Очень такая сингер-сонграйтерская вещь, где я чувствую что Лиз Фэр именно больше сонграйтер, чем исполнитель. Она красиво бренчит на электрогитаре, словно на акустической, и в целом у альбома такой приятный саунд "подростковой драмы" из 90-х. Но вот сам вокал Лиз тут очень на любителя, по-моему, где её нарочито безэмоциональная вокальная подача (что порой идёт в яркий контраст с самоописанием как фри спирита в некоторых песнях) немного мешает мне полностью сконнектиться, но есть моменты, где она и работает (Divorce Song, например). И мини-вкрапления блюза тоже было приятно слышать, они определённо входят в музыкальные хайлайты альбома для меня. Интереснее всего в плане чисто музыки для меня будет трек Shatter, как самый мрачно звучащий на альбоме, он действительно выделяет оттуда прям. Ну и Never Said тоже понятно почему сделали синглом, раз уж даже я его опознал откуда-то из прошлого. Тем не менее, 18 треков на 56 минут это немножко ту мач, ближе к концу начал уже уставать немного.
Любимые песни:
Never Said
Mesmerizing
Divorce Song
Shatter
Johnny Sunshine
Stratford-on-Guy
Общий балл: 3/5
Sunny sweet lullabies for the broken-hearted. The Classic. "I Just Wasn't Made For These Times" is one of the most relatable songs ever written.
Wave your freak flags high, Jimi, Noel and Mitch! Now and forever. ✌️
It's slick, elegant and pleasant. However, every song goes on a couple minutes longer than it should, and since the songs here are quite simple, it results in this short album feeling longer.
Essential nighttime album - chill beats and immaculate vibes. Tracey Thorn MVP of this album.
LOUD, dirrrty, horny, messy, fire! 🔥
Nice, very even, indie-synthpop album. Certain songs are quite good, though listening to them in album form, can start to feel rather "same-y" after a while.
CERTIFIED ALL-TIME FACEMELTER!!🔥🔥🔥
Easy and light listening, almost to a fault
Not just foundational for hip-hop, but an interesting mash-up of genres as well. There's a bit of funk (with a dash of disco), soul and even religious music here too.
stereotypical bar music - nothing wrong with it per se, but kinda boring
Lauryn Hill has a great R&B voice. But this is a hip-hop record, and one that was extremely hard for me to connect with, or even to keep up with, considering endless references. It gets better toward the finish, though, when lyrics start to get more personal. But still - mostly not my thing.
It's a classic, one of many Bowie's classics. Really fucking tasty throughout, don't know what else to say.
Bowie once again proves that he's an artist supreme. Another set of bangers here.
An epic 2-hour mix of unbridled angst and unrestrained sentimentality. A bit long, yes, but always interesting, since most of these songs are really good.
Surprisingly funny in a tongue-in-cheek way. And yet, with lush orchestrations and dramatic singing in a Scott Walker type of way. I liked it.
Solid energetic album. A good starter for Mike Patton newbies. Although, I prefer "Angel Dust" album more, and generally personally more of a "Mr. Bungle" type of guy.
Somewhere in-between full musical theatricality and singer-songwriter earnestness. Also, "Oh! You Pretty Things" is one of my favorite Bowie song, and "Life on Mars?" one of my favorite songs EVER, so it's automatically a good album.
How can something this indulgent sound so goddamn dry?
I'm not a hip-hop person generally, but this was very cool!
Not entirely my thing, but the production was mostly nice.
Hot for Teacher and House of Pain are cool songs. The rest seems like a generic 80s rock to me.
Very thick athmosphere. I can see why Albini loved it.
I respect the artist, but also the majority of the album is a bit too slow and minimal for my personal taste.
Perfection of Perversion!
Probably the closest we have so far, to a time machine back to 1968
"My mind is glowing!"
Another 1990s stone-cold classic.
Kinda boring, honestly. John Cale is sorely missed here.
A great "middle finger to the world" type of album, from start to finish. 5 stars!
This album certainly takes you on a poetic journey, so to speak.
Yes, it's big, but also extremely elegant. And Ellla's voice is truly a treasure.
I can admire the thought behind it, yet still find it kinda boring.
Such a good album. Makes me want to smile hello to the world as well. And Tim Buckley's voice is magnificent.
It's "Sgt. Pepper's Lonely Hearts Club Band"! Of course, it's going to be 5 stars.
This album felt a lot longer than 42 minutes. Further proof the "guy with an acoustic guitar" is my least favorite music genre.
Pretty good album. However, "They Won't Go When I Go" is such an obvious highlight above all else here, it's not even close.
It can be a bit repetitive, but still very nice, overall.
I love Jack White and everything he does! And this is one example - Jack and Meg were one hell of a rock-n-roll power-duo! 5 stars.
Kinda pretentious, but also quite interesting. Can't say I was emotionally hooked or anything, but I appreciated the diverse range of sounds.
This type of Cinematic Jazz kinda rules!
The production does sound unfortunately dated (and I'm a Depeche Mode fan), but the main singles are still very solid.
Some cool oldschool 90s angst
Depends on your tolerance towards 90s UK Electronica beats. Luckily, I happened to grow up listening to stuff like this and loving it. So, while it was tiring, it was still a good time.
Certainly well-produced and arranged, but aside from a couple of highlights, songwriting here is mostly kinda boring.
Kate Bush is Magic, obviously!
I can respect it, but that doesn't mean I can sincerely love it. "Triumph of a Heart" is still a banger, though.
It's kinda fun, but mostly kinda cringe. In a sense, that they basically laid out many of the cringiest 1980s rock cliches here, even though this came out in 1977. I guess you can't blame them for being slightly ahead of their time.
An epic science-fiction romance album, that I didn't know I needed! So many ideas here, and they're all flawlessly executed. I went in with zero expectations, and this thing kinda blew my socks off. It's nice when that happens.
Brian Eno & Daniel Lanois's production here is very nice, indeed. And while individual songs here are quite decent, album as a whole kinda drags a bit, pacing-wise.
Nice, and historicially significant too, liked the saxophones here
For such a short album, this felt waaaay too long. And the funk here is way too restrained.
Noisy, yet poppy. And I can hear how influental it was. Not bad, and yet I got quickly tired of listening to it. Not much variety musically, though the saxophone was quite nice. I'm not a fan of the vocals, though.
One more "rock band" using electronic samples as one of their main instruments, seemingly. Sure, it has some interesting moments too. The album cover art is awful, though, and had me bracing for the worst.
The funk instrumentals were nice, the hip-hop songs (especially directly into the microphone) - not so much. Not exactly my thing, to be precise.
The undisputed kinds of British gay synthpop, and this album is one of the proofs of that. Also, having a track co-authored by Ennio Morricone (and arranged by Angelo Badalamenti) on your album is cool as hell.
This proto-"Wicker Man" soundtrack sounds pretty neat. Jokes aside, I suprisingly enjoyed this, even though I'm not really a connoisseur of English folk. But something about this appealed to me, maybe it was the light hints at psychedelia, I don't know. And the prominent double bass was pretty cool too.
These guys are so creative, damn!
Cool rhythms here, from the beats to the flows! This album is paced really well.
Sure sounds like an American country album. And I'm not a country fan AT ALL. But at least it's short, and the bass guitar sounds nice.
The band sounds quite nice. The vocal is an "acquired taste" sometimes, but it goes down better on faster tracks, than slower ones.
Is Kanye West actually insane? Yes.
Is Kanye West actually insanely talented? Also yes.
Love that baroque 1960's vibe, but with an indie 2000's twist.
With all due respect to Sting, Copeland, Summers as musicians, music on this album is at times almost "too white". Embarrassingly so. Still, there are a couple of cool songs here - like "Bring On the Night" and "The Bed's Too Big Without You".
Sounds like an interesting bridge between the more classic rock traditions and the more modern rock tendencies.
Cool production, nice flow. A bit repetitive-sounding, though, but it's alright.
Pretty nice heavy metal. Occasionally quite silly, yeah, but sometimes quite powerful too.
despite the drummer's occasional best efforts, it's still very BORING
i love sleep, this shleep though i reject
it's fine, but for some reason didn't quite grab me
some occasionally cool 1960s psychedelia, the album is uneven, but this a good enough time (short runtime helps)
ugly pretentious edgelord shit lyrics-wise (and artwork-wise), the music is occassionally nice, at least, but not exceptional really
Keith Moon, muthafukas!!!
It's arty enough, and not arty enough, at the same time.
While "Private Dancer" is a great song, the rest of the album is a bit too "80s" for my taste. Vocally Tina Turner surely delivers, but the production is quite dated. Oh, and about those covers, while Al Green and Bowie covers are somewhat manageable (though still questionable), the Beatles cover was a big "nope" from me.
way too goddamn loud and not enough variety
in this house, we love Syd Barrett
some of it haven't aged particularly well, some of it still sounds relatively good, it's a mixed bag
one of those albums where the main singles are much stronger than the rest of the album, but it's still a listenable album
it's good! did i get sincere goosebumps while listening? not exactly. but it often makes you wanna move.
some singles were cool, the rest of the album is boooring
Music to fall asleep to.
Extremely boring and unbearably long. Fuck this "jam band" bullshit.
I wish i could rate it as zero.
One of the main bands of my adolescence!
And the album is a hit after hit after hit!
this whole album is a vibe, and a damn good vibe, i might say
this one is for all the horny little freaks, but with a class-conscious anger too (so, for myself)
way too American for my European ass
nice choice for my 100th album on this thing, and a pretty decent album overall, although it's quite amazing how "The Cross" and "Starfish and Coffee" are (for me, personally) way above everything else on this album (and there's still plenty of good songs - "The Ballad of Dorothy Parker", "Sign o' the Times", "Hot Thing", etc)
This is a classic album, and Debbie Harry is the epitome of cool.
it's okay, the most famous songs from here are cool, the rest is okay
Love-love-LOVE this album, one of my personal all-time favorites! Every single song has something interesting going on (including the interludes), and Graham Coxon is a guitar GOD on this album!
i love 90s electronica, but this did not work for me, too repetitive and kinda bland
pretty good stuff, one of the better examples of an indie rock/electronica fusion thing
this album is lucky to have "Mrs. Robinson" and "America" on it, because otherwise i don't care (also, a full track on old people talking - seriously?)
there might be some occasional decent melodies on here, but they're well buried under layers & layers of overblown 1980s production
pretty nice album, "Zero" is an obvious banger here, so is "Heads Will Roll" , i also liked "Dull Life" and "Shame & Fortune"
What a gorgeous piece of Art!
his voice is annoying, songs have no structure or memorable melodies, and are also waaaaaay too long - an astonishigly boring album
relatively decent album, starts to sound same-y after a while, but luckily doesn't outstay its welcome
If you look up the word "cool" in the dictionary, you should see there a picture of Miles Davis playing the trumpet. So, the title of the album tracks.
Both versions of this album are pretty much psychedelic rock perfection, so I have to give it 5 stars!
Life gives you surprises, indeed! Because this album was a relatively new discovery for me, and I LOVED every minute of it! The rhythms and melodies are delicious, and vocals and lyricism are magnificent. I now wish that this album list had more salsa in it.
What a pleasant and quite shocking surprise! Usually I thought "Chicago" were one of those "dad rock" bands, but not on this album, though. Let me just say, after listening to this album, it makes total sense why Jimi Hendrix and Terry Kath had mutual respect for each other. This is an, honest to god, jazz-rock album. Personally, I love a lush horn section, and this one here is magnificent. Combine that with solid songwriting and hardcore guitar experiments, and you've got something special. The album in general is excellently produced as well, with clean and precise sound, that also knows when to get massive. I really enjoyed this album, and I didn't expect that!
Terry Kath and CBS 30th Street Studio and both gone, but their legacy is beautifully preserved here.
Any album that has "I'm Only Sleeping" and "Tomorrow Never Knows" is a good album in my book.
i can respect it, but i can't sincerely love it
