ABBA is a quintessential "singles" band- undoubtedly fantastic band but the album provides an overall good experience where a studio album cannot do them justice like a compilation can. Some of the stuff is really great- the odd time signatured "Soldiers" or hit single "One of Us," and nothing here is rough. It's just nothing more than pleasant as a record.
Too many songs feel like pastiches of better artists' songs: I hear Paul McCartney, (lots of) Led Zeppelin, and even Tom Waits- lending the record an identity crisis. Just go full alt rock, or full blues, or full "marimba rock" or whatever those first few songs were. Blue Orchid makes for a great opener, though. This is ultimately Greta Van Fleet-core with better production.
Really solid- not a bad song here, makes for an easy listen with excellent instrumentation and production alike, sounding very mid-90s for being a 1989 record. "She Bangs the Drums" is the clear best but everything is very good.
Super chilled-out and smooth. Not a single moment where I'm not enjoying what I'm listening to. I think the organ kind of outclasses every other instrument here, though. Would definitely vibe out to this again- actually super calming.
Iconic stuff. Super ahead of its time when it's great, and kinda sappy when it's not. Overall a pretty good listen though.
Very solid listen. Pleasant voice and instrumentation, pleasant experience. Sounded like a 90s record, in all honesty.
Really great album of top-notch early 70s psychedelia on top of its iconic cover. Blah blah blah Student Demonstration Time sucks.
At first, I was disappointed in its kind of lackluster sound. I do think it won me over a bit by the end. That one spoken word about the maiden was pretty funny and I thought a few tracks here were actually really great. Its main issue is its genre-leaping. It's hard to feel invested in the sound when at any moment it breaks its own cohesion song to song.
It's alright. She's got a pretty voice, and I dug their blend of British folk and old-timey American folk, but I did not get much out of it beyond being calmed a bit while listening
Not a dull moment to be found on this impeccably recorded, excellently presented, approachable yet artful piece of art. Incredibly impressive stuff that I will be relistening to as soon as possible.
A celebrated artist that I do not "get." I don't find his voice interesting at all, and his lyrics are not nearly ear-catching for me to get the appeal. The songs all sound the same to me, too, though I appreciated the orchestral aspects here
Might be the most obnoxious rapping I've ever heard. The same staccato, slurred flow on every track. Illustrative because it shows not every album here is redeemable and that the early 90s had some hot garbage music amidst an excellent string of years in music history. Plus it's nearly an hour long?! Why?
Not bad- but everything here is secondhand in comparison to the big single "Back 2 Life"
Probably my 100th listen. Every song is fantastic- even the interludes! Ian Anderson remains one of my favorite musicians of all time and this is my favorite project of his.
Every song is so powerful, so composed. The features are all deliberate, and the album's flow from song to song thoughtfully presented (although "Christian Dior Denim Flow" should have replaced "Blame Game" 100%). A reasonable contender for greatest hip hop album of all time. "Runaway" is my all-time favorite, but this re-listen solidified that "Monster" is one of his greatest songs across his career
I prefer Coldplay a little more punchy; Viva La Vida is one of my all-time favorite albums. This record is a lot more low-key, sometimes to its detriment, albeit with some exceptions- "Yellow" and "Don't Panic" are excellent.
I wish this site could let me give half star ratings, as three does not do this justice. Not a bad song here and his classic voice really elevates some of the more filler-y tracks in comparison to the massive title track and the standout "How Can You Mend A Broken Heart"
One really great song, a couple decent songs, and a lot of very forgettable 90s bubblegum pop. Particularly rough was that dated duet with Generic McAverage
Trimming like 4 songs off this would have resulted in a four-star rating. Some really great tracks up front, good production, variety, and instrumentation. Does not sound dated at all.
Everything here feels intentional and layered. Production sounds pretty great. Funky songs were really great. So why am I so lukewarm about it? Maybe not melodic enough for me?
Noticed this time how important Slash was to their sound, as much as Axl, honestly. Aggressive but not overly so- still super smooth and approachable sound. Every song hits. Fantastic instrumental performances pretty much from top to bottom. Really expected this to age poorly but it has held up since being amazed by this as a kid. No snobby RYM-brain is gonna tell me that "Sweet Child O' Mine" isn't a fantastic song.
Spectacular sonic atmospheres from track to track as per usual from MBV. My favorite was "New You." Reminded me most of the stuff I've most enjoyed from Loveless.
Important album but it's hard to listen to the same "My name is ____ and I'm hear to say, I like to rap in a major way" flow over and over again. "The Message" is pretty great, tho
Solid, but not outstanding overall. Liked the Philip Glass feature though
Nothingburger. His vocals are so bland. At least Bryter Layter had some nice orchestral instrumentals
So many classics. Another one of the all-time debuts in music history
Lots of really great songs here, but the length is not justified so I gotta give a 3, unfortunately
Difficult to rate, as the album was not made for me. It seems like people on this site are way too hard to please. This was really nice record to listen to and the reviews unnecessarily harsh
Funky from beginning to end. Check the Rhime is easily the best song here but not a bad moment
While the songs overall aren't as strong as some of his other records, the creativity and talent still shines through, both in strong vocals and the overall songwriting.
Two Weeks and Ready, Able outshine the bulk of this. But it's a high 3/5 fs
Kind of a slog because it's just way too long. Iconic group but Chuck D is so much more interesting than Flavor Flav that it's not even funny
Perry Farrell sucks, dude. The music is pretty great but his constant yelping and whining kills the entire experience. "Then She Did" was my favorite track
Interestingly enough the collabs here brought the record down a notch. Ofc the title track really slaps, but some of the other songs were so generic and very reliant on the outside musicians that I was a bit underwhelmed and felt like Prince was drowned out here
Song after song on this thing hit. The iconic vocal harmonies, the dated but warm production. Classic
Songwriting isn't super strong, but Dolly's charisma makes up for that to provide a pretty good listening experience
Super smooth. 80s without sounding dated. Songs are all really easy to enjoy. I don't know why people don't like Mark Hollis' voice. Super unique and adds to the smoothness
Legitimately has a claim to be the greatest record of the 1980s. Incredible lyricism, production, and orgasmic African instrumentation and genre exploration (introduced me to mbaqanga, soukous, and township jive alike) plus to hear some of the greatest world musicians ever gathered here (Los Lobos, Bakithi Kumalo, West Nkosi, Ray Phiri, Boyoyo Boys, Ladysmith Black Mambazo, Youssou N'Dour)- it's like 45 minutes of heaven every time I listen to it. Some of my favorite moments are the sax breaks on "Diamonds on the Soles of Her Shoes," the beautiful accompanying vocal performance from Linda Ronstadt on "African Skies," or the iconic fretless bass run on "You Can Call Me Al." It's an album that has had a tremendous impact on my life and I will continue to love it throughout the rest of it.
It's probably the 200th time someone's said this but Mezzanine should have been the representative album for this group. Blue Lines is fine but immemorable
Lovely production. Great mixture of funky shit and really soulful love ballads that are equal in hitting the sweet spot. Reverb-y guitar sound does a lot for that. Love you Curtis
Dated production, esp on the rough-hewn vocals and the scratchy, borderline annoying guitar tone. Despite some good tracks (Wish I Was Skinny, Thinking of Ways) the entire thing is too long and mixed so poorly (way too loud) that I did not like it overall.
The sheer amount of great songs on this thing is so impressive. Incredibly influential on punk and punk-adjacent genres for decades following its release. Hard to find hour-long projects this re-listenable, well-conceptualized, and universally likable. Part of the reason why it's so strong throughout is that the Clash are so deft at switching between genres. New Wave, Ska, Reggae, Punk, maybe a mixture of a couple or even all of those? They make all of them sound good.
Album should have just started with "Tomorrow Comes Today" and it would have been much improved. Just kind of unfocused and uneven. "Clint Eastwood" is by far the best track here- is there a soul on Earth who doesn't love that song? Demon Days and Plastic Beach are much better records than this, unfortunately.
Classic. If I was a drummer, this might be the Holy Grail.
Composed super well, but does not strike me any particular way where I am impacted beyond finding the experience of listening pleasant
Instrumentals are class, pretty fantastic production, but the skits are so awful and a couple of the songs are so corny that both break up the flow so much that I can't recommend this.
Super ahead-of-its-time in sound. Experimental 70s stuff is very cool. David Byrne obviously really loved this group. I think I prefer the late 70s early 80s AOR stuff from them though
"Mother" is the ultimate pleb filter song as evidenced by the hilariously out-of-touch reviews all over this page
Upbeat Beck is best Beck. This stuff is just boring
Pretty much every track here is memorable. One of the better rock albums of the decade in every capacity- musicianship, production, hooks, and sound (while not the most unique, its still very recognizable.) Did not realize how great this album was until sitting down to listen to it. Super great stuff that instantaneously has become a classic for me
Dated production and aesthetic, with some eyeball roll-worthy lyrics. And the instrumental on "Afraid 2 Fly" is one of the worst I've ever heard. Feels like listening to a P!nk album, but without the hooks that made her worth listening to, so essentially, I'm saying she's just a poor man's P!nk. Yep.
Sounds like a home run on paper (world music mixed with late-60s psychedelia) but in practice it's more like a bloop single. Rather unimpressive but serviceable.
Your favorite bassist's favorite bassist kills it here. Pretty nice jazz to listen to. Liked side A quite a bit. Wished I could give it an extra half star.
Slick, well-produced sleaze. The hits heavily outswing the deep tracks ("I Got the Six" pales in comparison to "Got Me Under Pressure")
Always thought this was the weakest of the Berlin trilogy despite having arguably the best song of all time on it- now I can see I am probably wrong (although I do remember Lodger being pretty good). The three song ambient run on Side 2 is super underrated.
While the singles here are masterpieces, I don't think they quite make up for some of the filler tracks here which really break up the flow of the entire thing.
Repetitive, but never dull. Well-produced, charming, and fun. But not something I'd ever really think to listen to again.
Ultimately a fairly good rap record. No tracks that were nearly as good as anything off ITANOMTHUB except Shut 'Em Down (in particular the Pete Rock remix), which is top 5.
"CAUTION POLICE LINE YOU BETTER NOT CROSS"
What more needs to be said about the single greatest pop album ever made? The production paved the way for basically every commercially-produced record for the next several decades, the songs are all classic (7 TOP TEN SINGLES ON ONE ALBUM?!) and the performances, vocal and instrumental, are top-notch. Every song is worth the price of admission here. Even the supposed "weak" songs as their reputation suggests ("The Girl is Mine" and "The Lady in My Life") are excellent- with the former being Jacko's experiment with AOR, complete with Toto "Rosanna"-esque percussion and bass, but a lovely vocal duet with McCartney provides the song added meaning as a "passing of the baton" from one pop god to the next. The latter in that category is a funk soul track with a fantastic keyboard sound and a deservedly chilled-out conclusion to an all-timer album.
Not super interesting. The hits are all pretty great though. And there was one song ("Nightingale") which sounded exactly like a Kiss song lol
Late night Mexican beach walking sad boi hours music
Once again, I can't quite externalize what it is about TH that I don't resonate with, as they are excellent musicians and their records still sound fresh. Just not for me, I guess. I still do recognize it is a very good record
Radiohead's obviously quite a monochromatic band (that's kind of the point), but I prefer the records where there are brief splashes of color that invigorate that sound. Not enough of that here, despite some really good tracks
I used to think the Beatles were overrated. I also used to be hella stupid
The Steve Winwood stuff is so much better it's not even particularly close. And I don't even dislike Dave Mason. He just sounds bad on a lot of these songs
Back when pop music actually meant pushing the boundaries and making quality music with the best talent available. Look at the personnel on this thing for proof. Excellent transitions between moods and sounds. Fantastic record with so much to latch onto. While listening it is quite often you think to yourself, "shit every modern female pop star really has been influenced by her haven't they"
more like the Incredibly Shitty Band
All the pearl-clutching on this godforsaken website prove the man's point. He's provocative, he's loud, and he's timeless. The language is a tool to enunciate the message. Focusing solely on it and rendering the art invalid due to its coarseness is wrong. Despite a few bumps on the road (dated ICP diss, bad Sticky Fingaz and Disaster features) the album is still a really great listen nearly thirty years after its release.
Everyone knows and (rightfully) loves the big three hits, but the other songs here are just as good, from the beautiful ballad "I Believe" to the African-inspired "Listen." Immaculate on the production side with a great infusion of electronic and organic instrumentation. I expected it to be good, but it easily cleared my expectations and then some.
Huge amount of variance in quality here. "Fire and Rain" and "Country Road" are deserving classics- arguably two of the greatest folk songs ever written. Then there's dated white-boy blues slogs all over Sides A and B that drag the experience down significantly. Still, those two big hits really do a lot of heavy lifting here, so a 3/5 is in order.
Super engaging, forward-thinking 70s art rock that does not take itself too seriously. Great record overall!
Dated, but still fun. Some of it is actually pretty well-layered dance stuff, while the rest just reeks of the 90s. Did not mind it though.
An excellent series of albums; the highlights are particularly strong on this one ("When The Man Comes Around," "Hurt"), though I prefer I and II as albums since this one has a few clunkers ("In My Life," "Bridge Over Troubled Water") and is hampered by its unencumbered length.
T Rex has an enduring legacy because of Marc Bolan's distinctive sound and definitely not his subpar lyricism. Balances out into a pretty good record all things considered.
S'okay. "Respect" is a deserving classic, and the rest of the tracks are nice, but nothing special to me. Production definitely dates things a fair amount as well.
Suede is really great in theory but are somewhat bland in actuality. Brett Anderson's vocals are cool but are not prominent enough for me to find their sound effective. Lyrics are inconsistent and detract from the tight instrumentation. Still, I can appreciate the influence and their carving out a niche in Britpop history. As far as my preferences for the "big four" within the genre, I think I lean Oasis >> Blur > Suede >>>>>>>>>>>> Pulp
Digging the The Devil's Rejects vibes. All the songs kind of sound the same but it all sounds pretty good. Solid 3/5.
Kim Gordon's vocals are not my thing, but the guitar work absolutely is. It's a pretty good album but not something I'd ever rush to listen to again.
The people on this website reviewing this and giving 1s or 2s saying it's "repetitive" probably register zero on an EEG. There are way too many people here who have no business speaking about what might be some of the most influential music ever conceived. And so what if it is repetitive? That's kind of the point of blues music, moron
The album peaks with its first two songs, the big singles. A few sporadic moments of musical brilliance across the rest of the record (slap bass on "Get on the Floor," and properly melancholic orchestrations on "She's Out of My Life") don't elevate it the album beyond being a good debut by a classic performer who would improve immensely on his next few projects.
Excellent guitar work throughout ("The Rover", "In My Time of Dying"), so many recognizable songs, and despite, its length, excellent pacing and variance in structure to keep you engaged. Amongst my favorites here are the atmospheric opening to "In the Light," the Stevie Wonder-inspired "Trampled Under Foot," the pretty folk instrumental "Bron-Yr-Aur," the mysterious "Ten Years Gone," and the Cajun gumbofied "Black Country Woman."
Not one of Tom's best records, but still excellent; he's boozy, but still punchy, contrasts feelings of calm and bombast, and paints lovely pictures with his lyrics on each track.
Have never considered myself a fan of the Boss but this record is a very worthwhile pop/singer-songwriter crossover with equally catchy hooks and stellar songwriting alike. Second side is loaded with hit songs. Could easily see myself re-listening and liking just as much.
Enveloping atmosphere that instantaneously puts you in an urban mood. Very enlivening stuff. "Organ Donor" is one of the coolest rap instrumentals ever
Extremely atmospheric baroque pop with unique vocals that makes for a fascinating listening experience.
"Crystal Days" and "The Killing Moon" vastly outweigh every other track on here, which are all fine, but nothing I'd ever seek out
Immaculate production and some of the best renditions of these classic tunes. Laughed at the now-unintentionally ominous ending
Thom Yorke sounds the best vocally here across their entire discography, and the songwriting is still grasping at a bit of a Britpop sound to provide this record a very clear identity. Obviously many classics here to speak of: "Fake Plastic Trees," "Street Spirit" "Nice Dream" and "High & Dry"
Some classics, but I found the experience of listening to the whole thing sorta grating. The Clash really outdo them overall IMO.
Really like his multilingual approach. Unfortunately frontloaded and a little too long
Great vocals and warm production were the highlights. Didn't think anything was particularly fantastic, but it was a good record nonetheless. Dug the Beatles cover the most
https://static.wikia.nocookie.net/muppet/images/6/6e/Cosmic_Fish.JPG/revision/latest?cb=20211005024313
Hot damn the intro to "Where the Streets Have No Name" is one of the most amazing-sounding things ever. Across the entire record, The Edge gives some of the most amazing guitar performances ever recorded. His sound was so distinctive and carried their sound so hard. Those punchy stings he builds up to on "With or Without You" are so emotive. Brian Eno is also a huge asset here with his timeless, full production. While the deep tracks aren't nearly as good as the big singles, they are still quite enjoyable.
Has way better records across his discography than this one. "Breakdown" is so smooth, and "American Girl" is an iconic 70s track (makes me think of Silence of the Lambs every time I hear it) but the rest of the record is pretty generic and even somewhat bad- "Strangered in the Night" for instance is a sloppy Eagles castoff. And why did "Luna" sound like Bob Dylan singing a Christmas song?
Finally listened to one of my dad's all-time favorite albums. He bought it very shortly after it came out when he was 17 years old. So the album is special to me regardless of what I would rate it overall.
Good album- certainly well produced and all the performances are good. A little bit too inconsistent to fully award a 4 to, and too long. I think I prefer their softer, poppier tracks to the punk. I will say that "Space Invader" is a really cool instrumental- that track took me by surprise. "Kid" and "Brass in Pocket" are also so nostalgic and lovely.
A very solid punk crossover album- the more melodic songs are the highlights. "Mannequin" is of course the big track here, just impressively influential. The whole thing never made me feel anything more than respect for how ahead-of-its-time it was
lol so you're telling me this was nearly 0.90 higher in rating than the Nico album when this was less interesting by a mile in comparison? Yeah, "White Rabbit" and "Somebody to Love" are both amazing songs, but the non-hits kinda suck ass. So much variance in quality across this band's entire career. For every "Jane" or "White Rabbit" there was also a "We Built This City"
Scratches do nothing for me. I like the band better without them for sure. Chester's shouty vocals have never been my thing. He sounds great when he croons but the throaty yelling gets very old for me. Shinoda's flows are mostly very dated and he interrupts the experience quite a bit. That being said, there are some really great songs here and I understand why it made the list.
It may be sacrilegious for me to say as a Wisconsinite, but I absolutely despise "Blister in the Sun." It's this twee, commercial-core garbage sung horribly and overplayed to death since its release 40 years ago.
The rest of the album was all new to me, and it was fine, I guess. Like a lot of one-hit wonder bands, the other stuff is better than their one hit. Super lo-fi which is not usually my sound, but overall it reminded me of Neutral Milk Hotel, but not as good. Would not listen again, but defo not in "Incredible String Band" tier.
Tracks 1-3 fail to grab me in any way, but once that cover of JJ Cale's "Call Me the Breeze" revs into gear the album is a fantastic psychedelic experience of super cool production and sound. So many neat parts you would not expect to be included on a psych pop record fade in and out, like the honky tonk piano on "Take Your Time" or the bass saxophone on "Shine a Light."
I can see why people would find this boring, but I was engaged throughout by the warm, smooth mix and the max-reverbed instrumentation.
The vitriolic hatred some have toward this album is really strange to me. The title track is simply one of the greatest songs ever written. Who doesn't know that song? Its influence and appeal being as widespread as it is contrasts its odd B minor key, its extended dual guitar solo, and the inscrutable, oft-discussed lyrics. It's on the "Hey Jude" tier for me- a pure pop song that will remain timeless, deserves so much praise, and carries with it an intangible quality of what Jack Black might call a "rocket sauce" song.
The other songs on Side 1 are all at the very least pleasant and, at their best, are great songs in their own right. "New Kid in Town" is a pretty Glenn Frey countrypolitan ballad reminiscent of Gram Parsons featuring some actually resonant lyrics. "Life in the Fast Lane" was another huge hit, very much Joe Walsh's big track here with its riff-driven melody.
Side 2, on the other hand, peaks early with the hard-edged "Victim of Love" and leans into a sappy AOR sound that unfortunately drags the album down a peg from being great to just good overall.
The stuff that sounds like Gram Parsons is not great, but the psychedelic rock stuff like the title track is a lot cooler, but the entire thing is a little overdramatic for me and very forgettable.
The softer Aretha Franklin worship stuff does not work for me. Pretty great stuff to be had, here, though, as her voice really elevates the songs. "Mercedes Benz" is such a banger though
What I most admire about Neil Young is his ability to punctuate his incredible lyrics and really make them stick out. They don't just lie there- his attention to writing excellent melodies allows that to occur. You can tell he has an ear for a tune- the title track's somber horn/piano duet, the grunge guitar on "Southern Man." Lovely album. May be his best
Always liked Steely Dan but this listen was so eye-opening for me. Such incredible music-making. Immaculate production and the entire thing feels so full- the lyrics never detract from the artistry of the music and vice versa. Everything fits together so well into this massive slice of timeless music. Pretty instantaneously elevated this band into my favorites. This record feels like a pop progressive rock and jazz combination without ever feeling offputting, boring, or messy. Cannot wait to hear more SD now.
Was excited to revisit because I used to hate this record. My appreciation has definitely grown, but I still find this thing massively disjointed. Nico's tracks are all great and the instrumentation throughout is so ahead-of-its-time, but the mid tempo pop rock tracks are so lousy and Lou Reed is a bit of a charisma vacuum. And just because the sounds attempted here are progressive, does not mean that the production sounds good- most of it sounds really dated.
The post-chorus riff on "Hanging on the Telephone" is such an earworm. There's quite a bit of that on this iconic album. Debbie Harry has so much swagger from song-to-song, and while not everything reaches the heights of that excellent opener, the power pop flair of "One Way or Another" or the smooth new wave classic "Heart of Glass," the vibes are strong throughout and it feels like the band was really coalescent.
And why did the riff on "I Know But I Don't Know" sound like "Octavarium" by Dream Theater lol
Incredibly smooth- feels 90s but not dated. Speech fits into this weird pocket where he's both singing and rapping. The conscious hip hop messaging is mostly pretty likable and inoffensive stuff, which is why I think people call them "corny," but with instrumentals, melodies, and vibes this good, it does not bother me that they are borderline a Christian group.
One of the most influential albums of all time on my life. Controlled aggression and anger, with moments of beauty and interspersed melody peeking through. Simply one of the greatest moments in metal history. Metallica have been one of my favorite bands for many years and have provided me so much enjoyment. While the entire record has dips in quality, it is undeniable how much power songs like "Battery," the title track, and "Orion" have and will always have for me.
That being said, how in the hell is Ride the Lightning also included on this list. That's clearly the superior record between the two lmao
Love this band. Their vibe and sound are so singular- sure it’s not anything high-brow, but it just makes you wanna crank the volume. Songs like “Rollin’,” “Take a Look Around,” and “My Way” are in total bangers of meathead attitude and 2000s nu metal nonsense. The problem here is its length. There’s a solid stretch of weaker tracks in the middle and the DMX and Xzibit remixes were very unnecessary. Despite the amazing work by the musicians and my overall loving the project, it gets a 3
Bold of Gary Numan to pay homage to the greatest film of all time Freddy Got Fingered in the tracklist
As good as recall it being from middle school. Eerie, but still has sort of a danceable quality. The synthesizers both carry the melody and contribute to a cold, anxious atmosphere. His odd lyrics and vocal delivery make the thing still sound futuristic today.
Album was so boring it generated twice and I listened to the first three tracks before realizing the website glitched lol
The album opener "Dirty Boots" is actually incredible- how modern-sounding and excellently-produced! The roomy guitar and drums across the whole thing are a major contributing factor toward this record aging as well as it has. I really dig the Karen Carpenter tribute "Tunic" and the proto-grunge of "Kool Thing." The entire record has such a fiery energy, from its noisy but controlled guitar tone, energetic drum fills, and breathy vocals from Kim Gordon.
An incredible rap album. The run on tracks 8-10 is like a six out of five set of songs. And there's other incredible songs here. Not only are the songs all memorable, well-written, and musically excellent, but the story here is immersive and paints a picture of how Kendrick aims to portray himself as an artist. He's an aesthete for Compton, a wordsmith hero for 21st century black America. The songs are legendary and will make this record endure for decades as a monument in the genre.
AH RIN KIN KIN KIN
Pretty unimaginative beyond its two hit songs. They made better records at all stages of their career
All 4 members legitimately have a claim to have each written some of the greatest songs ever made, and all of their solo careers have something to offer. BotR is no exception. Several exceptional pop hits with still-excellent production all throughout
One of the easier 5s to give amongst the albums I've heard through this entire journey. I'm not sure how you could give it anything but. The music here is exceptionally unique (what record by anyone else sounds like this) but it still feels so central to Bowie's catalogue and his prior works. The music is experimental and bordering on avant-garde, but melodically the album is still super strong. This time while listening I noticed how excellent the performances from the session guys are here- Donny McCaslin on sax, Ben Monder on guitar, and especially Jason Lindner's incredible contributions on the keys: touching piano arrangements, fun retro synth lines, and haunting organ alike. The idea of this being an artistic swan song, his last statement before passing, is captured perfectly here. I think the mood really reflects his real-life feelings on his impending death extremely well. There's an anxious, doom-laden mood captured throughout, along with intense sadness and distance, combined with moments of happiness, beauty, and acceptance. It puts you into his headspace and really involves you (to the point where I can understand how this record could be too much for some). But wow- every song here still sounds so fantastic, the record never has a dull or immemorable moment. It really affected me this time, nearly to the point of tears on "I Can't Give Everything Away."
I still remember the day he died. My dad was distraught. He introduced me to his favorite musician of all time when I was very young and we have shared many memories together bonding over David's artistry and contributions to not only music, but film, performance art, and aesthetics. He means a lot to me and always will. As someone online once said, it's a wonderful thing to have experienced life concurrent to such a wonderful artist making his footprint on the world, even if the overlap was brief.
RIP David Bowie.
As per usual, a good set of songs mixed within a whole lot of filler. Do these guys have an album that isn't like 40 minutes too long? Flea and Rick Rubin are probably the best two parts of the record for me.
Opener was a really great song that I thought would set the tone. It's clear that these guys don't do ballads really well. The lyrics were kind of distractingly bad, as well. The entire thing is pretty generic following that opener, too. I didn't hate what I was listening to but was very unimpressed.
DATED AF
The MC in this group just made me think of this the entire time:
"Me and me blokes got some chips and biscuits for brekkie, innit???"
When you make your music this many genres happening all at once, the music takes on a swampy, very forgettable quality it never quite surpasses.
I wasn't totally sold until "Garbageman" and "I Was a Teenage Werewolf." Yeah it basically is horror-movie "Be Bop a Lula" several times over and over again, but it is a pretty fun sound for 35 minutes.
I really like Miles Davis but I am not exactly sure the point of this record. The length does not really lend itself well to the non-melodic nature of the sounds contributed. The instrumentalists are giving 110 tho, and the production is so ahead of its time. I would feel remiss without giving those aspects some credit.
Perfection.
Every instrument played on here basically sounds the best it ever sounded on an album ever. The production is to die for. The songwriting emphasizes everything in such a pristine and thoughtful way. The structure perfects the album structure, flowing naturally over its 38 minute runtime with attention given to tempo, arrangement, and keeping your attention peaked. The vocals are excellent, with beautiful harmonies and trading parts layered on top of crisp strings, lovely harp and organ, and cavernous back end percussion. Listened to this two separate times in 48 hours and was amazed both times. The best album I have heard thus far without a single doubt.
A serviceably energetic new wave record that maybe owes a bit too much to the Sex Pistols for me to say is anything more than just alright. A shame that I keep on 3ing my dad's favorites
Much better than Beggars Banquet because of its better production and livelier tunes. "Tumbling Dice" is the big one everyone remembers, for good reason, with its earworm backing vocals and groovy blues guitar lick.
Pac was a master of flow. He always sounded good on any track. The instrumentals here are a different story- they vary quite a bit on the entire thing and make the entire experience feel a bit dull and repetitive at times. That being said, there are quite a few classic 90s hip hop tracks here. The entire thing is produced well and his excellent mc skills elevate it. I think he's better-suited for a compilation, though.
Cool futuristic-sounding record that's a bit of a complicated mess, leaning a bit cluttered in its experimentation. If it hadn't, though, I imagine it would have been a boring new age mess instead, which would have been much worse. So I don't know if I want to give this a higher score for that reason. Oh well. Still a big Eno guy regardless.
You wouldn't know it from the other music I listen to, but I am a pretty big fan of Xtina's. Her vocals are so fantastic and she clearly invests a ton of stock into hiring qualified production technicians and session musicians on her records. This one is probably her best, with its throwback sound in tandem with plenty of 2000s pop staples like scratches and sampling. It all works really well, though- the pop hooks just keep coming on this thing, including "Ain't No Other Man," a classic mid-2000s pop banger, or "Still Drrty," a sequel to her 2002 smash that "cleans it up" fitting the album's aesthetic while still staying in the lane of the original. Despite the album's length, it maintains a really strong energy for its whole runtime.
Yep, track 2 is an excellent early rap song, and the cover is beyond iconic. But the homophobia and misogyny is a little hard to justify as satirical on this one, and the songs are significantly weaker the farther you get in the tracklist. Quite overrated if you ask me. It's actually kind of hilarious how bad the album gets. The last three tracks are almost unlistenable they're so terrible
This relisten confirmed how amazing “Slow Jamz” is. Such a pretty song with a ALL-TIMER Twista feature that epitomizes this “chipmunk soul” thing he had going at the early stages of his career. An example of what I would call “easy-listening” hip-hop. The whole album feels like that. It’s got such a good energy and the comedy bits don’t detract at all from that. I honestly find myself singing that chant at the end of “New Workout Plan” often. The only thing I don’t care for here is Freeway’s verse on “Two Words.” Skip.
Misleading cover art oh my gosh. Super upbeat sounding 80's new wave music, complete with corny (but not unlikeable) synth horns and drum sampling. I recognized a few tracks having been raised on the SiriusXM station "1st Wave" growing up and riding around in my dad's car. The vitriol on this website is way too unnecessarily harsh- this record was alright!
Cohesive and consistently engaging record where the Boss announces his oeuvre and delivers on each track with tight and thunderous instrumentation and vocals alike. Pretty much every track is a classic. "Born to Run" is a hallelujah of a rock song, and "Thunder Road" and "Jungleland" bookend the record as pillars of emotional, earnest songwriting.
"Forrest Gump had a lot going for him" is just one of the lyrical """"""""""""gems"""""""""" on this thing.
Here's a few more just for good measure:
"Someone bring the tacos"
"I'm sorry I don't shave my legs"
"My booty getting bigger even if it ain't"
"You know I'm sensitive about having no booty"
"I wanna take all of my hair down and let you lay in it"
Talking more objectively, her vocals are strong and "Prom" is legitimately a good song. But the lyrics really ruin a lot of the decent aspects here. I guess I should have figured given the hook on her biggest hit is "I might kill my ex"
What a find! This is the kind of experience I was looking for when I started this musical journey.
This album is such a distillation of the early 90s. It feels so homey, so comfortable. Like it's April 1993, you and your best buds and maybe your girlfriend are riding your bikes over to the lake after school and this is playing from someone's portable jukebox. I absolutely love the nostalgic feelings that exude from the carefree lyrics, the Smiths-esque guitar, and that organ that pops up every now and again. The song lengths are all so short but it's paced pretty well in terms of upbeat, faster tempos and slowing things down. Ending on their recognizable cover of "Mrs. Robinson" was a nice touch, too. Too bad about their singer being a POS, but it doesn't take away from how good the album was.
Extremely mid "i'm just a boy girls suck" music- just made me want to hear the Buzzcocks instead.
I liked it when they did more to incorporate their blues influences- the majority of this album is very straightforward AOR with some blues guitar thrown in. When they really dig into that Texas blues sound on tracks like “Waiting for the Bus” and the incredible “La Grange” they really unleash their full potential. Compilation band it seems
Exceedingly uninteresting and overlong Oasis soundalike record
Some classics here- "Paint it Black" and "Lady Jane" compete for the "greatest Stones song" designation, while the deep tracks are actually still pretty interesting- the over the top misogyny on "Stupid Girl" that's so brusque that it is actually really funny, the super ahead-of-its-time sounding "Under My Thumb," the 11-minute blues improv of "Goin' Home" or the catchy Motown-inspired "Out of Time." My favorite of the Stones records I've heard on the list so far.
I know I probably shouldn't like the "lyrical spiritual miracle" flow here but their voices are actually quite unique- especially Chali 2na, who sounds like if Keith David could rap. The hooks here tend to be pretty catchy, too. Solid skateboard-core rap. I was pretty impressed and would re-listen.
Completely shitty listening experience. The soundscapes sound unfinished, haphazard, hollow, and murky. So little care seems to have been taken to distribute the repetition effectively which results in each song getting mind-numbingly grating by minute 2.
Attention-grabbing intro track goes right into one of the coolest songs ever, "Heads Will Roll"; it's hard to find synthpop that sounds as badass as the massive drama those cascading synth lines + claps create. Karen O's vocal chops are consistently excellent across the album as well- she has a unique, punkish drawl combined with beautiful high vibrato.
The songs are pretty good, but inconsistent in quality where the title track and "And I Love Her" stand far above the rest. Not my favorite Beatles album
The band really stretch their wings trying a variety of styles and genres with quite a bit of success- jugband blues on "You Gotta Move," jazz fusion on "Can't You Hear Me Knocking," country pop on "Dead Flowers," and singer-songwriter on "Moonlight Mile." Only problem is the horrid "Brown Sugar" to open- the most racist classic rock song ever written?
In which the Bee Gees blow their load on Track 1 (a timeless track) and the other 42 minutes of ballads, while well-arranged in terms of its orchestral parts, go absolutely nowhere and feel like lesser versions of the Beatles and Roy Orbison
The songs are all individually pretty good, although variant in importance and enduring sound. A lot of it is pretty interchangeable with other bands of the time, save for a few outlying classics- "Dixie" and "Cripple"
It's good but not nearly as groundbreaking as I remember Funkadelic's stuff being. Track 1 is the best thing here by a country mile, it never quite reaches the personality showcased all over that track
As I get older I realize that Paul Simon is one of America's greatest musical gifts to the world- and yes, I realize that that statement neglects half the band (who is rightfully due some major props as well, do not get me wrong). I love all of PS' stuff and find this record so well put-together. Sounds fresh, artful but not difficult, and most of all, with messages that still resound today. "Old Friends" is incredibly moving, especially with its extended tape-recorded intro factored in. Everyone knows and [hopefully] loves "Mrs. Robinson," a song that encompasses the guarded, tentative optimism of the late 1960s. Bottom line- the record is timeless and excellent- a classic.
The album should have been just a collab between Astrud, Antonio Carlos Jobim, and Stan Getz. They all sound wonderful- particularly ACJ's little piano runs on these wonderfully chipper bossa nova tracks- count myself a new huge fan. Joao Gilberto, on the other hand, really ruins the vibe a lot of the time for me. His vocals are so nasally and whispery- I get that it's supposed to be a mellow sound but it bothers me like almost every song. I am really interested in diving in to Stan Getz and ACJ from here on, though!
