Good soulful musicianship from the backing band but many of the songs are bit schlocky. This is later, more commercialized and less energetic Elvis; few of these songs rise to the level of Suspicious Minds.
I appreciate the attempt to craft songs that defy the typical thrash metal formula, adding musical flourishes and rhythmic changes to build a soundscape that adds drama. Yet there are still few melodic lines and the lyrics are often less than compelling. The Unforgiven, Don’t Tread on Me, and Nothing Else Matters were the highlights for me.
A groundbreaking album that has aged well from my perspective. Also demonstrates the ability of music to integrate across cultures into something new and compelling, esp when undertaken with authenticity and humility, which is an important lesson in today’s world where simplistic arguments over “cultural appropriation” might have stopped this creativity in its tracks.
First full album of the Pogues that I’ve listened to, and it was so worth it. Saturated with an unflinchingly Irish energy towards all of life’s vicissitudes and soaked in whiskey, it’s worth it for Fairytale in New York alone, the best Christmas song of the late 20th century. But others like Thousands are Sailing, Lullaby of London, and If I Should Fall from Grace provide more than enough to make it all a wild ride.
This felt like basic radio rock: nothing overly groundbreaking, but also quality craft. But personally I just wasn’t feeling it - not something I would choose to play much again.
Though I know all the songs, probably the very first time I’ve listened to the whole thing front to back. To think that he recorded all this when he was 21 years old. It’s a masterpiece.
Had never of this album, pleasantly surprised - good straight ahead rock. Nothing earth shattering but def high quality.
Basic decent rap album. Nothing overly consequential.
Such good music but limited variety
Hmmm. Well, it’s certainly an attempt to try different things. But for me it was mostly unlistenable.
Just wasn’t digging it
Really? Why is this special? Seems pretty pedestrian to me.
Undeniable punk energy. But never gives way to anything melodically or lyrically compelling.
A hellbent rush of storytelling steeped in attitude and atmosphere. Brilliant.
Really? I have to listen this before I die? Why?
Minimal instrumentation, monumental writing. Tangled Up in Blue and Idiot Wind alone make this an achievement. The quality remains consistent throughout and makes this one of the finest albums of its time.
Easy to see why she’s an American icon.
Was likely a revelation for its time, but hearing it now, does not reach the heights of some of Emmylou’s other work. Standouts like Boulder to Birmingham and Before Believing give a hint of what’s to come.
Sure, politically astute and she’s quite the performer. But little attempt to make the heady and heavily Brechtian influenced music and presentation more accessible to a general listening public. So it’s like being told that castor oil is good for you and then being forced to drink it.
These guys mean business from the very first pulsating riff and beats, and they don’t let up - the quality stays consistent and high throughout. “The One I Love” might be the weakest link on the whole album. A kick-ass achievement.
Nice harmonies, melodic flourishes, but lacking in the kind of consistent creativity and sophistication that would make it consistently compelling listening.
It’s like a movie score playing on the background as you go about living. And as such it’s a much about being white noise rather than music, w its emotion and story and melody.
I know it’s groundbreaking and all, being among the first punk records, and there’s no denying the energy. But boy do three chords go a long way - skip from song to song after thirty seconds, and it all just sounds like one long extended riff. Too much of the same for me.
Top-shelf writing and musicianship
Alternately awash in self-pity, desperation, pain, joy, cynicism, love, and even aggression towards his former beloved, it can be a difficult album to listen to front to back. But it’s also an artistic achievement.
Violent, aggressive, raw yet melodic and emotional. The purists might think it a sellout, too watered down for a larger audience. I think it was just right - retaining the power but making it accessible enough to be heard.
Intense but oddly soothing at the same time. Lyrically literate.
Loud. Raucous. Unintelligible. Probably important in the history of metal and mosh pits but that doesn’t make for compelling listening.
It’s like the soundtrack to a bunch of 80’s & 90’s TV shows and movies. Fun, inventive, catchy but ultimately more kitschy than compelling.