having just listened to music from big pink, it's obvious the band's sounds have crystalized on this album. it's more refined, it's more focused on genres / genre blend. unfortunately, i just don't really care much for where they took their sound - i found music from big pink was more interesting and engaging than this. highlights - the night they drove old dixie down, look out cleveland, king harvest

second "album made as a soundtrack to a movie" in a row (vanishing point by primal scream was yesterday), and you know what? here for it. more albums like this please. more bed time stories about borderline personality disorder maiden please. highlights - something wicked this way comes, the vibes ain't nothing but the vibes, achieved in the valley of the dolls

couldn't place what it was about this album cover that bothered me so much, then i realized: willie nelson is giving gerber baby all grown up. this was way too paired down for me to really get into. while i liked SOME parts of this album sonically, thirty minutes came and went, and the music didn't leave much of an impression on me. the concept and story, however, was a lot more interesting, and i appreciate this a lot more as a country concept album. no highlights because there wasn't anything here that i would listen to casually, but this was an interesting album to listen to, and i did enjoy that!!

beautiful album. treat of an album. soulful, sweeping, and cinematic - as a fan of more vintage rock and pop acts this didn't sound tired to me at all. the title track, coles corner, is the showstopper for me, reminding me of a scott walker song or maybe even a track off of the arctic monkeys' the car (was pleasantly surprised to learn that hawley, also from sheffield, has previously collaborated with them). will be adding mr. hawley into regular listening rotation. highlights - coles corner, hotel room, the ocean

don't get me wrong: this is a really good album. it's obvious there's some insane talent and production going into the tapestry of genres this album weaves together, but i, personally, like more of what came later and what was developed adjacent to twangly, jangly, americana rock. i wish there were more tracks like chest fever. highlights - the weight, chest fever, this wheel's on fire, bob dylan's artwork

having just listened to music from big pink, it's obvious the band's sounds have crystalized on this album. it's more refined, it's more focused on genres / genre blend. unfortunately, i just don't really care much for where they took their sound - i found music from big pink was more interesting and engaging than this. highlights - the night they drove old dixie down, look out cleveland, king harvest

don't really care that this was basically two albums glued together - why not take the time to meander through an album if the music is good? it's hard to decide which side is better, because i like both of them, just based on different merits. speakerboxxx is so solid, it's so good, and i think it beats out the love below as a stand alone album. the love below might be a bit more convoluted, but i was happy to tag along for a ride on big psychedelic-concept-album mountain. plus, it has hey ya!, and that's gotta count for a star or something. highlights (speakerboxxx) unhappy, the way you move, the rooster, last call (the love below) happy valentines day, she lives in my lap, hey ya!, roses

forget about the songs themselves here for a sec: tom scholz has a masters from MIT?? he worked at polaroid?? he outfitted a mad scientists lair of diy music equipment to make the perfect rock song?? he conspired with the rest of the band to hoodwink the record company and get their unadulterated demos on the album?? this became the second highest grossing debut album of all time for a north american band?? lol. lmao, even. i like the story of boston more than the album itself, and the album itself isn't half bad. having just emerged from under a rock where i've been living for the past three or so decades, i can hear why people think these songs sound overplayed. this is a ceremonious and benevolent 2. highlights - more than a feeling

really liked the production on this album. unfortunately it was a little hit or miss for me: some of the tracks were great, while others... well, they were there. beyond the catchy beats, can't say i'm a huge fan of the tasteless lyrics, which MAYBE could be excusable if you aren't really listening and just have this playing in the background, though i had to pause and double check what i'd just heard several times on my listen through. oof! 😬 highlights - murder was the case, who am i (what's my name?), pump pump

wowie zowie!! i love music. highlights - so much love, breakfast in bed, the windmills of your mind

enjoyable!! think this is a really solid album with a bunch of good songs, and i'm partial to the pairing of hole's sound to california as a theme. leaves a lot to be desired though, so: three gross melted plastic palm trees from a movie set that fell out on a truck and are now condemned on "the 5," out of five. highlights - celebrity skin, boys on the radio

i'm afraid i'm a bit toy story-pilled having first encountered randy newman through pixar, and i must admit that every song sounded like "you've got a friend in me" until i really got into the album. he's obviously a great songwriter, but the music itself sounds a little hokey, like a cowboy doll is going to crawl out from my bed at any moment. still - great album!! highlights - last night i had an amazing dream, simon smith and the amazing dancing bear, dayton ohio

lovely, absolutely lovely. i adored how this, as a live album, became something of a time capsule unto itself. everything about this: the music, sarah vaughan's voice, the atmosphere... just magical. i love music!! highlights - willow weep for me, be anything but darling be mine, honeysuckle rose, just a gigolo, how high the moon

i mean... people like the Voidz, don't they?? (it's me, i'm people) there were a handful of tracks on here that were instant saves but i can't say the whole package was solid. some great highs, some okay lows. will be giving a listen to this band's other stuff for sure though. highlights - star, if they move, kill 'em, motorhead, trainspotting, long life

second "album made as a soundtrack to a movie" in a row (vanishing point by primal scream was yesterday), and you know what? here for it. more albums like this please. more bed time stories about borderline personality disorder maiden please. highlights - something wicked this way comes, the vibes ain't nothing but the vibes, achieved in the valley of the dolls

yeah, not my thing. first album that was a one and done listen through. highlights - blue suede shoes, money honey

another "this really isn't my thing," and there were no songs i liked enough to save from this album. i could hear elements in this album that i really liked - i am a sucker for orchestral pop music. but then as soon as i thought i was enjoying myself, the tune would shift into something grating. i wanted to be wrong and end up liking this, but again: not for me!

a nice change of pace - i liked a handful of songs, but at times they just blurred into one another without much differentiation. run time was a little too long for my liking... got a little tiresome. but!! overall, these guys were fun. highlights - on a rope, used, misbeaten, come see, come saw

did i enjoy this?? maybe more than i expected i would: it surprised me how paired down this album was, seemingly in service to the focus of taylor swifts singing / songwriting. and, of taylor swifts singing / songwriting... it was alright. i found myself more interested in learning about the context behind the songs and this album, as opposed to the sound of the album itself, because again - to me - there wasn't a lot to parse through sonically /beyond/ taylor swifts singing / songwriting (like, i can't imagine i was supposed to be wowed by the tunes and instrumentation here, right?). this was the first taylor swift album i've listened to in its entirety. i don't think i'd listen to this album again, but i am going to listen to other taylor swift albums because my curiosity has been piqued. to all the gaylors out there: there's still time for travis kelce to transition. don't ever give up. highlights - no body, no crime, cowboy like me

so, to kick this review off, i was initially listening to the 2011 remastered version of this album on spotify. i got through the first two songs - okay, right, this is the smashing pumpkins - but then i get to "today." the one smashing pumpkins song i know (because i played rock band 2 as a youngin), and i'm flabbergasted. why does this sound like DOO DOO?? did i hallucinate that "today" was a good song?? corgan's vocals sounded distant, the guitars nonexistent, and the drums were WEIRD. switched to youtube music and it sounded more like how i remembered it (like, good????). i don't know what's up with the mixing, but i'm glad i switched because otherwise these tracks were seriously lacking and were not being done justice. anyway, on to why this is a 1 (jk) - i don't care for crogans vocals. like, really really don't care for them. IN SPITE OF THAT, this album rocks. hard to say yet if i like this or i REALLY like this, but this album is sitting at a 3.5 so we can round up to 4. highlights - cherub rock, today, hummer, silverfuck, sweet sweet

the main thought i had listening to this album is "oh! interesting!" one of the first rock operas? interesting! it was widely panned upon release but was later rehabilitated for it's place in music history? interesting! unfortunately, the final product is a little meh. highlights - balloon burning, death, baron saturday, old man going

i'm bewildered by the fact that power corruption and lies isn't on this list. it is, imo, the defining new order album (especially if you want to talk about music history and groundbreaking albums), though in revisiting technique i'm reminded that they just make great music anyway. and technique, front to back, is a great album. highlights - fine time, all the way, run, dream attack

upon learning this is the best-selling album of the 21st century (so far) i was incredulous, but after a front to back listen: it makes sense! the album is solid, and adele's incredible vocals are able to elevate it to something that much more. it was an enjoyable listen, though beyond a few songs (rumor has it) it didn't leave any indelible impression on me - i heard most of these songs on repeat in the mid 2010s and i'm happy to leave them there. and not that anyone asked: but i think i'll always have some difficulty approaching certain songs (ahem, someone like you) in earnest because of how much it's been meme-ified. i can't hear that song and not feel ironic. that's not adele's fault, and it's not a knock on the album, i just have internet brain worms. highlights - rumor has it, turning tables, set fire to the rain

this album sounded dirty and grimey. like i wanted to wash my hands after i listened to it. but then i listened to it again, so what does that mean?? not too big of a fan of the vocals on some of the tracks (teenage head), but pretty much everything else they were doing, otherwise, was cool. highlights - have you seen my baby?, yesterday's numbers, whiskey woman, shakin' all over

i only had vague knowledge of mr. fiasco before this listen, but i instantly recognized "kick, push" and "daydreamin'" - the rest of the album did not disappoint!! happy to be introduced to mr. fiasco as i will be checking out his other stuff. highlights - kick, push, the instrumental, daydreamin', american terrorist

i will be honest, if i can dance to an album it's gonna be a high 4 to 5. i heard so many sounds on this album that i already love from the late 80s / 90s (they got house on here?!?! yippee!!), and queen latifahs evident skill as a rapper was the icing on top. was not expecting to dig this as much as i did, but it had all the makings of a great album for this user. highlights - dance for me, wrath of my madness, evil that men do, and the REMIXES OH MY GOD!!! great stuff!!!

i was waiting for the other shoe to drop as i was listening to this: when was there going to be song that's a stinker? imo, there aren't any. what a treat to listen to a 1001 album and experience a growing sense of disbelief that EVERY song is an instant save. highlights - excursions, buggin' out, verses from the abstract, show business, vibes and stuff, check the rhime, everything is fair, jazz (we got), skypager

so, after listening to this, i looked up a few aggregate lists for the best ""electronic"" albums of 2000, because i was really curious to see what "lost out," so to speak, to this album. while this album did show up on some of these lists, it often sat somewhere in the top 20 (if it even appeared), and there were several albums by artists (who i am familiar with, and do have bias) ranked above this one who are conspicuously absent in the entirety of the 1001 list. don't get me wrong: i don't hate this album. it was alright, and, at times, enjoyable, but it was a one and done listen. coming to this when there's a dearth of ""electronica"" in this list makes me feel... bad!!! mr. dimey isn't the arbiter of good music, in spite of publishing a series of books on the matter, and i agree with the general consensus that this as a 1001 pick doesn't feel great. i think there are probably other ""electronica"" albums from 2000 that could've been on this list instead of sincere (if you want my pick to judge my taste, i would've put broadcast on here instead of mj cole). merits of being on a made-up and arbitrary music ranking list aside, i liked this album as a faux-nostalgia trip for the late 90s / early 00s (i say faux because i was not at the club circa 2000). i was trying to envision in my mind what the club circa 2000 would even look like when this was playing, and you know what? everyone in my mind's eye looked like they were having fun. all to say: this album was somewhat enjoyable (to me) on qualities that are ephemeral and very non-objective, and the overall project failed to impress me as being worthy of inclusion on the 1001 list. it compelled me to do research to try and understand how it got on this list to begin with, and i wound up listening (and relistening!!) to a few albums from 2000 that i liked way more than this. ah well!! such is life. highlights - sincere (re-cue'd)

hmmm... hard to pin down what it was exactly about this album that didn't click with me. i found the scant lore about this album (produced by phil spector, delayed release for a year, dion wound up disowning this record, it found later acclaim... somehow) more interesting than the album itself. nothing here grabbed me sonically (aside from in and out of the shadows, though i had heard that one before), but it was a pleasant enough listen to. highlights - in and out of the shadows

multiple advisors in my court have informed me that this isn't a great album and its weird that it was even included in the list (compared to other who albums). nevertheless, i pressed forward because what kind of ruler would i be if i listened to baseless rumors fueled by my courtiers instead of verifying the facts for myself? as it turns out, the eunuchs were right: i thought the who were supposed to be better, or something. while a few tracks stood out, the rest were kind of duds, and a few - were i to be misled by power-hungry councillors with malicious intent to subvert my authority by making a fool of me - i could have been told were by the beatles and i would've accepted that because... i didn't hear a difference!! highlights - my generation, it's not true, a legal matter, the ox

oof!! first time listening to ok computer front to back as a radiohead fan in passing. not only were most songs off of this album a save (or had otherwise been saved beforehand), but i felt like the album - as a project, as a experience - was consummately complete. while i know radiohead is afforded a great deal of study and commentary by virtue of being nearly ubiquitously popular and it's not like other people making music don't also have a myriad of influences from a myriad of places, it was still impressive to me to learn about all of the different sources of inspiration that radiohead wove together to make this album so richly layered - both in message and music. for me, this is what you get when you're nerdy and pretentious and care a great deal about the art form. great stuff!! highlights - airbag, paranoid android, subterranean homesick alien, electioneering, no surprises

well - this user is already a regular listener of old school 70s moog music, and thus: loved every second of this. highlights - jumpin jack flash, mamata (affection), metamorphosis, sagar (the ocean)

ah.... how do you follow up thriller?? if it were me, i would've stopped while i was ahead. bad isn't /bad/ per se, but aside from the hits (bad, the way you make me feel, man in the mirror, smooth criminal) this album lacks the perfect track run of thriller - which - i can't begrudge anyone for not being able to meet such lofty standards. of the non-hits on here, i was surprised to like speed demon as much as i did, but the rest were forgettable... ... unlike smooth criminal, which i will have stuck in my head for the rest of the week. highlights - bad, the way you make me feel, speed demon, man in the mirror, smooth criminal

i had to listen to this four times to find some kind of salient feeling about this album. this thing is mellow and subdued - i was wondering if i was somehow missing the critical acclaim that i otherwise figure the velvet underground warrants. but not everything is gonna be an in-your-face, get-on-the-dance-floor-now-motherfucker kind of ride. the more time i spent with the album, the more it grew on me, and there was more for me to hear and appreciate on each listen through. highlights - candy says, what goes on, some kinda love, beginning to see the light, i'm set free

well, i expected to like this album more than i did: on paper, a maximalist art pop / hip hop album (viewed with millennial nostalgia colored glasses) should be a slam dunk, but this wound up being a really mixed listening experience for me. i tend to like bombastic / rock opera stuff, but the big, sweeping movements on this album were disorienting because sometimes, i loved them, and sometimes, i was left sitting and twiddling my thumbs. i think they hit more than they miss, but i had multiple instances where i would favorite a song in the first minute or so, and then contemplate un-favoriting it at minute three or five. some high highs, some meh lows. a lot of the parts that i did like were the features, because of kanye's rapping... well, i like parts of it. for me, the hard-hitting features point to the genius production that, at times, i would say is immaculate. the production is the highlight of this listen for me, and i can absolutely hear the influences - from what it takes previously to what it gives going forward - that this album brings. highlights - POWER, monster, so appalled, lost in the world

hey this was pretty fun - had no problem putting this on and going about my day today. great stuff!! but also, an aside: starting to notice a pattern where everybody blames brian eno for everything. didn't quite realize my guy was the jack antonoff of the 70s... highlights - the thrill of it all, all i want is you, out of the blue, triptych, casanova, prairie rose

of the four fat sluts, they say george harrison was the fattest. i appreciate 1001 giving me the zenith of the beatles' solo-stuff so i can anticipate everything going downhill from here. i guess i had higher expectations than this - or at least wanted to feel something about the music as i was listening to it. i really liked parts here and there, but the rest passed me by without much fanfare. willing to do a little more investigation on the matter to have a more definitive judgement (like i said: REALLY liked certain parts), but for now: meh!! highlights - my sweet lord, wah-wah, i live for you

while i've dabbled in pavement before, i really don't know much about them and this was my first front-to-back listen of a pavement album. as someone who doesn't really listen to the likes of nirvana or sonic youth, it was initially hard to sonically parse this album aside from just being... "early 90s noisy rock." it took me sitting down and really LISTENING to this album (as opposed to having it on in the background) to begin to appreciate what they were doing here - i almost can't believe this is a debut album. that being said, i think i know now why i don't casually listen to the likes of nirvana or sonic youth: this stuff kinda gives me a headache. i can only listen to the distorted, lo-fi fuzz for so long before i have to leave (i was counting down the seconds for the "serious legit" listen through for when i could turn this album off). this is a ceremonious and benevolent 2: i wholeheartedly believe this album has the merits of a 5 star rating (i wouldn't disabuse anyone who has that opinion of this album), but for me, this thing has a depth that puts it at the bottom of the static-fuzz-distortion ocean... and you know, i just don't feel like getting wet today. highlights - trigger cut/wounded kite at :17, loretta's scars, two states, fame throwa

yeah... listening to this yesterday made me a little angry. mainly because i felt an inconsolable sense of betrayal that so many people in my life for whom i hold in high esteem have effused about this album and now that i've listened to it i can't understand why they'd lie to me. i thought we had something. what did i do to hurt you?? but then i slept on it, gave it another listen, and now: feel a little bit more charitable. there's some good stuff on here (great stuff - even: america, mrs. robinson, a hazy shade of winter), but this album did not land for me. it's only at the end with the three track run of mrs. robinson, a hazy shade of winter, and at the zoo that i feel consistent about liking the album - everything beforehand is real hit or miss, but at least it's only 29 minutes (?!?!?!?!?!) so it's over soon enough. highlights - save the life of my child, america, mrs. robinson, a hazy shade of winter, at the zoo

surprised i liked this as much as i did, but what do you know? i can't get enough of this baroque pop stuff. i didn't even know it was called baroque pop until i started 1001. i love music!! this was going to be a 4, but then i searched john cale on the internet and went to images. ok grandpa!! get it!!!! 5 stars. highlights - child's christmas in wales, the endless plain of fortune, macbeth, paris 1919, graham greene

couldn't place what it was about this album cover that bothered me so much, then i realized: willie nelson is giving gerber baby all grown up. this was way too paired down for me to really get into. while i liked SOME parts of this album sonically, thirty minutes came and went, and the music didn't leave much of an impression on me. the concept and story, however, was a lot more interesting, and i appreciate this a lot more as a country concept album. no highlights because there wasn't anything here that i would listen to casually, but this was an interesting album to listen to, and i did enjoy that!!

i enjoyed this a lot more than i was expecting too!! it was sonically pleasing and a nice little slice of bay area history from the 60s. with the production and range on this thing i could hear how - if things had gone differently for poor moby grape - they might've had garnered a lot more acclaim. genre wise this isn't my usual speed so this is sitting at a high 3, but i still liked this as a little hidden gem of an album. highlights - hey grandma, fall on you, 8:05, come in the morning, omaha

i do this bit (that's only funny to me, but why do anything in our fleeting lives if not for the love of the game?) where i say i get steely dan and tom petty and huey lewis mixed up - they're all pretty much the same guy to me. after listening to this album, i can see how i could really piss people off saying that, so i think i'm going to keep doing it. highlights - bodhisattva, razor boy, the boston rag, show biz kids, my old school

the one thing i keep thinking as i try and sit down write a review for the third day in a row: this album is overwhelming (-ly good). if i really cared to, i could probably sift through this albums almost two hour run time to find SOMETHING to critique... but you know what? i don't want to. almost every song was a hit. stellar album. great listening. unquestionable classic. highlights - saved almost every song from this album, but special shout out to saturn

20 seconds into the first track i broke into a cold sweat realizing the impending terror that the next hour of my life was going to be spent listening to twee singer-songwriter bullshit. well!! i wasn't wrong, BUT ☝️i must affirm: this album is more than some twee singer-songwriter bullshit. i hate being like "if it was different, i would've liked it," but i had the incessant feeling as i was listening to this album that if it didn't have the cheesy, singer-songwriter indie trappings, it could've easily been a high 4 or 5 for me. that being said, it has a lot of that. but it also has a lot more going on - i didn't look at the date when i started listening, and guessed that this was some mid to late aughts indie project - but no!! 1999!!! EXCUSE ME??? AND this was this SOLO artist's DEBUT ALBUM???? this guy is insanely talented and sounds years ahead of his scene. while i genuinely enjoyed a handful of tracks from this album, when i tried to get over myself and take some of the lyrics in good faith, i started to wonder if - excuse the british term - this guy was taking the piss. which is part of my problem with singer-songwriter as a genre, and brought my overall rating down. still: pleasantly surprised by this album and the sounds it brings. please, for a moment, imagine that meme of three wojacks on the iq scale. please imagine the first wojack, to the low iq left end, is saying "this is some twee singer-songwriter bullshit," then please imagine a smug looking wojack in the bell curve center saying "it's more than that!!!," then, finally, please imagine a large-brained wojack on the high iq right end saying "this is some twee singer-songwriter bullshit, but i like it anyway." highlights - everybody's stalking, fall in a river, body rap, once around the block, bewilderbeast, cause a rockslide, disillusion

enjoyed this well enough - there's some nice tunes - but nothing here impressed me much aside from the title track. i'm a lonesome fugitive?? i'm a well-endowed law-abiding citizen. now what. highlights - i'm a lonesome fugitive

ah, to come back to where it all began: green day was my introduction to music. sure, i listened to what my folks played in the car or in the house, but green day was the first band i got into as a free agent with an internet connection (though, i do have a hazy memory of sitting down with my dad at the family computer and looking at itunes after i had made some declarative statement about getting into music / finding something to listen to, and he suggested green day). from green day i generally stuck with the broad category of alternative rock, though that in and of itself was all over the place because i'd listen to / buy whatever songs in the rock category itunes had on sale - i remember listening to flogging molly, weird al, obscure australian indie bands that started a lifelong affair for australian indie music (teenagersintokyo, mercy arms, lost valentinos), and panda bear because - being [redacted] years old - i thought anyone with the name panda bear must make good music. green day isn't too shabby a start, if i do say so myself, and i find myself appreciating this album a lot more than i did when i was [redacted] years old. like, genuinely: this album sounds a lot better than i remember it being. especially when you hit longview and get to the meat and potatoes of this album. i was anticipating giving this a nostalgia tinted 4 stars, but it lands as a solid 5 star album. also, shout out to progressive and bisexual king billie joe. didn't quite catch the lyrics to basket case before: I went to a shrink, to analyze my dreams She said it's lack of sex that's bringing me down I went to a whore, he said my life's a bore So quit my whining 'cause it's bringing her down highlights - burnout, having a blast, longview, welcome to paradise, pulling teeth, basket case, when i come around, in the end

i had to listen to this like five times before i could make up my mind about it - do i like this? do i hate it? "electro pop" and "synth pop" are both genres i love to listen to, so i should love this, right? i really didn't know, and i didn't know why it was so hard for me to find some salient feeling about this album. it lands in some indeterminate, bland middle-ground for me - sure, i like some of the songs, but the project as a whole?? meh... now, i find all the jack antonoff scapegoating lore hilarious, and while i don't earnestly believe he's solely responsible for how i feel about this album, it's gotten me thinking about his production style in general. because: as a st. vincent fan, i /liked/ masseduction (2017 - same year as melodrama), and i /really liked/ daddy's home (2021), but both of these antonoff produced works are a huge departure from her older stuff, and i maintain strange mercy (2011) is her best album (so far!!). so, maybe there's some truth to this jack antonoff slander - but i haven't really listened to the artists he regularly works with, so i can't say for certain if he's really the one to blame here. highlights - homemade dynamite, supercut, perfect places

i'm not too familiar with britpop, but after listening to this album i'm wondering if i need to amend that. while the britpop years were a little before my time, i was around for its immediate successors - most of which i grew up listening to and are largely responsible for my music tastes today. the problem, though, is that of britpop's immediate successors that influenced me, i would say almost all of them were turns away from the dominant genre's trappings and status quo (bloc party comes to mind), or were otherwise so sonically self-determined that they could eclipse whatever precedent had been set by britpop (radiohead comes to mind). of the post-britpop scene (coldplay, travis, et. al.), i feel mostly ambient disinterest with a sprinkling of active disgust. ergo: i probably wouldn't like britpop, right?? but i liked this a lot more than i expected to - it was fun, snappy, and i saved almost all the songs off this album. there was a lot more variation in sound and style than i was expecting!! i have errant musings about this album's sound and development late into the britpop timeline - i'll be interested to hear earlier britpop classics and what this album might've taken / not taken from precedent. highlights - richard iii, late in the day, g-song, sun hits the sky, it's not me, cheapskate, you can see me, sometimes i make you sad

i was honestly so pleased to finally get kraftwerk album... among the many things i'm learning about music doing this project, i've learned that kraftwerk (whomst id never sat down to listen to before) is a major influence on some of my favorite artists. like, i think this whole album is a trip to begin with, but it was especially trippy to put the first track on and wonder if i hadn't somehow put early new order on by mistake - THEN, we jump to show room dummies and i'm suddenly reminiscing about SOPHIE (❤️). my favorite thing about this album is when it seamlessly flows together as a coherent fifty minute block of music. i love the melody that carries from the first and last track. while it can, at many points, feel rote and droning, i feel compelled to charitably attribute these qualities to its dark and experiential atmosphere as opposed to thinking its, like, bad music or something. and you know: this album really grew on me with each listen through. idk what i'd do if i was teleported to 1977 and didn't have my emotional support electronica. think i'd get by with disco, and of course moog is here, but could i remain steadfast long enough for the 80s right around the corner?? maybe it wouldn't be so bad if my new best friend, kraftwerk, was there with me and my haphazard time machine accident. anyway, idk what i was talking about: 5 stars. highlights - europe endless, showroom dummies, franz schubert

i rated sarah vaughan's "at mister kelly's" a 4 some number of moons ago on the merits that 1. i like jazz, 2. it felt historically significant to be listening to a live set from the 1950s, and 3. it made me laugh a couple of times. coming to this album... well... not be a belligerent zoomer who doesn't understand the significance of MTV... but like, who cares? not to mention it's a paired down acoustic set - why do grunge if you're not going to put your whole pussy into it? i'm only half-joking asking that: i'm not an incorrigible hater who can't appreciate musical talent (listening to this, there's no question that nirvana's genius is innate and transcends labels), i'm just an incorrigible hater when it comes to acoustic sets. watching this on youtube improved my feelings somewhat: if i'm going to listen to a live album, i'd like there to at least be SOMETHING interesting about it. i'd like to hear the back and forth between the musicians, i'd like to hear them tune their instruments, and i'd like to hear the audience's reactions, etc. etc. i appreciated this as a project a lot more when i could actually see and hear these things instead of JUST clipping it to the music. highlights - about a girl, come as you are, the man who sold the world

dang!! four songs, forty minutes, five stars. highlights - chameleon, watermelon man, vein melter

listening to this made me realize - of madonna's hit singles - like a prayer is the one i like the least, and the rest of the album didn't really hit the same high as the title track. so: we go from middling to a little under middling (middling-lite, maybe). a little bit disappointed to be so underwhelmed, but i did save a handful of songs, so it evens out. highlights - like a prayer, express yourself, love song, till death do us part, cherish