Surprisingly tender like Napoleon’s eulogy for Marshal Lannes.

Initially somewhat underwhelming but elevated by a surprisingly dynamic and energetic second half. Highlights are Alone/Easy Target, Good Grief, For All the Cows, This is a Call, Big Me.

Having also listened to a lot of oldies falling asleep, I apparently loved Dion without knowing it. This album ruins my childhood memories. Stone this man to death* already. *this is not a serious threat to any authorities reading this

I’ve never listened to anything like this, very much into it. Difficult to pull off STX without sounding hokey, but its a additive here.

Great pop writer, YMMV on this era of music. For me, I was done by Look at Your Hands.

YMMV. Some songs run too long and there is a general “jam band vibe”. I found this album really captivating, some new riff, scale or time signature/arrangement change always felt right around the corner. Ear candy.

Bizarre. I don’t understand how this could be repeated listening…or even enjoyable listening. This is probably what silence sounds like for Stephen Miller.

I have never really liked the Beastie Boys, except for Sabotage (on this record — but not representative of the album as a whole) and No Sleep Till Brooklyn. I fully expected to give this album a 1. Then, I was pleasantly surprised by the range over the first couple of songs. The lead singer’s voice is pretty grating, but surprisingly (and refreshingly) there are large portions of this record that are solely instrumental. By itself the fact that there are large sections without lyrics elevates the album. This is really a soul-funk-jazz album quasi-masquerading as a Beastie Boys album.

Let it be said: Syd Barrett can write one hell of a pop song hook. Arnold Layne, See Emily Play, Baby Lemonade are lovely melodies full of his trademark whimsy married with pop arrangements explored in other bands like the Byrds, Beatles, etc. Here on The Madcap Laughs there are flashes of his brilliance. The album is kind of a mess though, the songs scattered all over with little coherence — unsurprising given its production history and Barrett’s state of mind in 1970. He was a beautiful person whose vision is not totally realized here, but those flashes when they are realized are poignant. 4 stars.

Meh.

Powerful in an understated and accessible way. Many will know the classics “Fast, Baby, Talkin’” but there are no skippers in this record. Across the Lines is a favorite beyond those well known singles.

I always heard a lot of praise for Johnny Marr’s guitar playing and arrangements and it’s on full display here.

Sounds like ankle socks. Not bad but I’d rather listen to Vampire Weekend.

Overwrought musically and lyrically. Some of these lyrics are just insane (horses and burgers????)….not something I would ever listen to again. Some of the orchestral arrangements (e.g. Someone) are interesting enough to save this from being a 1.

Strong start (4) that wears out its welcome over time (eventual 3). Back to Black is a much stronger album by a virtuosic singer who’s developing here.

Not my favorite type of jazz, very produced and smooth. It gets a “3” for Birdland.

Much more avant garde than I was expecting. Lush and full of adventure. I was reading up on this album and didn’t know how much Bowie had an appreciation for and friendship with Syd Barrett, but totally makes sense and I can hear that inspiration here.

Welp.. turns out I really like this version of Bowie A LOT. I did not come across a mid song until Fill Your Heart. Beyond personal taste these are well constructed, driving songs that stay with you. YMMV on the songwriting but they are up my alley.

Immediately and unintentionally swam deep into the ol’ nostalgia well starting at Tunnels and it carried through all the way to the end. I struggled if I should even rate this one if I was so compromised. OTOH why else does anyone engage with art in the first place? This album is strong enough lyrically and to grab someone in 2025, or at least that’s how I can explain being bowled over emotionally. It does lack some depth and isn’t as expansive musically as their later material. That being said, no real skippers IMO. Set the standard for a lot of indie music that followed.

Strong first outing for a band, easy to see their talent and where it will take them. Highlights include New Feeling, No Compassion, Don’t Worry…, Pulled Up, and of course Psycho Killer.

As an album it’s a 3.5 with a few standouts and the being ho-hum tunes. Back in Black is the standout album.

Peak TS in the Dessner era, that is on par with her best work (RED or 1989). Folklore is probably the better album between these two. These albums are what she so desperately wants TLOASG and its predecessor to be: pushing her music forward and maintaining a strong voice. The collaborations here (and the relative weakness of everything after Midnights) are evidence it works.

Brilliant writing that has strong interplay with the music. Very funny and strong storytelling. I was hooked from the first song. Not necessarily political but its meaning is unmistakable. Knuckleheadz, Can it All Be So Simple, Verbal Intercourse, and Ice Cream are highlights.