I fucking love prog rock and when genres are fused into it. I’ve known of these guys for a bout a year now but have never actually sat down and listened to their stuff. Much to my surprise they sound like something I like. I love that combination of erratic guitars playing backed by the higher register male singing, followed by chill sections to help accentuate the chaos and calm when they occur. Drunkenship of Laterns would make me go insane if I heard it at a show. That song is another example of stuff I love when a song can juggle multiple time signature and tempo changes, it’s fun to try and keep pace. That little wooden block they wailing on is a fun way to help distinguish all the time changes. I also enjoyed the noisy out to and intros of each song that serve as connective tissue that helps the entire project have this natural ebb and flow between songs. I’m going to look into these guys and the state of the scene in 2003- because there’s a chance this could be PEAK. I can see how this would or mightve influenced a lot of the post hardcore and “swan core” artists I enjoy. I’ll rate it a 4 but can see this growing or being a 5 at another point in my life. Special shout outs to Closer in Moscows “Pink Lemonade” and “First Temple” as worthwhile listens if you enjoyed this style of music.

I could’ve just put on any other Beatles album that I fw, or played the Beach Boys greatest hits and gotten more out of that experience. Not bad, but I don’t think I had to listen to this to really get much out of it. *Spanish Harlem kind of slaps

There are some classics on here for sure. I’ve never heard the album in full, but appreciate learning that their first release is maybe the most gritty I’ve ever heard Foo Fighters sound. Songs like Weenie Beenie still go hard. The guitar on this album is just a straight wall of sound. I can see how this is an important album, especially since it’s one of those projects where it’s literally a one man band situation. There are some guitar parts on this album that just sound fun to play. I’m not too high on the album as a whole, but it’s a fun listen and definetly worth listening to once and I appreciate it for what it is

I can appreciate the array of guitar/electronic sound effects and accenting throughout the album. I see myself enjoying this experience more if I was playing Skate and it come on as I was yeeting myself of of building and doing endless kickflips into the sun. It also reminds me of ITunes advertisement music at times. I did not know this band made the “Wait✋, they don’t love you like I love you🕺.” That was probably my favorite song on the project. Aside from those notes. It doesn’t do much for me, nor do the eccentric hooting and hollering done on some of the tracks. Three Groaning Oofs🗣️/5

I’m not yearning, you are! 🫵😭 I enjoyed this project more than I thought I would. I enjoyed the old country vibe about a man whose wishes he could be with the one he loves, but she is taken by another. I really felt dudes pain. The production sounded great for something recorded in the early 70s. But I am unaware of the version I listened to on streaming was remastered in any sort of way. My only negative critique is that it was slightly jarring to go through the whole project and hear about this man’s love life, mostly in a somber and romantic way. But the last song is a lot more up beat and damning in regard to those who obsess over the private lives of famous individuals. Just strange note to end the album on. Maybe near the end of the project this guy was found to be having an affair with the woman he talked about in the album??

Does nothing for me. But I appreciate her game. I’ll await her return in November when everyone starts celebrating Christmas way to early.

My 🐐Michael. One of the greatest to ever do it and this one proves it. Wanna Be Starting Something gotta be one of the best opening tracks ever recorded, a five minute journey, when “mamase mamasa mamakusa” is chanted I become that one werewolf meme. And don’t get me started on how fucking good Thriller is.. Human Nature to this day is still Sampled with so many beautiful and elating sections. Most if not all these songs have transcended beyond the album and each song stand on its own as the best song on any other of his contemporaries albums. The production on this album is great, everyone involved is in there bag. It’s not just Michael, its even the collaborators like Eddie Van Halen on Beat It and Paul McCartney on The Girl is Mine, and Alvin from the Chipmunks on PYT. One of the greatest albums ever made for sure.

It was giving Led Zepplin vibes with all that hooting and hollering in the first track. Apparently the album was not filmed live but recorded in a manner where they made crowd sounds to make it sound like it was. Very interesting tech for an album from this time. I think Janis Joplin has a unique voice, and I do enjoy that style of singing. The production is also pretty cool, the instruments sound good, and again I appreciate the “fake” crowd sounds. I appreciate it for what it is but don’t see myself listening to this again.

When Numbers Get Serious had me scared for a bit. There were some bits where I thought horns were going to come in and I was going to have to listen to a Ska song. Not bad at all. Just not my cup of tea.

3.5, the offspring typically aren’t my thing since I usually don’t like the vocals on some of their other work. But this one had some hits. Another Tony Hawk Pro Skater fuel album for sure. The 3 minutes of silence uninterrupted till the band comes back in the last track I can imagine having a very fun chuckle with if I was listening to this back in the 90s on my CD player, unfortunately now I just scrubbed through the song time line to figure out why there was multiple minutes of silence.

This one doesn’t stick out much more than Jimi’s other work, and I haven’t done the research to learn more about the album. But let me give Jimi his flowers (as one should) he is one of the defining voices in the world of guitar players. I remember when I first started learning to play the guitar, his playing was one of the first instances where I realized you can’t just play a part. You have to FEEL IT, and Jimi is a guitar player that regardless of what he’s playing you’re feeling every note. He still deserves his spot on the Mt Rushmore of guitar player imo.

Don’t have much time to listen to them. There were a few bangers. I appreciate being able to notice the one single that popped off on some of these albums. But seemed like the standard disco fair for the most part. I’m sure someone fucks heavy with jt

Visions of King Gizzard and the Lizard Wizard on here. I’m sure this did a number in the 60s for someone’s grandma and grandpa, and I respect that. Today was a vibe, and some guitar sections like the ones in DCBA25 are pretty good. It also appears this came out the same year as Sgt Peppers by The Beatles, so these guys were smoking the same stuff it seems.. Holy moley, these are the White Rabbit people. But this one had a lot more stuff that rolled over me then really hit home. Maybe cuz I’m not in the psychedelic, surf rock mood today.

BOOOOOORRIIIINNNNNG. I like shoegaze but this didn’t do it for me. It sounds like something I would like but the execution did not hit home so I didn’t finish this one.

I’ve known of Chvrches but haven’t really listened to much of their music. This one was a pleasant surprise. I’m a big enjoyer of the Depeche Mode, Synth Pop sound so it was cool to see this was very much in that lane. One thing I can appreciate about this type of synth pop is the range of moods they can put on display with certain songs being upbeat and give an almost 80s synth pop vibe with the vocals and synthesizers, but also very moody and dramatic when they let the Moog pop off. Special credit to the singer as well. I don’t think I would’ve like this as much listening to it first released as I was too much of an edgelord. But happy it came my way now.

This sound like something Patrick and SpongeBob put on when they hotboxing underneath Patrick’s rock.

This was a fun listen but I didn’t come away from it really liking any particular song deeply. It was a good throw in the background while working vibe. IK Gibs was throwing ass to this in the apartment tho.

I like this better than the Paul Simon record. But it took me several vibe tests to find that I enjoyed this the most in the early morning. I think my fave track was probably Man in the Shed since I liked the sound of finger picking in the steel stringed acoustic guitar. I also enjoyed the orchestral accompaniments when they were included. But not too many tracks I can nail down aside from the first couple and last couple that really stood out to me.

He’s still got it

Visions of childhood. Like playing a skating game and just pulling off tricks to this in the background. Even today I still find the sound to still be eccentric and punchy. It’s straddling this nice in-between with an alt-rock sound and hip-hop stylings. Kazoo goes hard. The Latin track is crazy. Was not expecting that. I would say it leans harder into a four since I respect its game but my personal enjoyment where a lot of the songs kinda blended into each other left me feeling more in the middle at a 3. I think I’ll go deeper into their discography to understand where this sits in relation.

I think I sit on a 3.5 for this one, I do enjoy Radiohead but this particular album doesn't seem to hit as hard as their more revered projects. This is another situation where I think I'm going to get the book to see where there headspace was at when suggesting this album in particular. I'm not the Radiohead SAVANT but when the options are The Bends, Kid A, In Rainbows, and OK Computer it's strange they went with this pick instead of those others. In regards to the album itself, its easy to listen to and has the Radiohead charm I enjoy. But no track really jumped out to me as one I'd deliberately put on and jam to. Perhaps the reason this one came up was because, similar to the Foo Fighters album, it's the project less people are familiar with?

I think it was fairly forgettable Zepplin nonsense for the first few tracks. The moment Kashmir comes on is when this thing starts getting good. I think they are at their best when they go for the more psychedelic/ groovy vibe incorporating phaser SFX. And even more so when they busted out the mandolin and strings for songs like Kashmir. I pretend the first few songs don’t exist so I can focus on everything after Kashmir and have a good time. The last couple of songs also don’t hit much for me either. So it’s like eating a sandwich where I don’t like the bread but the filling is good and there’s a good amount of sauce so I don’t look back to negatively on the experience. 3.8/5 out of respect, but they also steal riffs so maybe I’m being too nice.

I looked up the reviews for when this dropped. They’re all like 8 out of 10 or higher. I think 30 years later I can say aside from certain aspects of the guitar playing it’s pretty Mid and both forgot I was listening to it and didn’t have much interest in finishing it.

I respect how much bro likes to bitch. Everything is annoying and a pain in the ass- and I feel that.

I think it’s funny at times when an artist makes an album that they look back not too fondly on. Often at times that work ends up being some of their most popular stuff, and this one is no exception. It’s always a strange feeling having a strong connection to a particular work and then hear the people who made it not be as passionate about you. This one has what I can consider classics at this point with Time to pretend, Electric Feel, and Kids. These songs in particular have such a particular aura to them that it helps me open that time capsule to being a young teenager again. These songs are what being young and just enjoying what life had to offer sounds like lol. Credit go MGMT for also making Little Dark Age as that was a other album they put out that I think is better than this one, but has a similar impact where when some of those track come on I recall the impact of those first initial listens.

Some classic bangers on this one. A nice change of pace with what we’ve been getting so far.

I think it’s very funny after last weeks Radiohead album, we get arguably one of their top 3 works. While it isn’t my favorite, as I reserve that for The Bends or Ok Computer, I think both the context in which this album came out and doing a little research about the album has me enjoying it more than I would of without it. This album came out right after they released Ok Computer, which at the time was well regarded as a premier Rock release. If I go back and listen to that work before Kid A you can draw a line from this to Kid A, but that line is not straight. It meanders, curves around, and is more concerned with doing what IT wants to get there. So it’s funny for me to go back and read that this was a controversial release when it first dropped. The sound was so out there at first that the expectations built up from there prior works were absolutely shattered when they released Kid A. The first few tracks of Kid A have a heavy synth focus, which has always been apart of Radioheads sound. But I’ve read Thom Yorke wanted to experiment even further with those sounds than they have before. While the last half of the album trends more towards their more familiar sound. I think that transition is make even more clear where the synth have start includes Thoms vocals being utterly saturated in effects, which helps give the album this alien vibe as it transitions into the more familiar less processed performance. This being also being an example of one of the themes for this album having to do with the idea of cloned person (Kid A being the name of the first human clone/what they named their synthesizer) growing up through the new (2000s) digital age and the sound of the album trying to get that across with the almost unsettling and confused sounds eventually transitioning into something more digestible and comfortable to listen to. I personally enjoy the album experience from front to back and view this as one of those albums that I treat as a wholesale experience more so than tracks I’ll play because I’m looking for something to compliment the vibe. I don’t think Kid A would compliment most vibes in this case lol. However, I do greatly respect when musicians can pull off the curve ball or sudden left turn and come away with a work that even 25 years later is still discussed as one of the more prolific additions to not only rock music, but perhaps music in general. Special reference to the Middle 8 YouTube video on the album.

I fucking love prog rock and when genres are fused into it. I’ve known of these guys for a bout a year now but have never actually sat down and listened to their stuff. Much to my surprise they sound like something I like. I love that combination of erratic guitars playing backed by the higher register male singing, followed by chill sections to help accentuate the chaos and calm when they occur. Drunkenship of Laterns would make me go insane if I heard it at a show. That song is another example of stuff I love when a song can juggle multiple time signature and tempo changes, it’s fun to try and keep pace. That little wooden block they wailing on is a fun way to help distinguish all the time changes. I also enjoyed the noisy out to and intros of each song that serve as connective tissue that helps the entire project have this natural ebb and flow between songs. I’m going to look into these guys and the state of the scene in 2003- because there’s a chance this could be PEAK. I can see how this would or mightve influenced a lot of the post hardcore and “swan core” artists I enjoy. I’ll rate it a 4 but can see this growing or being a 5 at another point in my life. Special shout outs to Closer in Moscows “Pink Lemonade” and “First Temple” as worthwhile listens if you enjoyed this style of music.

He has a unique voice and I appreciate the wacky energy.