I’m slightly ashamed that I’ve never listened to this album, considering they are a local band. When I first started listening to this one, my first thought was “this feels a little dated“ and then I realized the album is almost 18 years old. So I apologize to them for that thought. Having said that, this album is kind of mediocre. There are a few big hits on it, but most of the deep tracks are pretty repetitive. They rely heavily on the same tinny sound, repetitive guitar chords, and are banking on the lead singers soulful vocals to carry them through. I picked up another two or three songs that I had not heard before and will listen to again. The rest, not so much. And can we please stop writing nostalgic love songs about minors?

I mean what’s there to say? Perhaps the most iconic opening to an album. Cash at his peak. Candid moments of laughter and snatches of conversation. Very well recorded and preserved. 10/10

Tonal and twangy, this felt like a secret show at a honkytonk. They saved the listener from the usual “3rd Act Drag” by tossing in some truly solid covers and changing gears from blues to rock to surf and back. This feel was also a drawback for me, as it felt like friends goofing off sometimes, not a studio album. This all feel like one-takes, outtakes or jam sessions that went well. So much talent, though, that maybe you accept that and be glad you’re in the room?

“cookiemonster, the musical“ meets “Randy Newman‘s least greatest hits“ meets the deranged lounge singer-esque rantings of an extremely sad clown. It’s so unserious it’s almost genius. At least I hope he wasn’t serious. I know Tom Waits from movies, but is he famous for this??

It plays like the soundtrack to a 90s movie that never was. Constantly changing but never losing the thread. This is only my second Pixies album but won’t be the last. Unless they only have 2…

“The Cure! Now with 10% More Self Loathing!” I hear a lot of The Cure here. Which makes some sense, considering this album was released several years after Cure’s debut. The name, notwithstanding, I would almost think they were a Robert Smith side project. I was never really into the Smiths. I recognize the talent, but never vibed with their music. That hasn’t changed, but I can see why some would place this album on this list.

This one is interesting. Its predecessor Parachutes is a straightforward, moody piece with acoustic bass and some laudable lyrics. And this album has some of that too. But it starts to sound self aware in a bad way. It’s edging towards trying to be good vs just being good. Politik is a little too loud. In My Place a tad too dreamy. And so on. It all makes for a solid sophomore album and I enjoyed revisiting it. I actually went to Cincinnati with an old girlfriend back in 2003 to see them perform this album (she made me) and though it a great show! It’s all kind of sad though, considering the schlock they’ve become.

20 songs of pure delight! Bits of Beatles and Zeppelin and shades of Queen. Almost every track was upbeat, even when it’s talking about heartbreak. They seemed to really enjoy making music. You can really hear it. As far as when my first time sitting down, listening to an entire ELO album and I get the love fans have. Groovy!

This is a good album. Honestly musically, they are incredibly tight. Corey Glover‘s vocals can be incongruously soulful, but that often works really well in a rock setting. See Soundgarden/Alice In Chains. But listening to the whole album at once made me realize that they were lyrically a little sophomoric. It wasn’t a lot of pros or depth to what they were saying. Which you don’t always need. Because there are definitely some hits. But when you listen to a song like Landlord or Funny Vibe, there is a lot in there. Some of the pieces like their cover of should I stay or should I go really makes you want a lot more punk out of this band than what you get. All in all, not bad.

Lyrically and musically masterful. This has never been my style of music though. With a few exceptions, this is the kind of music that, if I were taking a nap and woke up to this, I would fall asleep again immediately. But it’s clear why they were at the top of their game when this music was dominant. Geniuses in their own field.

Pretty badass. Opening the album with Mannish Boy was perfect. It let you know what you were in for. This kind of music is great, but without some variation, it could get pretty boring. Which is why I was pleased to hear livelier, different songs like I Want to Be Loved and “swampy” tunes like Down in Florida. This reminds me a lot of of my childhood and where I was born. And also the Blues Brothers, which is never a bad thing.

I’m pretty familiar with this album. I discovered it a couple years ago and listened to it a few times. Although I like what he does and I love his voice, this album has always felt unfinished to me. And considering he lived another two years after this album‘s release, I don’t really understand. There are a lot of mis-strummed cords, meandering, guitars, and quick little instrumentals that just felt like warm-ups. So although I really like a lot about Nick Drake, I can’t say I like this album.

Well. There’s a lot that can be said about this album and this group in general. The heavily layered samples, relentless, scratching, dense, and poetic lyrics, and the fact that when you get to the end of the album, you are still hearing legendary song. That’s really unusual. Most albums load up their best songs in the first five or six track and by the time you get to the end, they really lost the thread and are just filling in space. But considering the last third of the album contain night of the living bass heads, rebel without a pause and black steel in the hour of chaos, this is crazy. There are better, public enemy, albums, but that doesn’t change the fact that this album for its time was near perfect.

I’m slightly ashamed that I’ve never listened to this album, considering they are a local band. When I first started listening to this one, my first thought was “this feels a little dated“ and then I realized the album is almost 18 years old. So I apologize to them for that thought. Having said that, this album is kind of mediocre. There are a few big hits on it, but most of the deep tracks are pretty repetitive. They rely heavily on the same tinny sound, repetitive guitar chords, and are banking on the lead singers soulful vocals to carry them through. I picked up another two or three songs that I had not heard before and will listen to again. The rest, not so much. And can we please stop writing nostalgic love songs about minors?

This took me back to watching the grand Ol Opry and Hee Haw when I was a kid. Or the first time I saw O Brother where Art thou. So much talent

This took me back to watching the grand Ol Opry and Hee Haw when I was a kid. Or the first time I saw O Brother where Art thou. So much talent

Lennon opens with the heartfelt Mother and closes with the seemingly candid and improvised My Mummy’s Dead. Both are nice bookends to the mediocre library shelf that is this album. Working Class Hero is a great Dylan-esque folk tune. Otherwise this is a lyrically dead album. Either it’s trying to be quotable SO HARD it’s absurd (see God) or just beatnik slam poetry set to repetitive strumming or piano chords (see Love). I know. I know. It’s Lennon. And it’s him just learning how to be a solo artist and it’s followed by one of the greatest solo albums of all time, Imagine. But I just don’t like it that much.

Legendary performances, but the sound is weird. I understand they’re wide recordings, but technically all recordings are recording. It just sounded 10 and empty. But it’s not an indictment on the music itself, but on the actual album.

I once was invited to an all girl party to watch episodes of the Bachelor. I didn’t know what anyone was talking about the whole time. But the energy was infectious and I enjoyed myself. That’s pretty much this album.

I didn’t mind this album but it wasn’t something that resonated with me. I was never a follower of this group and only heard a hit or two (did they have more than that?). I wasnt interested in most of the tracks, though they were well produced and musically solid.

Not gonna lie. I know this album and I really dig it. SuperCut and Greenlight will get under your skin in the best way. 3.5 stars

QuinteSynthtially 80s. Fast synth. Slow synth. Lovable vocals with just the right amount of British accent. What’s not to like? I didn’t get this album when it was originally released, but I’m pretty sure I had a couple of singles. I’m not sure what the logic was back then but that’s just how it went.

Iconic and nostalgic. Paul Revere was one of the first rap songs to really tell a story. This album tore down a lot of racial lines. And not only made its way into the very segregated hip-hop community, but the rock/punk background music pulled in the city and suburban white kids too. I played this tape until it broke. Then I dubbed another.

Thoughtful lyrics and rockin music. What else could you want? Well I want BJ Armstrong to stop doing ballads. His nasally tone works so well with the punk and rock vibe, it sounds disingenuous during September or Boulevard. That’s always bothered me. WHEW got that off my chest. Great album

This would’ve been perfect for Halloween. Four songs, an hour long. That’s a lot of whatever this genre is.

2.5 stars. They seem to be having a good time. I’m not sure that passed on to me.

2.5 out of 5 I’ve always liked Kate Bush. The lyrics and tone, the music and themes. I think if she sang a cappella I’d hate it but who knows. This was a decent album with cool synthwave vibes that didn’t drown it in “80s”. I like Kate for about 5 minutes. This was more than 5 minutes.

This…wasnt at all what I expected. I know little about the Kinks but what I did know was edgier, gritty stuff. This was more like a Beatles/Monkees/Turtles album. I dug it. It just threw me