Crunchy guitar tone is sick. First Rollins album. Some of the songs are fun, some of them are intentionally horrible to listen to. Not my bag but I kinda get it.
Do I even need to write anything down? It’s Kid A. Like. Dude. EIIRP is one of the best openers of all time. One of the best needle drops man. And the whole album is so weird and great. Yowza. This is awesome.
Stage Two heavy metal- in that transition from bands like Sabbath and Zeppelin and Deep Purple to bands like Metallica et al. More thrashy/punky. Judas Priest. Kinda sounds like a more metal Thin Lizzy? Not the primary vocalist. Also the only album with this particular guitarist.
Very proggy, British-folk rock. The flute is amazing, I just can’t hear it without thinking of Ron Burgundy. A couple of real bangers and some nice acoustic pieces that bridge the gaps. I can see why people would get into this. Seems like it would reward repeated listenings.
OG rock and roll. Cleaner than a bar of soap. Super influential at the time, apparently, but today it just seems dated. The amazing thing is this is Buddy Holly’s only album and it has four seminal rock and roll songs. That’s an incredible output. What he could’ve done if he had lived past 21!
The pixies! Way ahead of their time. Rock misfits. It’s funny this album was on the docket for me, since I’ve listened to the other main Pixies albums many times and still enjoy them- but I’ve never heard this one. And I have to say- I don’t love it. The songs sound very samey. They are mostly in a minor key, which feels darker and more menacing- which is fine- it just wore on me after 7 or 8 songs with the same rhythmic ideas all in a minor key. Velouria, Digging for Fire, Havalina, were standouts. Ringo wasn’t even the best drummer in the Beatles, Bossanova isn’t even the best Pixies album. Of the 90s!
I was excited to listen to this one. Jeff Buckley’s dad! This album turned out to be pretty frustrating. It has some great music and occasionally a great line. But mostly this is overshadowed by some truly ridiculous lyrics. Lots of lines about jesters and kings and queens and maybe the war is in your mind and it’s all very 60s and pretentious. Knight Errant is particularly embarrassing, as is the 8 minute title track. On the other hand, “I never asked to be your mountain,” “once I was,” and “pleasant street,” are incredible songs.
For whatever reason, the melodies in “Solsbury Hill” have always driven me nuts. I can’t stand them. However…..it’s a really good song! It’s well crafted- Gabriel spent a lot of time making this song work and making sure the instruments sound great and the arrangement highlights what he’s trying to say. Every song on the album is crafted the same way. It’s a great album, with a diverse set of songs.
I’ve listened to Yes before but never a full album, and this one really surprised me. An excellent album. Yes is different from many of the other prog bands of the time because they’re so…..chipper?! Upbeat, maybe? While listening to some prog albums feels like doing your maths at the kitchen table on Sunday night, listening to Yes feels like taking a stroll with very close and slightly goofy friends. So much fun. Some prog bands make 9 minutes feel like 30; Yes is not that band. A good hang.
There is something about Paul McCartney that I just don’t buy into. It always feels like he’s just playing around, that he doesn’t actually believe what he’s saying. He’s just playing and singing what he knows will work for his audience, not necessarily what he’s feeling. On the last track of this album, the band moves from a funky disco section into a church organ hymn with three part harmonies, and back again. Cool. Then at the climax of the song an orchestra builds and builds to a big final note, with a slight reference to Also Sprach Zarathustra- and then- we get a three second reprise of Band on the Run. As if to say “just kidding!” Even Paul doesn’t buy what he’s selling, and neither do I.
I knew this would happen. JAZZ. I realize this album is a Big Deal. And I guess if you’re a jazz musician you probably eat this up, because it was a different approach to tonality, but I don’t know man. Out of context it just sounds like a bunch of dudes playing notes that have nothing to do with each other, while the drummer vamps in the background. There are melodies, I suppose, but they’re boring. And then they solo. And that’s even worse. One of the saxes (I’m guessing it isn’t Coltrane) does have a sense of melody and his solos are actually pleasant to listen to. But most of the soloing here is just Licks, not coherent melody. “Blue in Green” is excellent. But otherwise I really don’t want to listen to this again.
An inventive, funny, socially conscious album made up of tiny songs that pack a punch. Ok that was the Minutemen-style review. Now to expand on that- this is punk rock but heavily influenced by funk and jazz. They really try everything here. And for the most part it works. Even the fact that there are FORTY-FIVE songs on the record works. The sound of this record is also remarkable. There are only vocals, bass, drums, and guitar. Almost no overdubs, and every instrument is clear and out there in the open. No hiding. Great stuff.
Operatic teenage angst songs sung with absolute passion. This shouldn’t work at all. But Bat Out of Hell is so full of life and urgency it’s impossible to not get swept up in its craziness. “Paradise” is one of the most ridiculous songs I’ve ever heard. It’s campy, and funny, and exciting, and has the best lyrical left turn in all of rock music. It’s amazing. Good times, great oldies, it’s got a beat and you can dance to it. FOUR STARS.
PJ seems to be channeling both Chrissie Hynde and Liz Phair here quite a bit. But I found her most engaging when she was just being herself. Those are the most enjoyable tracks for me, anyways- “Big Exit,” “This Mess We’re In,” “This is Love,” “Kamikaze.” A few of the other tunes feel like they could’ve used a bit more time in the incubator. It rocks, it soothes, it tries to scare you a little. Good times. THREE STARS.
How is this possible? A punk band from 1977 that I've never heard of? And they made albums for decades? This is right in my wheelhouse! This is their debut album, and in most cases for a punk band, that would mean a rough and tumble affair, but the Stranglers seem ready to go right out of the box. I found they pulled from other punk acts to a certain degree, but their main progenitors seem to be The Doors and David Bowie. The vocal delivery and lyrics are hilarious; quintessential first-wave British punk. Some of the lyrics are so good it makes you wonder if the truly dumb ones are intentional or not; certainly the attitude is sardonic. The only real complaint I have here is that some of the riffs get repeated a few too many times, but overall, this is a fun stroll down the sewer. Highlights include "Goodbye Toulouse," one of the weirdest songs I've ever heard from a punk band; "Ugly" which is the funniest song on a very funny album, and "(Get a) Grip (On Yourself)," a Bowie-referencing rocker. It rocks, it drools, it sneers, it makes you laugh. FOUR STARS.
LA Punk! I've heard of X for years but never sat down with any of their stuff. The male-female lead vocals work really well. The guitar player REALLY wants to be in a rockabilly band. Which works- the great punk riffs are there, but he throws in rockabilly licks quite often and gives the songs a different flavor. I can't pretend to know what they lyrics mean, since I can't focus in on the vocals well enough to hear what they're saying. John Doe has a great scream and a really good voice. An excellent rock voice! And Exene has a perfect, disaffected, insouciant punk delivery. "Universal Corner" is the standout for me. What a riff. It rocks, it rips, it has crazy harmonies, it'll take you to prom in the 1950s. FOUR STARS.
I'll be honest - I've never heard of this record before! I know Stevie's big hits, but nothing off this record. The first thing I notice is Stevie's incredible voice. One of my favorite voices. And then, whenever you think you know where a song is going, it goes somewhere you don't expect. This is a subtle record. The songs all feel like they could explode at one point but then they pull it back. Which is why maybe this record doesn't have any of Stevie's signature songs on it. Sophisticated, smooth, chill, virtuosic. A soul classic. FOUR STARS.
Cream colored silk sheets. Shag carpet in harvest gold. Dark wood paneled walls. So you have a hot date with this girl from work and you get all prepped - hot shower, fresh shave, splash of cologne, your slickest outfit - brown suit with boots, a gold chain, a pale blue tie - and you meet her at one of those fern bars downtown. It goes well. She is delightful, and gorgeous, and funny, and most importantly thinks you're funny. You already knew each other but you hit it off. All that workplace flirting wasn't a fluke. She gives you that look after your second cocktail and third cigarette and you ask if she wants to come back to yours for a nightcap and of course she says yes. She has to pretend that she has to think about it but she doesn't really. And you walk in the door, and pour two glasses of Lillet Blanc and she's already comfortably lounging on the oversized couch like she owns the place and you have a choice now, an important one. You walk over to the record player and start thumbing through your collection - it's gotta be in here somewhere. It hasn't been -That- long since you last brought a date home who was this promising. And there it is. Scott 4. You slip this on the turntable, run the motor, lower the needle, and Scott's music lusciously slinks out of the speakers and now, finally, you can go to her with her glass of apertif and get down to the business. FOUR STARS.
I'll admit - I didn't love this album at first. But that's because the first half of this is the "Pavement" side, which consists of cocaine-fueled, overly-busy, panic-inducing electro-funk. It took some getting used. It's clear the band was growing into this sound, and wasn't entirely sure how this kind of music should sound. The mix is CRAZY, especially on "Fascist Groove Thang." The second side, "Penthouse" is more fun (and interesting) than the experimental funk of "Pavement." The band is clearly more comfortable with straight-forward electronic pop. "Geisha Boys" makes absolutely no sense, but the rest of the songs on the B side are excellent. I guess I'm more of a Penthouse guy. THREE STARS
The best Beatles album, probably. Before they got too weird, but after they were done singing about holding hands and stuff. Revolver is all killer no filler, man. Which is incredible when you think about it, because a big reason this album is one you need to hear before you die is because of the technical innovations and breakthroughs it accomplished. But even out of context, not experiencing any of that first hand, the songs here are amazing. And with a career full of closing out albums with certified bangers, "Tomorrow Never Knows" might be the best album closer of all time. FIVE STARS
...........And now I'm shopping for a copy of this thing on vinyl. FOUR STARS
Not nearly as trippy as the cover or title would have you believe. This is pretty straight-forward late-60s American rock with some nice Prog touches. The songs are good, and quick, and the lyrics are occasionally socially conscious. You never have to look at the track listing because the song names are always the part they sing over and over. If you have a friend who loves classic rock and you want to get them into Prog for some reason, this is a great place to start. THREE STARS
Aerosmith is so sleazy its easy to forget they have some great musicians. And they can write a damn good rock song. But listen, man. I'm not 14 anymore. These lyrics just don't cut the mustard. Does Steven Tyler just walk around with notebooks full of double entendres? How many ways can you refer to your dick without saying the word "dick?" He sings about how horny he is for 15 minutes then pivots to a song about a girl taking revenge on her dad for molesting her? WHAT!?!?! I shouldn't knock it so hard. It achieves what it sets out to do, so on its own term it's a very good record. I'm just too old for this shit. TWO STARS
There is something about the sound of this record.... it sounds much older than it should, in a good way. Like taking pictures on an old camera with an ancient film stock they don't make any more. The graininess adds to the charm. If you've listened to any Stones albums that preceded this you know how inconsistent they are. They'll have a solid-gold classic one song, a complete nothing the next, going back and forth until the 9 songs are up and hey, wow, that wasn't very satisfying! With Exile there are no "nothing" songs. And it's a double! All four sides kill. One of the greats from one of the greats. FIVE STARS
Any 30 seconds of this album will fit perfectly over that scene in the movie when the British/American rock band takes drugs for the first time and their minds start to expand. I can only take away a star here because I probably won't listen to most of this again. But "Snow Flower," "Mamata," "Metamorphosis"....... these are just excellent. The covers are fun and novel and kitschy, but there is legitimately great music here - if you're willing to brave the wild world of sitars. But the honest truth is I'm probably not most of the time. THREE STARS
I had already written up some notes about this thing, but I went back and listened to the album again because something was sticking in my craw. I was struggling with the questions - Who can make music like this? How does a person make this kind of art? Because it is sooooo bleak. The B side here is unbelievably heavy emotionally. And on the one hand it seems manipulative and on the other hand, I think Reed is able to do that with these songs (especially the final four) because the point of view he's adopted is so incredibly apathetic. I try to think that albums are an artist's way of taking us on a journey. Lou Reed isn't taking us anywhere with Berlin so much as chucking us into the mind of a completely awful human trash bag and showing us what he sees. Which is both unbearably depressing and totally engaging. FOUR STARS
There are some nice tunes on this- and there are moments where everyone is playing together and it’s lovely and melodic. And then there are moments where dudes are soloing and I get bored. The songs are all right around three minutes so the portions are perfect. It’s fine THREE STARS
If you put a gun to my head and told me I had to listen to one jazz album on a regular basis for the rest of my life- I’d pick this one. THREE STARS
Some other reviewer on here gave this album two stars and complained that Sabbath doesn’t rock “around anything” ie a clock, a robin, etc etc and I can’t stop thinking about what a brain dead take that is. FIVE STARS