I was looking forward to this as I had never heard of it before. I very quickly realised it was not for me. It sounded like the birth of musical theatre - wordy, too thick a texture, and melodies that wandered all over the place. I was glad when it got to the last track, less glad when I found that track to be 10 minutes long.
Kind of drifted by… Good musicianship but lacked either riffs or melodies strong enough to make it stand out.
A bizarre mixture of styles, not particularly coherent but with enough strong singles (well spaced out through the album) to keep up its momentum. As a side note, Shout was being played on French radio when we went into the local shop for the first time this summer - it was followed by Just Like Heaven. A good start to the holiday.
The production elevates some of the weaker songs, but a couple of songs would benefit from some editing - great three minute songs that are dragged out to 5 minutes or more and lose impact as a result. I do find his voice quite grating at times, there are particular inflections that sound like Eric Cartman singing.
A bit of an odd one as a lot of it just sounded like the soundtrack to a standard 70s Hollywood film. I was expected a more distinctive (possibly stereotypically Indian) sound.
Not sure it is something that has to be listened to and doesn’t really do anything new beyond what they did before, which was hardly revolutionary. However, No Cars Go is my favourite track of theirs so I am giving a bonus mark for that.
Melodies and arrangements are strong and I can see the appeal but the sound is a little bit safe for me.
Found the nine track version after the link had sent me in the direction of the 3-disc, 3.5 hour version. I don’t think their sound has aged quite as well as some of their peers, but there were some pleasant surprises here.
I only really knew of his later stuff from programs like OGWT. This was a nice surprise - chaotic and percussive. Definitely an influence on later Tom Waits.
I disliked this immensely. Poor in concept and execution - long, pretentious and lacking any memorable songs to hang the concept around.
Some lovely guitar work. Fortunately the sun was out when I listened to it as I don’t think it would have had the same impact in the rain…
I am not averse to a bit of country music but this was a bit too confederate for my liking.
I like him as a performer (his sweat drenched performances on OGWT are amazing) and I like some of these songs in isolation but as an album it is a bit much.
It is an album clearly built around the title track. It passed by pleasantly enough in the background but the sound is generic, radio-friendly rock, which doesn’t do much for me.
I just don’t think I like this genre very much. This might be an excellent example of it but, while technically proficient, I find it very shallow both lyrically and musically.
Nice guitar work and a smooth voice with the blues numbers providing a bit of a break from the gentle ballads. Overall, a nice album but I am not sure I will remember any of it by tomorrow.
A really good album with strong melodies and evocative lyrics. It has standout tracks but these are framed by the songs around them to give them more impact. The maturity and confidence of the album is remarkable given their age at the time.
Enjoyed this more than expected. Functions really well as an album; no real standout tracks but coheres nicely, with enough variety within the sound to keep it interesting.
Thought I didn’t know the band but realised I knew ‘another girl, another planet’ as one of John Peel’s favourite tracks. I was pleasantly surprised by the other tracks and could see why they were considered influential.
I love his voice and arrangements but some of the songwriting does not match the quality of the tools available, which is what stops this being a great album. A song such as River Man shows the potential for making a great album but sadly he did not have the opportunity to realise this.
I had not listened to this before and found it did lack the immediacy of some of his later work, but still has the strong lyrical imagery and ‘preacher screaming at the end of the world’ vibe that I enjoy. I think this is an album that will improve with repeated listening (as with a lot of his work) - my mark is more how I think I will view it rather than its immediate impact.
Enjoyed it a lot more than expected as I was worried it would be a psychedelic mess… Some nice melodies and gets extra credit for Golden Hair which Slowdive turned into one of the best live tracks I have seen…
I liked the segue from the prog into money for nothing but the rest of it was pretty boring. You can hear the influence of a band like The War on Drugs but their songs have a bit more to them than what I heard here.
Pretty standard jangly guitar stuff until the end where you can see why they made impact. However, I feel their subsequent albums do the jangly stuff and the experimental stuff better.
Genuinely horrific. I was concerned when it showed that some of the tracks appeared on the playlist ‘yacht rock essentials’ but what followed exceeded this concern. It was like the Pina Colada song stretched out for an album. When it said 1001 albums to listen to before you die, I don’t think the intention was for the list to push you towards your demise but the inclusion of this album is making me question that. At least it was mercifully short.
I did enjoy parts of this but found it went on a bit long. I admire the production and execution but didn’t find too many of songs grabbed me.
It is less an album more an audio documentary. The songs being punctuated by messages for the inmates, their responses to certain guards names - all these things give a sense of the setting and give added power to the performance. Granted, there is a lack of variety in the songs but the performance is incredible.
For me, the very worst excesses of rock and live albums combined into one - pointless noodling, extended drum solos, and aimless virtuosity. This was a slog.
A perfectly pleasant album but it seems like a regression given the Beatles’ exploration of experimental approaches.
A tricky one as it is of a style that I find is not very immediate and therefore it didn’t make much of an impression on me after one listen. I think it is one from the list that I will try and listen to again as I think I might enjoy it more.
I expect this will be divisive amongst a lot of listeners. I have already listened to this before on a few occasions, which helps given the length of the album. Z xx I personally really like it and John Wayne Gacy Jr is one of my favourite songs about serial killers. I think it suffers from having too many ideas at times and would have been a great album with a bit of careful pruning and focus.
Actually enjoyed this more than I expected as I had a particular dislike of their music when growing up… It is still not something that I would listen to out of choice but I didn’t hate it. The last track was the standout, mainly due to the participation of Andre 3000, which provided a nice contrast to the rest of the album.
Both progressive and regressive in equal measure… Highly influential on the blues rock boom of the early 2000s while borrowing heavily from the 70s. I did enjoy the odd moments of experimentation (use of electronic beats, etc.) and found it has aged well.
This is hugely influential on modern hip-hop and has some real highlights. Some elements do not age so well (the scratching, wearing a massive clock) but I did enjoy revisiting it.
Some good pop songs that have been somewhat ruined by overplaying and ubiquity.
Lots of character and some good tunes. I suspect that my favourite SFA album (Mwng) will not make the list so I have to mark this highly!
Not my first time listening to this but it was a good one to revisit. There is a nice variety of texture and instrumentation with some strong melodies.
There are some really nice songs, good changes of pace, and I have always loved his guitar playing. The album lacks the vitality of their live performances of these songs - I found that songs that were thrilling live were just a bit too clinical when committed to record.
My general dislike of this genre of music means it has to be exceptional to make an impact on me. This was not. There is clearly one standout track but the others were either forgettable or shallow.
I knew the name but had never listened to this but I was amazed at how influential this was on so many wildly different artists. I really enjoyed this and can see why it was such an influence.
Probably don’t love this as much as I used to. However, I still really like it and can see its influence. Rhythmically interesting with interesting structures and strong melodies.
Fast Car is one of my least favourite songs of all time. Genuinely hate it. The rest of the album was boring (if Boyzone is covering it, it is pretty bland) but I could appreciate some of the lyrical intentions.
Agree about the need for active listening as I listened to it in the background at work and could see that was not the right setting for something such as this. I could appreciate all the aspects of it but will need to listen in a dark room with no distractions to fully appreciate this.
Fantasy by Earth, Wind and Fire is one of my guilty pleasures. There was nothing here which reaches that level. They are a great singles band but the singles from this are not up to the standard of their later work.
I love Harrison’s guitar playing and there is some excellent songwriting. There was a nice amount of variety but it also went on too long and my attention was starting to drift by the end.
There a couple of obvious singles and I can see why it might have made an impression at the time, but her voice is like nails scraping down a blackboard and the lyrics are truly awful.
It is a really confident album that has excellent songwriting and a sound that has aged really well.
I enjoyed this but it lacked any real standout tracks from a first listen and I’m not sure I enjoyed it enough to warrant a second listen.
The first album I have encountered on the list where I have questioned its existence on the list. Neither influential nor very good at what it does, I am cannot believe there isn’t something else that could have taken its place. Not much to grab your attention apart from the big single, which has a decent energy.
Either there are an extraordinary number of Bob Marley albums on this list or the RNG has failed us… It was clearly a stronger album than catch a fire but suffers from a lack of variety due to the conventions of the genre.
I rather enjoyed this - some really good riffs and didn’t descend into the excesses of some 80s metal. I have never been a fan of the double kick drums so that knocks it down a bit but still better than expected.
The harmony, arrangements and songwriting are fantastic and I love the sense of melancholy that runs through a lot of the songs.
A welcome inclusion on the list and a nice one to revisit after a while. There are good melodies, it is well structured, with its standout tracks well spaced out, and its run time is about right given that it doesn’t have a huge amount of variation. I have always enjoyed how the guitar sound is both dirty and clear at the same time.
Not what I was expecting in the first half but went to more expected territory in the second. Clearly hugely influential and ‘the message’ is a classic but the compilation nature of the album means it lacks cohesion.
The pros on this one are the exceptional musicianship, really good riffs and structure. The cons are that the lyrics are sometimes a bit righteous and it influenced Limp Bizkit.
I enjoyed this. It was interesting as a bridge between Public Enemy and a more modern hip-hop sound. I liked the choice of samples and the different styles of the vocalists.
The harmonies are incredibly tight but this music does very little for me and it quickly lost my interest.
I cannot listen to too much Dylan in a short space of time as I find it can get a bit repetitive however this was a great one to revisit as it is easy to forget just how great Dylan is. There are some absolute classics on here and it manages to hold attention despite its lengthy run time. He even makes me appreciate lyrics which I generally am not bothered about.
Speaking to the resident Swift fan in the house, she was baffled by this album’s inclusion given that it was made up of songs that didn’t make the cut for Folklore. I enjoyed Gold Rush and it is clearly a highly polished production, but the songs don’t really connect with me, and it descends into something quite formulaic. The song with Haim was truly terrible so it loses a point for that.
Lacks variety and doesn’t have the imagination of their later work but it is still a strong set of songs, with some obvious standouts. Mercifully short after a couple of long ones too…
I may have listened to this before but I am not sure… I did really enjoy it, though. Good riffs, excellent musicianship and good structures. Almost veered into noodling territory at the end but kept it in check.
It was alright. I quite liked their sound (goth with electronic drums) but I wasn’t really paying attention so I can’t really remember any of it beyond that.
Wow, that was a challenge. I love David’ earlier bebop and hard bop work, and fully understand the need to push boundaries, but there was very little for me to hang onto here. I know it was very influential at the time but I am not sure I like its influence as it moved jazz into an era where it was detached from any of the traditional foundations of rhythm and melody into to something far more nebulous. There were moments where it connected but not enough for me.
A band that passed me by in my formative years so it was an interesting one, given the status of the band. Black was the standout for me but I think others would join it with further listening.
Sabotage is a great single with an equally great video. Nothing else on the album reached that level but there is still a lot to appreciate. There is variety, the flow between them is fantastic, like when old friends catch up after a long time and just slip into the old rhythms, and they have an such iconic sound that it really could be no one else, which, given the amount of music that is produced, is quite an achievement in itself.
Wasn’t really expecting to like this as I had (probably incorrectly) associated her with angsty balladry. However, was a really strong album. The confidence to strip it all back to the voice in one of the later tracks was impressive and highlighted how strong her voice is. I will listen to it again, which is an endorsement in itself.
Whenever I encounter something I haven’t heard before I always mention it to Neil. The response is either that he will reel of a list of their seminal albums or that he has seen them live before. This was no different, he saw Barry Adamson perform with Nick Cave as a member of the Bad Seeds. I love the fact that this was included in this list. I don’t know what it is (seemingly a soundtrack album to a film that never existed) but it was a really interesting listen - full of variety, with a sense of underlying malevolence. Probably like a visit to Moss Side.
This album showcases the virtuosity of the performers but it has a focus; there are various points of resolution and consonance from which the improvisation is anchored. Each performer has their moment to showcase their skills but the sense of coherence is never lost. In spite of its short length, I have found that I get something new out of it with every listen. This time the drumming caught my attention; restrained and fluid, while keeping the dynamics varied. This is a truly great album that actually gets greater with every listen.
This town ain’t big enough is wonderfully chaotic and distinctive. The rest of the album descends into more standard glam fare. Loses a full star for having a song called barbecutie.
Not my favourite style of jazz but there were some decent tracks in there. It is a bit safe and lacks the dynamism of my favourite works. Not a huge fan of guitar as a lead instrument in jazz as well - I can appreciate it on a technical level but it lacks the fluidity of woodwind and brass instruments.
Not for me. Their sound grates on me and I think the theatricality masks a lack of good songs. The reason it wasn’t a one is that it wasn’t quite as bad as I was expecting.
Possibly feeling a bit of jazz fatigue… I love Evans’ work as part of a broader ensemble but did feel having his piano work as a focus did not connect with me in the same way.
The influence of this album is huge (probably one of the most influential of all time when you look at where music is now) but what often gets lost is how good the melodies are across the whole album - if you stripped back the innovation there are still good songs underpinning it. I can only imagine the impact of hearing it for the first time at that time. Fun fact: This was the album that we listened to while decorating the hall where we had our wedding reception.
This style of blues doesn’t really do much for me. It takes a genre that started as raw and honest and turns into a Vegas spectacle. The musicianship is good but isn’t enough to carry it.
I wouldn’t be surprised if I’m an outlier on this one but I have grown to love Leonard Cohen’s music over time. There is something about his delivery, the guitar and the arrangements that connects with me. Father John Misty does an excellent cover of the last track too.
Not for me… A little bit too 1990s dinner party for my liking.
Much like with Nick Drake, I find reviewing JB is hard as the potential for greatness is clearly there but is not fully realised in his work. The voice is incredible and there are great songs but it does descend into more conventional fare at the end which doesn’t match the earlier songs.
I liked a few of these songs but it didn’t really connect with me strongly lyrically, musically or structurally. It may be one to go back to as I think it would have more impact with familiarity.
Some of the production is quite dated and it does go on a bit long, but it is a remarkable album for a 18-year old to release. There are a lot of things to like about the musicianship and songwriting but I am not sure it is one I will revisit as it didn’t connect with me in the way Little Earthquakes did.
If I was to have one criticism it is that one track out of ten is merely good rather than great. It was wonderful to revisit and be reminded just how great an album it is. Memorable riffs, melodies and lyrics and really well produced. One of the things I did love is that the last track would lead perfectly into playing Closer straight after. I will have to try this some time.
I didn’t mind the first track but what followed was one of the most boring albums I have ever listened to. The sound of beige.
I possibly enjoyed this more as it was a welcome break from a guitar heavy week. This only really functions as an album as each track in isolation is not that memorable but as a whole it worked.
I wanted to like this more due to my love of Lanegan’s work with QOTSA but found it got a little bit boring and didn’t really have anything that really captured my interest.
Not really my kind of thing but I read they were influential in the punk movement so some credit for that. Gets an additional ´Spinal Tap’ star for them packing it after their manager electrocuted themselves.
Hurt, and its accompanying video, is a spectacular piece of work, amplified by the subsequent death of June. The other covers on the album do well to reframe the originals, though some of them are stylistically too close to their original. The album is too long - it would have been better cutting off the last five tracks. As much I enjoyed the majority of the album, I am loathed to give it more than 3 as it is mostly a covers album so I can’t give credit for songwriting.
Not the biggest fan of U2 as individuals or musically but they do have some fantastic songs. I find that some of the songs on this drift by relying on the ´U2 sound’ without any strong melodies or riffs underpinning them. However, I think ‘One’ and the final three tracks are sensational.
Special mention to ´love is blindness’. The whole song is great but I love the guitar solo especially - it is visceral and broken at the same time, which captures the mood of the song perfectly. I loved it so much it was played at our wedding reception - which would prompt a good discussion on the least appropriate songs to play at a wedding.
I wasn’t sure what to expect from this as I only really had knowledge of his popular stuff. It was definitely more prog than I expected (and possibly hoped for) and this was a bit of an obstacle to my enjoyment of the songs underneath. As I am wont to do, though, I am giving an extra star purely for writing a great pop song (Solsbury Hill) in 7/4 time. Because who does that.
If you are going to be influenced by a Scottish band, don’t make it UB40.
The more I listen to MJ albums the more it reinforces my view of him as a great singles artist. The middle three tracks are absolute classics which are incredibly creative, bringing influences from outside the pop sphere (Vincent Price monologue, Eddie Van Halen solo). Most of the other tracks fall into whiny ballads or weak pop. The girl is mine is bordering on criminal. That dialogue section with Paul McCartney will haunt my nightmares.
I enjoyed this both for what it is and for being a rare example of a dance/electronic album. First track is fantastic and is a masterful demonstration of how to keep building a track. I will revisit other later as time pressures meant I wasn’t really concentrating on the later tracks.
I didn’t know what to expect from this and, having listened to it, I am still not quite sure what it is. One thing that was consistent was that it sounded so like the soundtrack to a 1980s movie that I should have been listening to it on a Walkman. And for this, I rather enjoyed it.
The first three tracks had a good drive and a nice spiritual vibe. It then got very beige. The Cure cover was criminal and robbed a great song of its musical and emotional depth. Automatic deduction of one star.
Fantastic live band but I am struggling to justify one of their albums on this list let alone three. When listened to as an album, the lack of variety in their sound and, particularly, their progressions becomes very noticeable.
This is probably the pinnacle of Krautrock for me. This has been an absolute favourite of mine since I bought it many years ago from MVC (which dates how many years ago). It successfully walks the line between being experimental, influential and listenable. It manages to have driving rock and ambient sounds sit next to each other without being incongruent. And it does get better with every listen.
I like the sound, I like the voice but the songs just don’t connect with me. I have been told later albums are better so we will see if any of those make an appearance…
A busy Monday with an extended after school meeting was not the day for a double album of over two hours…
The influence, aesthetic, and concept are all there, I just didn’t like the music. It may be one of things I don’t get that other people swear by…
Influential? Yes.
Did I enjoy listening to it? No.
I like my fir share of fairly challenging stuff but this did not challenge or provide sonic stimulation.
On the subject of stimulation, this is not one to listen to while in school due to the groaning noises.
I didn’t get to see My Bloody Valentine live this week due to it being on a school night in London. This is a shame as they are responsible for one of my favourite albums of all time. My greatest regret, though, is that from seeing a band known for their legendary volume, I could have had some of the frequencies that combine to make this monstrosity removed by short term hearing damage.
Offensive to at least two senses (the cover takes care of sight) and I am not ruling out the other three.
Every time you thought it had hit a new low, it managed to find a way to, somehow, get worse… There are fourteen tracks on the album; thirteen of which are the same song, with the only variety provided by who it is offensive to, and the other which is a ballad with a vocoder. Which is offensive to everyone.
Some might question its place on this list but it definitely meets the criteria of an ‘album to listen to before you die’. By listening to this, everyone other piece of music shines a little bit brighter, because it may be bad but not this bad. To this end, the next album this list throws at me is automatically getting five stars as it will be a work of art in comparison to this.
Just for the fact it is not Kid Rock.
A perfectly acceptable slice of post-punk. This is probably only really of note due to it containing Pretty in Pink as the rest of it did not really cut through…but solid enough.
I am a big fan of some of the arrangement choices for these songs. I am a sucker for an acoustic guitar and mandolin combo as well as pedal steel guitar. Not their best songs and sometimes I feel the vocal melodies wander without a focus but still a consistently strong album.
I once saw Ray Davies having tea at the De La Warr Pavilion in Bexhill. I really like quite a few Kinks songs and was intrigued by the album but, unfortunately, I didn’t really enjoy it as a whole and there weren’t any standout songs. The late 60s/early 70s obsession with concept albums strikes again…
Enjoyed this more than I expected as I am not the biggest fan of modern r and b music. The production helped to elevate it and it wasn’t unpleasant on the ear.
They are just a bit rubbish really, aren’t they? Interesting fact: they named themselves after a boring chocolate bar (they didn’t even go for the mint version) and a boring surname just to show how boring they are. It gets a bonus star for being short, though. A mantra for this list: if you can’t be good, be short.
I saw Echo live due to wanting to see the support band, who cancelled and never played again. This is a pretty unremarkable album aside from the obvious standout, which is wonderful. The very embodiment of a 3.
It is the soundtrack to the PE department at a staff do.
The production of the songs is a big issue for me - there is far too much going on and this means that when they want to change gear it doesn’t really go anywhere. The only song I actually like by the Killers (not on this album) is ‘When You Were Young’, which gets this right.
I am not particularly bothered about lyrics but it does lose a star for the line ‘I’ve got soul but I’m not a soldier’. I wouldn’t expect that tripe from a 10 year old trying to write something thoughtful.
Nothing really stood out but I appreciated it for the fact it wasn’t more guitar music and it brought a range of influences to the table.
I enjoyed the first half but started it started to lose its novelty by the end. I do really admire what they were doing as they have a really interesting and distinctive take on post-punk.
Not amazing but also interesting enough. I’m not sure it truly warrants its place as an essential listen but I did enjoy the last track.
Accidentally listened to it on shuffle so had to listen to it again in order… Fortunately, I did enjoy it so it wasn’t a slog. This has a nice line in taking conventional songs and subverting them with a nice variety of instruments.
Not necessarily the classic album it is often heralded as, but it does have some classic tracks. It loses it a bit in the middle but it is a highly impressive debut.
I first listened to this when I borrowed the CD from the library. This was even better than I remembered. It is a truly beautiful album.
There are the obvious standouts (New Year’s Day, Sunday Bloody Sunday) but, like I find with a lot of their albums, it drifts into songs that rely on the U2 sound rather than on the quality of the songs themselves.
You know what you’re getting with Billy. It was the first time Georgie had heard his music (“I’d only ever heard him interviewed before”) and it ticked all the boxes. Not for everyone - if you don’t get the politics then the music isn’t going to grab you but I admire him for what he has done musically and for being a voice of reason in an increasingly bonkers political landscape.
A bit of a shambles but I really enjoyed it. I went it to it fearing it would be the type of music that one original member would tour to provincial theatres with a bunch of stand-ins. It receives the standard bonus star for not being another boring rock record.
A tough one to review. Prince is one of those artists who I admire for their songwriting and musicianship but never quite get. There are some great songs on this but also quite a lot of stuff that doesn’t hit. When doves cry is amazing… and I love the song Purple Rain because it makes me think of the video where there is a bloke in a baseball cap nodding along, as if giving it his approval. It amuses me for some reason.
I didn’t mind it but it didn’t really have any stand out tracks for me. It may grow over time but I’m not sure I can be bothered when there are so many other things to listen to…
While the mix of religious imagery and preacher delivery is to be expected, what often is missed is how many good melodies there are in the tracks. The only issue is trying to maintain the standard across a double album, which it doesn’t quite manage.
A perfectly pleasant album with some decent tracks on there but, once again, is it really a must listen? It probably wasn’t even in a list of the top 50 albums from that year…
AKA the one with White Rabbit on. A couple of tracks stand out but the rest is just pretty standard sixties jangly stuff. Lacks a bit of an edge.
I’m not sure it was ever going to be the legendary album it was alleged to be but there are some fantastic tracks on here. It was better as a whole than I remember but does not match the consistency of Pet Sounds or have the same light and dark. It loses a mark for the eating sound in Vege-Tables.
A really good album, of which Radio Cure is probably my favourite. I probably prefer A Ghost is Born as a whole (though this is probably considered sacrilege by hardcore fans) so I will reserve my Wilco 5-star review for when that inevitably isn’t on the list.
It’s hard to think that any attention would have been paid to this if it wasn’t for Paul McCartney’s name being attached to it. The fact that it is credited to Paul McCartney and Wings belies its lack of confidence. It is very average and I can remember barely any songs from it. It only serves a purpose on this list as a way of ranking the Beatles solo output. Where George clearly wins.
I have often heard REM suggested as an influence on early Radiohead and I could really hear it in Fireplace, with the progression and guitar sound very similar to something from the Bends. Another solid effort.
Positives: I used to like driving around in GTA IV listening to the station that had Oxygène 4 and Philip Glass on it.
Negatives: It becomes repetitive very quickly and lacks the variety and sense of place that other early pioneers such as Kraftwerk provided.
An album of Christmas classics that pleased the family. It has managed to retain its charm and reputation in spite of being associated with a murderer. Like when everyone in Neighbours forgot that Paul Robinson killed someone.
I like these songs in isolation but find that as an album it lacks a bit of variety and because of this it disappears int the back ground a little bit.
I’m giving this 2 as it wasn’t as bad as I thought it was going to be. It was still pretty bad but just not as bad.
Not up to the standard of some his later (or earlier work) but still an interesting listen. It only really makes an impact in the context of his other albums and with the back story behind it. It was still worth a listen and provided nice opportunities for some sax solos.
A truly brilliant album so the review need not go much further than to say that there isn’t a weak track on it and there are enough changes of pace to keep it interesting.
Not their best work but still a decent album. Special editions of the album added in How Soon is Now as a single and I can understand why as it does lack standout tracks and Meat is Murder is a hard sell as a lead single.
It is one of 4 albums that are rated lower than Kid Rock and so it deserves to be rated highly just to see that monstrosity where it belongs. I did really enjoy this for the ambition. It was difficult to listen to but in a way which was about challenging boundaries - it was more sound as art than music. I could definitely hear the influence on Swans and probably many more.
A big improvement on the previous Yes album, which is more testament to how bad that was than how good this is. A solid slice of prog rock that didn’t outstay its welcome. A bonus point for Rick Wakeman being a guest in Dictionary Corner on Countdown in the Whiteley days.
I wanted to like it more than I did. My main issue is with the structure of the songs as they didn’t really go anywhere or have a strong enough hook to build around. I like a lot of their other stuff but this was a bit of a disappointment.
Positives: Not as bad as the cover image suggested.
They are Finnish, even though one song was called Tooting Bec.
Negatives: I have been back at school for one day and cannot remember any of it other than that there was a song called Tooting Bec and it wasn’t as bad as I expected it to be.
Infantile, offensive and definitely not aimed at me but I do like quite a lot of the tracks. The production is great and the vibe, though now a bit jaded, would have been quite revolutionary at the time.
I love the concept of this album and they did a fantastic job in realising the concept. There are lots of strong melodies and the songs are really nicely arranged.
I have to admit that I made it through 2 and a half discs of this and bailed. I don’t know whether this was a special edition, but 6 discs and a runtime of over 3 hours is not conducive to anyone who has a job/life. The music is pleasant enough but over that time becomes very repetitive. I am giving the mark on the basis of the songs as individual tracks rather than an album as it doesn’t really function as an album.
Genuinely hated this. Saccharine and dated. Possibly influential on Sade… and that’s not an influence you want to have. Absolute twaddle.
Lacks the standout tracks from some of their other albums but still works well as a coherent piece of work. Their use of rhythm and syncopation is wonderful but it took a bit of time to match it with the melodies of their best work.
A difficult one. Musically really strong with good samples and some great synth lines… but the descent of Kanye as a lyricist (and person) is very apparent here. He used to stand out for his ability to speak about issues… now he just talks about money, cars, and his shlong (and what he is going to do with it). He became just another rapper distracted by shiny things, albeit with superior production.
I really like Robert Wyatt’s work and this is no exception. He arrangements are fantastic and these songs really communicate the turmoil he was going through. I prefer Shleep and Cuckooland of his albums but this is still excellent.
It was the first CD I ever bought. It has great energy, riffs and melodies. The main reason it is not a 5 is that it does really tail off in the second half and that its impact has been lessened by ubiquity.
I preferred it to Brothers In Arms, which tended to drag on a bit. This was a bit repetitive but it did its thing pretty well. If you removed Sultans of Swing, it probably wouldn’t have made much of an impact…
I enjoyed this and would probably enjoy it more with a second listen. It didn’t have the same impact as his work with Fairport Convention but it was a solid album.
I really like the Pet Shop Boys. I love the story behind their formation, their sound and image is so distinctive, and they have written some fantastic songs. This is a really strong album which has some standouts (it’s a sin, in particular). It is a bit dated but their sound kind of exists out of time anyway.
I was sceptical about listening to this again as I thought it wouldn’t have the impact of when I first listened to it. I think it benefited from my not having listened to it for a while. I don’t think there is not a bad track on the album. There are the obvious singles but my personal favourite is Fade Away and Radiate, which brings a welcome touch of melancholy to the album. The drummer seemed to be having a great time too.
Probably my favourite Pixies album. A wonderful blend of chaos and melody. Also, bonus points for reminding me of playing the kazoo.
Considered a guitarist’s guitarist… not sure he is is anyone’s vocalist. Excellent guitar work, though the limitations of the genre do mean that it does get quite repetitive.
I saw them as a support band and they were confident and full of energy, considering they were pretty much unknown at the time. I don’t think this has aged particularly well as what might have been exciting at the time is a bit beige now.
I found this a little bit disappointing. Given he was the force behind a lot of the Velvet’s more experimental output, I was expecting this to push more boundaries. It was pleasant enough and may bear another listen but it didn’t take me immediately.
The very definition of a zeitgeist. Too long, songwriting lacks quality and reliant on style over substance. I am not a huge fan of the original version of comfortably numb but that was a murder. I was very glad when this was over.
I think that New Order work better as a singles band as their other material doesn’t quite hit and their sound is a bit dated. It’s at its best when Hooky’s bass is to the fore and this works well with the synths, as well as providing the strongest link to Joy Division. I have never been sure about Bernard Sumner’s vocals and there are various points here where it is does grate a bit. Not bad but not amazing.
An awful person by all accounts and some of the sounds could be made on a school keyboard (piano with strings)… But the dude knows his way round a sample and crafts some really good songs out of them. There is also good variety, change of pace and mood that keeps it from getting boring.
The very embodiment of a 3. Pleasant enough but completely lacking any edge or willingness to push boundaries. I have tried to think of more to write but I have nothing… Which is probably the most accurate critique of it.
The video of his shlong flopping out was more memorable than the album.
It isn’t particularly coherent, but my word it is spectacular. Eleanor Rigby and Tomorrow Never Knows arguably redefined popular music in radically different ways. The level of ambition is incredible.
This was a real gem. It was far more jazz than I expected and managed to get a good balance of chaos and structure. I also enjoyed the fact I got a phone call halfway through one of the tracks - the call cut out and it jumped straight back into the track and it totally messed with my head.
Pleasant enough… I’m still not sure I am ever going to get what all the critical clamour is over her work but I will keep trying…
This has aged really badly… and I don’t think it was very good before the decay of time.
I enjoyed this. A consistent album with some nice arrangements and interesting progressions.
Like watching snooker on a black and white TV, without the bright colours (of Toy Story) this didn’t have a huge amount of appeal.
