Solid Album. No Dylan covers, although "5D" was clearly Zimmerman inspired. Strengths: THOSE HARMONIES, great covers of traditionals, David Crosby's gorgeous voice.
Weaknesses: Their "jam" fillers (Captain Soul and The Lear Jet Song), McGuinn's "guitar solos" sound like a toddler fumbling around on the fretboard.
Favorite Songs: "Mister Spaceman" (McGuinn) and "What's Happening (Crosby), and the CD extra songs "Why" and "I Know My Rider."
Rating: 3/5
A pleasant listen. A dance album but not boring thump, thump. While each song picks a beat and doesn't deviate, it's never boring thanks to the variety of textures. Synth arrangements never overpower the acoustic instrumentation.
Thoughtful overarching lyrical themes and musical seques between several songs make this an enjoyable, although dystopian, concept album.
Favorite song(s): Sprawl 1 and Sprawl 2
Rating: 3/5
A perfect album! The I.R.S. years of R.E.M. were classic. Loved this album since High School. Buck's jangly rhythm, Mills' melodic bass, Stipe's indecipherable singing, and Berry's tastefully expressive beats were unique.
Mitch Easter's production is immaculate and open. The piano and occassional cello complete the arrangements without ever being too busy. The album is at times mysterious but never morose. Often joyful and danceable.
Peter Buck, one of the finest rhythm guitarists in the world, leaves space to fill. Mike Mills, using his bass as a lead instrument, fills it beautifully without ever getting in the way, taking the spotlight, or neglecting his bass duties. That, paired with his high backing harmonies makes him the secret weapon of this classic combo.
Very difficult to pick a favorite song. Favorite high points: "Talk about the Passion," and "9-9."
Rating: 5/5
Excited to listen. Many artists I like cite them as an influence.
Strengths: This is a guitar album. Two skilled guitarists playing distinctly different lines, satisfyingly panned to the left and right. No wasted notes. Energetic. Tons of hooks. Solid, masterful rhythm section. Clever, poetic lyrics. Weaknesses (minimal): the voice and sparse production may put some folks off at first. I think it's perfect.
Favorite songs: "See No Evil" (Sounds like Cars meets Jack White) and "Torn Curtain" (beautiful, garage band prog).
Terrific album!
Rating: 4/5
A classic albeit schizophrenic double album. Features some of the best, smooth FM pop that Mac would create, mixed with a collection of raw "unfinished demo" sounding tracks from Lindsey Buckingham.
I prefer the open, relaxed, less slick, production style of this album over their previous two records. These songs breathe more and feel more spontaneous. Lindsey's tracks, while short and rough, are super catchy. I prefer listening to this album over "Rumours."
Strength: not overproduced. Weakness: disjointed
Favorite songs: "Sara" and "I Know I'm Not Wrong"
Rating: 4/5
Seriously? How am I supposed to give Aretha Franklin, at the top of her game, anything other than 5 stars?! Good grief. This launched two of her biggest hits, "Chain of Fools" and "You Make Me Feel Like a Natural Woman."
Strengths: Aside from Aretha just killing it, the rhythm section is top notch: members of Memphis Boys and Muscle Shoals Swampers.
Weakness: just too darn short (less than 30 minutes).
Favorite songs: "(Sweet Sweet Baby) Since You've Been Gone" and "Good to Me As I Am To You."
Rating: 5/5
Terry Kath era Chicago is the best. This album is chock full of great music, including some of their biggest hits ever. This is the era before the horns were largely sidelined and the record company decided Chicago needed a lead singer.
This music is MUSCULAR. No gentle synth ballads here! This is music to trip out to. And there in is a weakness. While this double album gives you ample time to just kick back, mellow out, and float with the stream, it does have some of filler.
BUT FREEFORM GUITAR IS NOT ONE OF THEM. This seven minute guitar solo odyssey is terrific! Terry Kath was a monster guitarist. Other jams, however, aren't exactly the highlight of the album. Chunks of the album sound rather dated with the 60's protest songs.
Strengths: Solid musicianship, great VIBE, classic hits.
Weaknesses: Some dated protest music. Could have been trimmed to a single album (especially the last three tracks)
Favoriite songs: Beginnings, Listen.
Rating: 3/5
The Police were opportunists. A great combination of top notch musicians "slumming it" with punk (It's Alright for You, No Time This Time), reggae (Bring on the Night, Bed's Too Big Without You), and new wave (Contact, Deathwish) styles that were popular at the time. It got them noticed and put them on the map.
The dead giveaway that these guys were miles beyond those movements is their virtuosity. Andy Summers, a seasoned session guitarist, has scads of inventive licks and lush arrangements on this album. Stewart Copeland's intricate drum work is unmatched. With Sting as primary writer and front man, they were a force.
Strengths: iconic songwriting: "Message in a Bottle" and Walking on the Moon." Powerful, energetic performances. A fun listen.
Weaknesses: Great album but these are heavyweight musicians playing below their weight class. No need for filler songs (and there are a few).
This album is neither inspirational nor aspirational. It is "respirational," meaning at times it sucks and at other times it blows.
Should be titled "My Bloody Sleep App." This is what happens when white noise, distortion, binaural beats, looping audio software, and a rogue flanger decide to show actual MUSIC who's boss - and fails.
I know this is designed as atmospheric music, but I'm unsure of which planet's atmosphere - as evidenced by the breathless vocalists gasping for air like a pool of koi fish silently begging for bread crumbs.
Strengths: There are some guitar chords on here.
Weaknesses: They sound like they're lost.
This album was a joy. Highly textured creative music. Released in 1972, some of the quirky electronics are obviously dated but several effects would become production staples for years to come.
Eno is obviously concerned with creating an atmosphere with each song. Unlike many later ambient, repetitive bands however, he is skilled at writing a solid hook. From there, he uses unconventional sounds to texture and "fill out" the audio profile in a way that serves the song and tells a story.
A terrific album to listen to with headphones. Lots of variety that stands up to repeated listening.
Favorite Song: Blank Frank
Five stars. No debating one of the greatest debut albums by any band. All killer, (mostly) no filler.
Top notch musicians, open jazz style production, great vocal performance. I'm not a fan of the mid '60s hard stereo pan but whatever.
Wow. Powerful performances all the way. Immediately struck by the massive horn arrangements, and fat saxes. Only a larger than life voice like Otis Redding's could match this bold arrangement. And he sure does!
Soulful, expressive, and STRONG. Otis at his best.
His song, "Respect," lands much differently on this record than Aretha's later version. It's hard to believe she could improve on the song, but she did. It's a testament to the artistry of them both.
Aside from Otis' rather weak version of the Stones' "Satisfaction," this is delight from top to bottom.
Favorite song: "Down in the Valley." So funky!
I'm not usually into movie soundtracks that much but this was throughly enjoyable from start to finish. Great compositions, arrangements, and loads of funk. I can see why this soundtrack won an Academy Award.
Plus, that soulful voice of Isaac Hayes popping up every so often. Great stuff.
The songwriting and arrangements on this album are top notch (great strings). Terrific team of musicians, includining some fine slide guitar from George Harrison. A musically pleasing album
However, while John's first solo album was powerful and authentic, this just sounds like complaining. The songs are strong. John's performance is heartfelt. But the self-centered bitterness of this album removes any enjoyment I might receive from listening to it.
John's "How Do You Sleep" scorched earth attack on Paul just comes off as unnecessarily cruel. Not all therapy sessions need to be broadcasted.
Favorite Song: "Oh My Love" it's the beautiful, shining moment of this album.
This did nothing for me. I know it's on several top album lists, I just don't know why. Yes, the electronics were somewhat advanced for 1977. The closest thing to a song was "Girl" - but that's not saying much.
The album that showed arena rock still lives. Contains three iconic monster hits. The album owes a lot to the styles of AC/DC and Kiss but with a much funkier swagger or swing than those two bands.
Excellent production, mix, and stereo stage. Perfect to rock out to. Slash channels Page a few times.
A good bit of filler on this record though, and not a lot of lyrical depth. Mostly typical bad boy stuff.
Favorite song: Mr. Brownstone.
I really can't stand Bruce Springsteen but I will give credit where credit is due. This album is a standout. The title track is about as perfect a song can be.
The highlight for me, however, is "Tenth Avenue Freeze Out." The horns and fat saxes of the Brecker brothers and David Sanborn joining Clarence Clemons just pushes this song over the top. Can't be beat.
Lyrics on the album are great but Bruce is just too damn shouty. He gives me a headache.
The real star is Roy Bitton! His piano work on this record shimmers. Roy on piano and Clarence on sax can save just about any song. "Backstreets" and "She's the One" for example, would work just fine as instrumentals. Great band.
The epic 9+ minute Jungleland is one of the best closers of any album.
I absolutely loved listening to this album! I've never heard of this band before.
A lot of sonic texture on this album. It's a pleasing mix of electronic and acoustic instruments with both digital and analog sound effects. Often creating an almost ASMR effect in my earbuds.
Each song has an upbeat hook-laden vocal melody with tight harmonies. Always danceable never repetitive. Both retro and futuristic at the same time. A fun discovery.
Favorite song: "Life's a Beach." And, I'm definitely adding "Wor" to my favorite apocalyptic songs playlist!
A ridiculous amount of raw energy. A powerful performance. Recorded live in 1963 but, inexplicably, not released until 1985? This set just sounds like pure fun. Sam plows through the hits with an in-your-face presence that commands respect.
Excellent recording quality and a solid performance by a terrific band. I've never heard him like this before. I can see why he was such a huge sensation in his time.
"Fast and Bulbous!" Ha ha.
This thing is nutty. It took me about 20 minutes to figure out what was going on.
It's not music as far as I can tell. That's not to say it's not entertaining. It felt more like a poetry slam. I have no idea why they decided on making it a double record. 45 minutes would have more than sufficed.
Obviously, a lot of work went into this. But, I'm not gonna be pretentious and pretend I think this is a masterpiece or that it's an "important album" just because it shows up on lists like this.
It may be those things but my mind isn't currently calibrated for this. Today, it's getting one star from me but not because it didn't have entertaining moments. I'd have actually given it two stars had it been a single disk, not a double.
Yes! Some power pop fun. This is a band I skipped when they were around. I actually didn't know I had heard them until "Alright" came up. That song was everywhere back in the day.
Lots of hooks and raw energy. The first half of the album holds most of the "pop" numbers. "Caught by the Fuzz" and "Mansize Rooster" are the most notable for me.
Back half of the album is more musically interesting. Great stuff.
My favorites: "Lose It" and "Sitting Up Straight."
Ah. Classic Prog: The world in which I generally live. This is such a familiar and loved album to me that it's difficult to give an unbiased review.
My biggest dislike is the subject matter. This whole album is an ode to lechery and animosity towards Christianity. "Hymn 43," for example, could have been written by the unrepentant thief on the cross. A complete rejection of Christ.
On the other hand, this is a musical masterpiece. It's funky enough to have generated several classic rock staples yet proggy enough to keep the interest of the musically inclined.
Favorite song: "Cross Eyed Mary" - from tasteful, mysterious flute/mellotron opening to the down and dirty Hammond Organ riff that would make Deep Purple Proud. Funkiest cut on the album. I love it.
Musically this album is five stars. But, for me, I have to dock it one star just for its unrelenting blasphemy.
A concept album about nuclear weapons. Begins with India's nuclear testing and ends with Robert Oppenheimer.
Tracks rotate through several genres: orchestral, jazz, electronic dance, rap, MOR soft rock, scat. Arrangements featuring both western and Indian instruments and styles.
Overall, I found it to be an enjoyable listen. I could hear this being played in a coffeehouse or spa.
Favorites: "Homelands" and "Tides"
This album seems most like a work tape of song ideas. It's a collection of fun grooves. Most songs clock in at about two minutes, many even shorter.
Thundercat is a great bassist. You can most easily hear his virtuosity on the song "Uh Uh." Excellent R&B / Soul numbers on this record. Also contains surprise guest vocals from both Kenny Loggins and Michael McDonald.
The album's strength is also its weakness: very short songs. For example, if you don't like a song, no problem. It will end quickly. However, that also means when Thundercat latches onto a juicy jam, he doesn't ride it long enough. The song may be over within a minute and a half. The result makes the album somewhat disjointed.
Favorite song: "Them Changes"
Solid pop album. Abba was a terrific band and this album just so happens to contain the most perfectly constructed pop song of all time, "Dancing Queen." This record is chock full of hooks that can stick in my head all day.
Lyrically, there is some weirdness here. "Dum Dum Diddle" contains one of the oddest rhymes, "you're only smilin' when you play your violin." (she's jealous of the time her man spends with his instrument - best not to dissect that). And I still have no idea what the song "Tiger" is trying to say.
Apparently, the single "Fernando" was not originally included on all pressings of this album. That would be tragic as it's one of their best tunes.
All in all, this is just a great "feel good" listen by a band that made a whole lot of people feel good.
These early Elvis Costello albums produced by Nick Lowe are magical. The raw "Basher" production suits these songs.
This is the scrappy, street-smart Elvis singing pub rock power pop. Lots of musical hooks and searing, sarcastic, yet poetic lyrics.
The album seems to get better with each listen. Bruce Thomas' bass playing is absoutely killer. A great sophomore record that reinforced Elvis as a great songwriter.
Favorite song: Lipstick Vogue. It's a tour de force!
Man, this album is boring as heck. I tried to like it, especially since I enjoyed the "Suburbs" album. But this just sounded repetitive to me.
And what's worse is that it feels like that was the plan. Each song is crafted in such a way that it could be sung as an anthem. Simple slow chord progressions with simple refrains. My mind just sees the lighters (or cell phones) waving in the arena.
AND THAT'S NOT A BAD THING AT ALL.
It's just that this album felt like a string of that same sort of song. Meh.
Favorite song: "My Body Is A Cage." A legitimately excellent song.
LOVE this album! This is the first time I've even heard of this album. It's also one of the reasons I chose to make my way through this 1001 Albums challenge: to discover classics like this.
This contains a master class in how to make a cover song your own, not once but twice. "Walk on By" and "By the Time I Get to Phoenix" are epic both in length and in substance.
The open, almost luxurious arrangements here will make this a repeat listen for sure. I always knew Isaac had a terrific vocal style. I'm quickly learning of his very satisfying arranging too.
Rating 5/5
Favorite song: "Walk on By."
I envy those who attended this concert. Their experience was over in a couple hours. It took me three days to get through this album. It was dreadful slog.
I found it repetitive. I love space but the silly little nonstop "space sounds" got on my nerves. When they launched into the spoken word "Space Poetry" I thought for sure this was Spinal Tap!
There are just some bands that are popular in the UK that just don't click with the average American. This must be one of them. This went to number 9 on the UK charts.
Yeah this didn't do it for me.
All killer. No filler. No matter what I'm currently listening to, I know I can put this album on as an instant audio palate cleanser.
The album starts off like gangbusters with "Let the Good Times Roll" and keeps the pace up with the massive horn arrangements and high energy big band. But, as the album continues on, the music gets more soulful and jazzy. The string arrangements are absolutely beautiful.
Ray Charles is just the epitome of soul. There are so many great songs on this record but I suppose my favorite is "Just for a Thrill."
Relentless, straight up, no nonsense rock n roll the way nature intended it. Thin Lizzy's harmonized dueling lead guitars are on full display with some of the juiciest riffs throughout.
Phil Lynott was the essence of cool. Terrific frontman with silky smooth voice, funky bass, and commanding presence. The album cover says it all.
This live album starts strong then just keeps picking up stream, snowballing to a crescendo. It's intense and is a must-have record.
Favorite song: "Are you ready?"
The overall vibe of this album was fantastic. I love the 60's Motown inspired arrangements and orchestration. Most of the time this was great fit for Amy's strong, husky vocals.
However, this treatment doesn't work as a "one size fits all" on all songs. For example, The Meters styled trap kit drum sound was perfect on songs like "Rehab," "You Know I'm Not Good," and especially the reggae styled, "Just Friends." However, that sound is just too weak for big Shirley Bassey type numbers like "Back to Black" or too distorted and one dimensional for the more jazzy swing songs like "Love is a Losing Game."
There were a few other miscues where the music simply didn't fit Amy's vocals at all. The most glaring example is "Tears Dry On Their Own." The music was clearly a direct homage to Marvin Gaye and Tammy Terrell's "Ain't No Mountain High Enough." However, Amy's melody and peformance, while executed wonderfully, simply sounded like it was meant for a completely different song. The vocals, in that case, worked against the music.
Those are just quibbles. This is an enjoyable album. But, they indicate that this record had the potential to really showcase the variety of styles Amy was capable of. Instead, while wonderfully performed, the songs began to sound a little too much the same by the end.
Regardless, Amy was a force to be reckoned with. She had a great talent that, tragically, was taken from us too soon.
This was a bizarre but fun album. How can joyful African and Carribean reggae jams NOT be fun. Mix it with some early hip-hop and a "framing" structure of each track being played on a New York morning show or something - complete with call-in listeners. Definitely an interesting listen on my morning commute.
This was the era when all these "World Beat" styles mixed with post-punk and new wave, much moreso in UK than USA.
I was pleasantly surprised to see Trevor Horn's involvement in this production. It kept me listening. I could see playing this as background music at a party - but really, that's about it. An enjoyable spin.
This is the first rap album that has come up for me on this list. It's also the first British rapper I've ever heard. He has quite a different sound than the stateside variety I'm most familiar with.
I've also never heard of "grime rock." In other words, I just don't listen to rap. It's not really a go-to genre for me.
I do enjoy the some of the beats and I always play "name that tune" when it comes to identifying famous samples. In the case of Dizzee, it was fun to hear Billy Squire rocking out in the middle of this album. I also got a kick out of the 8 bit Atari sounding electronic music and beats.
All in all, I'm not a good judge of this style of music. So, rather than rate the album based on its importance or whether it's best of its class. All I can do is rate whether or not I'm likely to give it another listen.
I am not.
It was fascinating to hear all the the musical elements that would feature heavily on the following year's acclaimed Pet Sounds album coming together, in earnest, on this.
This is the transition album. As such, there are some great stand out moments. "When I Grow Up to Be a Man" with its harpsichord, and bass harmonicas and Phil Spector style arrangement was a harbinger of things to come. This is "Wrecking Crew" at their peak powers.
But, the expansive "Kiss Me, Baby" and "She Knows Me Too Well" take things to the next level. It's painfully obvious Brian has graduated from this group. In an alternate reality this is where he begins to enjoy solo projects and songwriting for and with other artists. Instead he suffers in an effort to fit all his creativity into the Beach Boys box.
There are some great numbers sung by Dennis Wilson on here, including my favorite on the album, "In the Back of My Mind." The lush arrangement is just sooooo good!
Not a perfect album but a darn good listen!
Wonderful album from a blind spot in my musical knowledge. This is the first time I've heard of Nina Simone. I thoroughly enjoyed this record.
Thematically, this is a very deep poetic album but musically every song is easily accessible. From the first track I expected a boogie woogie album. However, the album took a dramatic turn with the second song, "Four Women." So, was this gonna be jazz.
Nope. Even though the arrangements were stark and typical of traditional jazz combos, the song structures were more akin to pop songs. Identifiable hooks kept my attention and was just the sugar necessary to take any bitterness out of lyrics.
Her voice is unique. I've never heard such a quirky vibrato. It works for her. It lends enough emotion to the performance to ensure the lyrics sound authentic.
My favorite song: "Lilac Wine." A wonderful discovery.
All Hail the Queen. I gave "Lady Soul" five stars and I just gotta give this one five too.
What a difference a year makes. While "Lady Soul" was a slammin' - funky album, this one has a much more open, vulnerable, yet confident sound. This is, in my opinion, peak Aretha.
So many good songs! "Baby, Baby, Baby," the title track, "Dr. Feelgood." But my favorite is probably the extra-groovy "Don't Let Me Lose This Dream."
This is a fun album. The only way I can describe it is "Nine Inch Nails" but fun and happy.
The band uses loops - lots of loops! But, they are always tasteful, interesting, and used in service to the music, never in place of it. The loops add degrees of texure where needed to best effect.
While this music is largely electronic and "locked to the grid" it still manages to stay funky. Best examples are "Golden Age," "Red Dress," and my favorite "Crying." Real guitars and organic instruments mix it up with the synths.
The album features a variety of styles: Dance ("Dancing Choose"), Ballads ("Family Tree"), and even a Pop Anthem ("Lover's Day").
A good listen.
Any time I'm feeling too happy and satisfied, I feel this album will give me just the right amount of existential dread to snap me right out of it.
According to the wiki writeup, after their second album one of the band members lost interest in music. It took over a decade for him to come back to make this.
While this band is very talented and the album is well produced, I have a hard time thinking of this music as something I would ever be in the mood to listen to. It's a bit too depressing for me.
Favorite song: Nylon Smile
Terrific album. Contains some of the band's most iconic songs (Green River, Bad Moon Rising, Lodi) mixed with a few bluesy numbers and a cover tune.
The best song on the album is the the protest anthem "Wrote a Song for Everyone."
Favorite song: "Sinister Purpose"
Good album. Essentially a dance album disguised as an alternative rock album. Lush arrangements (great headphone listening). Modern sound but with production elements that include loops, mellotron, and preverb effects.
It clearly helps to have production wizard Butch Vig in your band.
Shirley Manson's vocals are mesmerizing. One second sexy smooth, the next second urgent and powerful.
Hits: "Only Happy When it Rains," "Queer" and "Stupid Girl."
Other standouts: "Not My Idea," "Supervixen," "Milk."
Favorite: "As Heaven is Wide."
An actual album created in exile. An album of music preservation. These gentlemen were run out of their homeland by jihadists. That fact adds a definite level of urgency to this project.
This music has a fresh uplifting feel. It's not exuberant, though. It's sober. It's the blues.
The songs don't follow the normal western "verse, verse, chorus..." structure. Rather, each song finds a nice groove and sits there for nearly the entire song. This album is pretty much a collection of really nice contemplative groove pieces.
Since it's not recorded in English, I can't comment on any of the lyrical content. Nonetheless, it's an enjoyable listen.
Garbage. Beat poets with amplifiers. I can't stand beat poets. I'd gladly listen to 100 hours of that Captain Beefheart Fish Head album before I'd listen to this again.
I like jangly guitars and this album has 'em. It took a while to latch on to this one, though. The second half of the record is stronger than the first half.
While the name of the album is "New Wave" the music ain't. Instead of synth, we get solid piano lines and cello. That, mixed with the acoustic rhythm guitars and even occasional xylophone, give this album some nice texture.
The nasal vocals were a bit distracting in some points.
Overall this is an OK album. It's not happy-clappy pop, it's kinda disturbed (which is fun). Second listen was better than the first. I can see how this might grow on someone.
Favorite song: How Could I Be Wrong?
This was a very cool listen. The title track is 22 minutes long - which just so happens to be the exact time it takes for my morning commute. So it was the perfect soundtrack for my drive to work this morning.
At first it sounds kinda quaint, until you realize this is 1974 era analog synth tech, then it's amazing.
To my ears, this is essentially a tone poem. There is a simple motif that's repeated in various ways throughout the piece. The rest of the soundscape is filled with electronics that imitate traffic, the radio, and various other sounds one might hear on his or her drive. There's also some singing about driving on the autobahn.
The track does contain definite movements. The "drive" goes from hectic rush hour traffic, to leisurely driving. Panning effects and doppler shifts increase the realism.
Side two sounds like a collection of electronic experimentation. There are some short, clever songs with creative synth effects.
I would most definitely listen to this again.
Great album! I've mad respect for Sly. While singing about racial equality, he put his money where is mouth is. His band was a melting pot of terrific musicians.
I enjoyed this from start to finish, especially "Sing a Simple Song." Straight up the funkiest groove on the album.
The talk box was used a little too much for my liking but that's a quibble. Some iconic hits on this record. This record, and his appearance at Woodstock, helped immortalize him.
I'm not a rap fan, so this listen was completely outside my usual "algorithm" (which, of course, is the primary reason I'm doing this 1001 Album challenge in the first place).
That said, I was impressed with the production. This album SOUNDS great. Learning more about Kanye's production background, I shouldn't be surprised.
The rhythm tracks are funky, and soulful. To be honest, those backing tracks are what kept me listening.
As for the subject matter, "Jesus Walks" was the standout. I was shocked at the level of introspection. Great cut.
On the whole, the album had a sense of humor but was a little too long.
In high school, I just knew Simply Red as the guy who sang "Holding Back the Years," a monster hit at the time. This is the first I've heard the whole album. I gotta say I enjoyed the soulful sound.
However, much of the album has that hopelessly dated 80's production and arranging style, "Money's Too Tight" being the biggest offender on that front. It suffers because of that.
Nonetheless, this album has variety. Mick Hucknall's vocal performance is perfection and he sells every song, squeezing every ounce of soul he can find out of these songs. Tony Bowers bass work is terrific too.
Favorites: "Sad Old Red," "Open Up the Red Box," "Come To My Aid (Survival Mix).
A great album! Not a dull track. It's a tight but varied collection: blistering, raucous pub songs mixed with instrumentals and emotional ballads. Skillfully performed.
It's a great sounding studio album with the energy of a live band. Every song tells a story.
It's my first Pogues album. I had no idea what to expect. I loved it.
"And the Band Played Waltzing Matilda," is a crushingly heartfelt masterpiece. It's a sober, beautiful way to cap off wild 45 minute adventure.
Wonderful album. As an 80s kid, I enjoyed their hit singles and I watched their Live Aid performance on TV. This, my first run through of a full album, was every bit as good as I had hoped.
This doesn't suffer "dated-ness" as much as a lot of early/mid 80s music does. For example, the drums are mixed like real drums, synths are kept in check, etc. It's a great performance.
It's no surprise this band has been uber-succesful. Focusing, and excelling, in a Jazzy Dance genre (whatever name you call it) gained them chart huge crossover acceptance.
The songs are almost a little too immaculate. But, that makes two songs particularly shine out: "Frankie's First Affair," where Ms. Adu's vocal is the most free, open, and soulful on the whole record (She should to do more like that), and "Sally," a beautiful and emotional tribute to the selfless work of the Salvation Army. That song was the unexpected standout of the album for me.
I've added this album to my library and will return again.
Meh. It's OK.
Sonically, I like the dry mix of this album. It fits the songs. The drum mix is especially refreshing. I like the feel of the songs he recorded in the barn the best.
The songs are well constructed and the lyrics expressive. The popularity of this album could be due to its simplicity, making it accessible to fans of many genres. This did have some crossover success on the country charts. But nothing really grabbed me.
Overall, I would need to be in the right mood to listen to this. It's a solid two star for me. After a third listen a couple more songs grew on me but this still won't be one of my go-to albums.
Favorite song: "Old Man"
I can see how this would be a big hit on the dance floor. For me, however, Bjork is just all shouty and irritating. This is repetitive and often indecipherable.
Favorite: The Anchor Song
Rap is not my thing. While I appreciate the skill and heartfelt lyrics, I'm clearly not the audience for this. So, I won't comment on that.
What I did enjoy here is the super smooth, jazzy funk music bed. Class musicians for sure. That part was enjoyable.
The weakness for me is (as with most albums recorded in the CD era) it's too long. Overall album length plus the nonstop explicit rap lyrics, I won't be coming back to this.
All Filler, No Killer!
Yesterday's album was too long at 70 minutes. So, the generator decides today I should get a THREE HOUR LONG ALBUM.
In fairness, I truly admire the time, effort, and testicular fortitude it took to make this. Stephin challenged himself and went for it!
And, he succeeded! There's a lot of very catchy songs on here. The sense of humor is infectious. The variety of styles, voices, and arrangements keep this from being a boring listen. It becomes a game of "What's behind the NEXT door."
I suppose that's why it's on this list. It's an oddity that just needs to be experienced. In its entirety. From beginning to end. ONCE.
It's no elephant in the room that the three hour run time is the album's greatest weakness.
Recording every song that enters your head is something every songwriter needs to do. Get that sucker on tape! But then, go back and do some editing. Cull a few, combine some others. Develop ideas. Work on arrangements. Mold the beast into a sharp KILLER album.
This could totally have been that. Instead, editing is left up to the listener. It's mixtape time again. Which, honestly does have its own joy.
This is the sort of collection that ends up on a "Super Deluxe" Box Set. It has the feel of a collection of rarites and outtakes. The fun stuff usually released at the end of a band's career. Kudos to these guys. They decided to record the whole box set upfront. Themselves.
Isn't that just the "Indie" way? ;)
Heck yeah! Now this is what I was hoping to discover on this list. It's an album by a band I've never heard that absolutely kicks ass.
A winner from the very first song, one of the best album openers I've ever heard ("Take a Bow") to the last "Glorious" track.
This album is what you get when you take your Prog Rock out to the dance floor. But, since your Prog doesn't want to go alone, you swing by the opera to pick up Queen. Then, you swing by the beach to pick up Dick Dale (and his flamenco guitarist buddy?)
Once on the dance floor, your Prog is delighted to find Nine Inch Nails, Daft Punk, Dream Theater, and Prince all jamming together with a full orchestra.
While it may sound silly that you're also dancing with crooked politicians, space pirates, and aliens, it actually feels epic and cinematic! This album is a wild, delightful ride that checks all my favorite musical boxes. Ear candy I can't get enough of.
More please.
This is Talking Heads at their best. My favorite era. It's easy to see how they gained popularity with this heavy rhythm-centric setup. Every song is danceable. It's every club owner's dream.
Brian Eno's production was perfect on this one.
Now I know where Talking Heads got a chunk of their inspiration. The best feature of this music is the willingness to find a groove and just sit in it and explore. I found this to be a good listen.
I'm not much of a fan of angry political music. But, in this case, I make an exception.
Tex Mex mood music with a dance beat. A unique sound that works most of the time. I like the texture. It's largely nice background music. There areba lot of instrumentals.
The second half of the album is a little uneven. The jazz numbers tend to meander. These guys sound best when they go full mariachi.
My favorite songs are "Close Behind" and "Black Heart."
The song "Not Even Stevie Nicks" kinda sounds like a Bob Welch era Fleetwood Mac outtake. I thought that was fun.
I didn't know what to make of this when the album started. It's out in left field. But when the waves started crashing on "Love from Room 109..." I was mesmerized. It's a fascinating work. There's a lot to enjoy on this album but sadly is much of the same and drags several places.
I can't see myself putting this album on unless I'm just super melancholy. Favorite songs are "Love from Room 109" and "Gypsy Woman."
It's hard to overestimate this album and the effect it has had on Western Civilization. This has been the soundtrack of every Christmas since its release. For some of these songs, these performances are the definitive versions
This holds up as a true musical monument. Classic Christmas songs delivered with amazing talent and joy, given the full "wall of sound" treatment, recorded in glorious mono. This will outlive us all, as it should.
This album was OK enough. I'm not exactly sure why this is considered an album I must hear before I die.
The 80's style arrangements were nice, but nothing really jumped out and stopped me in my tracks. It was more or less background music for me.
As Bob Dylan albums go, this one is very listenable. He's legit singing on this. There's no denying he's a very talented wordsmith. His messages come across loud and clear.
I completely understand why, and agree that, this is a culturally important album. It was born during a volatile time in our nation's history. But, thankfully, that doesn't mean it's without humor. "Talkin' World War III Blues" shows serious themes can be treated tongue in cheek.
As for repeat listening? For me, not so much. I have a pretty low tolerance for protest songs. I'd have to be in a very particular mood to listen to his voice. His harmonica playing is horrendous.
Respect for this album and those who dig it. Just not for me.
Really?
I agree that creating music is a therapeutic act. I understand this was therapy for a man who attacked his bandmates with a fire axe. I guess what I don't understand is: 1) why the producer felt the best approach in this case was to maintain a "hands off" method of producing. Surely some more supervision might have helped, given the circumstances. And 2) why did the producer feel it was best to release this raw, vulnerable material as an album at all? Was he banking on the curiosity of it all?
I'm not sure why this is an album I must hear before I die.
