It’s all been said before, but my main praise is the scope: it’s thought-provoking, tender, brutal, hilarious, heartbreaking and more, all before you even flip to side two. I’ve been listening to this for 30 years now and it keeps on giving. A very early high watermark.
Lol, quality album for the very first generated by this website. Bought CD on release. My vinyl is the MBV Records 2018 pressing. I know there’s a lot of debate about best versions etc. All I know is mine sounds great and the packaging is gorgeous. I don’t know how the rating happens but the score for this will be high. My opinion on this has improved over the years. My expectations were sky high on release and it took a long time to accept that they had delivered on their promise in spades. Maybe I was lamenting the loss of their earlier ability to harness and successfully exploit their more unhinged tendencies (think Thorn, Feed Me With Your Kiss, Drive It All Over Me) What took a while was for me to step out of context and hear it as the huge step forward it was. Once I got there I heard it as the masterpiece of specialisation it was. The scope in terms of variety is reduced from before but the dividends in melody and a feeling of “inhabiting sound” is more than an acceptable payoff.
I’m sure, like Fleetwood Mac, it’s not cool to prefer 80s ZZ over 70s but while this is quality straight up, honest, no—frills, blues-based rock goodness, I often find myself wishing for some of the polish they would add later on. If it’s gonna be this stripped back, I want it as raw as possible, so I’ll go back further I think. I’ve deffo got Rio Grande Mud but maybe I need to score the 1st album for the real grit. Still it’s impressive for as far back as ‘73. They even leave some breadcrumbs for AC/DC here and there. Glad the Dr Hook harmonies were restricted to that one track at the end of side one. 3.5 stars really. It’s a big ask not to like the Top.
The joys of my eclectic tastes have me listening to this right after some brutal death metal. Practiced over many years though, my ears can handle these sorts of tectonic shifts. International success of Bossa Nova may have been temporary but, out of context, this album, a major factor in that success, just sounds timeless. I may not understand Portuguese, but to my ears, the language is actually melancholia. The beautiful vocals of both João and Astrud are ably matched by Stan’s sax as the melodic salve that belies the apparent sadness at the heart of the songs. Not even the crackles of my ancient beat up copy can stop the beauty of these recordings from enduring, 60 years on.
I was introduced to ambient music in the 90s when the new wave of electronic wizards would cite this album, and others like it, as influences on their work. That was a catalyst for me to investigate Eno’s catalogue. I am in awe of Eno’s approach and innovations. Reading his notes describing the experiments which lead to some of his 70s albums reveal some inspirational critical thinking. It also reveals how many of his complex approaches could now be achieved with just a few basic settings being selected in any music making software. Something tells me the results would be rather sterile compared to what Eno achieved with his more arcane and primitive technology. He achieved better than this, but this is still a solid touchstone of the genre. Probably more of a 3.5 stars but I’m happy pick 4 tater than 3.
It’s all been said before, but my main praise is the scope: it’s thought-provoking, tender, brutal, hilarious, heartbreaking and more, all before you even flip to side two. I’ve been listening to this for 30 years now and it keeps on giving. A very early high watermark.
35 years on, It’s saying something that this is even listenable at all, never mind standing tall as a landmark of hip-hop and of music in general. 3FH&R is essentially an episode of Sesame Street to a funky beat but it’s the top notch flows, esoteric sample choices, and CHOONS which are the solid foundations to its longevity.
The startling ambition on this debut full length is almost totally realised. I suspect CD listeners might find it a touch intimidating, but in more palatable chunks over 4 sides of vinyl, the album feels strong throughout. What might be seen as a drop off towards the end, to me sounds like a natural, calming conclusion to a whirlwind story that I will one day understand. Impressive variety from one of this generation’s genuinely important artists.
While everyone knows it as their breakthrough success due to the title track, that the album as a whole is far more of a transitional work, is often overlooked. Once the side-long full-length version of the international hit single is done, there’s little other evidence of the driving proto-electronica on show. Side two remains largely in the wheelhouse of their previous albums; more acoustic-based melodic experimentalism. This duality actually works quite successfully. It is a rather beautiful album through-and-through, but may surprise/disappoint a listener simply expecting more motorway based vibes. Personally I return more often to this for side 2, opting for their later albums when I’m in need of the beats.
I promise I’ve been through the whole thing before and I swear I tried again. I just couldn’t make it. This is where Corgan and I parted ways. Tbh we’d only previously crossed paths vaguely anyway; I’d put up with Siamese Dream despite a lot of stuff I struggled with because at least there were a fair few proper tunes that kept me engaged. On this however the tunes seemed to have evaporated and everything that bothered me before became the driving force…Relentlessly…For 2 hours! The voice, the production, the tunelessness, the pretentiousness, the seemingly endless supply of self-importance. I refuse to listen to it all again. This review is my last word on the subject forever. And my last words of this review are “the dictionary definition of unchecked ego”
He's just not for me. Too syrupy. As I searched for it (I don't own it) I noticed one site listing his genre: folk, children’s music. I'm sure he’s not actually considered children’s music by anyone irl, but it still made sense to me. A bit like Graham Nash (even his CSNY stuff!), I can’t take it seriously as a grown up cos it’s just too…idk…wet? I gave it a fair listen and I’m sure I’m overlooking lots of nuance, but I'll not be swinging by “poor old loving man JT”’s way anytime soon. Offensively inoffensive.
Today I was surprised to discover just how commercially successful this album was. In the decades since this was released, my estimation of him as a vocalist, songwriter and performer has increased significantly, but never enough to make me consider checking out his albums. This was a nice opportunity for that, but I didn’t find myself a convert. There are some good melodies, some catchy hooks, occasionally some decent gospel style chord changes, but not enough of any of these positives. The production often seems unfitting for the material, the track sequencing seems off and there’s far too many bland tunes. Apparently he looked at Prince and MJ and decided he deserved the success they were having and fair fucks to him for making it happen…I just can’t believe he managed it with this album.
Even this supposed festival-of-horniness album is a window on the troubled life of Marvin. That world famous invitation to get carnal sounds, on closer inspection, like a beautifully framed self-justification that love and sex are wonderful despite what he’d been brought up to believe. Such a shame that so much of the greatest art is born of pain. Anyway I'll stick to the wonderful art itself. The focus is indeed love and sex and how they work well together, but also apart. And the album sounds just like that. I can hardly think of a mis-step in the arrangements or production, nor of course the musicianship (James Jamerson is obviously worth a mention but that is a disservice to every other player here) The music is rarely as upbeat as the title track, but it’s a massage for the brain and soul throughout. Then on top of all that add one of the most beautiful voices the world has known. Sounds like 5 stars…and maybe it should be, but I have a few minor gripes: Firstly, it’s only 8 tracks and just over half an hour and that even includes a 3+min reprise of the title track. Secondly, and I know it’s unfair to make this comparison, but it doesn’t quite reach the high bar he had set with its predecessor What’s Going On. Finally, I'm REALLY tight with maximum scores, so scandalously this is reduced to a 4⭐️
I have a lot of time for Judas Priest however I'm not an obsessive. I love albums from all parts of their career but occasionally they get a little base for my tastes. I had Painkiller spinning only last week, I love the really early stuff and their most recent run has been awesome. I am so glad they found the success they deserved on the global stage, but sometimes I am less enamoured with the music that gained that larger success. Where does British Steel fit into my nuanced relationship with the band? Well, I can definitely see hints of their quest for the big time sprouting on this album, but equally there’s a lot of quality on show. Beavis and Butthead favourite “Breaking the Law” kicks things off but while it might be the most cartoonish song here, even it isn’t quite the teenage headbang fodder they would dabble with on later albums. “United” and “Living After Midnight” also seem like conscious reaches for the pop charts, but in between these we get a solid and sometimes forward thinking heavy metal album. There are obvious influences that I'm sure they wouldn’t deny; “Rapid Fire” takes that intense double-kicker Motörhead drumming and uses it to pave the way for thrash while “You Don’t Have to Be Old to Be Wise” owes a lot to AC/DC. But elsewhere they allow for some experiments in sound and arrangement that show they were still going to be themselves. Everyone in this classic lineup is delivering what they do best and the result is possibly definitive Priest…if not my favourite.
We all know double albums are a gamble, but this is solid. Today I found myself focusing on the strength of the songwriting then about halfway through, I reminded myself that each song was also just teeming with relentless musical wizardry. Jimi obviously, but Mitch and Noel are also off-the-scale magnificent. All three together (and guests) are more than the sum of their parts. I'm tempted to go for 5 but like I've said before, I’m VERY tight with full marks so this is a strong 4.
I want to be fair with my reviews. If I was having a good day and was prepared to give this the time it supposedly deserves, it might’ve got pushed up to a 2, but I’m not having a good day, and I’m not prepared to spend 75 bastard minutes of it trying to convince myself I hate this less than the amount I've comfortably been hating it since the last time I gave them a try decades ago. I listened to 2 songs (18 fucking minutes) and they can all play (or sing) their asses off, so what? It’s boring and self-important and means nothing to me. Maybe I can get through the rest of my life happy, finally knowing for sure that I don’t like Deep Purple. “BUT HOW CAN YOU LIKE [insert all the other bands from the same era and genre that I do like] AND NOT LIKE THIS? HOW? I just can. 1 star
Haiku review: To escape Britpop, to escape The Great Escape, Blur looked to the West.
I have more solo Tony albums than any other Wu solo a nd whilst most are fabulous, he is capable of a clunker. My personal top tier Wu is probably GZA, ODB and GFK and of his albums, this is definitely a winner as well as Iron Man and particularly Supreme Clientele.
What happened to the big songs? In the 60s they managed “To Love Somebody”, “Massachusetts” “Words” and “I Started a Joke”. Those might not all be everyone’s cup of tea, but there’s little point in denying they are show-stopping, quality pieces of songwriting. To my ears, the lack of decent songs is exactly what the problem is on Trafalgar. They may have had a different goal for this album, but I can’t tell what it’s meant to be and it doesn’t seem to work for me. In the other direction on the Bee Gees timeline, I never got how the vitality of their disco era could deteriorate into the bland feel of their 80s output but hearing this album it seems that inoffensive MOR is a genuine part of their DNA. The best Bee Gees records sound uniquely like Bee Gees, but on this album they seem to be attempting to emulate The Beatles, Bowie, CSNY and others but never quite successfully because of the unremarkable material. To be fair, I'm having a better time with it this spin than the previous one but I'm significantly less than convinced it’ll end up a winner for me. Odessa is the other Bee Gees album in the 1001 book and I am still keen to hear it but I really hope it’s an improvement on this.
Always felt their radio presence was enough for me without buying anything, but then I heard Flea interviewed by Marc Maron and he didn't seem like the dick I would have expected. Also the way he talked about their albums actually made me splash out on a few which I haven't hated at all. However, if Californication hadn't come up here from the list, I wouldn't have been extending my investigation as far as this album; I'd simply heard too many songs too many times. They seemed to saturate the airwaves with single after single at the time and I assumed I was sick of every one of them. Conversely, when I started listening today, I tolerated all of those singles and in fact enjoyed them quite a lot. The rest of the album too. Rather than a Chili Pepper too far, I'm now finding it tricky not to push to a 4. Full stars only is tough; I guess I would do 3.5 if I could but 3 just wouldn't be right.
Even by 1979, it’s clear the news of the revolution hadn’t reached all music fans and accordingly, millions were still happy to lap this up as if punk had never happened. I respect the band for having the balls, 2 years on from Never Mind The Bollocks, to release an 80 minute rock opera. My life as a music fan properly began at a time when it seemed very correct to accept that punk was necessary. As a result, it’s taken a long time for my eclectic tastes to win out over my ingrained bias against the excesses of what rock music had become by the mid 70s. Older and wiser, I am now comfortably able to piss off my teenage self by investigating all manner of prog, fusion and other overblown rock which I can now appreciate without prejudice. I still believe punk was right, but to understand a revolution it’s wise to know your history. Ah how refreshing. I can enjoy all music now…. The thing is, for all the Yes, King Crimson, Weather Report, Genesis etc that’s now allowed in my house, there are a few notable exceptions that remain taboo, personal no-gos that consistently ruffle feathers every time I'm forced to bring them up. They are usually so-called sacred cows and Pink Floyd is a perfect example. This 1001 project will force me to address these face on and this is the 1st example that has come up. To be clear, I am giving this a fair listen. I’m going to be doing that as much as possible while I work my way through this 1001 thing. I’m ok with concept albums too, in fact I wonder why there aren’t more. As the album starts "In The Flesh?” makes me pause for thought. This sounds massive and while I’d never understood why The Flaming Lips tip their hat to the Floyd so often, The Lips are exactly what this is reminding me of. Have I been missing out on a whole double album as good as “In The Flesh?”? Raw guitars doing a gigantic woozy riff and a swirling organ on top of huge drums and a Ziggy style vocal. Right up my street and nothing like the Pink Floy…oh wait….here we go…. An hour later as side 4 begins, I get “In The Flesh” (no question mark) and I realise what I want to be listening to is an album by this Pink character in the story; the song in both forms is representing the main character performing in concert. In the hour between, it’s been largely what I had expected; plodding, morose dullness with “seriously important“ guitar “work” and a concept which, although apparently laboured over considerably in the writing process, seems without a great deal of depth, intrigue or sophistication. The rest of side 4 returns to form and it’s notable that it’s not until the most un-Floyd thing on the album, the musical theatre style “The Trial”, that my ears again ask “oh, what’s going on here?” I've made it all the way to the end and there’s been a few moments along the route that have been ok, but I’ve been mostly bored. Obviously, I will be faced with the prospect of more Pink Floyd as I progress through the 1001 process, and many with much greater reputations than this one. With those, I hope to have my mind changed, even if just a little, but for now, The Wall has failed to do so.
I remember resisting a lot of hype around this when it was released and then feeling stupid when I eventually heard it and realised it was actually kinda my thing. Still, having read so much about how original it was, I found it surprising that it was basically The Beta Band. Still at least it’s a decent listen all the way through, so since The 3EPs is a compilation, Django Django have made the album that The Beta Band never managed.
There are other options for the definitive, but if this doesn’t provide most of what you are looking for in an Aretha album, then my guess is the Queen of Soul just isn’t for you. If you are that person, I offer you my deepest sympathies and wish you well.
It might not still blow me away like it did the 1st 100 times I heard it, but it’s still easily a 5 star album.
This is good. I hear it’s supposed to be punk jazz, designed to piss off the purists or whatever, but I honestly came away from it with pretty similar feelings I’d had when I first heard the Ornette albums. Side one was full throttle, side two occasionally offered a very slight easing of the intensity. Obviously this isn’t jazz for a dinner party, but it is a successful musing on and fitting tribute to the work of an artist who stands with the absolute cream of the art form.
Great lore, great concept, and Cash seems to deal with the audience reasonably well (though my ears detect a slight fracture in his cool occasionally) resulting in a fascinating and successful document of a genuinely interesting happening. Musically speaking, I’m not particularly moved by it; rock'n'roll was so well established by 1968, its reach would’ve extended even to prisons and it feels like this should rock more. No matter how appropriate the songs might get and however many times Cash mentions prison and gets the crowd’s undivided support, the music, even at its most raucous, comes across as quaint. I can’t help feeling Chuck Berry might’ve done a better job.
Another band that I get along fine with, but maybe think are a bit overrated. The first side is almost totally reliant on very standard blues which obviously they do extremely confidently, but it’s a bit too good-time for my tastes. Isn’t good-time blues a contradiction? After that they stretch out, step away a little from the restrictive blues format and things start to come alive. The side-long You Don’t Love Me is still blues but a more progressive type that goes all over the place over many sections. Side 3 comes and you’d be forgiven for thinking someone had put a Santana record in the back of the gatefold when you weren’t looking. There's a decidedly Latin flavour and it really suits them I find both “Hot ‘Lanta” and “In Memory of Elizabeth Reed” the compelling heart of this album. Side four is 20+ minutes of Whipping Post which is undeniably impressive. The album is very good and if TABB are your vibe, I can understand how you might consider this the greatest live album ever, but that’s way too far for me. ⭐️⭐️⭐️
Only 27 albums in and this is the 2nd Deep Purple already! I like to focus on the positive so…I'm getting them out of the way and there’s only one left. This was more tolerable than Made in Japan or whatever it’s called. Quick recap: I LOVE many albums and bands from this era and genre but the Purps ain’t one of them. I tried as a kid and I’m trying again now, but sorry they just aren’t doing it for me. This one gets a better score than the previous one because Bloodsucker and Flight of the Rat annoyed me less. I know they can play but what they do with those abilities I find futile.
Before, I preferred the follow up (3) to this their second LP, but revisiting today has made me re-evaluate that position. I’ll spin 3 next to check and if it’s as good as I remember, I’ll have to consider adding more BS&T to my life. Rock’n’soul with some psyche, jazz, and a long jam thrown into the mix too. It’s a stew, but it’s a tasty one.
As with alot of Björk, there’s beauty, there’s melancholy, avant garde, originality, deep emotion, mystery, and personal yet often universal lyrics. Most of all though there is that singular voice. In my mind, I draw a similarity with Miles Davis; throughout their careers, the accompaniment alters dramatically in arrangement, dynamic, mood, form etc., but the constant at the core remains the same. Björk (and Miles) may have expressed a huge variety of emotions from year to year, album to album, but the voice at the centre of it all remains the same unique and individual focus of attention. I have tried but failed to get on with the solo work of main collaborator here Arca and as a result wasn’t expecting to be fully engaged with this album. The somewhat overwhelming experimentalism is kept in check on Vulnicura though. Instead it’s lushness and beauty that wins out. I don’t concur with many that consider this one of her absolute best, but for the intensity you might’ve expected from a Björk break-up album, Vulnicura is genuinely warm listen.
Pound for pound, this is my favourite Zeppelin album. It’s where they let funk become more of a glaring influence than that of the blues on the early albums. The Funkiest Zep is my favourite Zep and the grooves are on fire here. *Houses of the Holy* had come close but stylistically it was a wonderful grab-bag. *Physical Graffiti*, although it does stretch out, feels more together, more unified in tone. Being aware of the how much they are going ask of the fans as the album progresses, side 1 is still mostly blues oriented. But with the flip to side 2, we enter the real meat the album. With “Houses of the Holy”, “Trampled Underfoot” and “Kashmir” they deliver my top Led Zeppelin LP side of their catalogue. Sides 3&4 may occasionally slip back more into previous LZ comfort zones, but never completely. They seem keen to plough a new furrow as much as possible pushing their sound forward in anyway they can discover. This is a 9/10 album for me but since it’s my favourite Led Zep album, I’m prepared to round up rather than down, for a rare maximum score.
A masterclass in turn of the century downtempo, Melody A.M. is solid throughout. Most tracks make the smart choice not to outstay their welcome, but honestly, when “Royksopp's Night Out” drifts on for over 7 minutes, that’s not a problem either. So there is potentially an alternative-universe, more epic version of the album which stretches successfully beyond the compact 46 mins presented here. There’s a relentless flow of quality melody and interesting hooks. Against some of the heavyweights of the era in this realm (Boards of Canada, Air, Fourtet) it might not be still sounding quite as strong 20 years on, but nevertheless still an album worth a regular spin with some absolute bangers in the singles.
It’s a powerful experience. They have many albums that could be considered their peak and for me this is the one. They realise everything they are capable of, the recording and production is refined, but just enough to maintain direct links to their roots. They have smothered the artwork with mystery and lore, mostly tongue in cheek and poking fun at themselves. The double album format, though unusual for the genre, allows them to stretch out, letting songs breathe and groove. The energy simply drips from the album. So much has been said about Daydream Nation before, so I’ll just give a mention to something I’ve noticed more and more with recent listens. As I kid I would enjoy the many intros as tension builders, helping elevate the moment when the song explodes, but lately, those intros have taken on new life for me. They are moments of genuine and sometimes surprisingly delicate beauty. Having said that I can find a lot of beauty in even the most intense adrenaline filled moments too. A strong 4