I love hip hop and was excited to explore a piece of its roots, but I can't say I liked this much. There are some creative moments, but the project is too long and inconsistent.
Indie, emotional, praised. What's not to love? Well I guess I liked it from a distance. Overall, the sounds are pleasant but the overall product is boring.
I've never been the biggest fan of R.E.M and their overall sounds and hits. Now that I've listened to a full record, I can say that I respect them. Still not my style though.
What an emotionally potent and consistent record. I loved almost every minute of it. Definitely plan to keep this in my catalog.
It is nice for my first true introduction to Nick Drake to be his debut. The sounds are simple, serene, and beautiful. The lyrics are pure poetry. Really liked this one.
Is it a little long? Sure, but I quite enjoyed it. I gravitated more towards the calmer moments, but found myself liking each heavier track more than the last. Iconic album for sure.
This is the closest I have come to giving my first 5 star record. So close. Still, this album is concise, masterful, and a pure joy to listen to. Not a bad song on it.
I can't say that I was crazy about this one. Kings of Leon are pretty dull all in all. It was so inoffensive that it almost became offensive. Listenable if nothing else.
Despite never thinking of Van Halen as a group worth exploring, I went in open minded and can honestly say I was blown away. This album is full of personality, swagger, and is hard hitting.
Axis is a fantastic and classic record, but I wouldn't go as far as to say it's Jimi's masterpiece. Still, this record is packed with some of my all time favorite songs.
Funky, jazzy, and full of life. Overall, it’s a fun little compilation with a lot of heart. Everything is semi decent with a couple of tracks that really stuck out.
I can’t deny how fun and charismatic this album is. A handful of songs feel half-baked, another few are close to being pretty good, and a couple are truly great.
Hear the cheers of prisoners as Cash emulates their plight. It is beautiful and soul-crushing to hear that last note ring out before it’s back to prison business. Still, Cash left his mark with one of the greatest albums to ever be recorded.
This album gets better with each listen. It’s definitely a dense 36 minutes, yet it remains a fun listen. The song structures are unorthodox, the performances are quirky, and it is all accented with pieces of noise and distortion. Brilliant.
What an overrated album. The vocals are one note and the instrumentals are painfully uninspired. You can’t slap on a “politically charged” sticker and claim the album is a masterpiece. Even if the songwriting is great to you, take the album for what it is: bland.
The first song was pretty good, but was soon followed by a very lousy album. If you ever meet someone and they say that their favorite band is The Electric Prunes, run.
This is by far one of the greatest pieces of jazz out there. It’s a spiritual experience containing some of the best sax and piano solos. Coltrane would follow this a year later with the boldest jazz album I know with Ascension. Still, A Love Supreme is THE Coltrane album.
I didn’t actively dislike this album by any means, but something was holding me back from fully enjoying it. The instrumentals were right up my alley and the vocals were the right amount of weird. I just don’t think it’s fully my thing.
Echo & the Bunnymen are a band I’ve always appreciated, but I never dug too deep. Now that I have listened to their debut, I can say they are pretty good in an album format. Although, the gloomy sounds start to blend together.
Honestly, I just really enjoyed this record. Even with some songs going for 9+ minutes, every song stuck with me in one way or another. I’m excited to hear more Neil in the future because I know he has even better records later. Regardless, this album was awesome and one I will keep in my catalog.
I honestly didn’t think I was crazy about this on first listen. Once I was deep into my second listen, I just sat back and let the warbling samples and thumping beats become my inner rhythm. I ended up enjoying this record more than I thought. It’s a fun little record with some truly infectious beats. I liked it.
I was finally given a reason to listen to an album that I’ve heard many good things about. Now that I’ve listened, I can see why it is beloved. There are few albums I know that are so utterly captivating. Bush takes full advantage of the album format to create a wholly complete listening experience.
I really love nerdy, sci fi inspired hip hop records. While this album contains some dated lyrics, it is pretty damn charming. The dark, boom bap beats are awesome and the flows are unorthodox. The topics can border on absurd, but the album isn’t afraid to embrace its absurdity. Also, the album cover is perfect, especially for a hip hop record.
MGMT’s debut is just an all around solid album. It is stacked with hits, but also delves into a great blend of synth pop and psychedelic music. The second half is noticeably weirder, but I appreciate the pacing of the record. I really don’t think there’s a bad song here.
I was not very excited to listen to this one. With that being said, it’s really not bad by any means. 25 is a pleasant listen mostly due to the very safe pop formula and Adele’s vocal talents. My biggest gripe is that this kind of music is uninspiring and doesn’t lend to much replay value.
Every aspect of this album is cheap and forgettable. The synths sound like a child’s toy and the singing has that pseudo inspirational, I’m soaring with birds sound that puts me to sleep. I am usually pretty forgiving on music, but there doesn’t seem to be a silver lining for this one.
I wouldn’t mind putting this album on in the background this winter to soundtrack a snowy night out. This albums historical significance is undeniable, and the quality is there as well. While almost nothing on these two volumes was remarkable, it’s still a very pleasant listen.
The instrumentals are lush, funky, and burst with life. Steely Dan’s music may be labeled “soft rock,” but their finesse cuts through. There is a coolness to this record that I can’t get enough of. From the punchy piano playing to the often cryptic lyrics, this album won me over.
I know I’m the outlier on this one, but I quite enjoyed the expressive vocals and how they paired with the dreamy instrumentation. This is far more interesting than some other very safe and boring records on this list. There’s a boldness that I really appreciate in this record. The two vocalists pair nicely and create a nice juxtaposition that keeps the record interesting.
This album is the equivalent of a Lifetime channel movie. It may create a nice atmosphere when on in the background, but when you look closely you will realize it is pretty bad. Overall, the instrumentals are utterly basic, the lyrics are superficial, and the singing is as run-of-the-mill as it gets.
It’s difficult to say anything bad about this album. That funky, soulful, disco style that permeates through the record is so infectious. The entire record is borderline flawless and is a joy to listen to. This is the type of album that I could sit back and live in.
I once went to a country concert and I was pretty miserable the whole time. About halfway through, the band started playing Mr. Brightside and I was so annoyed that I left and ended up sneaking into a neighboring Danny Brown concert where I had the time of my life. I can at least appreciate The Killers for inspiring me to walk out of that first concert.
I’ve never listened to any Beach Boys and was unaware of their history. Learning about Dennis Wilson and his eccentricity left me excited to explore his sole record. The album itself is ethereal, bluesy, and dramatic. While I appreciate these qualities, the album didn’t fully click with me.
Such a wonderful album. From the funkier tracks to the smooth soul cuts, I loved almost every minute of it. I was truly hooked on track 2 when that warbling instrumental started. By the end of the rich and soulful track 9, I was sold on the greatness of this record.
QOTSA is one of my favorite bands of all time, so I was excited to hear this one. I wasn’t aware of this band, but I quickly recognized their style and was happy to hear it. I love the fusion of grunge and psychedelia that bands like these curated in the late 90s. I will say that I liked the album for the most part. The first half was noticeably better, while the latter half started to dip in quality slightly.
At 27 minutes, this album is straightforward and concise. Dolly Parton’s songwriting is very focused while also being pretty sappy at times. Songs like the title track are full of heart and other tracks can be a little too on the nose. This isn’t a bad album at all, but it left me wanting a little bit more.
God I love this album. I didn’t even need to listen to it, but I still did of course. This is one of my favorite Bowie records of all time. I’ve always viewed Station To Station as the sounds of “persona Bowie” dying. There is a definite darkness to this record while still remaining a very catchy listen. Always a great album to experience.
This is a definitive masterpiece and possibly the greatest grunge album of all time. It melds grunge, metal, and the darkness of addiction into an unrelenting body of work. To this day, the album sounds fresh and the production is phenomenal. It’s one of the few albums I know where every song is fully realized while also being great to listen to.
Much of this album is pretty half baked. It is often short and concise at the cost of feeling complete. Many instrumentals felt like generic soundtracks to a cheesy film from the 60s. The singing is plain and only serves to compliment the uninspired instrumentals. Still, the album was a nice, easy listening experience. The overall vibe is elegant and serene with a couple of decent tracks and another couple of bad ones.
I believe that Led Zeppelin has at least 3 albums that are contenders for being perfect or near perfect. This is one of those records. Even the weakest moments on this record contain something noteworthy. For a double record at album an hour and a half, it never becomes stagnant. Led Zeppelin mastered making mosaics of rock and this is the album where that is on full display.
I was around 11 years old when I got an iPod. On that iPod, I bought The Rolling Stones Greatest Hits. My stepmom asked me to play Wild Horses for her. I gave her headphones and pressed play. She sat back and her smile soon turned into tears as she wept. I will never forget that moment because it showed me how powerful music can be. After listening to the song within the context of Sticky Fingers, I can say that the songs that accompany it are great too.
The instrumentals were enjoyable on many tracks on this album. Overall, I found the bubbly pop sounds underlying this record to be underwhelming. Also, there is a lot of wasted space on this album due to multiple drawn out tracks that go nowhere. Lastly, the album ends with a pretty disappointing pair of instrumental tracks that leave me wanting more.
Second thoughts: I had to sit with this album for a few days to start to see its appeal. There is simultaneously a warmth and a melancholy to the soundscape of Blue. During many moments on the record, I have felt a welling in my chest due to the emotional weight of many of these songs. For now it’s a high 4/5, but I may increase with more time. (Original score: 3/5)
Mask is a decent display of what Bauhaus has to offer. The sharp, dissonant guitar playing and the persistent drumming create a supremely dark atmosphere. Still, I wish many of the songs would’ve taken it further. I loved the title track and its weirdness along with a couple of other moments. Not their best work, but it’s a solid batch of songs.
Coming back to this album, I have to say that it clicked finally. Prior to this journey, I never could get into Metallica. Now, this is becoming one of my favorite albums to listen to. It’s such a perfect album. Every song just hits hard and sticks in your head. The instrumentation is heavy, fast, and tight. I have become a Metallica fan and I have this amazing album to thank for that.
I am brought back to my time in high school when this came out. It was one of the newly released albums at the time that defined a large part of my adolescence. Ctrl is such an evocative peak into the world of a young artist. It is a stripped back and brutally honest album with some truly infectious melodies and production. I remember following the TDE label closely at the time and was excited to see them branch out with this one. Now SZA is a true pop star. Amazing album.
Janis Joplin was undeniably a great singer and a very important musician often defined by her early passing. Many songs on Pearl build to Janis crooning dramatically over the entire band joining together. Despite Janis’ domineering voice, I wasn’t drawn in by this album, and I realized that this combination of ideas just doesn’t move me.
My second Stevie album on here and discovering his greatness has been one of the best parts of this journey. Compared to Talking Book, this album has less punch while being more lush and gorgeous. The song ideas have a more creative edge at times while the slower tracks have just the right amount of atmosphere.
What an amazing opening track. An album like this, spanning 17 songs at nearly an hour and a half, is likely to have some duds. There are some fantastic songs and a few duds. The album starts to drag in the end and the piano ballads start to become tiresome. Still, I can’t deny the ambition of this album and how significant it is in the grand scheme of music history. Great record.
Step into a world so deranged and off kilter that you may wonder if you made a wrong turn along the way. With time, you’ll begin to realize that this world is full of beauty and pure, unwavering energy. This album is the alternative albums to rule them all. Never has there been an album so imperfectly perfect in my eyes. Bravo.
Pink Moon is much more than a man and a guitar. The very plucking and strumming of that guitar is so skeletal and brittle that it evokes the tragic yet beautiful poetry of these lovely songs. Drake’s vocals are noticeably melancholic, but also warm and honest. This albums songwriting is its strongest quality, but the music itself matches its strength in almost equal measure.
After some time has passed, I can confidently say this album is a gem. The instrumentation is sufficiently heavy when it needs to be, always colorful, and knows when to take a step back. The pacing is perfect on this record. You have sprawling fusions of jazz, rock, and blues that span 10+ minutes followed by smooth pieces of jazz. I could listen to The Gumbo Variations and never get bored. It’s a wholly complete experience that operates almost as a soundtrack. It doesn’t need vocals (except track 2) because it’s beyond expressive.
I said in my Physical Graffiti review that there were at least 3 top tier Zeppelin albums and this is definitely one of them. LZ1 is so punchy and straightforward, yet it still displays the genius of the band. This is one of the best rock debuts in the history of the genre. While it’s a masterclass in blues and hard rock, I think it just barely misses the mark due to some awkward pacing and transitions.
Coming back to this one after initially feeling indifferent. This record has definitely grown on me. I have grown to love the barebones techno of it and the dystopian theme it presents. It can come off as slightly goofy with the repeated phrases and stereotypical electronic sounds, but this is the genesis of that sound. Kraftwerk cultivated a sound that is iconic and deserves respect. The album isn’t perfect, it could be longer and more fleshed out. Regardless, it’s an enjoyable piece of electronic music history with great ideas.
My first thoughts are that it is mind blowing that their sound evolved so dramatically within a 3 year period. This album has never been my favorite in their catalog. There aren’t any true qualities that distinguish the songs from one another. The bands sound is never bad to sit back and listen to, but this album lacks the edge I look for in their music.
This was one of the albums I was most excited to listen to on this journey. On this album, Rush just sound like a band that knows what they’re doing. The first half contains some of the most infectious prog out there. Side two is even more ambitious with a sprawling 11 minute track to start and two fantastic songs to finish. It’s masterfully concise, contains dramatic songwriting, and the band performs harmoniously.
I feel as if I am not in on a joke when listening to this admittedly interesting album. The avant-garde can be awe inspiring at times, and at other times it sounds something like this. Laibach curate these quasi-industrial vignettes backed by chants and the ramblings of a madman. It wouldn’t be bad if the vocals weren’t so unbearable at times.
You really can’t go wrong with some classic Christmas songs. Obviously this type of music only fits a certain time of year, but it fits the time well. This was a nice surprise for the holiday and was fitting for my long car ride to see family.
The crackly, lo fi vibe of this record makes me want to sit back in a smoke filled room and relax. While I may not partake in this hypothetical scenario, this album fits it perfectly in my mind. It’s starkly chill. Many of the tracks feel less like a fully fleshed out song, and more like a brief glimpse into a junkyard band of stoners haphazardly playing around. Pretty fun record.
I have always had a strong dislike for this band. This is just not the type of music that I will ever be able to enjoy. The screeching vocals drive me nuts, the sleazy songwriting makes me nauseous, and the instrumentation is generic. I can at least recognize the commercial prowess of the album though. To have this many hits in a record is impressive.
I’m sure that during this period, The Adverts were an exciting band. Nowadays, their sound is definitely raw and to the point. Still, I wasn’t blown away by this record. The band lacks the edge that made other bands sound so great during this era of punk. Every song sort of blends together with their fast paced instrumentation and the fuzziness of the production itself.
This was the first album that ever made me feel like I was existing in a different plane of reality. When I first heard songs like Breathe and The Great Gig in the Sky, I felt so much that I can’t even articulate it to this day. As a kid, I would sit and visualize scenes in my head as I listened to this album- that’s how cinematic it is. It’s also immaculately produced, masterfully performed, and flows from track to track effortlessly. It’s deserving of its recognition.
Man, this soundtrack is enigmatic of how much effort used to go into curating a great accompaniment to film. At first, I thought this was just a decent soundtrack, but it stands well as a singular piece of work. The album flows between set pieces with an aloofness and lushness that I can’t get enough of. I liked this a lot more than I expected. Definitely plan to keep this in my rotation.
Soft Cell show a talent for creating atmosphere. Tainted Love is definitely a timeless hit while the rest of the album is often much darker and satirical. The opener takes a grim look at ordinary life and sets the tone very well. A few songs in the latter half were topically interesting but sonically uninteresting. Still, the closer is an oddly bittersweet moment that ties everything up well.
I was hoping that the overwhelmingly lukewarm/borderline negative reviews on here were a misrepresentation. I would say that I wasn’t miserable while listening, but I also wasn’t moved very much by this record. The trip hop style tracks paired with the fast paced drum patterns were pretty great. Otherwise, the vast majority of the record lacked cohesion.
There is a definite spaciness to this album due in large part to the bright guitar playing. Bossanova upholds the melodic qualities of Doolittle while forgoing the claustrophobia and abrasiveness. To follow such a masterpiece would be no easy feat, but I think they did a decent job here. I enjoy the overall soundscape of Pixies, so I can’t complain. Maybe it’ll grow on me with time.
This album clicked with me pretty immediately. I remember learning about Lightning Bolt years ago and was intrigued by their performance style. The album cover of Wonderful Rainbow is one of the most perfect representations of an album I’ve seen. It’s chaotic and dark in the forefront, but peaking through is a brightness and beauty. The project itself is visceral with the pummeling riffs and relentless drumming. I loved it.
Nicks and McVie really add so much value to this record. Buckingham is a good artist but his contributions take more time to settle. Still, there’s a lot to love on this record despite its shortcomings. I can recognize how ambitious this record is. I also thoroughly enjoy the lofi and indie nature of this, especially as a 70s record. I’d love to listen on vinyl.
The 3 big hits are so monumental and make this a quintessential 80s album. I love how rich the production is, especially the horns and synths. Not to mention the soaring vocals on much of the record. Sure, it hits a bit of a lull on track 4-5, but those tracks work well in context. The transition from Broken to Head Over Heels makes it all worth it, and the closer is sufficiently dramatic enough to make the whole project feel complete.
I want to like this more and I can definitely appreciate the beauty of it. Each piece is dense and languid as it constantly morphs and explores new ideas. The xylophone often feels like backbone of the performance, but it does a decent job at it. To me, this style of music just lacks the essence that makes jazz and classical music stick out.
Bitches Brew is a dense body of work that demands a lot from the listener. Davis and his fellow artists curated a supremely perfect album that feels more akin to a fever dream than a jazz record at times. Miles’ trumpet playing is foreboding and truly some of his best ever. The electric keyboard adds to the dizziness of it all. This album cover is in my top 5 of all time, and it personifies the way this album makes me feel as if my brain is warping from the otherworldliness of it all. Miles Davis is a bad motherfucker.
Holy hell, where has this album been my whole life? I’ve always liked “Feel the Pain” by them, but haven’t listened beyond that one song. I pretty much loved this album immediately. The wall of guitars, the early grunge aesthetics, and the drawn out vocals all coalesce into a perfect storm for me. Also, kudos to this album for having its finger on the pulse of grunge in 1987. Fantastic.
There’s a lot to love here. The instrumentals have that soulful, 70s flair that I always love. The subject matter is still relevant as well. I guess it just didn’t click with me entirely. I really enjoyed “Four Cornered Room” and some other moments. I found the instrumental track to be a bit dragged out unnecessarily. Still, there’s a lot that I did enjoy.
I’ve had to sit with this record for a few days prior to talking about it. First, this album is a pure joy to listen to. Eno creates an ethereal atmosphere accented by true beauty. The album flows effortlessly between minimalistic ambient pieces that paint a colorful picture to vocal led tracks that stick in your brain. It truly feels like an exploration of a new world full of color, serenity, and simplicity. While the structure can be simple, the songs burst with emotion and imagery. Masterpiece.
The energy of this album is palpable. It doesn’t ever truly let up, and in many ways it’s one of the most straightforward albums out there. Regardless, I am of the opinion that this album hasn’t aged well. It’s touted for its boldness, but isn’t even really in the discussion as a progenitor of punk. If this album did anything, it made punk enter the mainstream. Despite the punk label, many aspects of the record feel factory made and a little too polished. Not a bad listen, just a victim of its own success.
I am neither an avid Eagles enjoyer or outright naysayer. Their soft sound creates a nice backdrop for the mundane. The basic chord structures and use of standard instruments create an oddly soothing soundscape. In the end though, the overall album experience doesn’t satisfy. This is all simply due to the fact that they are boring.
Believe it or not, but this is my first time sitting down and listening to a full MJ record. His music has never resonated with me. Bad, as an album, is concise and stacked with memorable moments. Michael Jackson was most defined by his hit songs. In the album format, his style gets tiresome. People will praise this album for the 4-5 hits, but fail to realize that’s under half of the runtime. The rest of the album is padded out by semi-decent pop songs that have their merit. Not a masterpiece, but it is an undeniable classic.
It’s a pleasant listen, but I can’t help but feel that this album is spinning its wheels at times. The song structures feel very unchanging. The record often becomes a formless ramble backed by some nice instrumentation. It was cool to recognize the first song being sampled on Section 80 by Kendrick. Also, Andre 3k absolutely embodies the spirit of Scott-Heron. Cool listen.
It’s hard to fault an album so deeply engrossed in a rich culture. Especially when it’s a culture I know so little about. There is a familiarity in the music itself. It mimics American blues, but does so with unique instrumentation. It’s nice to listen to music in a foreign language, as it allows the listener to focus on aspects of the music itself that are often muted. This may grow with time, but for now I can say I actually liked it.
There’s a lot to say about this album. While Everybody Knows This Is Nowhere is a masterpiece in its own right, this album really takes it even further. It contains some of the most gorgeous ballads and says so much with so little. The opening track is one of my favorite acoustic songs ever, if not my favorite. Each song is concise and packs a punch. It flows perfectly. The instrumentation is top notch. There really isn’t much to complain about.
This is a very creative and groundbreaking album without a doubt. I’ve still always viewed the Beastie Boys as pretty dated. They also lack the coolness that makes me love hip hop. The yelping singing/rapping is energetic, but definitely annoys me sometimes. I understand the satire and sarcasm of it all, but I prefer their more rock leaning tracks.
On first listen, I was slightly underwhelmed and believed I didn’t like it. Upon second listen, I began to see the vision. The bravado laden vocals paired with the orchestral instrumentation was oddly familiar. I started to think of artists like Kirin J. Callinan and some Mr. Bungle too. These are artists I quite like. It’s dramatic, sarcastic, and sounds quite nice. Not bad at all.
After 3 listens, I am just not feeling this album. The overall sound of the record is bland. On my final listen, I began to realize that there were not any songs sticking out to me. The instrumentation is folky, twinkly, and vanilla. I gave it multiple chances but kept finding myself dozing off or just struggling to engage with the music.
The 60s are such an infectious time to me and this record embodies the time very well. Still, the album had a couple of fantastic tunes and a fair amount of forgettable stuff to pad it out. I found the first half (I listened to the standard 12 track version) to be more enjoyable. The second half sort of trailed off, but in the end I found it to be a unique listen.
In my public speaking class in high school we had to present a song by speaking the lyrics and having the class guess the song. I ended up choosing Take On Me- which no one guessed. It was quite sad actually. Regardless, as an album experience, this doesn’t fully deliver. It checks the boxes of having a cohesive sound, decent pacing, and conciseness. Still, I found the project to be underwhelming.
Shadowland sounds like background music for the lamest saloon on the strip. It still adds an atmosphere, but it doesn’t compare to the best of the best. The album does have a dimness to it, yet it is oddly reminiscent of Christmas music. This albums worst offense is how utterly basic and forgettable it is.
The Smiths are such a solid band that it’s hard to fault them on anything. Meat Is Murder isn’t their magnum opus, but it’s a great example of the bands strengths. The acoustic guitar and Morrissey's vocals are the very soul of the band and they are both done well here. The music on this album varies from danceable to outright dreamlike. I hadn’t heard this one yet, but it reaffirmed my enjoyment of the band.
Björk creates a highly personal and intimate record on Vespertine. By personal, I do not mean anecdotal or revealing. Rather, she curates an atmosphere so wholly delicate that you feel the human touch in every texture. From beautiful harp plucks to trip hop beats, everything feels so very loving. Vespertine is the an intimate masterwork. Despite the restraint and softness of the record, it is gargantuan in its design. I really can’t deny the perfection of this record and Björk as an artist. I’m unsure if this is even her magnum opus, and that says a lot about her talent.
I’ve never thought of this album as being a top tier hip hop record, but its significance is definite. Snoop Dogg has such an iconic flow, sound, and approach to hip hop. This and the Chronic both were the genesis that led to Snoop becoming more of a product than an artist. Despite his capitalistic future, this album is the sound of a young, hungry artist ready to show the world his talent. It’s a classic record with tons of great flows, samples, g funk beats, and prototypical skits.
Firstly, I was just listening to this yesterday. This is my definitive winter album, so when a record snow storm rolled in, it was inevitable I listened. It’s transportive, haunting, alien, futuristic, and depressing as hell. Kid A isn’t my definitive favorite of theirs, but it’s close. This album showed that Radiohead was a one of a kind band capable of pushing music forward.
While the structure of much of this record is loose, it still remains cohesive. I absolutely adore the atmosphere that Slayer create through barebones instrumentals that never let up. Tom Araya sings like he can’t get his words out fast enough. While his singing isn’t a deep guttural growl or scream, he still manages to use his voice as a true instrument by adding substantially to the rest of the band. I like it more and more with each listen. Great stuff.
I found this to be a very colorful and fun album. Side A had some great blends of funk, pop, and hip hop with a Latin edge. I was reminded of ATCQ on some of the hip hop leaning songs too. The latter half delved into more Latin music, but remained colorful. I definitely was losing interest about halfway through the record, but it was a pleasant enough listen.
God, this is difficult. As a pre teen, I was solely devoted to 90s alternative rock and had sworn off hip hop. This album was amongst 3 that opened my eyes to how good hip hop could be. Since then, I haven’t revisited the record much. I suppose it’s the severe downfall Eminem had in the late 2010s. It’s a slightly dated album, but it has its merit. It’s stacked with classic hip hop songs, but Eminem’s delivery is off putting most of the time. Regardless, it’s not something I will listen to with full enjoyment.
This isn’t really moving me in any meaningful way. Suede sound like an uninspiring blend of Bowie and Echo and the Bunnymen with a 90s instrumental flair. It’s moody and has the potential to be a special album, but it falls flat.
As a fan of the avant-garde, I was excited to sink my teeth into this one. Nonetheless, I am not going to pretend that I have this innate understanding of this record. It runs like a quick stage play with its short songs backed by dramatic compositions. The singing is laden with vibrato and longing, but the overall experience is so so. I respect the sentiment and uniqueness, but I can’t sit here and truly convince myself that this is anything above a 3/10 or 1/5.
God yes. Since I got the Shaft soundtrack (haha ‘got the shaft’), I’ve been really looking forward to getting this one. Hot Buttered Soul is an even better record than Shaft was in large part due to Isaac Hayes’ singing being more prevalent. The singing is smooth and filled with swagger. The instrumentation upholds the same qualities, but is even more lush and gorgeous. I really loved this one.
Based off first listen, I would say that I enjoyed myself here. There’s a clear modernity to how Kiwanuka approaches soul and its offshoots. He has a wonderful singing voice and creates a nice record with many catchy tunes. The album was cohesive overall, but it lacked the singularity to place it above being pretty good.
This has been a difficult record to digest. It’s a dense listen. Rundgren spans multiple genres on one record that is a double album split into four acts. Each act has its own identity and I have thoroughly enjoyed discovering them. I have always adored the two hits from this record and have since found many standout songs deeper into the album. I am still unpacking it and am excited to do so. It’s layered and rivals some of the most theatrical acts of the time such as Elton John.
That intro is definitely an iconic piece of instrumental indie and instantly sticks in your head. As for the rest of the record, it’s not too bad. It has a DIY quality that gives it a bit of charm. The overall experience can be described as dreamy, understated, and gentle. The guitar playing was the highlight for me. While the album is slightly tedious at times, it has its moments.
Definitely an interesting record. At first, I was sure I was going into another run of the mill 60s psychedelic rock regurgitation. When the strange sound effects and voice popped in on track 3, I was invested. I only wish this record was more comfortable exploring these experimental moments more. Still, I found this to be a pretty fun record with some bold moments.
I have always known this Christine as a feature artist. Their contributions in these moments have always been noteworthy in my book. There were some pretty good pop songs on Chris. The modern sound of glitchy electronics and bombastic drums are on full display. While it’s not bad, I can’t help but feel like other artists have done this in a more significant way.
One listen is enough for me. The sound of the record is decent enough, but I already know that I will never be crazy about this. Wellers singing voice is about as generic as generic gets. I am not a fan of the bluesy, soulful style of both the vocals and instrumentation here. While these qualities can make a great record, they are starkly bland here. I don’t feel inspired or moved- just apathetic.
I would describe this album as a steady state of listenable. The instrumentals go just far enough to be slightly interesting and the singing is imperfect in an intentional manner. Nothing truly popped out to me. I enjoyed the fuzzy guitars and reverb laced samples. Nonetheless, I feel that Garbage is just a watered down version of MBV.
I can’t lie, I was not looking forward to another R.E.M. record. Document was one of my first records on the list and I went into it as an R.E.M. naysayer. After that record, I was not wowed. Green is another example that further reinforces my disinterest in the band. Although, I will say the record has opened me up slightly. There were some songs here where I found myself nodding along, but these moments clash significantly with songs that are painfully mediocre. Maybe this has made me want to revisit Document and give the band some grace. Otherwise, it’s an unimpressive record from an overrated band.
I’m having trouble coming up with much to say about this record. It’s good? Yeah I can confidently say it’s at least good. I have a world of respect for records like this and the historical significance they embody. Franklin has a voice that is the very essence of soul itself. The songs are quick and saunter through a basic structure before abruptly ending. I really can’t nitpick much here though. It’s good, but Aretha Franklin doesn’t appeal to my personal taste.
Never has there been an album with so much stylistic variation, unsettling atmosphere, and infectious grooves. Talking Heads were able to blend funk, African music, new wave, post punk, and so much more into 8 tracks and make it a cohesive body of work. It’s a truly unique album with endless replay value in my eyes. I have always adored this record and its colorfulness juxtaposing its smokiness.
I go back and forth, but I would pretty confidently say that Kendrick Lamar is my favorite artist of all time. My nickname in high school was Kendrick Lamar. My first tattoo was from the inner sleeve of the vinyl. I say this, not to brag, but to explain my overt bias. This album was transformative for me. I spent the entire summer after it came out listening to it constantly. I also go back and forth on truly believing this is the greatest album of all time. It is at least the greatest hip hop record in my eyes.
It’s insane that Kendrick was able to curate an album so timeless, yet reminiscent of the 90s sound. The albums themes of survivors guilt, depression, and success have continued to inspire me as an individual. Other themes like police brutality, systematic racism, and poverty still ring true 10 years later and are as relevant as ever.
Kendrick created a wholly perfect record that is everything a great record should be. It’s catchy as hell. It will make you laugh. It will make you cry at times. It will make you think about difficult topics and self reflect. I could gush about this album for an eternity, but it’s all been said before. It’s perfect.
I have found myself quite enjoying this record which was a pleasant surprise. From first glance, you’d expect a group with such a name to be dull, but you’d be sorely mistaken. While the music itself can come across as tranquil and easy, there’s an avante garde quality that I can’t help but be fascinated by. The flow of the record itself is entrancing and superbly psychedelic. I continue to press play on this record during a vast array of moments in my life, and each time I am delighted at how well it complements my day to day.
