actually pleasantly surprised. Skynyrd’s is the first band people think of when they hear the phrase country rock, and it shows how the innovated the genre on this album. There are simpler songs on this album, such as Gimme Three Steps and Mississippi Kid, but where the album shines is it’s more complex compositions, such as Billy Powell’s graceful piano solo on Tuesday’s Gone, or Allen Collin’s unforgettable solo on Free Bird. Collin’s, along with Gary Rossington, bring some great guitar riffs and solos into the album, and the whole thing is held together by Ed King and Bob Burns on bass and drums. But, let’s not forget about good old Ronnie. Ronnie Van Zant’s vocals on these tracks combine both the southern influences country, and the power of rock and roll into one performance. The album can be inconsistent though, where you might have a bit of a back and forth between really good songs, and some mediocre ones. But overall, a pretty solid album, now, I’m going to ride off to my next album while listening to the Free Bird Solo.

(Queue Take On Me Intro) Yeah, this album’s pretty damn good. I didn’t know what to expect coming into this since I’d only heard Take On Me, so I didn’t really feel as though I had a good indicator on what the whole album was going to sound like. What I got was some really good 80s synth pop. Morten Harket’s vocals are amazing on this album, his voice just seems to fit every song on the album. Mague Furuholmen and Pål Waaktaar’s keyboard and guitar respectively enhance the sound of the album, with Mague’s synth giving the album its iconic sound. While the album does have a couple songs I didn’t get into as much as others, the one thing that I feel makes this album stand out is how big it sounds. Songs like the title track and Here I Stand and Face The Rain feel epic, in that weird 80s sort of way. It makes for a great listening experience and it allows the album to grab your attention. Overall, I liked this album, and highly recommend it to lovers of all things 80s.

Finally! My first Prog rock album! What an album to be my first prog showing, the grandfather of prog, King Crimson. This album is really good. I’ve only heard 3 King Crimson albums, this one, Red, and Larks Tongue in Aspic, and it’s between this and Red to be my favorite of them. But back to this album, it sets the standard of what prog would be like in the 70s, while also showing what King Crimson can do. King Crimson also has one of the greatest guitarists in rock, Robert Fripp, and boy does he deserve that label. His guitar work on songs like 21st Century Schizoid Man is incontestable. Greg Lake’s vocals are also an essential part of the album, and they help give the band its signature sound. Greg also plays bass, and along with Michael Giles, completes the rhythm section of the band. But we can’t forget about multi instrumentalist Ian Mcdonald, who played a crap ton of instruments on this album, and he really. contributed to giving the lab such an epic sound on songs like the title track and Epitaph. The one problem I have with this album that holds it back from a 5 is that, although it’s a prog rock album, the band can tend to just, go off in the middle of songs and go do really weird sounding stuff before coming back, this is really an issue on Moonchild, where most of the song is them tooling around, even though the main verse and chorus sound lovely. But, overall, definitely a solid prog rock album, and if you’re a prog fan who hasn’t checked it out, what are you doing?

Wow, I didn’t expect this album to be this good. When I first got this album, all I know of Brian Eno was that he worked with the Talking Heads at some point, and that’s it, so I had no idea what this album was going to be like. So I went out to my back porch and started listening to the album, and it was ok, but not great. I liked Robert Fripp’s guitar solo on St. Elmo’s Fire, and some of the songs were actually pretty good, but I wasn’t into it yet. But everything changed when I got to Becalmed. Listening to the soft, spacey piano, while watching the sun go down made me understand everything that I’d headed beforehand. You have to be in the mood to listen to the album. If you’re too actively listening(like I was) you’re not gonna enjoy it, but if you turn your brain off and take in your surroundings, it can be a great experience. Eno’s production on this album is amazing. He knows how to create an atmosphere by layering sounds. He also has a group of great session musicians on this album, he even gets Phil Collin’s to drum on a few tracks. Songs like In Dark Trees, Another Green World, and Spirits Drifting create a great ambience, and allow you to get lost in the music. So, I say, get this album, go outside at sunset, and prepare to have you’re ears opened.

Can you tell me where my country lies? Here in this album, and a really good album in fact. This is actually the first Genesis album I ever listened to, and I listened to it in full about two years ago, so I was excited to listen to it in full again, and boy was my excitement well placed. This album stands as one of the defining albums of prog rock. All members of the band carry the weight in their own way. Peter Gabriel’s vocals and songwriting infuse humor and wit, while still touching on issues such as the state of England at the time of the album’s recording, hence the title of the album. Tony Banks’ keyboard playing really creates an atmosphere on songs like After The Ordeal and Firth of Fifth. Steve Hackett is one of the best prog rock guitar players of all time, no contest. His solo on Dancing With The Moonlit Knight should be enough to prove that. Mike Rutherford and Phil Collins on bass and drums respectively create a powerful rhythm section, and they really create a good foundation for the band, while also having moments to shine on their own. The album really shines for me in the longer pieces, such as the epic Dancing With The Moonlit Knight, or the Monty-Python-esque song, The Battle of Epping Forest. But I also came to appreciate the shorter, softer songs on the album, such as After The Ordeal or More Fool Me, which are both nice breaks in between these prog epics. Overall, this album is truly a pillar of prog rock, and a great album in general. Now, if you’ll excuse me, I’ve got a cinema show to catch.

Well, that was boring. I’m just gonna come out and say that I wasn’t really big on this album. I’d heard of The Kinks before, mainly because of You Really Got Me being covered by Van Halen, but I hadn’t really heard of any of their other stuff. So I listened to this album, and I wasn’t all that impressed by it. The lyrics weren’t very interesting to me, and the music didn’t pick up that slack where the lyrics fell short. It all kind of just felt like really early Beatles songs, not bad, just kind of inoffensive. All of the music and vocals sounded well made, it just wasn’t really interesting to me. I guess if you like this style of music, this is right up your alley, but I’m gonna move on and find something I like better.

Wow, my first rap album, it’s taken 30-something albums to get here, but I got it. To me, this album wasn’t very interesting to listen to. I mean, it was certainly well produced, and you can tell the guys put their all into it, it just wasn’t really my thing, and I can’t really fault the group for that, since rap isn’t really my style. But, I am willing to say that the second half of the album was better than the first, and there were some songs I did genuinely enjoy like Black Steel in The Hour of Chaos. I don’t really have too much to say on this one since I’m not hugely insightful in rap or it’s terminology, so I’m just gonna keep on moving, maybe I’ll get another rap album I like better.

Hey Hey, My My, this album will never die. Yeah this album is pretty damn good. I’d heard Live Rust before, and it was also really good, and also longer than this one. Neil Young really does do some of his best work live. Not only on this album does his music excel, but his lyrics are superb on this album. Songs like Hey Hey, My My(Into The Black) or it’s mirror on the first side of the record, or even songs like Thrasher have really vivid lyrics. The songs are also very musically interesting, with Neil’s harmonica taking center stage in many songs. Crazy Horse also serves as a great backing band, with all of the members supporting Neil in their own ways. The album also has an interesting thesis, “It’s better to burn out ‘cause rust never sleeps”. That’s a sentiment that I’m not sure if I agree with, but it makes for a very interesting theme for the album. Overall, this is a great live album, and a great album in general, now, I’ve got to be headed out, hopefully, into the blue of another good album.

Alright, in all honesty, I do not consider myself the best person to review this album. It’s a Spanish Psychadelic Rock album, and while I am knowledgeable on a pretty decent chunk of psych rock, having a psych rock album where I can’t even understand the lyrics puts me at a big disadvantage. The one advantage I can say the other foreign album I heard was that it felt a little more cohesive, and this one could get kind of annoying. So I’m solely giving it a two just because I didn’t like the album, not for who it was made by or where it was made in, just because I didn’t like it.

Alright, grab on to your coconuts with tiny umbrellas in them, cause today, we’re going on a musical vacation! This album is really good! I’d heard the album once before after seeing something on TV about it, and I really liked it then, and it still holds up. The songs all have that distinct 80s feel, without feeling too cheesy. Nick Rhodes synth playing is a big part of that, being able to switch to fit the tone of the song, from the upbeat title track, to the darker Lonely In Your Nightmare, one of my standout tracks. The three Taylors(surprisingly no relation to one another) Make up most of the band, with Andy creating some really cool guitar textures, and Roger and John backing him up on drums and bass. Simon Le Bon’s vocals are unforgettable on songs like Hungry Like The Wolf and Save A Prayer, making him one of the top new wave vocalists. Overall, I highly recommend this album if you’re wanting to get into new wave, or just need something catchy to listen to.

I am alive! Sorry for the delay, life stuff/school stuff got in the way, but now that I have a break, I can finally get back to reviewing albums. And what a way to get back to it: In a way that I did not really expect. I didn’t really have any prior knowledge of Van Morrison before this album, so I didn’t really know what to expect. Now I know that it seems like Van Morrison’s music is a combination of soul, blues, jazz, and old school rock and roll. Which is an interesting sound, it’s just not really my speed. I found myself getting kind of bored of the around around the beginning of the first disk. While there were some songs that did catch my attention such as Wild Children and Dominos, they seemed to be the peak of the album and with an entire disk of songs left, I didn’t really find anything else on the album that caught my ear. But although I personally didn’t find it too interesting, it was a very good sounding album. Van’s singing and stage presence were on point and his backing band/orchestra sounded really good. Overall, I’d say it’s just a taste thing, I may not be big on it, but Van Morrison fans or fans of soul or jazz may get a kick out of this one. Either way, I’m gonna keep on moving through the music like I’ve wanted to, because in the words of the man himself, It’s too late to stop now.

Alright everyone, get your oversized cans of hairspray ready, cause we’re going back to the 80s!(insert Bill and Ted guitar riff). And what better way to do that than with one of the most prominent ladies of the 80s then Tina Turner. I actually quite liked this album for a couple reasons. First off, it had the energy that I’m always looking for in 80s pop albums, which Tina delivers with her combination of pop, funk, and R&B. The album has a bit of an edge, with songs like I Might Have Been Queen and Show Some Respect allowing Tina to assert her dominance. The album definitely has one major boon over another 80s album that I’ve reviewed, Dare by The Human League, on that case, the music felt more hollow as none of the songs felt like they had distinct personalities, while this album, each song felt like a showcase of Tina’s style. The one flaw of this album is the stretch of Better Be Good To Me and Let’s Stay Together. Both of these songs sound too similar and they did not need to be a combined 10 minutes of the albums total runtime. But, aside from those two songs, the rest of the album captured perfectly why Tina Turner was a force to be reckoned with in the 80s. Now, I’m gonna dance my way on to my next album.

And I’m back again! Sorry it’s been so long since my last review, but now that it’s summer I’ll have a lot more time to review albums. But enough of that, what about the album? Honestly, I thought that this Fatboy Slim album was a pretty good showing of his talents as a DJ. Songs like Right Here, Right Now, and Praise You, which are my two standout songs the album, incorporate interesting samples along with the album’s electronic elements. The use of these samples to impact the feel of a song instead of making it feel like just a song to mindlessly jam out to in a club was a pleasant surprise. However, there are still some club jams on the album, such as Rockafeller Skank and Gangster Trippin’ which are two of the hip hop/dance influenced tracks on the album. However, some songs do stretch on longer than they should, such as Build It Up, Tear It Down, and Acid 8000, which stretch in for 5 and 7 minutes respectively, but don’t feel like they use that time for much other than repetitions. The middle of the album is kind of a slump as well. But, these low points do not detract from an otherwise impressive album, I’d give this album a high 3, low 4. But you also have to remember, if this don’t make your booty move, your booty must be dead.

Alright, I’ve covered Van Morrison, now for the guy who I sometimes get him confused with, Rod Stewart. Honestly, this album was pretty good all the way through. I didn’t know it was mostly a cover album, but it somehow works to disguise that fact well enough where you aren’t comparing the songs to their original counterparts. Rod Stewart’s singing is on point, especially on my standout track of the album, a cover of Bob Dylan’s Only a Hobo, which he puts a lot of emotion into, and it’s suited by the instrumentals. The arrangement of this album is also very good, with a bed of acoustic guitar that supports electric guitar and keyboard. The acoustic playing is what supports most of the instrumentation, creating a lush feeling, but the other instruments have their time to shine, such as the rock and roll keyboard playing on a cover of Bobby Womack’s It’s All Over Now, which is a very energetic song. The sound does feel kind of repetitive at times, but it does not too heavily impact what I consider a pretty solid album by Rod. Back down the alley!

You know how I know you’re gay? You like Coldplay. Ok that’s an old bit, just had to make some kind of Coldplay joke. Either way, on with the album. Honestly, I was kind of torn with this one. There were elements I did like, such as the jangly guitar on songs like Don’t Panic and Spies, which is one of my standouts. But on the other hand, Chris Martin’s voice can get kind of old over a long period of time, and sometimes it feels like he doesn’t vary his singing: He sings regularly for a while, and then goes to his head voice when he wants to sound emotional. I also thought that the instrumentation in some of the songs could end up feeling too similar to other songs on the album. I do think that there are good ideas in this album, which would be expanded upon in some of the band’s later releases, but to me, this album is kind of hit or miss, a rough landing if you will.

Alright, this was certainly an interesting album, and honestly, I was not that big a fan of it. Although I do think that it is good that it represents the music and lifestyles of other cultures, as an album I was not too keen on it. I thought that the album had too many tracks that were high energy and had a lot of stuff going on in them, such as Hussel and Mango Pickle Down River, and that meant there was no room for the listener to breathe as they were being bombarded with all of these sounds, with Paper Planes being a standout track and possibly the only more chill moment in the album. I also thought that Mia’s voice could get kind of annoying through a whole listen, and overall I just didn’t catch anything that really stuck with me. I’m glad that other people enjoy it, but I don’t think I’ll be spinning it again.

Well, time for a good old fashioned showdown with what to be the birth of outlaw country. And in this duel, I think this album won me over. I didn’t know what to expect coming into this album, I kind of thought it was gonna be really weird, but the whole western thing grew on me. Songs like Big Iron and The Master’s Song didn’t feel like a cheesy pastiche of westerns, but an honest attempt to recreate that vibe in song, which I think worked pretty well. I thought that the guitar playing in the album also matched that vibe and worked in its favor. There were also more chill songs in the album, such as Cool Water and The Little Green Valley, but that’s to be expected, that way the more energetic songs stand out. It wasn’t like a life changing listen, but I had fun with this quirky piece of music history, I’d definitely say it is a high three, low four, definitely an album worth your time. Now, onto the next one, High-Ho, Silver!

Well that wasn’t a long stop before returning back to the land of country music. This time from the 70s. Starting the album, I actually enjoyed the first couple tracks. I liked the melancholy of Because of The Wind, the overall atmosphere and the guitar solo on Boxcars, which is my standout track, and the energy of Cornbread Moon. But once I got to the halfway point of the album, around Honky Tonk Masquerade, the song quality just dropped. It went from a cool, country sound with some soft rock influences, to really cheesy country songs, such as I’ll Be Your Fool with Joe Ely doing is best pubescent donkey impression, and Fingernails, which was just a ridiculous song idea. This album definitely had potential, and some of it was realized through the first couple tracks, but it fell of in the latter half. Definitely the true definition of a three, halfway good, halfway bad. Now I’m gonna hop back on my horse and saddle on to the next album.

Ok, not where I thought I was headed after two country albums, but I’ll take it! I’m honestly really shocked with how much I enjoyed this album for not being an R&B guy. I thought the whole album was really cohesive, with the classroom sketches at the end of some of the songs being the base that ties the albums themes of love and relationships together. Lauryn’s lyrics and voice were definitely the star on this album, with her being able to sing really great melodies, and her words being shockingly deep, such as her musings on false friends in Forgive Them Father, or a broken relationship in Ex-Factor. But she does it all with a mixture of passion and confidence, that let the slower tracks simmer, and the more hip-hop adjacent tracks stand out. I think the production on the album was also really good, with the piano and keys on the album being a highlight on songs like the title track. Overall, I think the album was very well executed, and managed to be accessible enough to pull in new fans, while challenging enough to make the songs stick. This is definitely an album that is worth a listen, even if you’re not a fan of the genre, you might find something you enjoy.

Alright, my first Dylan album of the generator! And what better place to begin than the start of his golden period. Honestly, this was a pretty good album. I definitely say that some of the faster, more rock and roll style songs on the first side are songs that I need to listen to again since I wasn’t that big of a fan of them the first time around. But otherwise, everything else on the album is pretty solid. Dylan’s lyrics are as cryptic as always, but songs like Mr Tambourine Man and It’s All Over Now, Baby Blue, shine through due to simpler lyrics and they feel more emotional because of that. But songs like Bob Dylan’s 115th Dream and Subterranean Homesick Blues, with their rapid fire lyrics and unique storytelling also have their place on the album. The instrumentals on both halves of the album work really well, with Dylan’s backing band doing good work on side one, and his acoustic guitar stealing the show on the second. Overall, a good start to Dylan’s most prolific point in his career, now, I’ve gotta get back to the ship and head to the next one.

Wow, did not expect to get this album, but I’ll take it! Third country album out of the last five. Honestly, I really enjoyed this album and I thought it was different than other albums I’ve heard so far. In that it is mostly covers, which some might see as lazy, but I look at it almost as Johnny Cash’s Final Mixtape: He’s using songs that he admires or even his own work, and repurposing them and sequencing them in a way where it feels like he’s writing his own eulogy out of a scrapbook of other works. Reflecting on everything that has happened in his life. His cover of Hurt is definitely the standout track, but other songs such as his cover of Bridge Over Troubled Waters with Fiona Apple, a rendition of Streets of Laredo, and his cover of We’ll Meet Again as a fitting album closer and a punctuation mark at the end of his career. While not all the covers stack up in comparison to the original songs, their uses on this album still worm in serving a thematic purpose. Cash’s voice and acoustic guitar playing are definitely a standout, with Cash’s world-weary voice being a standout on the aforementioned Hurt cover. Overall, this album is a solid statement to end off the career of one of country’s best and brightest.

Dang! I do not know what I expected from this album, but I thought it was really good. I’ve only heard a couple of MGMT songs before this, but this album was definitely the best way to get further introduced to them. For being a mainly electronic album, they did a good job at fusing both synths with real instruments. Probably the most effective thing about the album is the kind of feeling it evokes, it almost feels like a soundtrack to nostalgia. Songs like Kids and Future Reflections evoke this feeling of a carefree youth and almost summery vibes. Other songs like Electric Feel and Of Moons, Birds, and Monsters also stand out for more out there lyrical content, but they still retain the quality of the other tracks. It’s definitely an album that lends itself to a summer listening, and it is a quality album for the duo to start out their career.

They always say that something’s will grow on you, and this album is definitely an example of that. I listened to it a while back and I didn’t really think much of it, I thought it was kind of dense instrumentally and that it kind of made for a weird listen, but now that I heard it again, I understand it so much better. The instrumentation is not dense, it is actually very floaty, with the combination of synths with acoustic guitars being the main focus, with electronic breaks and heavy bass alongside it. The lyrical content on this album is also very impressive, with songs like One More Robot, It’s Summertime, and Do You Realize?? being standout songs lyrically. And overall I just feel like this album has a very beautiful message, most of the songs have to do with love and the passage of time, with Do You Realize?? being the center of this, focusing on making sure to care for the people close to you, because you don’t know what will happen in the future. Songs like All We Have Is Now also reinforce this idea, while One More Robot and Fight Test also explore themes of love and what it means to be human. Overall, I thought that this was a very impressive album, and definitely a standout among albums of the 2000s, now I’m gonna approach the next album by balloon, if you don’t mind.

Guess I’m trading out the balloon for a wooden ship for a while. Honestly, even without Y, CSN holds up to be a really good rock record. The songs are all very well done musically, with a lot of acoustic guitar and a hint of warm electric guitars over the mix. Along with CSN’s classic harmonies that are eponymous with pretty much any album associated with this collective. They also feel very homey, with a lot of songs being about love in some regard. Songs like Suite: Judy Blue Eyes and Guinevere, twi of the standouts on the album, both have to do with this subject, with Suite feeling very momentous, constantly moving with fast acoustic guitar, and Guinevere feeling more mellow with its softer layers of guitar. Other songs on the album like Wooden Ships and Helplessly Hoping are also standouts, with Wooden Ships feeling like a very big song with its unique electric guitar patterns, while Helplessly Hoping feeling more laid back, with Stills lamenting on a lost love. Overall, the dichotomy of this album is really what makes it shine, combining more mellow acoustic moments with driving 60s rock. A great album overall, now I’m gonna roll on and try to catch that sparrow.

Huh, this is not what expected to get for my next album. Honestly, this one was just ok in my opinion. I’m glad it wasn’t really awful, but it didn’t really stick out to me. Two things that I really did like on the album were the guitar tone, which I felt that I could pick up traces of later grunge and alternative rock in, and also the two songs in the middle of the album, Lonely Space Boy and Frankenstein. Lonely Space Boy being the only acoustic song on the album, and Frankenstein being a nearly six minute epic rocker, which was a welcome surprise. The rest of the album felt hit or miss to me, with some songs being fine, and others feeling kind of like blasé punk pastiches, with nothing to really set them apart from other bands. Looking for A Kiss and Personality Crisis were better, along with the song Pills, while songs like Trash and Jet Boy seemed to not really make an impression. Overall, not a bad start for one of the earliest incarnations of glam rock, but it could have been better in my opinion.

Alright! One of the founding albums of new wave. Honestly, I really enjoyed myself with this album. I’d listened to it once before and I wasn’t big on the whole thing, even though I did like most of them, but this time I definitely caught some songs I liked more than I thought I would. Songs like Fade Away and Radiate with its cool, ominous synths, and Just Go Away with its 80s sounding outro caught me more on my second listen than my first. Debbie Harry’s singing ability is great as ever, defining herself as one of the great female rock vocalists with songs like Heart of Glass, one of the album’s standouts. The instrumentals on the album are also very well executed, with great use of effect laden guitar riffs and blistering solos on songs like Hanging On The Telephone, another highlight. The use of synths and keyboards is also impressive, creating great atmosphere on One Way Or Another, my final standout with its carnival style organ break down. There are some songs on the album that bring down the momentum a little, but overall the track-list is remarkably consistent. The album does stand as one of the great new wave albums, now one way or another, I’m gonna find the next good album!

What can I say about Abbey Road that hasn’t already been said before? It’s just one of those albums that is universally considered to be one of the greats, and for good reason. I didn’t know how I was going to enjoy it having heard a lot of the songs on the radio before, but the whole thing as an album holds up very well. Every element of production, from the vocals to the instrumentation works very well. Every member of the band gets their time to shine on the album as well, from Paul’s groovy bass on Come Together, to Ringo’s drum solo on The End. Every song on Side A works well as its own standout piece, and then to be able to translate that to Side B, where all of the songs work together, is really impressive. It’s difficult to pick standout tracks because the whole album is an experience in and of itself, but my favorites are probably Something, I Want You(She’s So Heavy), and Here Comes The Sun, but the whole album is an incredible listening experience, and even if you have heard a lot of the songs, take a listen, you will not be disappointed, now I’m gonna take this crosswalk to the next album.

Ok, not what I expected to get, but honestly, it wasn’t that bad. I don’t really have too much to say on this one. I thought the instrumentals were very lush and honestly not what I expected from this type of album, I also thought Elis had a very good singing voice and I feel like it was able to be very emotional and transmit that across the language barrier. It’s not an album I see myself registering to, though, so that’s why it’s getting a lower rating, but it actually was not half bad.

Ok, did not expect to get that album, and honestly, I think I’d feel better if I didn’t. Going in, I knew it was going to be some kind of metal album, but I didn’t think it was going to sound like that. I think a good heavy metal band makes good use of dynamics, being able to bring down the energy so that the louder parts stand out. However, this album does not do that, and simply chug-chug-chugs along with the exact same sound for the whole album. The drums feel like they’re boring into your skull at some points, and the singing does not sound very good. I don’t know if it’s the filter they put on his voice, but it’s hard to tell who seems more like they are being microwaved to death, him while singing or me listening to this album. I just didn’t feel like there was any change on the album, and the lyrics that could have been good were obscured by the singer’s barking voice. The lyrics that weren’t good were…really bad, having a song where you talk about being filled by the devil’s big red if anyone catches my drift, just makes the album sound like it’s simply going for shock value and not trying to say something meaningful. Overall, not a pleasant experience, really hoping the next one is better.

Ok, did not expect to enjoy this album, but here we are. When I first got it, I thought it was gonna be just another cheesy 80s synth pop album a la Dare by The Human League, but when I got started listening to it, it had a lot more depth than I expected. The instrumentation was a lot more organic than I thought it would be, and it really shows on songs like Happiness is Easy and April 5th, which is my standout track. A lot of the tracks include very lush acoustic guitar and piano, which is not something I would think to have a place on an 80s pop record, but it works. The vocals are also very well executed, almost feeling like a combination of Tears for Fears and A-ha, which works well on songs like I Don’t Believe In You and Chameleon Day, another standout on the album. Overall, this album definitely defied my expectations, and while I don’t know how much I’d come back to it, I’d definitely say that it is a good listen for lovers of the 80s.

I have been meaning to get around to this album for a while now, and now that I’ve heard it, I can definitely say it lives up to the hype. I may have overhyped it a little myself and that may have caused me to look at it a little differently since I’ve been wanting to here it, but if you strip that away, this is still a great album. The songwriting in this album is some of Bowie’s best, with songs like Lazarus and Dollar Days, two of my standout tracks, feeling like Bowie foretelling his own impending death shortly after the album’s release. The production on this album is also incredible, with songs like the title track containing many layers that are all beautifully weaved together. I love so many elements of this album, and I just think it is a beautiful way for Bowie to end his career, especially with a song like I Can’t Give Everything Away, my final standout track. Even if it wasn’t what I expected, it still is definitely one of my new favorite Bowie albums, and I think one of the lines in Dollar Days summarizes everything great about the album, “I’m dying to push their backs against the grain, and fool them all again and again” And that’s what he did. I may regret not bumping this up later, kind of like I did with Remain in Light, but this album is definitely a high four, even low five album for me. Hopefully Bowie’s waiting in the sky for us all.

I will always defend this take: Stevie Wonder is an artist where you can put on any of their classic albums and just have a good time. That is no different with this one. Whenever I listen to a Stevie album, I’m always greeted with his signature blend of R&B, Funk, and Soul, and it always just sounds like fun, enjoyable music. Songs such as Heaven Is Ten Zillion Light Years Away and Creepin’, two standout tracks, showcase the amazing instrumentation of this album, with smooth piano and synths on both tracks, with Heaven breaking into a more gospel sounding song. Other songs, such as You Haven’t Done Nothin’ and Boogie On Reggae Woman, another standout track, showcase Wonder’s ability to tap into funk, with both songs creating memorable grooves. My last standout track, They Won’t Go When I Go, showcases Wonder’s songwriting prowess, although to give proper credit, her wrote this specific song alongside Yvonne Wright, who helped write several of Stevie’s songs. Overall, this album is definitely another quality pick from Stevie’s classic period, and I would recommend to all lovers of seventies R&B. Now, I’m gonna boogie on to the next album.

Wow, I don’t even really know how to properly articulate my reaction to this one. I can certainly say this is an album that isn’t like anything I’ve ever seen before. Going in, I knew that Björk was kind of an avant garde electronic artist, but I didn’t know too much about her music. This album was a very interesting introduction to her music. Technically, the music was great. It managed to combine Björk’s unique style with pop hooks and a very twinkling, almost crystalline sound. Her voice is able to reach in both directions, being able to belt out soaring highs like in the chorus of It’s Not Up To You, one of my standout tracks, and sink to deep lows such as in Undo. The soundscapes on this album are very standout, with two more of my standout songs, Hidden Place and Pagan Poetry, both containing their own varied bits of instrumentation that help to bring the music alive. However, it is not an album that I see myself re-listening to frequently, and it is a very immersive experience, so you have to be in a certain mood to listen to it. However, I do believe that the quality of the music is more deserving of a four than a three, where I lump some musically boring albums, so although it is not really my style, I’m giving it a four. Now I’m going to ride that Aurora to the next album.

Well that was underwhelming. Coming into this album, I already had my doubts about a well known 60s blues musician trying to make music in 1989, but listening to the album, it was honestly really boring. I’ve always thought that you have to be a really good blues musician to create blues music that doesn’t make it seem like I could find it better somewhere else, and that’s not discrediting Hooker’s musicianship, which I’m sure is incredible, but it doesn’t shine through on this album. All the songs sound like the same blues shuffle that any other song on the album does, even the features from people like George Thorogood don’t improve the album, as he’s only there for one guitar solo. Bonnie Rait’s is the most effective, but even then I wouldn’t find myself listening to it again. At the very most, its sales allowed John Lee to live out the rest of his days comfortably, which is a good thing overall. However, this album did kind of just feel like if you repeated the Bad To The Bone riff for a whole album, as awesome as that song is. Not a fan, but maybe my next foray into blues will be better.

Not gonna lie, being someone who has heard this album, I did not remember it being this consistently good. Going in having listened to the whole album before, I assumed I was probably gonna end up giving it a four, but after listening to it, I realized why it deserves more than that. The album is great at creating an atmosphere that just pulls you in, to the point where by the time I got to around Waiting For The Night, I’d forgotten what I’d been thinking about beforehand. It creates this really entrancing, almost eerie vibe, with swirling synths building to these massive crescendos on songs like World In My Eyes and Halo, two of my standout tracks. Everything just flows together really nicely, and nothing really stands out as too out of place, even the last two tracks, Blue Dress and Clean, which I had forgotten about, still managed to impress me. The production on this thing is also a highlight, with it allowing each song to have its own unique feeling, such as bombast on Personal Jesus, another standout track, or my final standout, Enjoy The Silence, which creates a very unique, almost disco vibe, that just sounds like you’re cruising down the road at night, looking at all the lights. Overall, a very impressive effort by Depeche Mode, and I would highly recommend it to lovers of new wave or electronic music. Enjoy The Silence…

Ah, nothing like looking back to the early 2000s: Some music was great, some music was shit, but this one was probably the one that kick started most of that. Honestly, this album has aged very well. When I first got it, I kind of expected listening to the album to feel kind of edgy, but surprisingly, most of the songs felt like they came from a genuine place, and were not just edgy for the sake of it, especially songs like Papercut, one of my standout tracks, and Crawling, one of the albums biggest hits. One of the highlights of the album for me was definitely Mike Shinoda’s rapping, which feels less like it’s rapping just for the sake of it, and more like it’s helping to reinforce the themes of Chester Bennington’s sung parts, my favorite of these rapped parts being the opening for A Place For My Head. Bennington’s singing is also impressive on this album, especially on two of my other standouts, Points of Authority and Pushing Me Away. His vocal abilities are very diverse on this album, with his more melodic side being shown on songs like In The End, my final standout song, and others his more intense side, such as One Step Closer. Overall, some may consider this album to be cringy and dated, but for what it is, I think it’s held up pretty well all this time.

Alright! Didn’t expect another foray into blues rock this soon, but I really enjoyed this one. Going in, I hadn’t really heard too many songs by The Black Keys, but I knew that they were like a modern blues rock band, which did intrigue me. After listening to it, I definitely feel like this one feels less dated than the last one I got. The songs do have a more modern style to them, but it doesn’t feel like they are simply of their time. The drums on the album are pretty heavy, and they give the music a feeling of motion. The guitar, which I do feel could have been a tad bit higher in the mix on some songs, was also very impressive in songs like Howlin’ For You and Black Mud, two of my standout songs, I really liked how fuzzy the tone on it was throughout the album. The other problem with the album is that the track-list could have been reworked to intertwine the ballads and the rockers better, as sometimes it would feel like you’d get too many of one type of song. However, that doesn’t mean that the ballads on the album are bad, some of them are really good, such as my other two standouts, Two Afraid to Love You and Unknown Brother. Overall, I really liked this album, and I’m glad that it showed that good old rock and roll was still alive and kicking in the 2010s.

Everybody say Ow! Ok, now that I’ve got that out of the way, time for my thoughts on the album. Going in, I thought that James Brown was a big funk performer, but after listening to the album, I know now that he is more of an R&B guy. Listening to the album, I noticed a couple things, some of which made it so the album didn’t really click with me. First and foremost, Brown’s performance here is second to none. He really was one of the great performers, and he has a stage presence on this album that is all his own. The way he’s able to play off the crowd is very impressive, and it there’s any reason to listen to this album, it’s to see James Brown in his natural habitat. Second, and my main problem with the album, the amount of slow ballads on the album. Most of the songs besides I’ll Go Crazy, Think, and Night Train, my three standout tracks, were all these R&B ballads, which would have been fine if there weren’t so many of them. Lost Someone, which was 10 minutes, was a bit of a chore to get through, as the song continues without any jam or anything to break up the monotony. The ballads also felt like they could blend together sometimes, and they would end up sounding the same to each other. Overall, not really my style of album, so giving it a three is more of a personal take, but definitely a high three, since it could have been a lot worse, and there are definitely redeeming elements to this album that would make it a good listen to someone who enjoys this style of music. Now I’m gonna hop on the night train and head off to the next one!

I’d rather be stabbed by a duck than have to listen to this album again. Going in, the only thing I knew about this album was that it was one of the lowest rated albums on this website, which did not give me high hopes for listening to it. Once I listened to it, I realized, yeah, this is pretty bad. The instrumentation albums sound like a combination of melting casio keyboards and nails on a chalkboard, the singing that’s laced with all these weird effects makes it sound like extraterrestrial intercourse being blared through my headphones, and the content of the album is all these short joke songs that don’t lend themselves to repeated listens. The only reasons I’m giving it a two is because I’m going back and putting some worse albums I’ve got down a level, plus it’s also only thirty something minutes and I can at least see why some people may find it entertaining, but for me, this is definitely one that I’m gonna steer clear of.

Alright, this was certainly a different listen. Honestly, though, I kind of enjoyed it. I really liked all the guitar parts on the album, it gave it this weird, almost African folk vibe, alongside the unique percussion parts. The fact that I couldn’t understand the singing didn’t really get in the way too much since the music was worth focusing on. My only complaint about this album is how it is way too long, though part of that is on me seeming as I didn’t realize that the last four songs weren’t on the original release and I ended up spending more time on it than I needed to. I don’t know if it’s an album I’d listen to in full again, but if you want to get into some world music, I’d say check this one out.

Alright, I got an album that I’ve already acquainted myself with. Going in, I’d already listened to this whole album and I definitely enjoyed it, and after doing my re-listen, my opinion on this album has not changed, I still believe it to be one of the best alternative rock albums of the 80s. A lot of it comes down to Morrissey’s lyrics and delivery. Even though the guy is a huge prick and I don’t condone any of the nasty stuff he’s said, his songwriting on this album is one of its strongest assets. The range of emotions the songs go through is aided by his lyrics, as they can go from being melancholy on songs like I Know It’s Over, to self deprecating on songs like Bigmouth Strikes Again, both of which are standout tracks. The other main appeal of this album is Johnny Marr’s guitar playing, which is unlike any other band of this time. It really helps songs like There Is A Light That Never Goes Out or Some Girls Are Bigger Than Others shine, but in different ways, in the former, he uses a lot of shimmery chords, while the latter utilizes a cool riff. Although these two really make the album shine, the rest of the band have their moments, such as the drum fill that opens the title track. Overall, this is definitely one of the great new wave/alternative rock albums of the 80s, and I would highly recommend checking it out.

At long last, I get to return to the world of hip-hop and review an album. What did I think of this one? I surprisingly enjoyed it a lot more than I thought I would. Going in, I knew that Sabotage was on the album, but otherwise, I was kind of on the fence since I’d seen a lot of Beastie Boys on MTV Classic and I didn’t really feel the need to dive into their catalog. However, once I put on the album, I was surprised by how much I got out of it. The main strength of the album is the sheer variety of musical styles on the album. They incorporate hip-hop, rock, funk, and other genres that makes sure the sound isn’t stale. They also include several instrumental tracks on the album, such as the violin driven Eugene’s Lament, and the epic Futterman’s Rule, two of my standout tracks. Another great part of this album is the use of live instruments, which creates a unique sound in a genre mostly defined by samples and electronic beats. It also allows for more exploration of different genres as stated previously, such as the heavy and powerful guitar and drums on Sabotage, another standout tracks. Finally, the rapping on this album is second to none, and being a new Beasties listener, I may not be able to pick out who’s who on each song, but I can at least say that the rapping(from I’m pretty sure Ad Rock) feels like a blueprint to Rage Against the Machine and Zach De La Rocha’s vocal style. It really shines through on songs like Sure Shot, and B-Boys Makin’ With The Freak Freak, my final standout tracks. Overall, a surprisingly impressive album, and one I highly recommend to those into 80s hip-hop.

(Cue Sunshine Of Your Love opening). Honestly, I enjoyed this album more than I did the last time I listened to it. Going in, I remembered having listened to this album, but not remembering too many songs and feeling like Wheels of Fire had the better track-list. After listening to it, I can definitely say that I enjoyed some tracks that I had forgot about. All the members of Cream are on their A Game on this album. Jack Bruce’s bass playing is impressive, along with his iconic vocals, which really shine on songs like the immediately recognizable Sunshine of Your Love, and Tales of Brave Ulysses. Clapton’s guitar playing is as dynamic as ever, with him being able to switch between powerful blues playing and more mellow psych rock, which is more prevalent on World of Pain, another standout track. Finally, Ginger Baker’s drumming is monstrous on this album, and he definitely earns his place among the likes of Moon and Bonham as one of the great sixties drummers. His thunderous playing can really be felt throughout the entire album, including his driving rhythm on my last standout track, Dance The Night Away. My one hang up with the album is that the final three song run kind of falls flat for me, with Outside Woman Blues, Take It Back, and Mother’s Lament really dragging down the momentum near the end of such a great album, but overall, this is an impressive first effort for the power trio, and a staple of psychedelic rock.

Nothing says great listening like two psychedelic rock albums in a row, and I have to say that this one is better. Going in, I hadn’t listened to this one in a long time, so I didn’t remember some of the deeper cuts, but after re-listening to it, I thoroughly enjoyed this album and can definitely see why some people consider it Jimi’s best. Speaking of Jimi, his guitar work on this album is second to none. I could name pretty much all the songs in relation to his incredible guitar playing, but the main thing I want to highlight is his variety. He’s able to go between heavy rockers like Manic Depression, and psychedelic ballads like The Wind Cries Mary, both of which are standout tracks. The Experience is also incredible on this album, with Noel and Mitch being able to lay down incredible rhythm parts to match with Jimi’s playing, such as the driving power of Fire, another standout track. All the songs on this album are incredible, even the deep cuts like I Don’t Live Today and Love or Confusion, but if I had to pick a last standout track, it would definitely be the title track, which, like Jimi’s other two album closers, is an incredible way to end the record. Overall, this album showcase Jimi Hendrix blowing down the door of rock and roll, and is an album that is definitely a much needed listening “experience” for any music fan.

Ah, GNR, a staple of classic rock, especially in the 80s, with this album being named as their best record. Personally, I thought it was pretty good. The main draw for me on this album is Slash’s guitar playing. He really shows why he is considered one of the best guitar players of all time, especially through such iconic riffs as Welcome To The Jungle and Sweet Child O’ Mine, two of my standout tracks and two of the biggest hits off the record. His guitar playing is also shown on other songs off the album such as Nighttrain, my third standout track, and a really impressive fast paced rocker of a song. Axl, whatever you have to say about him and his many…incidents, is a powerful singer, and really gives his all on songs like the six minute epic Rocket Queen, my final standout track. Pair that with Izzy, Duff, and Steve’s powerful rhythm section, and you have a solid rock album. However, the album can tend towards having songs sound the same due to the fact that most of the songs besides Child are fast paced rockers, which can end up causing song to blend together. However, even with that, it is still a powerful record, and although it may not be a 5 in my book, I’d still recommend it to fans of heavy rock, you may find something you really enjoy.

Alright, my first foray into the Arctic Monkeys,. Honestly, when I first started listening to the album, I wasn’t really into it, I thought that a lot of the songs sounded similar, all retaining the same sort of garage rock style, but once I got to the end of the album, I’d kind of turned around on it. Maybe it just took me a bit to adjust to the style, but by the end of the album I’d found it to be a thoroughly enjoyable experience. I felt that by the end of the album, I’d grown accustomed to the harder rock style songs in contrast with the softer stuff. The album has a really down to earth, yet fun feel to it. Alex Turner’s lyrics feel like they paint a realistic enough picture to be able to place yourself in such scenarios, such as going to the club to try and pull in Dancing Shoes, or reminiscing on the quirks and drags of living in your hometown in A Certain Romance, two of my standout tracks. The guitar playing on this album also helps to give it a raw feel, as it can go from high energy and upbeat to more melodic and mellow, such as on When The Sun Goes Down, my third standout track. The rhythm section also has their moments on the record, such as the drum opening on I Bet You Look Good On The Dancefloor. The album just has that feeling of walking through the streets at night, especially on songs like Riot Van, my final standout track. Overall, definitely a strong start for the Arctic Monkeys, and I’d say a quality listen for 2000s rock lovers.

Ok, this album was definitely outside of my usual wheelhouse. Honestly, this one didn’t really strike a chord with me(insert rimshot here). Maybe it’s just because I’m not a big listener of jazz and or classical, but I didn’t really feel any emotional attachment to this album. I get that Jarret is a piano virtuoso and that, for what he was given to work with, he performed incredibly that night, with his playing itself being very strong, but to my ears it just sounds like background noise. Since it’s an hour of just piano music, it doesn’t really resonate with me in the way some other albums so far have. If you like this album, more power to you, but it’s not really my cup of tea.

Well, guess it’s time to revisit Lauryn Hill again, and honestly, I liked this album for some similar reasons to Miseducation, but it was diverse enough to not feel like the same album. Going in, I originally thought that the Fugees were kind of just a novelty of the 90s, really only known for Killing Me Softly, but after listening to the whole thing, I can definitely say that it has more depth than that. The way that the songs flow into each other makes the album feel more like a singular experience, rather than just a collection of tracks. Staring with How Many Mics was kind of off putting since that track didn’t feel like it stacked up to the rest of the album, but the run of tracks after that more than made up for it. Each member of the Fugees get their moment to shine, as most songs on the album contain verses from all three of them, such as Family Business, my first standout track. However, the covers on the album, Killing Me Softly With His Song, with vocals mainly done by Lauryn, and No Woman No Cry, with vocals mainly done by Wyclef, do lift up the album rather than just feeling like pointless cutaways, these are two other standout songs. The production on the album is also impressive, with the use of various samples, such as on Fu-Gee-La, my final standout track, helping to create atmosphere. Songs like The Mask and Cowboys are also worth mentioning, though not the main standouts, they do not feel like they waste their runtime. Overall, a shockingly interesting album experience, and definitely a listen that I recommend.

Back to ‘96, I see, and honestly, I enjoyed this album a lot more than I thought I would. Going in, I’d barely ever heard any Fiona Apple songs, so I was kind of going in blind to what it would sound like. After listening to it, I’m definitely glad that now I’ve had a foray into her catalogue. Her mix of pop and jazz makes her almost feel like a proto-Amy Winehouse or in a similar style to Adele. The main attention grabber on this album has to be Apple’s voice. She croons overtop of these slow piano tracks like a lounge singer in a Bond movie. It really shows on songs like Sullen Girl and Pale September, two of my standout tracks. Listening to a whole album of slow burns could be a little challenging, but this album makes it a sizable task. The instrumentation of the songs is also worth mentioning, especially the jazzy piano on Shadowboxer, another standout track, whose piano calls to mind a western saloon. Throw in another incredible slow burn like The Child Is Gone, my final standout, and a uptempo ending like Carrion, and you’ve got a great 90s album.

Ok, first ever Kate Bush album, my opinion, not the one I would have preferred to start with. Going in, I’d only heard Running Up That Hill before, so I really didn’t have too many expectations on what the album was going to sound like, and after listening to it, I definitely didn’t expect it to sound the way it did. I felt that Bush’s singing voice, although impressive, could feel really shrill in some songs, especially the opener, Sat In Your Lap, where the chorus is reminiscent of an angle grinder. Most of the album was filled with weird showtimes and songs that went on for longer than they should’ve, and repeated a lot. I didn’t really connect with the weird soundscape that the album was trying to produce. However, three of the last four songs, Night of The Swallow, All The Love, and Houdini, I at least somewhat enjoyed due to their focus on the emotion of the song and not weird sound effects and voice modulators. Overall, I really didn’t jive with this album, if you like it, that’s good, but I’m hoping Kate Bush’s other albums on here sound way different than this one.