"Don't You Want Me" has been a radio staple my entire life. Not a song I gravitated towards until I heard a cover I believe was used for "Secret Life Of Walter Mitty" which gave me a different perspective of it.
I can appreciate this album for it's impact on and establishment of synth new wave music. Some of the synth and monotone singing does get a little grating. That might just be the environment I was in. Working at my desk is probably not an idea location for listening to this album. I could picture putting this album on during a late night drive or at a party when the vibes are mellow but fun.
Some songs really reminded me of LCD Soundsystem, especially Do Or Die. Makes me wonder if they've ever mentioned being influenced by The Human League.
This album wasn't totally my taste but it does make me want to listen to more of the band and see how their sound evolved. I see that they also made "(Keep Feeling) Fascination" which is a song I really enjoy. Also a great gateway to getting me to listen to more funky new wave music which I would enjoy.
So it ends up I was a lot more familiar with Peter Gabriel than I thought. A lot of songs on this album that I was already fond of. I really enjoyed getting his music in the full context of a curated album.
I love an album that starts with a bang and Red Rain is a fucking great opening song. Has me ready for the rest of the album. Then leading into Sledgehammer is a great 1-2 punch. Ending an album is equally as important and In Your Eyes is a fantastic closer.
One thing notable to me was the emphasis on the percussion throughout the album. The drums give the melodic passionate songs their power and the upbeat songs their energy. I'm not usually one to take notice on intentional instrumentation but this was pleasantly obvious during my listen.
This is the first time I'm getting an album I'm fully familiar with and have listened to plenty of times. It's crazy that it took the 4th album by the White Stripes to make it big but it does make sense. Seven Nation Army has stamped itself in the zeitgeist for eternity. It's been a radio staple for over 20 years and the pseudo-bass riff has even birthed its own chant for sporting events. But the whole of the album is all aspects of Jack and Meg. You'll fin frantic noise rock, bluesy ballads, and old country all through the album. "I Want To Be The Boy To Warm Your Heart" is a prototype to the sound prominently heard in their following album, Get Behind Me Satan.
One of the best traits of the White Stripes is that a song never over stays their welcome. They are willing to let a song end under 2 minutes which is rare. They said what they said and did it succinctly. On the other end, you'll get a 7 minute barn burner in Ball and a Biscuit. It's that versatile talent of the duo.
There's a beautiful dance between the two where drums and guitar shine individually and tango together beautifully.
I would list any of their albums as an album you should listen to before you die, but it's undeniable that this belongs in every list.
This album makes me want to jump on a chopper and rip through the Mojave Desert. This is a great soundtrack for a southwestern road trip. Highway Star kicks the album into high gear from the very start and hardly lets off the gas with each song. You get the iconic Smoke on the Water riff but everything in-between is grooving and pulsing. Some great electric organ fiddling mixed with crashing cymbals makes a seven track album feel like a deluxe double disc set. It's a manifestation of "cool". Intense, groovy, and adventurous.
I love a piano ballad from time to time. I love great story-telling in music. But I just can't get into Billy Joel. I don't know what it is. Even his upbeat jams feel like someone trying to sound cool and I can't buy into it. I was hoping to come out of this album a fan of Mr. Joel but I'm left feeling the same.
There's a lot to like here in the sweet guitar licks, the harmonies, and the overall psychedelic sound. It's bluesy and experimental and I can see how it's influential. The album is never self indulgent with the average song sitting around 3 minutes. I think this is another album that's best in the right environment. If my tab just hit at a chill party, I could totally get down with it. It's too bad Eric Clapton is a total knob. 3.5 stars
I wouldn't consider myself a jazz connoisseur by any means. I enjoy a late night drive listening to 88.1 KJAZZ from time to time, but I am no expert. However, this album was a joy to listen to. It's palatable. You don't need to be a music snob to "get" it.
At times, it's bombastic and swingin'. Others, it's smooth and groovin'. If I wasn't driving during my listen, I'd be on my feet shaking a leg.
Jazz may be fading from the mainstream, but there's a reason Duke, his music, and his legacy have stood the rest of time. Looking forward to getting the full experience with the expanded version in the future.
I've heard "Love Will Tear Us Apart" a million times. I've seen this album cover a million times more. So in that regard I know who Joy Division is. At least I thought I did. Today I learned I didn't know shit about Joy Division. Because... I. Love. This. Album.
If the Ramones were putting surf rock through an electric chair, Joy Division was laying it on a bed of nails. The gut punching bass lines counter the jangling guitar and mixed with Ian Curtis' crooning create a haunting but deeply relatable sound. I had to listen to this album while reading the lyrics because the writing is such a vital part of the whole package. It's such a beautiful and real exploration of self loathing and despair which would fit right in with today's songwriting. But this album was released in 1979! So far this adventure has led me to plenty of music from the 70s and 80s and none of them touch on this subjects. I used to think that Joy Division was a late 80s, early 90s band but they were in the throughs of the punk movement of the late 70s. Truly a shame that their fame came too late. RIP Ian Curtis. But they sure created magic with the time they had. I know understand why so many people have a T-shirt with this album cover on it. Think I might have to get myself one.
This listen was truly a joy..... division.
Okay I'll see myself out.
Hip-hop as a music genre has had an arduous path to the mainstream over the years. It's so well documented because it's relatively new. Listening to this album was a great reminder of how different it was just 40 years ago. Simpler but exciting and fresh compared to the offerings of pop and rock songs at the time.
Raising Hell may not be the most technically complex or poetically written piece of music. I probably wouldn't even call it Run-DMC'S best work. But it is vital to hip-hop's journey to being accepted and appreciated by radio and the average household.
The fun of the album is the thesis of each song being completely random. A whole song could be focused on bragging about their DJ Jam Master Jay. The next could be spent appreciating their favorite footwear. It's just fun honestly.
I detest Aerosmith so Walk This Way is a tough listen, but I can still appreciate its importance in music history. Two behemoths at the top of their genre collaborating to making a beloved rock and hip-hop track.
However "soft" this album may seem at times, it still has moments of making a statement in songs like Proud to be Black. So maybe making a more accessible album proves to be a great way to get a more serious message into suburban households.
I don't think there's much I can add to the discourse about Prince and his musical legacy that hasn't already been said by much better writers and experts.
I learned that 1999 was his first album with The Revolution and it shows sonically. There is something more filling about this album with this collaboration of artists. 1999 to Little Red Corvette to Delirious is a fantastic 1-2-3 punch to kick off the album. With each track, the album gets hornier and hornier, but that's kind of the charm of Prince. A raw sexual energy unashamed to express it. No poetic metaphors needed. Dude wants to fuck and he wants everyone to know.
You can hear the early influences for dance and techno music in bits and pieces of this album. The stuff being ton with synths and drum machines throughout is innovative for the time and the foundation for the future of pop and EDM. 4.5 stars
This is the type of experience I was looking forward to on this journey. A band I'd never heard of, an album I'd never heard of, and none of the songs are familiar. And it was a good listen.
A lot of great lyricism about the highs and lows of love and the ways it makes us crazy. All lead by the sleazy crooning from the lead singer. Sometimes the songs have a sort of sci-fi fantasy element to them. Kind of Bowie meets Velvet Underground. I dig it.
Tom Waits' signature sound is divisive but incredibly unique. You love it or you can't stand it. But he doesn't give a shit. That being said, I really do love it.
Waits feels like a folktale character with his permanent scowl, his tilted hat, and a voice made for grinding coals into diamonds. He's like an omen you encounter in an open desert.
His music isn't conventionally pretty and that's on purpose. This album sounds like it was made in a cellar (because it was). The percussion sounds like it's made up of a trash can and some pots and pans. The songs build up like they're coming from the sewer. They're grimey and wet but that doesn't mean they can't also be sweet.
There's a wide range of emotion in this album scattered in the clinking and clanking beats. Passionate love songs mixed with angry warnings of a collapsing earth. They may feel sonically similar but that's where the lyricism shines. Waits can tell a story like no other. Songs like In the Colosseum, Goin' Out West, Murder in a Red Barn, and Black Wings really stood out to me for this reason.
For someone with such a massive discography dating back to the 70s, it's interesting that an album from the 90s is the one on this list. Anyways, time to dig into more of the Time Waits well.
4.5 stars
I really struggled with this album. I tried really hard to like this album but it did nothing for me. It felt like something you'd hear in a starbucks in the 90s.
She's clearly very talented but her sound just doesn't resonate with me. At times it was a tedious listen. I don't know how else to describe it other than "boring". Feels bad to say that. Just not for me.
chooglin'
verb
• to ball and have a good time
| I'm just a chooglin' on down to New Orleans.
Origin: John Fogerty
I woke up this morning and saw today's album. I said to myself "hell yeah". Needless to say, I've been chooglin' all damn day.
I've heard "Rehab" plenty and although a great song, it's just become stale for me. Listening to Frank reenergized my fondness for Amy Winehouse. The predecessor to Back to Black feels a lot less pop and more connected to the sounds of old. But let's be clear, this is not just some throwback gimmick. The jazz ensemble introduces hip-hop beats and Amy provides the attitude to give this album a modern swagger. Winehouse has an incredible ability to swing from sharp and biting to gorgeous and soulful and back again.
Fifteen tracks does seem lengthy but it sweeps by, especially if played in the background while doing chores or cooking dinner.
This album made me realize that Amy was kind of the pop music transition from the era of Britney to the era of Gaga. It's a shame her spotlight was so short lived.
I'm not a fan of reggae music. It reminds me of young rich white people being perpetually high and annoyingly apolitical because the only message they get from the music is peace and love. I don't consider myself a cynic, but I am worried and every little thing is not going to be alright, Robert.
Anyway, once I got to Three Little Birds, I caught myself singing along to the chorus, so I guess I'm a fraud.
This album has a cosmic whimsy about it and great use of layered harmonies. What's interesting to me is that it feels like the foundation of the oncoming indie music scene with bands like Animal Collective, Grizzly Bear, MGMT, etc.
I don't know if it'll be part of my regular rotation but I would be interested in listening to more of The Beta Band.
The album ends with the line, "The people with the answers, lie. They lie. So no pizza for them" That alone deserves its own star rating.
This is just some good country music. Great storytelling and gorgeous fiddle. The end of the album explores the highs and lows of love which I found very sweet.
Beautiful. Soulful. Classic. It's Al Green, baby. This was a breeze of listen over a relaxing weekend.
Who says punk can't be jolly? The Pogues certainly know it and do it well. Their blend of Celtic folk and punk make for some great pub songs. McGowan has a unique voice carried by his growling and sloshed Irish lilt. Makes me wonder if Tim Armstrong is a fan.
If you love a frenetic shanty, then this album is for you.
The Motown inspiration is clearly there but it doesn't really evoke the same feeling. I'm just left wanting to listen to Marvin Gaye instead. This feels similar to John Mayer. A talented musician's attempt at soul music that just feels emotionally limp.
Between this and the kd Lang album, I'm thinking that the 90s lounge rock does nothing for me.
I like to pick it up, pick it up, pick it up as much as the next guy, but I'm very selective when it comes to ska. My favorite parts of the album were the more punk focused songs. For this reason, Night Klub and Concrete Jungle were some highlights for me. The more reggae focused songs didn't really resonate with me.
Stupid Marriage plays out a bizarre and chaotic court scene, like something out of an Adult Swim cartoon. It's the type of storytelling that would stick around in the genre with bands like Sublime.
Overall, a fun listen. I might not come back to it in full, but there are some songs I'd put in my regular rotation.
Side note: I once went to a music festival with The Specials on the lineup. They used A Message To You Rudy in pretty much all of their marketing material. For like a month I heard that song way too many times and it drove me crazy. So hearing it again gave blme PTSD flashbacks.
3.5 stars
Beautiful instrumentation and songwriting throughout. Taylor plays around with different genres to varying degrees of success. It was hard to accept Steamroller Blues because his voice is just too sweet and friendly for the blues, but once the rest of the band kicked in, I was sold. The album plays out in 30 minutes making it a nice and easy listen.
3.5 stars
An iconic artist's most iconic album cover. With Aladdin Sane, Bowie puts on a new mask and switches space operas for pure rock 'n' roll. Gone is the cosmic psychedelic sound. Instead, we get bouncy pianos, electric guitar licks, and even some blues harmonica in "The Jean Genie". Bowie seems almost possessed by the spirit of Lil' Richard as he pours his soul into some high speed glam rock. This album may not have all the hits, but it's a clear indicator that Bowie isn't a one trick pony.
Also just realizing that Aladdin Sane in a play on words (a lad, insane). Wild.
Every once in a while, I'll check out a popular bands discography to get a better idea of their career path. Sometimes what happens is I'll listen to one of their albums and be shocked to see that it has a massive amount of hits on it. Pearl Jam's Ten or Fleetwood Mac's Rumours are good examples of this, and for today, it's Green Day's Dookie. It's truly incredible to see how many songs on this album still get regular radio play today. It's well deserved.
There's a running laziness throughout these songs both in the lyrics and their delivery. Billie Joe Armstrong makes it very clear that he's bored. A lot of times just outright saying it. Where punk and grunge usually approach their criticisms of the world with anger and ferocity, Green Day meets it with apathy. They're saying, "The world sucks, I've tried everything to feel better but nothing is working, so please get me out of here."
That moodiness, however, is still very punk rock in it's execution. Most of the songs rip through in under 3 minutes. You get the neverending distorted guitar riffs. Every gap is filled with the quickest snare drum fills possible. You even get groovy bass lines like the one feature in She. And most importantly, there's an immature dark humor that kills throughout the lyrics. There are songs about masterbation and suicide bombing all in the same album for crying out loud.
Growing up and gaining success has naturally made Green Day stray away from these types of themes but that could be for the best. Eventually that angst subsides and you leave childish humor behind and that's okay. (Looking at you, Blink-182.)
At least we still have Dookie.
When speaking on the indie rock movement of the late 00s/early 10s, The National are a band you'll hear mentioned a lot and deservedly so. Their sound perfectly encapsulates that young melancholy. It's that feeling when you're no longer a teenager and yet still so lost navigating your twenties. Wether or not it was intentional, their music feels like it was made for a coming-of-age indie film.
There's a haunting bass that resides throughout the songs whether it's from the thunderous drums or Matt Beringer's vocals. It never stays there though. It swells and swells into this overwhelming crescendo. The songs feels painful but they're not depressing. In fact, they're full of hope. There's a fight in them. There's a lesson to be learned. Whether it's trying to be a better person to save a failing relationship, or finding comfort in letting go of love. These songs become cathartic.
4.5 stars
I go to this band's Spotify page and not a single song from this album is in their top 20 songs played. Now, I know this list isn't a popularity contest. It's just weird that they have music dating back to the 70s, and this album from the late 90s (that's a complete departure from their usual sound) is the choice.
I gave it a shot but I genuinely could not finish the album. I just couldn't get into it. It feels like Magical Mystery Tour or Sgt. Peppers, but if they were made for an educational kid's show. It aims to be whimsical, which it kind of succeeds in, but the magic just isn't there. I think a big reason, honestly, is the lyrics and vocals. Every time I was starting to vibe with a song, the vocals would come in and feel so far removed from everything else.
I wouldn't call it a bad album in an objective sense, but I just really didn't like it.
Leonard Cohen songs give you descriptor after descriptor that paints a beautiful and sometimes heart breaking scene for you. The words are poetic and his voice so sweet. It gave me this rich melancholy feeling, in the best way.
It's overall just great songwriting. I was already a fan of Cohen but I'm really going to dive into his works now.
Dire Straits feel like a rock and roll revivalist act. Desperately trying to keep the old time sound alive in the '80s, where synth and music videos have taken over.
And yet, when I listen to them it makes me think of "cool". Cool in that smooth nonchalant way. Most likely, it's coming from Knopler's vocals, seemingly unbothered or strained. Their blend of jazz, blues, and country is grooving. However, as I'm listening, I keep thinking, "this must be a tough song to play". Playing complex songs, seemingly effortless, is pretty cool to me.
Smooth jazz tends to remind me of being on hold or in an elevator. I would never label it as boring, but it does have the quality of background music. I think I just like my jazz with a little more pep in it's step. However, if I'm in a place playing bossa nova, it does feel comfortable. This was a relaxing and easy listen on a Monday, so that was pleasant.
No complaints here. Clearly Getz and Byrd are masters of the craft and I really enjoyed the Spanish guitar throughout.
3.5 Stars
This is one hell of a debut album. A breezy 9 tracks and 2/3 of it still gets radio play regularly almost 50 years later.
The Cars represent this interesting shift in music. It's got a genuine rock sound with plenty of riffs but the synth is largely present throughout creating an early new wave sound. If the Ramones turned the Beach Boys sound into punk, then The Cars turned it into new wave.
Ric Ocasek has a lilt in his delivery that almost sounds like a nerd trying to act cool, but that's not a problem. It's rather fitting for the songs' themes about longing for love from girls that might be out of your league. And when the chorus comes, he's joined by his bandmates, creating an exciting harmony. It punches a stamp on the song that is largely responsible for making these songs classic earworms.
The Cars found a great mix of classic rock (even for the late 70s) and new wave that would set the tone for the oncoming 1980s. It works so well and their place in the evolution of rock (and pop) is important and legendary.
4.5 Stars
I'm a big fan of this weird era of pop rock. A bunch of bands trying to ride the wave of success The Beatles found by getting on TV and reaching the hearts of teenage girls across the country. But they had to find their gimmick that set them apart and for Paul Revere & The Raiders it was dressing up like the founding fathers. Bizarre but endearing.
As far as this album goes, I really enjoyed it. Plenty of soul and funk influence while being fun and catchy. Maybe not as much soul as The Animals, but also not as cheesy as The Monkees. Just a fun time all around.
(Also, I know it's a product of the time, but referring to your crush as "little girl" is just so creepy. So many bands from this era do it and it makes my skin crawl.)
This is a fascinating album. There have and always will be songs about breakups. There will always be whole albums dedicated to a breakup. But this album takes it to a whole other level. An hour and some change dedicated to your divorce and admonishing your ex-wife is top tier pettiness.
On the surface, it's a beautiful album. Marvin Gaye is in peak form. It's full of soul and plays with all the experimental vocal layering he became known for. But dig in a little deeper and the lyrics are stuffed with bitterness. The whole album can be reduced to:
-"Why don't you love me anymore?"
-"Since you don't love me, you broke our vows and that makes you a liar."
-"I have anger management issues but you make me angry so it's your fault."
-"Why do you get my money in the divorce settlement?"
Oh, and then there's a sci-fi song about falling in love in space. Wild.
I'd find this enjoyable if there was a more nuanced approach and some more self reflection and accountability. But I mean, Gaye goes into some weird details about the divorce settlement with lawyers. It's bitter, folks. Gaye is a legend but I think I'll stick with What's Goin' On.
In 2025, Gorillaz are a staple in the music scene. Each album is a collaborative work horse made up of a plethora or music artists with a tracklist spanning a variety of genres. The animated characters have deep lore and character arcs that become expanded with each album. You don't know what you're gonna get the Gorillaz come around but you know it's going to be good.
But in the year 2001, Gorillaz was a novel concept album by Damon Alborn. If you were a music nerd, you'd be wondering why the lead singer of Blur was singing over hip-hop beats. If you were a kid, you'd be wondering if this was a new show on Cartoon Network about a band. It was so unique and confusing. Upon first appearances, it was hard to tell exactly what Gorillaz were or were supposed to be. But nonetheless, it was very cool.
The debut album isn't full of features that would grow with each album. However, the few collaborative songs would become some of their most famous. Clint Eastwood is the song that ended being most people's introduction to the band and I think it perfectly exemplifies Alborn's vision. A melodica hums throughout the song supporting Alborn's smooth crooning and is eventually broken up by a brash rap verse from Del the Funky Homosapien. The track is complex but very chill and is easy to see why it became a hit.
It's a debut album that would set the tone for a legendary 20+ year career for the "band". Like are you really a "cool" music artist if you aren't featured in a Gorillaz song? Probably not.
4.5 Stars
The Go-Go's are proof that rock music doesn't have to be rough around the edges. Their polished sound gave them a pop appeal that was fitting for commercialization and movie soundtracks. But beyond the classic hits like We Got the Beat, The Go-Go's are pretty damn punk. Within the bubbly nature of the tracks are a surf rock attitude that you can't help but dance to. There's plenty of variety in this album, with not every track being bright and sparkly. The girls play around with their timing and harmonies to give a different tone throughout. I found the bass lines would truly define the energy of each song which is something that's usually not easy for me to notice. With a short lived career as a band, albums like this are easy to see why The Go-Go's are a name that have stuck around for decades.
While listening to the opening track, I was incredibly confused as to what I just got myself into. It felt like I was listening to the score of a final battle in a sci-fi fantasy movie. Then, "Smiling Faces" comes on and slapped in the face for ever doubting this album.
BS&T is truly an experimental sound. The vast orchestra of instruments bounce around from rock to funk to jazz spontaneously. At times it feels like there's a song within a song. You'd think an electric organ and a piano going at the same time would be a chaotic mess, but the two mesh so well in these songs. Sometimes, the changing of genres can feel a little disjointed but I appreciate the risks being taken.
Albums like these are why I'm glad I'm taking this journey. I don't see any way I'd end up listening to something like this, but I'm glad I did.
3.5 Stars
I've been sucked into an underground warehouse rave somewhere in Europe. We've been dancing all night and we're profusely sweating but we're not stopping until the sun comes up.
I'm in the middle of a chase scene in a late '90s action movie. I've committed some sort of cyber crime, like hacking, but it was to bring justice to a corrupt system. I'm probably wearing some baggy pants with too many pockets.
The Shamen have a classic electronic dance album here. It hits all the right notes with fast tempo hip-hop beats and a plethora of experimental sounds. I'm not an expert in this realm but this has me movin' and groovin'. I usually space out when listening to techno, but this has enough variation to keep my attention.
Billy Bragg doesn't dance around his messaging with flowery poetry and deep metaphors. He's gonna make sure you understand loud and clear his criticisms. In Ideology, he calls out lying politicians that don't fight for the people. Help Save the Youth of America is a breakdown of American malaise and how it affects the world and in turn affects America. There Is Power in a Union basically says it all in the title. It's all right there for the listener, delivered in his brash mumbled accent. (Admittedly, I had to have the lyrics out for some of the songs.)
However, the album also has a sweet mix of songs about love and the struggles of relationships. He's a lover and a fighter just like any of us regular folk.
Billy has spent an entire career talking the talk and walking the walk and his legacy is well deserved.
Sophomore albums are probably the worst challenge as a music artist. Especially if you're coming off of a surprise hit debut album. The expectations are incredibly high. Stray too far from the sound of the first album, the fans may abandon you. On the other hand, if you're too close to the previous album it'll just be a rehash and critics will say you're a one trick pony.
Seems like Lorde was pretty unfazed by any of that when putting together Melodrama. Her debut album, Pure Heroine, is a celebration of that invincible youth. It's about feeling rich with friendship without caring about being rich with anything else. Late night drives. Making mistakes. Getting into trouble. Infinite memories.
Melodrama is a confrontation with this newfound fame and fortune and how it's made her jaded. Having spent so long dismissing the lifestyle, Lorde found herself sucked into it. Can you be a major popstar but also still just be that girl from New Zealand?
Underneath the wonderful lyricism, is incredible and diverse production. It's all the little details that make this album so great. With each listen you discover something new and it makes you come back to it again and again. I still get hyped when that "ch-chk" hits on Perfect Places.
Green Light opens the album and when that beat kicks in with the frantic piano, your heart starts racing as it prepares for the chorus to hit. Next comes Sober, opening with a classic Antanoff vocal sample right into a bongo beat. This track, and many others, takes you through so many variations but somehow finds it's way back very effectively. Like how does The Louvre build up these gorgeous harmonies and then cut straight back monotone one liners? Somehow it's not jarring at all. And don't even get me started on that incredible shoegaze guitar that rides us out to the end of the song.
I don't know if there's a pop artist that does a better job building songs into a dopamine hit crescendo. In this album alone you have Green Light, Supercut, and Perfect Places, that all take you on this slow adrenaline rush. Once it hits the big payoff, you can't help but dance.
Pure Heroine introduced us to Lorde and her potential. Melodrama firmly stamps her place in pop music royalty. (Whether she wants it or not.)
I don't speak a lick of Portuguese.
I didn't understand a single lyric.
I don't know any of the themes touched on in these songs.
And yet, this album fucking rocks. Music truly is a universal language. Every song is overflowing with contagious joy. The only suitable response is to just dance, baby.
Also, I love that monkey howling sound that's
common in Samba/bossa nova music but always thought it came from an oboe or some other woodwind. Ends up it comes from a drum called the cuica. The more you know.
Listening to this album was a pleasant experience. Nick Drake has a warm whispery voice matched with beautiful instrumentation. It feels like a serene walk through a forest or along a hilltop. All of this is juxtaposed by deeply personal and troubled lyrics. There's a lot of introspection layered in the pleasantry and it creates music worth listening to again and again.
3.5 Stars
Early punk rock was a dismantling and distortion of the original rock and roll sound. It wasn't to disrespect the classics but instead to prove that the loud and noisy sound could be just as (if not more) enjoyable than the pretty and polished. If the Beach Boys traded their T-Birds for the NYC subway, then you'd get the Ramones. If Elvis was cast in a grindhouse horror film instead of Blue Hawaii, then you get The Cramps.
The Cramps ride a fine line between sexy and creepy. A difficult but intentional balancing act. This isn't music for the drive-in with roller skates and milkshakes. This is for the dive bars with bathroom condoms and a pinball machine that sometimes works. You don't send these songs to your sweetheart on Valentine's Day. You send it to your occultist muse on Halloween. Burn the rhinestone jumpsuit to find a latex straightjacket underneath.
This debut album runs the gamut of eeriness. It kicks off with TV Set, a song from the perspective of an obsessive serial killer. We then run through werewolves and zombies and everything in between. What may be birthed from the jangly blues rock of Jerry Lee Lewis is then made delectably haunting and macabre with Lux Interior's manic shock therapy vocals.
Being a week away from Halloween, this album couldn't have come at a better time.
This sounds like a group of friends just hanging out, having a great time, and playing music. In this instance, they're in a UFO flying around space inviting others to join the party. They're running on all cylinders of join as they cruise through the galaxies of funk. Every instrument is carrying it's weight. The slimy bass lines are slapping. The horn section is bringing the noise. Every synthesizer is crying sweet tears. It's music that puts some stank on your face.
I'm only docking half a point because on the final track, there's an instrument throughout that can only be described as sounding like a wet fart. It was distracting and kind of unpleasant.
4.5 Stars
A lot of double albums just feel like too many songs in a single album. This one is neatly split with differing approaches and actually makes it feel like two separate albums. One half of this double album is delirious and possessed and the other half is sweet and introspective.
Get Ready for Love is a hell of an opener that takes you right into the madness of Nick Cave's sermon. The first album feels ungodly but never evil. It has a riotous gothic tone empowered by the church choir accompanying Cave's frantic crooning.
The next album switches everything up with calming acoustic guitars and lighter themes of love and serenity. The choir is still there but they feel lighter and more comforting.
This dichotomy allows you to come back to the album with two options depending on what experience you're looking for. It's a 2-for-1 special at this cultist Sunday service.
This is a solid album from the early days of The Rolling Stones. It checks all the boxes. An overall bluesy feel with some psychedelic tones sprinkled throughout. It gets right to it with the opening track Mother's Little Helper.
The lyrics are a bit silly and immature. Not really surprising as the band is still pretty young and it's their first full album of original music. Maybe their perspectives on relationships are fairly naive at this point in life. Overall, not their most complex work, but a cool vibe to listen to at a party or while working.
3.5 Stars
There's some really cool guitar play here. A mixture of Spanish plucking and rapid strumming. Many times the chorus is joined by some big stomping chords. Vocal harmonies aplenty in this album.
I may be getting a little fatigued from these '60s folk rock groups. It seems like they all share very similar qualities with maybe a stand out song to refer to.
This didn't really resonate with me. It's clear Mark Hollis has an incredible voice; both robust and haunting. The compositions seem complex and layered. I'm sure musicians and producers have a lot to like about this album. For me, it felt like a challenge listening to it. The melody and tempo of songs would change on a whim which felt confusing and aimless. It felt like improvising with no sense of direction. At times, I honestly just felt bored.
I give kudos to any band or artist that is willing to abandon the style that made them famous in order to create the art they truly want to make. That's about the best I can say about this one.
This album is in the golden age of whispery pop songs over pounding electronic beats. FKA twigs is doing it magically here. It's an elegant space age arrangement of songs. Her voicework is layer upon layer of harmonies. It's soft and sweet in juxtaposition with the bass heavy beats. And when she transitions to her full voice, it feels like an incredible release from the built up tension.
This is hip-hop at its coolest and most laid back. You can feel the vibe of just hanging out with your buddies and creating something fun and engaging. A Tribe Called Quest sits in an era right after arena hip-hop from Run-DMC and right before gangsta rap from Tupac and Biggie. Where these artists get big and boisterous, Tribe stay mellow and refined. Q-Tip dances on a fine line of profound consciousness and outright silliness. It's like giving a deep philosophical lecture while half cracking a smile.
Production is grooving along with perfectly interlaced samples. From Lou Reed to the Beatles, Tribe takes apart songs to their bare bones and makes them even better in their own way. With legends like that, it's a brave thing to even try, let alone succeed at.
The total package of lyrics and beats brings along a new level of hip-hop not previously explored. You can very easily see its influence up to today and most certainly beyond.
4.5 Stars
The Clash? More like The Clash of music genres! Hehehe...hehe..he.
This album is not archetypical punk. It's naturally punk in spirit but sonically it's a hodgepodge of influences from jazz to reggae and beyond. Some of the tracks come in hot and absolutely rip. But not every song has the same violent energy that the album cover portrays. There are others that feel more jaunty and peppy. It's all over the place and that does make the double album feel a little bloated at times. But I give credit to them for experimenting with so many styles and putting it out for the world to see.
If you're looking for a capsule of the Gen X experience, dive into this album. It contains this sort of malaise and disillusionment that was ripe during the early 90s. Shirley Manson's vocals have an attitude that perfectly pairs with this sentiment. But that's not to say that these tracks are depressed. The electronic backbone of the songs give them a surprising energy. They may be wallowing in self loathing but this music won't put you to sleep. It's a very unique mix of distortion and synth that lets you know you're listening to Garbage.
3.5 Stars
This album is a chaotic and electrifying escape into the depths of New York City. Built on the atmosphere of city noise and voice clips from its many characters, you really feel a connection to David Holmes and his love letter to the city. At times these tracks are danceable and grooving along until you hit a section where the beat is all over the place. It feels like someone freestyling on a drum machine with zero interest in making sense. Yet its all very effective in conveying the Homes' intention.
3.5 Stars
If you've ever wanted to listen to an epic space opera about an awe inspiring alien rockstar that cures the world with their music, then you've come to the right place. Ziggy Stardust is the album of choice for introducing anyone to David Bowie. It encapsulates all of the things that make Bowie so unique and interesting. The music experiments with a variety of instruments to give it that sci-fi atmosphere but still rocks hard with powerful and timely riffs like in Moonage Daydream. The lyrics illustrate a world unseen in the far reaches of the galaxy while still keeping it grounded by capturing relatable experiences and feelings. Bowie's voice can be smooth and cool but it won't take long before he belts into his desperate and cracking bravado like in Five Years.
The album is well paced and consistent. Its experimental without being unobtainable. It's good rock and roll. It's very good David Bowie.
The best part of this album is the atmosphere this live performance creates. King has his audience eating out of the palm of his hand. Every time he bellows a lyric and every time he rambles on his guitar, the crowd goes wild. On top of that, his charming storytelling between songs has them captivated. King is taking them on a ride through songs about every aspect of love. The highest of highs and the lowest of lows are represented within the tracklist. But in King's hands with support from his incredible backing band, these blues have a whole lot of life to them. The energy is electric and contagious and you know damn well, for some people in the audience, this was the best night of their life.
Another one of those albums full of songs you knew but didn't realize they all came from the same album. Coming right out the gate with a debut album like this explains why Dusty is such an icon. You don't get an Adele or Amy Winehouse without Dusty Springfield and this album makes it very clear why.
There's plenty of love songs in here, but trust me, there's just as much girl power as well. It's not all doting for the perfect man. Dusty also knows when to put her foot down and demand more from her man. She knows her worth and is unwilling to give love to those that don't meet her standards. She sets the bar for her relationships and with a voice and charm like hers, you better reach for it.
There are tracks dancing along with a twinkling percussion that brings out a soft and sweet side of her voice. But when a song like Nothing comes along and the brass section rises, she absolutely roars. There's a bravery and violence to her voice when the tension bursts and the passion explodes. Don't judge her by her glamour. Dusty Springfield is a badass.
4.5 Stars
I've been dreading this moment. I knew a Rush album was going to show up eventually. I am not a Rush guy at all, but people that like Rush are reeeeally into Rush. Like they want to convince you that they're the greatest band in the world but honestly they don't really do anything for me. Admittedly, I've never taken a deep dive into their discography and really only know their music on a surface level with their hit songs. I'm also not a musician so maybe I don't really understand the complexities of their songs and the skill level it takes to create such epics. Maybe I'm just too dumb to understand prog rock.
All that being said, I overall enjoyed this album and it did alter my opinion of Rush a bit. Maybe the '70s era, before all the experimental synths, is more to my taste. I was not aware that Geddy Lee had a soulful shriek a la Robert Plant. That along with Neil Peart's masterful drumming, you basically have a Led Zeppelin that geeked out over Philip K. Dick instead of Tolkien. So I think I vibe more with the sci-fi heavy metal in their earlier work.
There is still some oddities that I don't necessarily love. I could do without a 20 minute medley, especially since it's very clear that it's multiple songs that could've been broken up into separate tracks. I'm sure that's blasphemous to say about a prog rock band, so that one is on me. The use of the stereotypical oriental riff in Passage to Bangkok was out of left field and pretty unpleasant.
So did this album make me a fan of prog rock? Nope. Did it make me a fan of Rush? Eh. Did it make me understand Nick Andopolis' love for Rush in Freaks and Geeks? Actually, yeah.
Here we have our second Stan Getz collab album and I think I prefer this one. There's some really good energy here with songs like Só Danço Samba. Overall, the music in this album feels very romantic. Like I picture myself on a date at a french cafe while listening to this music. I suddenly have an urge to watch Ratatouille for some reason.
3.5 Stars
The opening track is brash, eerie, and chaotic. I didn't enjoy it very much. Then here comes This Is the Day, which is beautifully refined and feels very modern. I was hoping that was the direction of the rest of the album, but then it went right back to the chaos. There are some great moments like the piano solo in Uncertain Smile and the breakdown halfway through Soul Mining. Overall though, it was experimental in a way that didn't resonate with me.
You know the album cover. You may have listened to it while tripping on acid. Apparently it lines up with The Wizard of Oz. It's iconic for many reasons and now I see why people have such a strong infatuation with this album. I think if I were you get and more impressionable, The Dark Side Of The Moon would have a much more profound affect on me. The subjects and themes of the album are melancholic and self reflective. A commentary on life and our pursuit of comfort in the chaos.
This listen through taught me that Pink Floyd aren't a singles band. They're an album band. If you're not listening one of their records front to back, then you're not truly experiencing Pink Floyd. Money may get radio play but it doesn't have any resonance without the lead-in from The Great Gig in the Sky. That's the strongest part of the album. It flows effortlessly from track to track making it one whole satisfying experience.
I now get why tripping at a Pink Floyd laser show was peak entertainment at one point.
It's hard to go wrong with any War album really. This one is a pleasant listen as it travels through some groovy tunes. The Chico Kid starts us off in a good mood with some hard funk. Along the way, we get some great jam sessions. With only 6 songs over 44 minutes, this album is a real easy listen with an important message of protest if you stop and really listen.
I've been hearing for a long time that Mudhoney were the godfathers of grunge rock. They put Sub Pop on the map and fostered the shift in rock music. They rejected the glamour of hair metal and made something loud and distorted. Their sound was fuzzy and messy and their themes were dissections of self and society. Punk rock was back for a new generation and louder than ever.
This album has plenty of that. Mark Arm's voice screams and cracks like a cry for help. The music plays from track to track with heavy adrenaline and never lets up. It's easy to see how influential their music was not just to the grunge era but even to punk and hardcore music today. This album sounds so contemporary it's almost surprising to see that it's almost 35 years old. It also got me curious to listen to their debut album and I can confidently say I'm a Mudhoney fan and will be going down a rabbit hole soon.
4.5 Stars
Alice Cooper's legacy is built on his grotesque theatrics. He is a master of the ghoulish shock and awe performances. Sitting down with an entire album made me realize something a little deeper. This guy is just a straight up theater geek. It just makes so much sense now. I believe he's more influenced by Sondheim than he is by The Texas Chainsaw Massacre. I mean, Gutter Cats vs. The Jets is West Side Story in a back alley garbage can.
None of this is a slight to his talent. If anything it's applause for using a historically lauded art form to present something deranged and destructive. While doing so, it's still dramatic and whimsical. The magic and fun is still present even if carried by his slimy growl.
I wouldn't say this is my favorite offering from Alice Cooper. I find the titular song to be overplayed and uninspired. Once past that opening track, there is a lot of fun to be had.
I mean is there a greater opening track than Deceptacon? That baseline flips a switch in my brain and the serotonin pours. That glitchy guitar riff into the "see you later" has stayed with me since the first time I ever heard it. This song is the perfect introduction to Le Tigre.
The album is a scorcher. I want to say it rips through twelve tracks, but really its a mix of dancing, swaying, kicking and punching. Their tone is such a unique blend of raw, distorted, techy, and bubbly. Kathleen Hanna already made her mark in the punk space with Bikini Kill, inspiring a future of feminism in music. To then debut Le Tigre with this album is masterful and a true testament to her influence in rock music history.
In the year 2000, rock music is in sort of a sonic purgatory. The height of grunge is far gone in the rear view mirror. What's left of it is sort of an off brand diet grunge. Nu metal is well established and highlighted by the recent and controversial Woodstock '99. The landscape is messy, immature and maybe a little toxic.
So here comes Coldplay with their debut single, Yellow. A straightforward love song accompanied by a straightforward music video. So why did it blow up? How did something sweet and loving erupt into a scene filled with music made for wrestling and motocross?
Simply, I think the world was ready for something more vulnerable and kinder. Coldplay's debut album, Parachutes, brought exactly that without sacrificing that rock and roll edge. Your memory might picture their sound as acoustic guitar and piano but it's easy to forget that this album is filled with powerful riffs and thundering drums. These things coexist to dance around a melancholic landscape of emotions. Doing so without boring you.
The tracklist on this album is insane. The first six tracks are an incredible run of amazing music. It's unskippable.
The band has come a long way from this original sound. Their discography is vast and has played around with different genres. All bands should evolve and experiment. I wouldn't want ten versions of Parachutes because this one is perfect and it will always be here. And I'm glad I got to revisit it once more.
Serene and colorful are the first words that come to mind when describing this album. Joni Mitchell has a fluttery sweetness to her voice that although soft, still brings a lot of energy and personality to her songs.
The tracks are folksy and poetic but they still manage to bring a little funk in the arrangements. There's a lot of playfulness in this album. The example that stood out to me most was the sudden vocal effect in This Flight Tonight. What may seem common now, was probably really exciting for 1971.
Joni's writing is of course excellent here. You've got an album about some deeply personal relationships, but the audience relates to these feelings due to her masterful prose. She creates analogy after analogy and you get to fill in those blanks to create a narrative fit for you. It's an incredible way to tell your story while inviting your listeners to tell theirs.
4.5 Stars
I wondered why they'd list an album from 2013 for a band prominent in the late '80s/early '90s? My Bloody Valentine was able to release a (sort of) self titled album decades past their era of influence and it was still highly regarded and sought after. That is quite a feat and listening to the album, it makes perfect sense.
Shoegaze feels too simple and lazy of a descriptor for this album. Sure, it has all the characteristics of shoegaze, but My Bloody Valentine is giving so much more here. And maybe that's what 20 or so years off allows you to do. The album feels very contemporary and of the time. Yet, you can feel the influence this music had and would have moving forward. It's like you're experiencing that first beat of a massive ripple effect.
The album is wistful and atmospheric; perfect for a late night drive with no particular destination. This isn't sleepy music though. The final duo of Nothing Is and Wonder 2 build up an adrenaline inducing tension and cap off the album in cathartic release. The album is a solemn journey that caps off in a quaking exit that still feels like a warm hug and a wave goodbye.
By most accounts, Ryan Adams is a piece of shit. He picks petty fights with bands and is generally unpleasant to his peers in the industry. He's been abusive and manipulative to multiple romantic partners. He's used his stature in the music industry to stall their careers out of some weird insecurity. He's an addict that blames alcohol and drugs on his shitty behavior but can never seem to fully commit to sobriety.
I mean the dude tried to keep Mandy Moore and Phoebe Bridgers from the world. That's heinous.
I used to be a real fan of Ryan Adams. Listening to this album, I'm reminded why. However, it just does not hit the same. This is a case of not being able to separate the art from the artist. Specifically because Adams is the narrator and the main character to the music. Through his songs, he paints himself as a tortured artist and a vulnerable, down-on-his-luck lover. But we know the truth and now he just seems like a liar. He's been writing these beautiful songs about being troubled and misunderstood and a victim of love. In reality, he's been the monster.
So yeah, his music kind of sucks now.
When it comes to looping, you can easily lose me if it goes too long. After a while, I may even get annoyed and frustrated. I don't do well with repetitive noise that has no variance or build. This album felt frustrating for most of the way. It worked better as background noise while I was doing chores. I'm sure it's much more enjoyable at a rave or club.
However, when Halcyon + On + On started, it really clicked. It's too bad it was the last track because that song really grabbed me. I wish the rest of the album shared a similar sound.
This album takes you right where it intends to. Radiohead carefully creates a sort of sci-fi melancholy, like aimlessly drifting through space. It's littered with disjointed beeps and boops like you're manning a spacecraft. Thom Yorke accompanies the sprawling and experimental sounds with his signature pained cries. No single song stands out to me but I think it's better for that. It doesn't feel like an album you sit and listen to every detail. I think it's best played front to back in the background during some woeful reflection. Just get lost in the feeling as it might be cathartic.
My main takeaway from this album is that Flava Flav deserves some respect. In recent years, he's become a bit of a cartoon character with his reality show stints and general goofiness. However, as a hype man, he's so essential to what makes Public Enemy. Chuck D is the fiery and combative MC that is core to their rebellious tone. Flava Flav's part in this is to bring some levity to the scenario. It makes their strong messaging palatable for an admonishing crowd still nervous about hip-hop. He may not do much rapping, but he flows in and out of each song with commentary and catchphrases. He contributes like it's his own instrument. Listeners will enjoy the comedic aspects but will come out the other end learning something new about the black experience. He's the cold glass of water when you put too much salsa on your chip.
Fiona Apple is a name you hear a lot of but I personally never took the time to dive into her work. This was a great introduction! I enjoyed pretty much the entire album and want to listen to it again with a more focused ear. It's at times fun and at other times deeply emotional. I can totally see her influence in the acts that would follow. (Looking at you, Regina Spector.) This won't be the last time I listen to Fiona Apple.
I feel like people are afraid to pick Paul McCartney as their favorite Beatle. It's not a cultured or intellectual pick like John or George. It's not ironic or contrarian like Ringo. Paul's reputation is for writing and fun bubbly pop songs. It feels safe and weak to pick him.
After listening to this album, I thiiiiink I might end up picking Paul as my favorite. Obviously he's a great songwriter. He's part of arguably the greatest band of all time. But I'm starting to think he may be one of the greatest songwriters ever. These are all just slightly fleshed out demos but they're all great songs. Like he just knows how to write a great song. I'm not smart enough to describe why, but I just loved the whole thing through.
It's also very endearing to have access to the greatest recording studios and connections to the greatest musicians in the industry, and yet you end up debuting a solo album that sounds like it was recorded in a basement over a weekend.
4.5 Stars
I couldn't think of a more perfect name for an album. This was full throttle music, baby. Billy Joel tries to have this much attitude in his music but couldn't come close to how Meat Loaf does it naturally.
It's a motorcycle musical. A biker gang ballet. A high octane hootenanny. Sweet beautiful music delivered on the back of a chopper racing through demonic wastelands. A full tank of gas and an open road.
It sounds like a love album but it's not presented like one. The background ambience of the live crowd does add some character to it, though.
Janis Joplin is ripping and screeching through some great blues rock. It's got tons of soul and some great jamming. Not more to say about that.
3.5 Stars
Only a couple of days after getting Paul's solo album, we now get to explore John's. The titular opening track has been commercialized and memed to death so it's honestly lost a lot of luster. I'm sure when this album released, it's messaging felt very profound. However, we now know a lot about Lennon's abuse towards women, which makes a lot of the peace and love messaging lose its meaning. A song like Jealous Guy was probably intended to be a reflection of personal flaws, but it now comes across as a lazy excuse for poor behavior.
From a musical perspective, it is nice to hear Lennon explore the blues and country that inspired a younger John. Some of the later songs feel very contemporary in their sound and production. You could place them in the modern age and some would maybe mistaken it for a Tame Impala track.
So far, I think I'm giving the edge to McCartney.
3.5 Stars
Björk's strained, whimpering vocals meet a perfect pairing with a haunting and atmospheric orchestra. I struggle at times to connect to her music as it can feel jarringly disjointed and hard to follow. There is still some of that in this album, but it had a lot of my attention throughout. Even if at times my mind wandered, something would snatch me back into a track at random. I give major props to her ability to stretch her horizons and make interesting music even if it isn't my taste. I think in this instance she was successful in portraying her pain and struggle.
3.5 Stars
Maybe I'm foolish but I was not expecting the title to be so literal. I figured there would be some talk of England but this is almost on an entire album of commentary on the subject. But props to her for using her art and talents to be so vocal and critical.
The delivery was my favorite. There's some great upbeat jangly guitars juxtaposed by the heavier lyrics. There's plenty of variety here and although I didn't love every single song, it did make me want to explore more of her work.
