I can certainly appreciate the beauty of the percussion rhythms. She has a very nice voice for the style. That being said, it's so far outside my wheelhouse that I wouldn't rate it very high.
Generic kiddie-pop. This band is widely regarded as a joke… quite possibly cause they are one. Ain't my thing and I couldn't care much less if I never hear this again.
I've never been a Kendrick fan. I just don't like his approach and style much. I appreciate the talent and the approach but I prefer other rap and hip-hop
Mellow, acoustic art-rock. Not bad but not really my wheelhouse.
One of the greatest records ever made. Mutt Lange really got the best of this band who came to the table with a great batch of songs. The right sound at the right time.
Britpop sing in a nasally up-tone or whisper/speak. I'm sure there are a lot of people that like this... it truly isn't in my wheelhouse in the least. The hit, "Common People" is an interesting synth-pop song. The most interesting thing is the cover photo and the story behind it.
English 2 tone/ska revival band. Instrumentally, they verge on punk at points… They have that punk ska feel. This is the kind of stuff that influenced Mighty Mighty Bosstones and that whole U.S. ska revival scene
Widely accepted as their best work and listed at 379 on the 500 Greatest Albums of all time, #43 on the 100 greatest Heavy Metal albums of all time. Certainly my favorite and very very close to a perfect album.
I never “got” Amy Winehouse. She’s good.. not GREAT. She has a pretty generic singing style and minimalist music. Sounds like Adele or Duffy or Joss Stone or a lot of other singers. She sure did burn out instead of fading away, though. OK singing, OK songs. Not my thing.
Ambient-noise alternative type stuff. Not my thing at all.
I imagine critics LOVE this. I don't. It seems like it's trying too hard OR not trying at all . In either case, it's not my thing.
Oh. Disco. Being Raised in the '80's, I am a "disco's dead, long live Rock!!!" kind of person. That being said, this was an enormously sucuseful record.disco ain’t me forte. And other than the obvious, I don’t know that I’ve ever heard a Sister Sledge song. Can’t say as though I’m tempted to listen to more. This mostly sucks with a slight deviation to “been-drilled-into-my-head-so-much-I-mostly-like-it” for the title track.
This is a good pop-rock record but I don't always understand the hero worship that goes with it... it's good, not GREAT. It's bubblegum in the beginning of the AoR phase.
Contrary to popular belief, it's not the FIRST gangsta rap record, it's just the first one to spill over to the mainstream. It IS influential AND important. It is an undeniable, yet very flawed record. It challenged the listener to confront uncomfortable "street" truths about race, poverty and violence in America. It didn't compromise on it's stand against law enforcement and politicians and it spurned a billion-dollar industry of indie producers putting out rap records.
Since this came up in my queue, I've been debating… IS this a perfect record? The answer I came up with: This is the perfect response to adversity from a band that was at it's absolute peak in every single way. As artists, they created. As musicians, they wrote special songs and as a band, they made the perfect record. The stars aligned for them to deliver this one.
Mike Chapman's first collab with the band… whom he found less-than-great. Full disclosure: what I know about Blondie couldn't fill a thimble. I "realize" they're considered great. I never took the time to deep-dive. I've jammed a song and a record here and there over the years.This is probably my first critical foray. I found it above average, to be sure, but not stellar. Released the same year as VH1… not even close.
ZZ Top's Third record. Released the day I was born. Classic records gonna classic. And this is an undeniable classic record just for the opening 1-2-3 punch. Add in La Grange and you have this record in a nutshell. The rest of the songs are good, if a bit generic, Texas blues.
Techno/Electronica (EDM?) record. I don’t find it terribly groundbreaking or original, having listened to Delerium, FLA, The Prodigy, etc. for years. It was a pretty big hit and is considered influential in the genre, which I’m not a huge fan of and don’t follow
I find it difficult to listen to due to it's lack of hooks and melody but it is full of soundscapes and deep, rich textures. Reminds me of The Fall, PiL, Joy Division and the like. Challenging and not really my wheelhouse but I "get" it.
The folky Bob Dylan-esque feel is hard to escape. It really isn’t in my wheelhouse but there are moments of brilliance. I can see the appeal.
I guess it's inevitable that this would sound like Nirvana. The claim is that most of the songs were written before or during Grohl's time in that band. I don't see any reason why that's not true, but they were definitely influenced by Nirvana at least to my ears. It certainly didn't make me a Foo Fighters fan and I don't get the appeal, really.
Atmospheric alternative music that touches on Punk, Pop and soft rock. There are some flashes of brilliance here, but it just isn’t anywhere near what I’d choose to listen to. Maybe because I just never caught onto the Morrissey thing and am a bit biased against him. If it had a different name on it…. Who knows?
I don't LOVE RATM. I like this record and I like what they do. I LOVE Morello's playing, but not the fusion of "things" - the poltics, the rap, the mentality. I like the music. I don't HATE the poltics. I just don't love it.
There are many reasons this is considered a classic, but far and above, it's the ability for this band to make these songs sound amazing through their talent and abilities. There are very few bands that could walk into a studio, do their thing and walk out with a stone cold classic but that is exactly what happened here.
Bored of the constraints of hardcore punk, they did what they wanted to here. Like Husker Du and Black Flag, they proved that Punk could be more than thrash and scream by just doing what they wanted to, even if it pissed off their core audience. I hate the term "important", but this is an important landmark in early punk rock that influenced grunge bands like Nirvana and pushed from punk into alternative before that was really a term. This is one of those great records that one doesn't often think about but once you're listening, you remember and "get" it.
Hancock's commercial breakthrough album and widely considered a defining moment for jazz, this has inspired and influenced a wide range of music including jazz, funk, disco and hip-hop. I can easily recognize the genius behind this record.
This record IS a product of it's time. But it's more than that. It's a true expression of poetry over music. It has been frequently cited as the first punk rock album, or at lest a key recording of punk rock.
This is a magic-in-a-bottle type of record that captured everything perfectly and established a career. No, they would never live up to this, but more importantly, they MADE THIS. An amazing record full of instant classics.
I've seen this called "important" and "vital" and who knows how many other words of inflated value. It's a decent enough album but the experimental sound combinations aren't really my thing. It's always hard to rate things that are THIS far outside one's wheelhouse. This record, to me, would make good background noise, but I'd never reach for it off my shelf to actually listen to for entertainment.
A typical modern rock record. It's good but not groundbreaking.
I get why everyone loved this record. At the time I didn’t, but in the ensuing decades, it’s grown on me. I never cared for the drama around this band and its “importance”, but this is a great record. Hard stop. I could still give or take it and in 1991, there were a lot of great records released.
Hip hop/rap has become so formulaic and predictable that the critics pick records like this to put on lists. And they become bigger than they are. This is mediocre mass produced uninspired rap. I’m certainly not the intended audience but it’s just not exceptional and doesn’t belong on the 100 albums you should hear before you die.
A compilation of his early singles and b-sides, this record is essential for any rock & roll fan. Undeniable record.
I'm sure there are those who like this as their go-to listening. Couldn't be me. I appreciate the "art" of this and I can hear the influence it's had on stuff that came later and I get the individualism of the work. But I can't see this being a style I gravitated towards.
Coltrane's magnum opus. A perfect record in every conceivable way.
Sure ain’t my thing. However, It is brilliantly performed. Catchy rhythms and vocals. The percussion is amazing. Very well produced. These are upbeat pop songs and it was enjoyable to listen to.
I could not locate this record. It seems to be a posthumous compilation. Instead, I found the compilation "Elis" (2002) on Apple Music which has all but one song from Vento De Maio; "Aprendendo Jogar / Learning To Play". I did find this song on another compilation, The Essential: Elis Regina (1971). *I’ve read of her being called Brazil’s “most important” singer. She’s brilliant…. Very talented. But slow love songs in Portuguese isn’t really my wheelhouse.
This record reinforces that this band is more than catchy synth tunes and deep blues guitar. They put together some really good pop songs and they created a bunch of soundscapes and amazing jazz fusion songs to go with it.
I did not particularly enjoy this record at all and I have zero interest in revisiting it.
The good is great and the bad is forgettable which makes it very uneven when considered as an album. It's a good album, not a GREAT album.
I can see how it was labelled as challenging. Gone are the "fun" and lighthearted pop tunes. Now we have jazzier, darker songs that speak for the disillusionment and pessimism. It really isn't in my wheelhouse but I understand it.
Young is a genius at his art and this is a phenomenal record that fuses country and rock seamlessly. Even the songs that don't really resonate with me surely impress me. A great record top-to-bottom.
It's a protypical EDM album. He found a good singer in Elisabeth Troy and made a record full of songs that fit the genre and mold. This isn't really my thing and I didn't find it good enough to "get" why it's on the list of 1001 albums you must hear before you die.
This is widely recognized as one of the greatest punk rock records from the first wave of UK Punk. It's easy to pick out how it's influenced new wave and post-punk music for decades now.
This is an iconic album and an all-time classic. There's no disputing how good this record is top-to-bottom. It is easily one of those legacy record that you just nod and agree is awesome.
Overproduced Synth/keyboard-drenched pop music with a wispy singer that gets annoying before the end of the record
With their catalogue, I'm extremely surprised that this record was selected. It was their lowest selling record at the time. It is one of their most diverse and has "Death of a Clown", which is one of my favorite Kinks songs. It just seems like one of those hipster picks.
I didn't hate the record, but I certainly don't love it. It's not really my style.
Not typically my go-to Beatles record, I always enjoy it when I do visit it. An intentional shift from sugary pop singles to artsy albums, the songs are strong decades later. The three-part harmonies and experimental instrumentation are still interesting after hundreds of listens.
I don't see the value of this record at all and have no idea why it's on the 1001 albums you must hear before you die.
not my thing. I didn't enjoy very much of this record at all. It's noisy, hectic overproduced hip-hop beats and occasional rapping. The lyrics generally aren't catchy and it just sounds like they're trying to overwhelm the listener until they dance. I do give it an extra "star" for it's legacy and influence, regardless of my personal tastes
I prefer the Greatest Hits package released in 1973 but most of the songs on this record have become classics. It was released posthumously, kind of as a tribute and it is hard to listen to this record and not think about what could have been.
This is one of the records on this list that I wouldn't have visited without this type of list. It's Not a bad record and I'm glad I heard it but I'm skeptical that I'll ever revisit it.
John Lee Hooker was a blues icon before he recorded this record but its success enabled him to reap the rewards of his long career and hard work. The format was repeated a couple of times in the '90's without as much success. It is a good record, but does not match the quality of his earlier work which is vital listening for even casual fans of the blues.
I can easily see how this would be a critic's darling type record. It's very reminiscent of the '90's grunge explosion with less originality. I think they locked the band into a room and told them they couldn't come out until they came up with Son-Of-Nevermind". They did an ok job of it. The biggest problem for me is... I don't LOVE Nevermind the way many do.
This record won 3 Grammys and had multiple hit singles. I can see how that happened. It’s not really my thing but radio-friendly light rock with a bit of piano ballad mixed in can’t hurt your commercial appeal
I get why it’s so critically acclaimed. The politics and the scenester thing. It’s different enough that it didn’t fit into the power pop scene or the grunge scene. It’s certainly not pop. I don’t love the singing/screaming and the lyrics aren’t catchy. Its ok. Not great.
Deep Purple In Rock is one of those records you KNOW is great. You just don't always know how to quantify it. It does have overly long, indulgent songs (side one is three songs...) but it's also concise, in-your-face and exciting. Blackmore told the others "if it's not dramatic or exciting, it has no place on this album". Mission accomplished.
This record is unfairly maligned for not being commercially successful. That irritates me deeply. It sold FOUR MILLION records. There's a lot of artists out there who would like to be commercial failures by selling four million records. That being said, it's also a pretty good record. Sure, the sappy ballads and country-tinged passive-aggression aimed at each other aren't really my thing, but I do appreciate the record.
I get what they're doing here, with the whole Skynyrd concept. It does get kind of old by the end of the record with the repeated "Sweet Home Alabama" riff and musical theme, but I do get it. This isn't a terrible record and I'm glad I listened to it, so I guess including it on the 1001 albums you must hear before you die has been successful in that regard.
I love the production on this... whoever engineered this record should receive a grammy x10. The space... the tones... it's beautiful. The soft guitar parts are wonderfully layered on top of the other instruments and the vocals are layered over it. The saxophone is amazing. This is an amazingly done record.
This is commercially inaccessible "music" that critics see as "art" and want to be successful, regardless of how much people ACTUALLY like it. Cause, let's face it... no one really likes this shit. This is niche art-rock that's totally focused on a "vision" rather than making a good record.
I certainly realize the strength of this performance and the brilliance of just about everyone playing on it. The rhythms and percussion is other-worldly. It is worthy of inclusion in the list of albums you must hear before you die.
This was a HUGE record. It was huge in how it was made, the topics and how successful it is. Janet was already successful but certainly sealed her career on how big this record was. The result was 4 #1 hits and 3 more top 5 hits. HUGE.
I enjoyed this record tremendously. It sounds great, it is interesting and there are a lot of interesting elements and sounds thrown in there. I certainly understand why this is a classic.
A masterpiece for the ages. The first of a four-album cycle that includes four of the arguably best albums ever made.
Another example of critics pushing a record or artist trying to establish a trend and making something "important", despite how good or bad it is. This is objectively bad. There is so much good hip-hop and rap from this period in time that it baffles me that this made the 1001 albums list.
Critics and fans LOVE this record. They talk about it as if it's one of the greatest records ever made. But it is so far from what I really like that I don't know if I'm being overly critical, but this doesn't rank anywhere near MY list of the greatest records ever made. I find it lacking energy and overly indulgent art-rock.
As with any late 70's punk record, the production is a bit thin and the sound is raw. I like the record and I'm glad I listened to it. It fits right in with the records coming out of that scene in England at that time. A raw, attitudy punk rock record.
The Talking Heads took punk to a different place... mixing in art-rock and pop and plenty of synth and keys, they made their own sound. This is a catchy record that is enjoyable to listen to.
This is a good record. It remains interesting from top to bottom and doesn't lose the listener. There are multiple parts where the instrumentalists go in different directions as they explore the song and take their parts but they do manage to stay on-theme and bring it back. This experimentation is what Yes and ultimately, prog rock, is about. This is a solid example of all that Yes has to offer.
Full of mellow introspective folk songs, this is pretty much what you'd expect from a folk/country/rocker doing a "come-play-music-with-me" guest-spot solo record. I wouldn't call this groundbreaking or even all that memorable. It is exactly what I'd expect from a David Crosby solo record.
This is an amazing album that I didn't like much at the time. I'd been a fan pretty much since the beginning and I didn't like the "punk rock opera" thing. But it grew on me and I do agree that it's one of the best records to come out of that power-pop revival of pop-punk. Definitely an album everyone should hear before they die.
This record is a classic. The production is the only real flaw. It's OK, not great with a raw and unrefined mix, but at the end, it is a truly undeniable record. A metal classic that definitely deserves to be on this list and should be listened to by everyone.
This is one of the greatest records ever released. It changed a genre, if not invented it. It's influenced just about everything since. It's METAL when there wasn't metal. This record is undeniable.
I don't like this record. To call it "important" or "groundbreaking" is disingenuous to important and groundbreaking records. It's "artsy" noise-pop. I guess it appeals to someone... not me.
This is a good 70's roots-rock record. I can see why fans would be still pulling this off the rack 50 years later.
I despise the label "important" regarding records, but this record has undeniably left it's mark. It is one of those records that just needs to be listened to. Despite individual tastes, most people would probably agree that this is good record that captured lightning-in-a-bottle.
I read somewhere that Rolling Stone said that "Heavy metal still lives in its shadow" about this record. I can't really add more. It's a nearly perfect record that needs to be listened to by anyone serious about music in any way.
It's a good record that I wouldn't typically think about listening to other than a song or two. I don't know that I'd call it vital to anything but R.E.M. I would not call this their "best" record, although "Stand" is certainly one of their most known songs. Their career trajectory was defined by this record and the hits generated by it.
While I have certain preferences for other records, therefore this doesn’t top my list, I would not argue with anyone saying this is among the greatest live recordings ever commercially issued.
I can certainly understand why critics love it, it's kind of an "anti-Springsteen" Springsteen record. That doing it for the sake of art and whatever. There are some great songs on here like "Badlands," "Candy's Room" and "Racing In The Street". The rest of the record doesn't do much for me at all. It's ok.
It's influential in a lot of ways... but it's not always accessible or easy to listen to.
There are two versions of this record… the UK version and the US version (released in 1979). They have different track lists. Both versions should not be missed as this is essential listening.
I'm not sure how it got onto the 1001 albums list, but it's worth a listen at least. I found it to be a decent mid-90's britpop/rock record that doesn't really stand out all that much. I'm glad I listened to it but wouldn't have noticed it otherwise.
It had the car. it had the girls. it HAD the hits. Most of all, it had songs. And they were catchy and ready for primetime. MTV's infancy made this happen. and it happened. GREAT album. Listen to it again for the first time. It's worth it.
I get why this is so critically acclaimed. While it's not really my style, I appreciate the complexity and layered sound. The production on this is stellar, particularly in the frame of the late '80's/early 90's when it was made.
I get it. It's a pop record and it's catchy and danceable.
This is a great record. It's catchy, well-produced and it has stood the test of time brilliantly.
I don't really get why this would be critically acclaimed. I can only imagine what it was like to be a Radiohead fan from the beginning and to run out and get this. Shocked and disappointed would be just the beginning. This sucks.
It has influenced generations and is widely included in discussions about the greatest album of all time. Justifiably so as it is an incredible marvel of studio production and songwriting. The performances are memorable and the songs are timeless. A true classic that belongs on the list of albums you must hear before you die.
generic electronic tinged pop. I honestly have no idea why crap like this is on the 1001 albums you must hear before you die. I could have died happy NOT having heard this. It's warmed-over mediocre britpop.
The guitar playing and percussion is amazing throughout the record. It's a solid example of reggae from a former Wailer. I don't really find much fault in anything on this record. It's a good record.
They managed to blend styles and not fall into the gangsta rap or pop-rap traps of the time. Production-wise, it is a product of it's time. It broke big, winning two Grammys in 1997 for best rap album and best R&B vocal by a duo or group for "Killing Me Softly". clearly, it's a big record and belongs on this list.
I see the appeal and I understand why this would be influential. After backing Dylan, the attention was on them to make a good record for their debut. This certainly is a good record. The organ really drives the sound and they blend country, folk and rock with.. well, pretty much everything else. It is a very good record.
It has one of the greatest songs ever recorded on it. "Bohemian Rhapsody" is undeniable. If you don't like that song, I can't help you. There are some really good songs on this record and there is certainly some filler.
This is one of those albums that got lost in a career. Not widely heralded in its time, it has gained acclaim retrospectively. It’s a strong record that was called “way too personal to be a Simon & Garfunkel record”. Maybe. I’m no expert. But it is a product of its time. Too much 80’s production over what would seem to be introspective folk songs. I can see why it’s gained acclaim. It’s a good record.
They really diverged from the sound on the last record with the swooning Deep Purple-esque organ driving the songs. There’s way more of a folk country roots rock feel here. It’s a good record. It’s a catchy sound and worth a spin. Good songs, good production.
This is a great record. The r&b/soul influence and sampling is fantastic and Jay-Z is on fire throughout. It is widely regarded as one of the greatest hip-hop records of all-time. I'm not completely sold on that as I like old-school DJ production a lot more, but I definitely consider this a classic.
It's interesting enough for a visit, but quite honestly, I don't care if I ever hear another song from this record again. It's not that it's bad, it's not. It's just that this is one of those alternative rock records that indulges the artist (co-self-produced) and doesn't really do a good job on accessibility, melody or catchiness. Without those factors, it's an art-rock album that becomes one of those critics' choices and they foist on the masses to be "smart" and "relevant" by creating a trend.
This is, quite simply, one of the best records released in my lifetime, if not ever. It is undeniable. The performance, the songwriting and the production on this record are top-notch.
This is a pretty good 70's album by a legend (to-be at the time...). The songs and arrangements are solid and the hits speak for themselves. This isn't really my wheelhouse, but I appreciate the substance of the record.
This is a decent record. It was well-received at the time and has been critically acclaimed since. It sound very much like most of the Brit-rock being released from that scene at that time. It was worth a listen.
Every once in a while, I get around to a record that I "missed". In this case, I'm really glad I did. This is a great record that deserves the accolades and attention that it's gotten over the years.
It’s hard to mark anything on a classic record down. Still, there are parts of even this that I could do without. Yet, I don’t skip them or shut them off. This record is undeniable and certainly worthy of inclusion on the 1001 albums you must hear before you die.
I'm just going to say that this isn't anywhere near my wheelhouse. It was interesting and yet confusing to listen to. I like being challenged and am glad I've heard this once. I don't forsee revisiting it anytime soon. Or ever.
I enjoyed the 60's sound with the jangly 12-string Rickenbacker guitar, a sound The Byrds and Roger McGuinn are known for. I liked the record and can see how it's influenced rock. A worthy inclusion on the list of albums you must hear before you die.
The complex production and soundscapes, including deep mellotron and orchestration are perhaps the strongest points of this record. Yet the complexity is perhaps the reason it has influenced countless musicians but completely forsakes commercial appeal in virtualy every way. At once, it was a statement of purpose, a coming-of-age and a brilliant flash of inspiration unleashed on the world. What it wasn't is accessible. They disregarded commercialism and put out an art-rock record... and proceeded to make a career out of it. It's a near-perfect record that should certainly be listened to... closely... by any music fan. It takes some effort to really dig into this record and appreciate it's depth and complexity.
This is synth-pop masquerading as punk that takes itself far too seriously. They try a little too hard to mesh styles instead of writing a melody and concentrating on making good songs. It consistently devolves into an "artistic" statement at the expense of the quality of their art.
I find it to be a pleasant foray into early 80’s pop rock. It’s light and jazzy. It’s fun to listen to and interesting in the layers and textures.
It’s a good-to-great record that marks the time it was released in, the post L.A. Riots time when gangsta rap was big. The good songs are great, the skits are not.
This isn’t my wheelhouse but I can’t help thinking that I see how people like it. It’s essentially radio friendly music that people who don’t want to listen to music would select or be fed by a streaming service. It’s not great, it doesn’t suck.
It’s a classic sounding country crooning record. It doesn’t try to be too much and the lyrics are well written.
This is one of those records that you need to be a fan of mid-late-70's alt and punk music to truly appreciate. It mixes what The Doors did with what the CBGB scene (was doing with... well what happened later. It's incredible that this preceded the punk explosion and sounds like what came after at the same time. I can hear every 70's/early 80's new wave/post-punk band and the 70's punk/CBGB bands at the same time. An amazing record that needs to be heard and is more than justified to be on this list.
Yes, it's a perfect record. Yes, it's got arguably the greatest song ever written on it. This record is absolutely essential listening for all. It has influenced everything since and will influence everything until the end of time. If you don't like this record, I don't know how to help you. And help you probably need.
This is one of those lightning-in-a-bottle records that happens when a band is in a state of turmoil. The songs are strong, the lyrics are often poignant or sharp barbs. It is a good listen and the brit-pop and Beatles influences are pretty obvious.
This is a pretty good record. This is their "growth" record where they veer away from nu-metal. The songs are pretty good. I'm not sure it's the record to make someone a fan, but it is a good listen. The song "Snuff" is perhaps the best song they've ever done.
A punk rock classic. DK were relentless touring beasts honing these songs note-by-note for the two years before it. A couple were re-recordings of singles and/or EP tracks. They were road-tested songs and a battle-weary bunch to record them. Still, at the end of the day, it's about Jello's vocals. The dude has the most unique voice in punk. Killer record.
It tries very hard to be "epic" and big but at it's heart, it's an ambient pop record. The critics love it and it was a big hit in it's day but I didn't find it especially interesting. It makes good background music.
This record is a classic of alt rock and post-punk. Funny thing is that it was released before there was a POST to the punk.
It is just a weird and eclectic collection of noise. It is interesting to visit every once in a while but I've never really considered it essential listening.
This is widely considered one of the greatest records ever released. While lighter, poppier rock isn't normally my thing, I do recognize how great this record is. It spurned a lot of hits for a reason; because it's a really good record that people love.
A decent late-60’s rock record. It’s a good balance of folk, blues, jazz and rock. It’s fun to listen to.
This is one of those records that can leave you panting by the end. The production is stellar. Ted Templeton really captured the essence of these songs and didn't try to restrain Ed. The backup vocals are amazing, the drumming is so so underrated and David Lee Roth is perfect here. No, he's not even the best singer that's been in this band, but he is the PERFECT singer for this band. Until Sammy (lol...). What I mean is he's perfect for Van Halen at this time. This is simply an undeniable record. I don't have the first clue how ANYONE could dislike this record.
Reissued in 2016 as Jack Elliott - Muleskinner with 2 additional songs. A very raw early recording of a folksy country blues singer that has clearly influenced folk, blues and rock as we hear it today. This is one of those roots records that anyone serious about music should listen critically to in order to get a sense of where modern music came from.
This record is a masterpiece. I would argue that it’s their best and most inspired work. The subject matter is so personal and the music is perfectly executed. They’d found a perfect musical and lyrical balance and they captured everything perfectly. There’s just so much emotion packed into it and even in the parts without lyrics it shines through.
The singing is great. The orchestration and production are top notch. It just doesn’t do anything for me.
A journey through intricate soundscapes woven with synths, percussion, organ and horns. I’m glad I heard it, but I doubt I’d be inclined to revisit it. It’s just not in my wheelhouse.
I find a lot of value in this record as these songs have become standards in the Great American Songbook and deserve praise and credit. I can certainly see how the influence it has had on scores of recordings since, across who knows how many genres. It is sparse folk and blues songs with nothing but guitar and harmonica.
It's catchy and danceable music with a message. I get the mass appeal. It's just not my particular style of music.
It's a good modern hip-hop/rap album. He mixes in plenty of elements of soul, R&B and hip-hop. Solid production by Kanye back when that was a good thing.
If there's a place or time that "perfected" this sound (grunge) for the mainstream, this is surely it. They retained the heaviness of earlier records while clearly displaying diverse influences and styles. It debuted at #1 on the Billboard 200 to be the band's true commercial and critical breakthrough. Suddenly, everyone wanted to hear them play their song.
It doesn't let up much even on the songs that aren't total and complete bangers. And the bangers are BANGERS. When one thinks of "right album, right time, right group, right audience", this should be the poster child. They'd built up to this one as each of their previous two records did better than the one before it. This record is amazing in a completely amazing year for records.
It’s a solid dance music album. The first half sounds poppier and much more “played” music than samples and beats where the second half sinks into the looped samples of generic EDM. I prefer the first half and mostly can do without the second half.
It’s the greatest concept record ever made… Commercially, it was a smash hit, critically, it was acclaimed. It was adapted into an orchestral version, a ballet, a movie and a Broadway musical. Each song can and does stand on its own outside of the storyline, a rare feat for a concept record. This is a seminal and important work in modern music and easily one of the greatest records ever made. A true masterpiece.
As part of the "sacred" Berlin trilogy, I think I'm supposed to just swoon over it. Honestly, short of the title track, I don't care at all, in the least little bit, if I hear this again. This is part of Bowie's art-rock electronic phase, heavily influenced by Brian Eno.
