The first song is a mission statement. The new direction is apparent. When the album veers into heavy R&B, I like it less than the "scary music" they intended to make. There are plenty of other good moments but Black Sabbath (the song) is straight up bad ass. It sounds great echoing down my street in the darkness on Halloween. Beware children!
I don’t remember her voice being this grating. Production suffers as a product of the mid 90s. Most lyrics are super facile and it’s not just Ironic. Not entirely useless given its part in the acceptance of women’s sexual agency, but I didn’t enjoy re-listening to this.
Beautiful voice but the album does not really do anything for me.
Pretty and chill. Impressive that’s it’s all improvised as I understand it.
This is pretty much why I’m here. Revisiting Boston is fine, but this was cool. I’m a fan of Brazilian music like Astrid Gilberto and Os Mutantes but don’t have a particularly deep well to draw from. Liked this record a lot and the samba soul sound. O Filosofo was a particularly great cut.
One of my favorite albums of any time and certainly the 90s. It still sounds great and pretty timeless to me. Ballad of Big Nothing is my favorite slacker anthem. My 21 year old daughter, who loves Elliott Smith, was born on the same day he died and likes to imagine some piece of him was reborn with her. :)
I had heard this album a couple times but I am more familiar with the latter-day side projects than the source, so I’m glad this came up.
I don’t have enough death/trash metal depth to distinguish this from other acts or say if this is particularly good, but I didn’t hate the experience.
New to me and I enjoyed the party the first time through.
I’ve been a big fan of this album for years. As a nascent cynic, this one spoke to me when I first found a used copy. Memo to My Son is probably my favorite Randy Newman song.
I need a few more listens and this might go up to a 4. Has a Peter Gabriel feel to me - art damaged orchestral pop.
Never really explored the Waylon discography much despite having multiple Kris Kristofferson, Merle Haggard, Willie Nelson, etc. albums. I don’t like his voice as much as the others I mentioned, but this is a fun listen with lots of good songs. Happy to be exposed to it.
My Mom loved this album but it still doesn’t do it for me despite loving early Dolly Parton. 80s era country is not my favorite.
I hadn’t listened to it in 20 years and enjoyed the experience pretty well. They are not all great songs, but there are enough good and great ones to make that album better than I remembered.
Pretty, but the crooning got to me eventually.
I missed the years he was decent, so I just associate with his mostly terrible 80s stuff. And Maggie May. This is probably not going into regular rotation but was a lot better than I expected.
I have some small level of affinity towards the 70s hard rock and prog rock sound, but mostly don’t like this album. However, I’ve Seen All Good People is their best song, and it’s not close IMO. Toward the end of part A (around 2:50) the bass and organ finally come in on the last chorus and it’s a glorious moment in pop music. It raises this album from a 2- to a 3. That song is written around the vocal hooks and most of the others are not, so the virtuosity comes off as self- indulgence.
Muscular riff work and aggression, I just don’t have enough interest in the genre to fully appreciate it, I think.
This album shows up a on a lot of best lists, so I’ve tried getting into it a couple of times before. Got a little closer this time, but I’m not a full convert yet. I’ll try again in another 10 years. I really like Faron Young, though.
Happy to add context to my 80s-flavored perception of the Nitty Gritty Dirt Band and I really liked a few of the songs, including Keep on the Sunny Side, You Are My Flower, I’m Thinking of My Blue Eyes, and Both Sides Now. I’m a Carter Family and Doc Watson fan, so most of their songs resonated. Roy Acuff not as much. While the title track is pretty good, it doesn’t crack the top three versions of that song, IMO. For me, bluegrass is the speed metal of country music, and I have limited patience for it. This gargantuan collection exceeds those limits.
I’m a big fan of the song Kimberly, and I like most of this album. The song Birdland probably moves this from a 4 to a 3 for me. Too long and too much warbling.
The album covers a lot of ground from drill-ish songs to jazzy arrangements that remind me of Jamila Woods. This might be a 3 in reality if I had enough listens but I was intrigued enough to spin it 3 times. I will probably listen more times to this.
My favorite Bob Marley album has always been Kaya but that’s only because that’s the one I bought in freshman year of college. Then I bought Uprising and stopped. I stopped too soon. The amount of hits on this record is nuts.
It’s not even in my top 5 Beatles albums but it’s great. When I’m Sixty-Four, A Day in the Life, Fixing A hole are all kick ass songs, and none of those probably are considered a “hit” from this album. It’s hard not to grade on a curve for the Beatles, but the 5 years from 1965-1969 are the most fertile period anyone has ever had in pop music, and so even though this album exists next to Revolver and Rubber Soul and Help and Abbey Road and the White Album and Magical Mystery Tour, it’s still great.
It’s inconsistent like all Sebadoh albums, which is a reflection of how they’re organized and a sort of Minutemen-ish ethos. You’re going to get ballads, noise rock, tongue-in-cheek songs and more. It’s kind of amazing that I had never listened to this album considering I really like III and Harmacy and I’ve listened to every other album. I really can’t explain how I never got to this one, but I’m glad I did. Soul and Fire is super great, and I like a whole lot more. That said, I feel like there are better versions of some of these archetypes in their catalog. Take Think (Let Tomorrow Bee) - it’s a very pretty love ballad. It’s also not as good as Truly Great Thing from III or Willing to Wait from Harmacy.
Forty years later, it sounds pretty rudimentary. Still some bangers on there and middle schooler in me was very happy to hear Son of Buford.
I’m a big fan of the Kinks and this is probably my second favorite album. I’m a sucker for British cultural commentary pop from this era. Australia and Shangri-La take some time to get to, but are the heart of the record for me.
I listened to this several times through, enjoyed it and rounded up to 4 stars. I am an easy mark for this one because I like Digable Planets and Tribe Called Quest which they seem to have modeled their sound on. My main criticism is that they haven’t really pushed anywhere beyond their influences, but it’s a fun listen nonetheless. Incidentally, before listening to this, I kind of thought this was a jam band which is pretty funny. I had heard the name before but never listened to them…probably because I thought it was a jam band. :)
Probably would have been 4 stars to 20 year old me, but that ship had sailed. I will need to be satisfied with Local H and Primal Scream to scratch this itch. Love the filthy grooves and while I don’t mind his growl, it doesn’t do enough to push this farther into my rotation. Glad to hear it on balance, though.
I’ve had the vinyl of this album for years and there are six songs on it. It’s fine, but includes some of the more self-indulgent numbers including Young Man Blues and 15 mins of My Generation. I was surprised and delighted at the 14 songs on the expanded version including some on my Who favorites like Tattoo, Happy Jack and a Quick One. There’s a good mix here of pretty things and raw aggression. Btw, if you’ve never seen A Quick One from The Rolling Stones Rock n Roll circus, it’s worth your time. It’s also live and you can see what this looked like live. As I understand it, the footage was supposed to be turned into a BBC special, but the Who blew The Rolling Stones off the stage and they changed course. https://youtu.be/RJv2-_--EY4?si=Ie-MA3FelDjmHV02
Does anyone need my opinion on this album? I still have the vinyl I bought as a grade schooler and enjoy Beat It, Billie Jean, and Human Nature.
The rapping doesn’t measure up to his contemporaries and seems really OG like Run DMC. The album is mostly notable because the extreme content.
I have always really liked the first two albums of this band where they were grimy, son-of-a-preacher-man mirrors of the Strokes. This album smells like a rock n roll dive in a very good way. They even cover some ground from sleeze blues to tight indie rockers to sort-of ballads. Everyone needs to pay their rent, so I don’t begrudge their turn to arena rock, but that band isn’t for me.
Maybe I would get more on repeated listens, but I’m pretty ambivalent about this album on one listen. They kind of remind me of the Mekons.
I’m a fan of this album and It rewards multiple listens. Even though it is weird and uneven, there’s a lot of breathtaking stuff and new discoveries around every corner.
Some of that lyrical content is red flag material, which is especially unfortunate for Under My Thumb. The back half is way stronger than the first half. I don’t care for most of it besides the opener. Out of Time is great, along with I Am Waiting and Take It or Leave It.
Similar to many Smog/Bill Callahan albums, I liked it but not every song and don’t feel like I need to acquire more. That sounds maybe too negative since I enjoyed the experience.
I think this album suffered from our group due to the obvious similarities with Bill Callaghan - baritone and sing/talk vocals plus generally slow tempo music. I listened to this maybe 10 years ago when it was on some other beat of list and my opinion hasn’t changed. I liked it pretty well, but there is not enough to get me to go deeper. Let’s hope the National isn’t the next album.
I liked this way more than I was expecting. Songs about F$&king didn’t make a huge impact on me 25 years ago when I was introduced to it, but maybe I was just not ready to hear it then. Now I will need to revisit that. Lots of interesting songs here, and I especially liked Kerosene, Bad Houses, and Bazooka Joe.
I rounded up because I appreciate ambition in art, but this is not my thing. I think I prefer Rush when they sell out and are more economical.
While nothing really offended me on this album, it’s way too long and uniform.
I’m not going to say this is punk AF, but it was more punk than I remembered. I feel like it got marketed to me as pop, but it’s pop punk with 80s stylings.
I liked more than I didn’t.
Most Byrds albums I’ve listened too are uneven. This one is too, but more solid than most.
I enjoy this album, but I do think from London Calling on they found their voice whereas this album seems more like someone else’s voice and more typical of British punk music. That said, it has tons of great songs including Career Opportunities which is an all time great.
Some probably find this too precious but I’m a sucker for orchestral pop. I was introduced to this album by This Will Be Our Year which is the best song by a fair margin. Some of the tracks took time to grow on me but did with the exception of only a couple. Colin Blunstone has one of my favorite rock/pop voices of any era.
I don’t have bad word to say about Willie Nelson. This is a great album and a favorite of mine.
After the first two songs, I really wanted to like this, but I really didn’t. In the 80s I dismissed Wham! as a limited, manufactured, corporate entity. I really enjoyed the recent Wham! documentary and that helped me realize how talented George Michael was. The guy knew his way around a pop hook and obviously has an incredible voice. This album covers a lot of styles but mostly badly. We have piano ballads, guitar ballads, folky tunes, jazzy numbers, and, um, a reggae song. The album is saved from 1 star by the first two songs, especially Freedom! ‘90. That’s a real banger.
I went through a pretty good classic rock phase in high school, so I’ve heard this before. I was curious to see if I maybe I was more ready to hear it now. Not really. This is not my thing, and I rounded up for the definitive version of Me and Bobby McGee. Cool rock/blues voice but the whole leaves me cold.
The 9 song original album is pretty good. I definitely didn’t need the 2 disc set version, or two versions of Suicide. I like the idea of the homage to Suicide more than I like the results. I have listened to and like a couple of Spiritualized albums but it was fun to hear this and how that band grew out of the shoegaze scene. I like a fair amount of the genre, so this was an easy sell to me, but not sure how much I’m ever going back. Really liked Lord Can You Hear Me.
I feel like production held back my enjoyment of a lot of Leonard Cohen’s albums beyond the very early stuff. This one seems like the production well matches the content of meditations at the end of life. It doesn’t have a ton of spotlight tracks but definitely gets the message across so I’ll round up to 4.
It’s got Hyacinth House and Riders on the Storm and I really like both of those. When they start blues jamming, I lose interest quickly.
I like this style of music and have listened to some Ali Farka Toure records and Mdou Moctar. It was cool to hear a different take on desert blues, but no tracks really grabbed me and I’m not super sure I will revisit this.
This is the best Smiths album in my view. I can’t quite pull the trigger on 5 stars since my ceiling for the Smiths/Morissey isn’t quite that high. The run on this album from Cemetry Gates through There Is a Light That Never Goes Out is pretty great.
I rounded up to two stars due to the wit, but I really didn’t like his voice or the production. There’s an element of theater or melodrama that I like in the Magnetic Fields, but I would rather hear about electric eels under the covers rather than riding your lover like a horse at dawn.
Initially I had a strong negative reaction to the production on this album and the first song, which sucks despite being very real for Paul Simon. I listened twice and liked it much more on the second listen. I’m not choosing to listen to this over Graceland or There Goes Rhymin’ Simon, but it was pretty interesting to see how some of the songs would transmute into songs from Graceland. You Can Call Me Al is a dumb, catchy song that bears resemblance to Cars Are Cars which is a very dumb song. Similarly, Hearts and Bones sure has things in common with Graceland, especially when he says “are traveling together.” The melody and phrase is really close to “my traveling companion is nine years old”. Train in the Distance has elements that sound like Under African Skies. Glad I heard it but not sure I will go back.
This was an interesting album to listen to since I’m not sure I even really like it but I definitely appreciate it. I really, really like the drums/beats used. All the instrumentation is creative and evocative. I actively dislike the vocals. I think her voice is perfectly fine but the vocal lines aren’t my thing and irritate me. I think they are going for haunting/creepy but I just find them overwrought and grating. I really like The Rip which I already knew and Magic Doors which I didn’t already know.
Not a ton of depth beyond the two hits and 40. It turns out Under a Blood Red Sky really is a better “early” U2 document and there are other U2 albums that have a more cohesive and distinct idea rendered.
I bought this when it came out on the strength of The Concept. It’s solid and without waste tracks, but when I want something in this era of power pop I tend toward Lemonheads, Matthew Sweet or Weezer.
I hadn’t listened to this album as a whole in at least 10 years. My memory was of an album with great singles but also filler. As a 30 year Flamingo Lips fan, I’ve admired their ability to push their ramshackle psychedelia to different places, and that always made Soft Bulletin a bigger step for me and a near perfect album. This album and the one that follows, kept playing in the same sandbox that got forged by the boom box experiments and then Zaireeka. There are a lot of good songs here besides the big three (Fight Test, Yoshimi 1, and Do You Realize) including Are You a Hypnotist?? and In the Morning of the Magicians and that got me to 4.5 stars. It’s not Revolver but it’s a really good record and it has the state song of Oklahoma (Do You Realize), which is probably the coolest thing Oklahoma has done in the last 30 years.
I slightly prefer the darker energy of There’s a Riot Goin’ On but there’s a reason half the greatest hits album comes from this one. I hadn’t listened to it before and so I’m glad it’s on this list even if it is a bit uneven.
Not enough hooks besides the title track to get me interested.
This band has 52 million Spotify listeners, so I’m obviously missing something. I couldn’t wait for this to end.
I’m glad this was on the list since I’ve never heard of this band but liked a fair bit of contemporaneous bands like Grizzly Bear and the Dirty Projectors that mixed prog rock with indie. White Denim introduces some southern rock elements that at times reminds me of My Morning Jacket and even the Allman Brothers. I was really between a 3 and 4 and might regret the score I gave this, but I don’t see myself going back to this a ton.
When I first bought this album in the 90s, it had this little extra on it which helped me understand the melodic universe that lived in Brian Wilson’s head for a little while. This is a background song on this album and it touches God. https://youtu.be/scIncjf0y0E
Weird and wonderful. I’ve been a fan of this album for a while along with the 60s garage rock, proto-punk stuff from the Nuggets compilation more generally. I like the primitive, drum/rhythm forward sound. I also appreciate their strange back story. The front half is stronger than the back half, but still very glad this exists in the world.
If I rated this purely on the likelihood of me listening to it again, I would have rated it a 3. For some reason I have never really loved Alice In Chains despite them ticking a lot of boxes. However, I recognize this album is very good. It’s full of great metal riffs, big hooks, authenticity, a unique soundscape and production.
Starts off on a heater but loses steam after the first 3 tracks. I’m a bigger fan of two other Prince albums at a minimum.
I appreciated this more than I thought I would. Had not listened to it in 30 years and it held up well.
There are very few songs over 6-8 minutes that I really like, so I was pretty skeptical starting off on a four song album with an average track length over 13 minutes. The first two tracks are tight, funky and fiery. They carry this to a 4 for me. There’s nothing wrong with the latter two tracks, but the horns in the first song blew my mind.
I’m a fan of Fiona Apple. This album has her vocal style, themes and aesthetic represented with the vocal jazz-inflected pop, torch singing, etc. I think she has two better albums - When the Pawn… and Idler Wheel - and that’s probably why I’m having trouble adding another star because I’m unlikely to spend a ton of time with this one despite a fair amount of really good songs like Shadowboxer, Criminal, Pale September and Carrion.
This was a fun and pleasant way to spend 48 minutes. The big single totally dominates this record. There aren’t a bunch of other big missed singles here.
It’s a great record from a super cool time and place in music that undoubtedly influenced many of my favorite bands. Tom Verlaine’s vocals are polarizing, but I really like them. The song structures are particularly strong so it’s not just kick ass guitar licks. The “hits” are front loaded but there aren’t any bad songs in my view.
It was hard to take this all in through one listening. I probably would have given it 2 stars but I feel like with more listening a some favorites would emerge given the musical terrain covered. I also rounded up for having a maximally idiosyncratic guest list that included both Kendrick Lamar and Kenny Loggins.
While I like two Radiohead albums better than this, it’s a massive change from the previous album and I love a band that doesn’t rest on its laurels. The opening of this album is wonderful. The very first noted let you know what is coming.
I was happy to listen to this since I knew the name but had never really listened to her music. Until yesterday, I didn’t even know she was British. With that said, most of the songs that I knew are better in other versions, like the Shirelles’ Will You Love Me or Georgie Fame’s Do Re Mi. I rounded up to 3 stars on the strength of Twenty-Four Hours from Tulsa. I had never heard that and loved it.
I was a fan of this album when it came out but have realized over time that I like fewer songs than I did 20 years ago. His flow still sounds great, better than most current rappers. The original album was 16 tracks and that was probably too long, so pushing this out with 5 additional tracks was a poor decision.
I’ve always admired the very odd song structure of the title track. Jet is fine for me as are a few others. I liked Mamunia and it really sounds like a John Lennon song. That kind of makes me like it more, thinking Paul is channeling something he is missing. I had never listened to this album. I had owned Ram for awhile as a thrift purchase and really didn’t like that album. This one was much better to me so I’m glad it came up.
I’m between a 4 and 5 on this album, but I will round up. All three of my kids (22, 19 and 11) know and love It’s the End of the World… completely independent of me. That’s kind of amazing, and fitting for what you could argue is their best song. I don’t really like the late album run of Fireplace to King of Birds. I appreciate them trying something outside their comfort zone with Lightning Hopkins, but that one in particular work. That said, lots good ones on this record and Distrubance at the Heron House is a personal favorite.
I’m not a Texas Blues fan, and certainly not this commercialized, antiseptic version of it. The last song with different production could be a Motörhead song, but that’s not enough to get this album out of the basement.
Pleasant voice, reasonable melodies, but not a ton to grab me.
I’m a big fan of the record, even if the party kind of stops after the first half. I like the contemplative and atmospheric second half, even though it doesn’t have a Crosseyed and Painless or Once in a Lifetime. When I think of this album, I now think of this Onion article which, ummm, hit home. I have this album on vinyl and I’m pretty sure I’ve made my daughter listen to it. https://theonion.com/cool-dad-raising-daughter-on-media-that-will-put-her-en-1819572981/
Better than I expected given what I knew of Muse. It’s too melodramatic and perfectly engineered for the arena for me to like it without reservation but I suppose I admire their craft.
I have a great deal of respect for Bjork. I don’t think it’s very easy to maintain a commercially viable life in music when you are so incredibly idiosyncratic. She has an absolutely unique sound, and I like it reasonably well. That said, I’m not sure I’ve ever truly liked an entire album of hers, including the Sugarcubes, but rather I like some individual songs. The closest to liking an album is probably Vespertine, not this one.
I could probably accept the twee nature of this band, but I just don’t like the vocals. The guy’s voice bugs me. The name checking of various California locations gets tiresome, too. I listened to this back when it came out as I recall it being pretty well reviewed. I didn’t get it then, and things haven’t changed despite a few nice moments.
Sweet riffage. I like the soloing a little less, and I’m not a huge fan of Dave’s voice. The subject matter is kind of dumb but charming in a metal way.
If most of pop and rock are portraits or still lives with clear subjects, Sonic Youth is doing William Turner landscapes - moody and indistinct. They don’t sound like much else before them, and definitely bridged the early indie bands of the 80s to the 90s indie scene. That’s probably a good thing given their incredibly pretentious name. This is one of my favorite records of theirs, including the Gerhardt Richter cover. Teen Age Riot, Total Trash and the Trilogy are great. I even like a throwaway like Providence which manages to be funny and sad at the same time.
This was a pleasant surprise and something I had never heard before yesterday. As I mentioned in the chat, the fact that Eminem referenced Buffalo Gals blew me away. My favorites were that song, Double Dutch, and Punk It Up. As far as the cultural appropriation goes, I will outsource my thoughts to the Robert Christgau review from 40 years ago:
I wish he'd thought to mention which specific Africans contributed to which specific tracks. Culture may be collective, but (in this culture) wealth ain't.
I kind of assumed I would like this more since I bought Only Built 4 Cuban Linx 2 when it came out in 2009 and liked it quite a bit. This one just didn’t have enough interesting instrumentation/sampling. It’s pretty one note, even though I like Raekwon and Ghostface Killah’s rapping styles.
I like three of Nick Drake’s albums, but I’m not sure I would go so far as to call any one of them great. There isn’t a lot of range going on, that’s not what he does. My favorites from this one are Way To Blue, Saturday Sun, and especially Cello Song.
I wanted to hate this album after reading their Spotify “about the artist” narrative. It was so self-congratulatory, it was Trumpian. It starts off, “Arguably one of the most acclaimed and loved bands of the time,” and it goes downhill from there. I was familiar with Dry the Rain, which is great, but not a lot else. The first time through, I thought it was fine but it didn’t really grab me. I liked it better the second time and appreciate the range of sounds and influences. They are mostly atmospheric indie pop but sometimes head directly into the party and occasionally even get funky.
Sometimes I wonder why this project picks some albums by artists I like - Hearts & Bones by Paul Simon, I’m looking at you! Not in this case, though. We’ve gotten two SY albums in a week and they are my two favorite SY albums. Schizophrenia is probably my favorite song of theirs since I think trying to capture mental illness in pop music and largely succeeding is a real achievement. The story is terrifying. Going to a friend’s house and his sister is dealing with something so scary, and her brother is dismissive. It’s incredibly real. Then at the 1:45 mark the music becomes exhilarating and haunting. Kim Gordon is perfect here. Tuff Gnarl, Stereo Sanctity, Catholic Block are all great. I like finishing with a sense of humor and looseness too and really like Master-Dik.
This is a collection of one line drawings. There are plenty of great melodies, even if they aren’t fully worked out. There are plenty of great lines, even if they are mostly insincere. They overcome a somewhat limited sonic palette with multiple voices, musical styles, and sexual orientations. You’re bound to have some clunkers and numbers that feel like cleaning up after a brainstorming session with this quantity. That makes me want more editing but 35 Love Songs doesn’t hit the same. I’m going to round up for ambition.
It was a cool, grey, damp week in Chicago, so this warmed me up at the end of it. I have no frame of reference for this music and I don’t speak the language, but enjoyed the experience. The disco to salsa transition in the first song was pretty sweet and I liked Maria Lionza a lot.
The music is better than their name, and I realize that is probably damning with faint praise. The instrumental arrangements were pretty interesting with a cool mix of styles, and often funky bass lines. I preferred the moments when you get hooks or actual rapping rather than the sermonizing, but I know that misses the point of what they are doing.
I have very specific memories from high school related to this album. I had a friend who liked them and this conjures detailed memories of sleepovers at his house. He played Mother’s Milk a lot, and then this came out and changed their trajectory. I don’t really like RHCP, but I will give anyone props that is able to make a durable life in music while being this unusual. Why don’t I like them? Flea and Anthony Kiedis don’t do it for me, and that’s a big part of their identity. Drummer is fine, and I really like John Frusciante’s guitar playing. I rounded up because Give It Away was a milestone music video, legitimately cool and unusual. While I like other songs better, that song would be a good way to summarize what the band does well.
I don’t totally hate Supertramp and their prog pop sensibility. They have some singles that I like, but I’m not revisiting this album. Meh.
I liked this just fine. Enjoyed a couple songs in particular I had never heard including Every Night. I feel like two solo Paul McCartney albums is at least one to many, but I would take three albums if it meant I didn’t have to slog through Linkin Park. I’m preparing myself for the Lennon solo records. I know it’s coming.
I’m a big fan of this record. I appreciate the jazz freak folk soul mashup that really pushed the limits of soul music. It’s very organic music to me, and many props to his band on this record, especially the bassist, Richard Davis. A lot of great songs but the buildup in Madame George to the crescendo at 3:35 is probably my favorite part. His phrasing at the climax is just incredible, even if he’s a giant asshole.
I enjoyed this a lot. It may have something to do with the fact that Chicago is cold and supposed to get a bunch of snow tomorrow. I may be coping here. At any rate, nice mix of arrangements and tempos, so it kept my interest, and transported me somewhere warmer.
I hit my Parilament/Funkadelic jag about 10 years ago and did a deep-ish dive. This album is a great choice for this list. I don’t love the last track, but I’m on board right up to that, including the windswept guitar heroism of the first track. There are tracks that sound like Sly, and one that sounds like Jimi, and then there’s Can You Get to That, which gets a place in my pantheon.
There were at very least a couple of better hip hop records in 2016, including Coloring Book. I feel like hip hop is where you most feel the author’s predisposition toward British artists. I liked a couple of tracks but the production and flow get repetitive to me. I appreciate the relative economy of the 44min runtime.
One thing I’ve noticed about my vinyl collection is that I own a lot of second or third best records of bands. This is an example. I bought this in the mp3 era and I don’t own Loveless for some reason. Someday I need to trade quantity for quality because I don’t listen to this record. That preamble makes it seem like I don’t like MBV but this is an interesting album because it feels like it is roughly divided into thirds. The first third sounds like Loveless 2.0, and sure, I’m going to like that. The middle third is more subdued and while it is not unpleasant, it is a little boring to me. The last third sure seems a lot closer to EDM, and maybe even jungle. I know Shields has liked that scene for years and this seems like what MBV sounds like fused to heavily percussive electronic music. It’s sometimes grating, but definitely an interesting new direction.
Superstition is so good it gets the album a four stars virtually by itself. The horn arrangement is mind blowing. The funk of the bass/keyboard riff is extraordinary and pretty weird if you listen to the tone of it. The first and last songs, Big Brother and Maybe Your Baby are good, but a lot of it falls into the category of inoffensive but meh. This is another album I own on vinyl that I never revisit so I enjoyed this. I bought it at the same time as Innervisions and Songs in the Key of Life and I go to those more.
This was pleasant throughout, but my interest is limited by the fact I didn’t really like the vocals - her voice and the vocal melodies. I like the fact these songs seem to be created by a bass line-driven song writing process, regardless of electric, acoustic or keyboard bass. That is a strength. If I was a club guy, maybe I would have memories of doing ecstasy and dancing all night to this record, but I don’t have that rating multiplier.
This may be the only record where the untitled track is my favorite song. I like more than I don’t, but can’t go all the way to 5 stars given that this is probably my 6th favorite REM album, and it really makes me wonder exactly how many REM albums will be on this list. I feel like this is a strange choice because it is a transitional album. They maxxed their rock band phase on Document, and haven’t gotten all the way to the art folk country pop of Out of Time and beyond. The Wrong Child is a song I don’t really like, but may give me the strongest visceral reaction on the record. I don’t buy the story they’re telling but I think the concept is an interesting one. It makes me sad, but also a little annoyed.
Seems like an Icelandic take on the Minutemen, but more artsy and annoying. I’m ok with the Bjork parts and there are a couple of songs I enjoyed on this. I was familiar with Birthday before. When the guy starts singing, I check out.
This was much more fun than I expected. I’m pretty sure I listened to this album 30 years ago and didn’t like it, so my expectations were low. Also, maybe I’ve been softened up by Bjork
I saw this band in 1993 at Le Bataclan in Paris. U of I had an exchange program there. The Verve opened for the Smashing Pumpkins. James Iha came on stage with a paper bag on his head and baguettes coming out of his sleeves and slinky danced. He said his name was Baguette Man. I bought the Storm in Heaven CD. I smoked weed with friends and listened to it. I listened to this album less. I’m sure I like that first album because it was my intro to the band. It’s less about Richard Ashcroft’s singing and the melody writing, and more about hazy dreamy psychedelic rock. It also didn’t have any mega hooks like Bittersweet Symphony. I’m glad the guy finally got paid for his efforts. There are a few tracks on here I like beside it as well.
I knew California Uber Alles and Holiday in Cambodia, and liked both, especially the latter. It turns out I like a few more than that, and I like the cover art to boot. The guitar tone is great, and they are tight. The main thing that tempers my enthusiasm is I don’t really like the vocals most of the time. It kind of feels like what Jello Biafra thought punk was supposed to sound like, kind of aping Sex Pistols whine and warbling.
I love Velouria, Ana, and Havalina. I like quite few more than that on this record. They kind of perfected their sound on this album, but it kind of makes me miss the less engineered feeling of the previous records. While they are not my favorite songs on their respective albums, I like the slapdash nature of Tony’s Theme or Hey. This album is more intentional. I also think that my introduction to the Pixies went Doolittle, back to Surfer Rosa and then Bossanova and that is affecting my perception of the relative value.
Dookie is a little one note, but a heck of a way to announce yourself to the culture. The hook writing is kind of crazy since some of the “throwaway” songs have pretty good hooks that would have been radio material for other bands. When they occasionally stray from the formula, their results are mixed at best. They got better at that over the years.
The guy’s got a really cool voice, and they write pretty good hooks. They remind of Supergrass a little bit. Liked the title track a lot along with some others. Might get another Star if I spent more time with it, but I gotta move on…
I’ve been revisiting this album every five or ten years since it came out, wondering what is wrong with me since I can’t really get into it. I like the guitar tone, the uncomfortable sex/violence/gender subject matter, the live sounding production (mostly), and I like her voice. After listening again, I think I just don’t get enough hooks, either guitar or vocal melody. It makes it so I enjoy the experience of the album but I couldn’t sing a single line back to you. I have two smaller gripes. First, is that I think this bassist sucks. For the most part he just plays the guitar line and rarely engages with the drummer, leaving him on an island and burying the bass in the mix under the guitar. Second, the mix sounds very live, and I like it generally, but I don’t think you can hear the kick drum and the compression/mastering is bananas especially on the first track. It’s probably intentional to get you to turn it up and split ears, but it’s crazy low. Favorite is 50ft Queenie and least favorite is Rub ‘Til It Bleeds for all the reasons I listed
There are a lot of well written songs on the record including the title track. I’m allergic to the production, but I grew up in the 80s, so there’s baggage with that sound. I think it’s mostly the snare I’m reacting to? I’m on Fire is probably my favorite track and I don’t think it’s an accident that the production is very different on that track, so I’ll won’t question the implications of the lyrics. It’s western music, and I like it. Dancing in the Dark leans into the 80s fully and that works pretty well, too. No Surrender would sound fine next to Thunder Road. The production on I’m Going Down is different too but that song sucks.
It’s sometimes almost purposefully annoying but occasionally feels like a breathtaking new kind of music. It’s got a collage feeling, emphasizing the global south but also borrows from Modern Lovers, New Order, the Pixies, and the Clash. Like a lot of self-obsessed pop figures (see West, Kanye), she seems like a paranoid, conspiracy-obsessed creature, and ultimately kind of a tragic story of fame.
I was in college in architecture school when this album came out. This album was super popular and a bit artsy so it was played a lot in architectural studios of the era. I spent a lot of time in those studios listening to it. I saw the Zoo TV tour. Normally, I would say nostalgia would be weighing heavily on my rating, but I had completely forgotten about this album and haven't listened to it in at least 20 years. I'm sure I've heard One or Mysterious Ways on the radio, but I had erased a bunch of songs on this like So Cruel, Acrobat and The Fly, which I'm pretty sure was a single. I guess having four producer/engineers involved was a good choice because the album sounds great. I like that they tried something different, apparently in large part because the Edge was listening to Nine Inch Nails and KMFDM, as well as Eno understanding the mission. If you told me you hate this album because of Bono's bombastic, over-emotive singing, I would get it. It's kind of interesting how they embraced a libertine Berliner aesthetic and got less pretentious and forced in the song and lyric writing but the singing went the other way.
I like this one a lot. Mostly folky with a little rawk to spice it up. This and Rust Never Sleeps are my favorite two of his eleventy thousand albums. If you can't get past his voice, though, this is gonna be a slog.
I had never listened to an Adverts album but I knew a couple songs from a 70s punk compilation called No Thanks! That compilation included Gary Gilmore’s Eyes, the charming story of a man that receives an eye transplant from a serial killer. That was on my Halloween mix for awhile. I enjoyed this album and liked Bombsite Boy especially, but if I’m going for this era and groove I’m probably still listening to the Buzzcocks.
The title track is a allegorical miracle. It's hard to think of another 8.5 minute song that I've heard as much on the radio. It's really a cool, rollicking song and I think Don made a mistake by putting the money shot in the first frames of this album, though I get it. Especially in those days, if you were an unknown, most people or disc jockeys wouldn't get to the 3rd or 4th or 5th track if the first few were duds. As it is, having American Pie first really sets you up for disappointment the longer the album goes on. The next two are pretty but downtempo and the 4th track hits turbo-snooze. The 5th track, Winterwood, would have made a good opener. By contrast, you can tell that Everybody Loves Me, Baby is gonna be lame from the way he counts in. I would be interested to know if he wrote that before or after American Pie, because it bears some resemblance and if he wrote it after, it is particularly tragic. Most of the rest of the songs are pretty and inoffensive, but I'm much more likely to listen to Paul Simon or Bob Dylan or Nick Drake if I want that.
I only knew the two songs by this band that appeared on the Nuggets compilation. That is a pretty well known compilation of 60's garage/psych rock and totally worth a spin if you like garage/surf/spy/psych music of that era. I like that stuff, so I was happy to listen to a full Electric Prunes album. I'm more likely to revisit the Sonics or the Creation, but this album spans a fairly wide landscape of sounds, tempos, subjects. I'm not sure I totally liked them, but Sold to the Highest Bidder, The King Is in the Counting House, and The Toonerville Trolley were completely bananas songs that I was not expecting. Some points for taking wild swings at the prize, despite some whiffing.
This album definitely heralds a new branch of metal/hard rock. It’s brash and dumb and cool. I’m not a maximum guitar solo guy so this has a ceiling for me. I’ve been building an ice rink in my yard for 6-7 years, and made friends with a goalie in the neighborhood who does music writing for the Chicago Tribune. He has an extensive record collection and an audiophile setup with 300lb speakers, and $10,000 a piece components. He had us over for pizza, beer and loud music - he plays his music live venue loud. Running with the Devil was the first song he played and it was bitchin’.
I’ve always liked her voice but I’m ambivalent about the Sinatra-style orchestral treatment.
I had listened to this album before maybe ten years back and liked it alright. I Wanna Destroy You made a big impression. It's a great song, and if you told me that was Cheap Trick I might even believe you. I liked Positive Vibrations but lost interest after that. A second chance through gave me more to like including Tonight and The Queen of Eyes. I'm generally a sucker for jangly pop done well, so that tracks. There are too many songs that bug me like I Got the Hots and Old Pervert to go to five stars for me. Also, the metaphor for love on Kingdom of Love has to be one of the creepiest used in pop music. I saw Robyn Hitchcock in concert in college because Matthew Sweet was the opener. He was touring Girlfriend which I was infatuated with at the time.
It’s pretty great, even if it feels a little like a marketing stunt. An all time intro. Ultra badass. I think it gets a little sleepy in the middle, but I’m always happy to hear this!
