I've never been the biggest Michael Jackson fan so take that into consideration with this review. This album did nothing to win me over to MJ's side. It did, however, reaffirm my complete and sincere love and respect for Quincy Jones. Goodness, what that man gave for music is immeasurable! All (possibly valid) criticism of MJ aside, the production of this album is top tier. The mix, the deceptively complex arrangements, the studio performances are all top rate. That and the musicians who appear on this album are all amazing. I was pleasantly surprised by several guests that appear. (Steve Stevens, Dan Huff, Siedah Garrett, Jimmy Smith!, most of Toto, so many more) They alone were worth the listen.

Another band that never resonated with me. Sure I've always respected their place in rock music, in fact they were the band that I first understood to be "alternative" music. (Although back then it was "college rock") At this point deep into the 21st century with your streaming and lack of physical media it's easy to forget how huge a band like R.E.M. was. Name any of the biggest pop stars out there today, R.E.M. was just as big, maybe even bigger. I'd say their popularity was due in part to albums like Automatic For The People. It seems to appeal to the hardcore fan as well as a newer (at the time) fan. Overall I liked the album more than I expected. Some nice production. I was pleasantly surprised to read that John Paul Jones (Led Zeppelin, Them Crooked Vultures) arranged the strings. That kind of thing always lends credibility for me. It didn't gain a new fan but it certainly earned a bit of respect.

Objectively, this is a brilliant solo piano concert. One that has made it to the highest level of jazz composition and improvisation. It has and should be poured over, analyzed and scrutinized for its subtleties and musical explorations. But I think I'm too lowbrow for this because it didn't do much for me. I mean, it's an HOUR of solo piano, ffs!

I've had a passing familiarity with this album. However most that I know of this album has been "filtered" through The Flaming Lips. In 2002 The Flaming Lips opened for Beck as well as being his backing band for this album's tour. (I was WAY into the Lips in 02) With this your collaboration came the promotions as well. So I've listened to a Beck-Lips radio performance of Sea Change (which also contains Beck covering Do You Realize?) from KCRW far more than the proper album. So when this album came up it gave me an opportunity to hear it with fresh ears. I think consuming this album the way I did, with radio performances and the live setting which I saw that tour, skewed my perception of the material. When I only heard the KCRW show I was hearing two groups enthusiastic about the music and upcoming shows. When I saw the groups live, it was a concert setting so it was fun and upbeat. So I think I was mislead, or probably mislead myself, into a sunnier opinion about Sea Change. This was a fresh listen so I finally got how quiet and melancholy it is. I was really unaware of the background (written after a breakup apparently) so that added to the vibe as well. This wasn't the "pop" Beck of Odelay or Midnight Vultures. This was "sad" Beck. It felt like more polished folk-pop. Like a Laurel Canyon songwriter. It's actually quite lovely. It's a vibe album as much as anything; an album for introspection on a quiet afternoon. I should mention (because I'm into these things) that the personnel is incredibly impressive too. (Roger Joseph Manning Jr and Jason Faulkner of Jellyfish and Smokey Hormel always get my attention. Dudes are awesome)

They broke up after this!? What the fuck? This is a really good album. Quite frankly it feels like a perfect representation of the state of UK pop music in the late 60s. There's some lush arrangements in here, especially vocals. Seems like a common story in rock history; band creates a masterpiece, album does nothing, band breaks up, album becomes an all timer. The Wiki says Al Kooper heard three potential singles when he pushed this album on CBS. Although Butcher's Tale is an interesting choice for a single. It says the label chose it for America's anti Vietnam vibe at the time. (Ferengi rule of acquisition #34: war is good for business) Time Of The Season was clearly the better choice.

*sigh* This guy. This is not my kinda guy. I'll give the album the appropriate rating since it's genuinely brilliant. But I can't with this dude. Only thing I'll say: Ye get your life together you fucking psychopath.

I enjoyed this far more than I expected. I've never been into this group; you could've called me a certified hater. But this album made me believe. They still have a few songs (not on this disc) that I think are shit and (apparently) John Phillips is a trash ass human, but the man can arrange some vocals. That's the strength of these tracks, both the originals and the covers (this was a time when groups covered their contemporaries, like the Lennon - McCartney or the Leiber and Stoller that appear here) benefit from John Phillips's arrangements as well as The Wrecking Crew usual brilliant performance. My one beef is the mix. The various instruments and vocals exclusively in the left or right channel is jarring to my ears. I suppose that was the audio aesthetic of the era.

This is one of Bob Dylan's biggest and best albums. Many people far smarter than I have dissected it beyond recognition. There's no way I, a passive fan, can offer any new insight into this album. So I'm not going to try. It's just a really good album. My advice is to read up on it. It's an interesting story.

As usual I can't offer any new insight on this artist and his music. The man was one of the architects of rock music. An absolute legend. The one thing that struck me listening to this is how smooth and laid back he made rock n roll. Rock in a slow groove. Pretty sure some of these tracks will make it to a regular playlist for me.