I already knew this album well.
Reflections on listening again today:
The album really highlights the Stones’ reverence for American roots music. Delta Blues, some country, some gospel, some soul. Mick Jagger’s Dartford, Kent, accent often sounds incongruous as he strains to sound authentic.
But on the highlight song, Gimme Shelter, perhaps not coincidentally the most original ‘Stones’ song on the album, his vocals are great, and the song’s a timeless classic.
Underpinning the whole thing, even when they’re in genre-tribute mode, is the unmistakable Stones ‘groove’ which, regardless of vocals, always sounds brilliant.
Hmmm…I wanted to enjoy this but didn’t much.
I often do enjoy rap, and I know the themes on this album came from a particular time and place. NWA’s Straight Outta Compton and the 2015 biopic of the same name (both of which are really good) are directly relevant personnel-wise and putting the history into some context. And I gather (plus it’s obvious by comparison to NWA material) that The Chronic represented a major musical and production style shift for hip hop that was hugely influential. But those groundbreaking innovations have long since become mainstream so they’re harder to appreciate now. And the lyrics and their themes and attitudes just feel dated (and often uncomfortable) now. Although of course I’m a million miles from the demographic that might have been in tune with this anyway, so maybe that’s unsurprising.
24 hours after grinding through Dr Dre’s gangsta rap, A Tribe Called Quest offered a much more engaging experience. The musical atmosphere is much more refined and spacey; the lyrics are live-and-let-live in outlook. I liked the clarity of the diction too. If I had a disappointment it was that - with the odd exception - the lyrics weren’t super-clever or thought provoking. I’m glad to have heard it, though.
I’ve spent a lot of time listening to this album over the years, not least as it’s a good one both while driving and while running/jogging.
The Modern Age, New York City Cops and Last Nite are all great songs, but the whole album is really solid. Pretty sure I once read that Julian Casablanca’s raspy vocals are achieved via a microphone effect but, regardless, they’re distinctive and they work really well on these songs.
I regret never having seen The Strokes live. They’d be brilliant in a small to medium sized venue.
I’ve spent a lot of time listening to this album over the years, not least as it’s a good one both while driving and while running/jogging.
The Modern Age, New York City Cops
If this was an important album at the time of release I feel it can only have been as a contrast to whatever else was around, because in itself it’s highly derivative.
It’s generally imbued with grungy sounds of the period, in the manner of Dinosaur Jr, Nirvana etc. But a number of the tracks are basically “that one that’s like the Ramones”, then “that one that’s like The Clash”. Some of the grabs are very direct (which actually I don’t mind if they’re being respectfully quoted) but there are so many of them! To the above, you can also add The Cramps and especially The Sonics - basic garageband stuff.
Revivalist can be fun. Every generation hears historic music afresh and puts their own spin on it. I can see this album probably would have been exciting if you were 18 in 1990. But when its core content is something as basic as garage / punk rock, it feels hard to latch on to a revival (even one dressed up in grunge clothing) in retrospect.
When it boils down to it, I can’t really be arsed with heavy metal. But of course that’s a blanket statement whereas in reality it’s a spectrum, and for me Black Sabbath are at the end that isn’t too far removed from good blues-rock.
They do have their Spinal Tap moments but Ozzy Osbourne’s lyrics and vocal stylings are relatively grounded and thus more engaging for me than heavy metal of a more grandiose stamp.
Some of the riffs are pretty cool too. And the ballad Changes is Stones-ish and a nice song. Plus I have affection for BS songs like Paranoid and War Pigs (not from this album of course) that were part of the journey to punk rock in the 70s. And Supernaut on this album is a bit Hendrix-y, in a good way.
Not really my thing though.
I simply missed Adele, ie knew who she was and had an idea of her style but never took the time to listen to anything.
Having now heard 21, there’s definitely stuff to like here. I like that she’s a songwriter (or part of a songwriting team) for her own material. I like the authentic blues vocal inflections, which suggests she’s a student of that kind of music. I get some vibes of ‘Dusty in Memphis’ Dusty Springfield. Also some Elton John.
And I’m generally a big fan of female vocalists as well, especially when they sing their own songs.
My problem here is it’s ultimately a bit poppy for my taste. A lot of the songs start out bluesy and I find myself wanting her to double down on the stripped back bluesy feel - but instead she always heads off in the direction of pop, in the power ballad style. These are production choices and no doubt it reflects her own tastes too. But I can’t help wishing she had a hip producer like Amy Winehouse did with Mark Ronson. Her voice and her general vibe is great. I just don’t enjoy the finished product all that much.
I’m want to reserve my 5 star votes for what I consider to be bona fide classics. Surfer Rosa is a cast-iron 5 star album.
It sounds raw and chaotic but they’re an absolutely tight band (they’re incredible live, even now, even without Kim Deal on bass), with a drum sound that feels like it’s coming from the corner of your room. It has the Pixies’ trademark surreal lyrics, mainly delivered by Black Francis in his one-of-a-kind vocal style, that are sometimes disturbing and often really funny.
There are even some hit songs on there, eg Gigantic and Where Is My Mind.
This was an album that loads of artists cite as a favourite and/or an influence. There’s an old documentary on the Pixies in which Bono says that when he first heard Surfer Rosa he told the rest of U2 (then the biggest band in the world): sorry to have to tell you guys, but we’ve just become out of date.
I had no knowledge of this album and none of the artist either, except for her name.
I found it hard to understand why this is on the 1001 albums list. It’s pleasant enough but mostly it feels a bit bland. I guess it must have stood out in some way when it was newly released?
The main feel I get from it musically is of Dionne Warwick singing Bert Bacharach songs. Which is a compliment as a comparison, since those are great songs, beautifully arranged and very well sung. But this album doesn’t have anything like the wow factor of Dionne and Bert.
I was hoping Anita Baker’s voice might be a new one to love, but it didn’t really speak to me and sometimes I found her inflections over-ornamented.
The best track, I thought, was the jazzy one, Been So Long.
I didn’t hate it but this one won’t be on my playlist.
I had never heard of this band.
The album seems designed to be listened to in a shared student flat while everyone smokes weed. Fair enough…there have been some great albums you could say that about.
I didn’t love it but it did grow on me as it went along. I hadn’t registered until after I’d finished that it was a 2010 release. I assumed it must have been a late ‘90s album because parts of it sounded so similar to Spritualized (whose ‘Ladies and Gentlemen We Are Floating in Space’ album must surely be on this list?) but Spiritualized were over a decade sooner.
Also wasn’t sure where they were from while I was listening: if you’d have told me they were Scandinavian that would have sounded plausible. Baltimore, Maryland, as it turns out.
The tracks I preferred were those with the female vocalist. I liked the last track Take Care best. I won’t mind if having played them for 1001 albums purposes means a track or two of theirs pops up in my algorithmic playlists now and again.
This was interesting. I didn’t find it quite as mesmeric as perhaps I’d hoped, but I did enjoy listening to it. It also caused me to do a bit of research. I learnt for the first time what raga means as a style of music. That was really fascinating.
And fun fact of the day was hearing the song Bageshwari (the penultimate track) which revealed to me exactly where the iconic long musical outro on The Who’s great song Baba O’Reilly came from. It’s well worth listening to the two tracks side-by-side (and, in each case, in full). Especially towards the end of Bageshwari (recorded 1968) it’s almost identical to the end of The Who’s song (recorded 1971).
I really liked this album. Supercool 70s soul. This album defines the difference between generic soul music and music that’s totally hip.
The band is impeccable, as are the song arrangements, and the production is completely crisp.
The lyrics are rooted in their time as well, which I enjoyed.
If I have one minor negative comment it’s that I prefer a soul voice in the mid-range but can occasionally reach falsetto, whereas Curtis’s voice lives in the high tenor/falsetto range the whole time. But that’s just a small thing.
Ray Charles being Ray Charles. It’s nice but I don’t have too much to say about it.
A definite 5 star album for me. One of those life-soundtrack albums, and I still have my vinyl copy from when it was first released.
Love the idiosyncratic lyrics and vocal style, and the grizzled pub-rock band with funky bass provides the perfect backing.
I still listen to this album fairly regularly even now.
I half-knew this album.
Do It Again and (especially) Reeling in the Years are classic songs and it was good to hear them again.
As to the rest of it, I liked its general vibe/groove but mainly I found it a bit too middle-of-the-road for me.
As a side-note, one of my favourite artists of the last 5-10 years is St Vincent, and she’s a huge Steely Dan fan; she name-checked them a lot when launching her brilliant album Daddy’s Home a few years ago. It was interesting to hear bits on this album that translated into her work nearly half a century later.
This is such a classic album. The crazy thing is that it was already a ‘classic’ when I was first listening to it c1979 or 1980 (and feeling like I was hearing something very retro) whereas it had only been released about 12 years earlier! It’s now closer to 60 years old…
Break On Through, Light My Fire and The End are incredibly well-known of course. It was nice to rehear some of the tracks that pop up less often in popular culture today. I always disliked Alabama Song and that feeling has survived half a century!
Reading Joan Didion’s accounts of the band (in her essay collection The White Album) when they were young and white-hot in Summer of Love era San Francisco brought them to life for me in the context of when this album was being conceived and recorded - highly recommended.
We’ve been on a run of albums I know very well lately.
Psychocandy is another great one. Shoegazy powerpop with an overlay of white noise and feedback. Very influential, and every time you play it in full it always sounds…exciting.
Songs like Just Like Honey, Never Understand and The Hardest Walk are very well-known, of course. But the whole album has stood the test of time really well.
l do sometimes listen to techno/sampling dance music (eg Fred again) but this Avalanches album was nothing special. It sounded really dated and quite cheesy. A thumbs down from me.
I didn’t know this album, nor actually anything much about Foo Fighters music except a vague impression based on who they were (ie Dave Grohl’s band). It was more poppy than I’d expected. I don’t know if that’s their typical sound. Unsurprisingly given the artist’s background in Nirvana there are strong flavours of grungy rock, but on the lighter side comparatively. A few times I was reminded of the Lemonheads who are at the poppier end of that genre. It’s a very American sound. It was fine but at this distance it felt quite generic.
EBTG are great. This one’s from their electronica phase and features the usual good songwriting to go with Tracy Thorn’s lovely and characterful voice.
Didn’t manage the full album but from what I heard it was the type of groovy beat-driven hip hop that De La Soul used to do. Clear vocals, hip, but not especially deep. I can listen to this sort of stuff quite happily.
I’ve tried Tim Buckley before. I want to like it, or at least to feel that I get why so many later artists namecheck him as an influence, but it’s way too fey and fussy for me. The lyrics are very much of their time, or one strain of that time, with fantasy-folk tropes (“Oh whither has my lady wandered?”) that set my teeth on edge. I also don’t love his undeniably big voice: it’s ‘impressive’ rather than enjoyable. The whole thing just sounds quite pompous and pretentious to me, even allowing for the spirit of the age it was released into.
I really enjoyed this, partly due to the language difference, and having little Spanish but no Portuguese. I listened ‘blind’, without any research but I did know it was Brazilian and from 1972.
Artists that came to mind as I listened were Roddy Frame and Paul Simon. I found myself hoping that these lyrics would be as considered and witty as those two always produce. Given the subtleties of the sounds, my guess is they probably are. For example the song Dos Cruces looks (from its Portuguese lyrics) and sounds like a murder ballad! Or at least a very dark lament.
Musically - production-wise - it’s really interesting and beautifully done. Much more than just ballads over strummed guitar, which is what I initially guessed we’d be in for. It’s a hotchpotch of genres. Some is folky, but other bits are Beach Boys or Beatles-ish for example. One of them (Nada Sera Como Antes) is basically a Gilbert O’Sullivan song! I’m going to guess GOS borrowed from here rather than the other way round. “If you know you know” probably applied in the early 1970s like it still does. But who knows?
There seem to be two voices/artists. Who is Lo Borges?!
In the end, I totally bought the idea of this being a loved/revered album. I downloaded it and I will be listening again.
Jaunty powerpop from the mid 90s made mildly interesting by the way it overtly places itself in the Kinks-ish, punkish, new-waveish English canon.
It’s kind of a cool sound but I only needed one song, not an album-full!
Nothing very remarkable or interesting about this, at least at this distance.
I was pleased to see Neil Young come up on 1001 albums because After the Gold Rush is an album I’ve been wanting to listen to properly for years. I’d tried it now and again but never really enjoyed it. And yet some artists I love (eg Thom Yorke of Radiohead) are avowed fans of NY and this album in particular.
But…I still don’t really get it. I don’t care for his voice and I didn’t find the lyrics particularly insightful nor the music particularly interesting.
The song Southern Man is pretty good. And the song When You Dance…ditto
It was also nice to hear Only Love Can Break Your Heart again, as a reminder of what a fabulous (and fabulously different) cover St Etienne did of that song in the 90s.
So….Rumours.
It’s such a revered and enduringly popular album. I’ve dutifully listened to it again trying to find the spark I’ve always missed. Unfortunately, I still didn’t find said spark. It’s mainly bland, country rockish, and plodding as far as I can tell. Maybe some of the lyrics are inspirational if you’re interested in self-affirmational content.
The iconic guitar break at the end of The Chain is an honourable exception to that sweeping statement. And Gold Dust Woman at the end of the album is a nice song. But for me that’s about it.
I know this album pretty well and I’ve played it plenty of times over the years. I got into the album after reading that PJ Harvey (who I love) is a massive fan of Captain Beefheart and of this album in particular.
I really like it. It’s such an eclectic mix of styles but particularly based on Delta blues which I always enjoy. The rhythms and percussion is really mixed though and bits far from being ’just’ a blues album.
The lyrics are very “other” and often amusing in a weird way. Beefheart’s voice is expressive and sometimes comical.
It’s very much a product (and a contributor to the feel) of the mid to late 1960s but it was surely an oddity even for its time. Listening now, it’s clear how the album (Beefheart’s debut) influenced concurrent and later musicians, and in my mind the album and the band form part of an eccentric grouping including the likes of Dr John, Frank Zappa, the Velvet Underground, the Modern Lovers and a good chunk of what later became punk rock.
The best tracks for me are the more blues-oriented ones, particularly Korn Ring Finger.
An all-time classic: if this list was 21 albums…rather than 1001, Horses should still be on it. The Van Morrison/Them cover to open the album, plus the title track Land:Horses, are highlights but it’s strong all the way through.
I never really got into Coldplay. This is very…competent. But it doesn’t do much for me.
I was interested to listen for clues that they channelled about from Radiohead in this period. There are definite signs of that, but I don’t think it’s egregious.
After getting several rap albums in the last few weeks, I’m coming to the conclusion that they don’t age terribly well.
This particular one, though, is pretty good. Missy Elliott is clearly a strong personality and the backing music for these tracks is more interesting than on most rap albums.
I’m really surprised never to have heard of Blue Cheer. It seems like they were very much part of the the mid-late 60s West Coast ‘scene’ and it also appears they were considered to be, to some degree, innovators. Although heavier than I really enjoy, they sound pretty good even now, and their cover of Summertime Blues is great. The song Out of Focus also stands out.
So it feels odd that they aren’t at least on the radar when bands like the Doors, Jimi Hendrix Experience, Stooges etc are so much part of the rock canon. I’m glad to have learned something.
I have mixed feelings about David Bowie. Some of his material is timelessly brilliant; yet I’ve never really bought into the cult-like worship of him that some seem to hold. Having seen documentaries about him in the years since he died, I warmed to his personality (despite the silly fascist-flirting period he went through in his drug-ruined 1970s, around this time of this album). It seems to me he was a very well-read, thoughtful, and essentially generous person, with a quick sense of humour. He took himself less seriously than many took him.
But quite a lot of his music/lyrical content is inward-looking and not especially penetrable. Station to Station falls in that category to me, but I thought it sounded better (and, to be fair, more accessible) on this listen than I’d recalled from back in the day.
This was great. I hadn’t heard it before. It was like listening to contemporaneous commentary on the hippy 60s, skewering both pro- and anti-flower power sentiments. A Pythonesque flavour to parts of it.
I’m not a huge fan of country music, especially when it’s a full album of same-sounding songs like this.
I did enjoy reading about the Louvin Brothers though. Interesting stuff about the music and their use of “close harmony” singing style.
But the best snippet about these committed Christians (who had an album called “Satan Is Real”) was this:
“Their songs were heavily influenced by their Baptist faith and warned against sin. Nevertheless, Ira Louvin was notorious for his drinking, womanizing, and volcanic temper. He was married four times; his third wife Faye shot him four times in the chest and twice in the hand after he allegedly tried to strangle her with a telephone cord. Although seriously injured, he survived. When performing and drinking, Ira would sometimes become angry enough on stage to smash his mandolin when he was unable to tune it, and – when sober – glue it back together.”
The album cover for “Satan Is Real” is a classic too - it’s surreal, and apparently much-parodied by other artists in later years.
Brian Eno has been involved in so much great music over the years, from Roxy Music to Talking Heads to Fred Again (to mention just a few). A true artist, and an intellectual.
And, this album Ambient 1 is ultimately an intellectual exercise about music and its role within varying spaces (physical and mental). It’s an interesting piece of work in that light…but it’s not especially interesting to listen to. Which is partly the point, I know. But I’ll only listen to this as a late-night sleep aid.
Some of these tunes were familiar, and I knew the album was regarded as a classic, but I’d never listened to it as a single collection.
It’s…‘modern’ jazz. And really nice too, but always feel like I ‘should’ enjoy jazz a little more than I actually do.
Love this album and I know it very well. As close as The Fall’s outsider art ever came to being mainstream art.
Didn’t know about these guys. Probably would have liked it at the time. A cooler version of the Art of Noise from a few years earlier, and you can hear things that later turned into DJ acts/bands like LCD Soundsystem.
It’s important to separate the art from the artist when it comes to the Smiths, given what a jerk Morrissey has turned out to be. But the other creative genius in the band, Johnny Marr, is a very sound individual, and the Smiths’ music and the songs are exceptional. There are some wonderful songs on this album, particularly I Know It’s Over. It gets four stars from me rather than five only because it’s not the best Smiths album, and there’s a bit of (for them…it’s all relative) filler on here.
Didn’t have time to pay much attention to this but from what I picked up it’s fairly generic indie-rock. Nothing too remarkable about it.
Really liked this and will listen again. Beatles, Brian Wilson and Paul Simon influences picked up on first listen.
I didn’t much like the Killing Joke at the time they were new, and the decades since then haven’t changed my view. It’s fairly leaden postpunk music and I really don’t like the vocals layered over the top of it.
A period piece, and quite interesting to hear it. Clearly a guy with loads of charisma.
It’s the White Album: 5 stars.
I’d never previously listened to the Yeah Yeah Yeahs. I’m glad to have heard this album - I thought it was really good. I’ll dip into more of their stuff as a result.
I wanted to like this and there were quite a few elements of it that were up my street, eg an ‘Americana’ style with quite interesting lyrics. But in the end it was too folk/country for me if I’d liked the singer’s voice more, it would definitely have helped.
Interesting to learn that this was the band Steven Malkmus of Pavement started with, and periodically retuned to. Pavement are good!
I can enjoy funk/funk-based music, but usually only when it’s quite ‘hard’. EW&F’s album is way too polished and syrupy for my tastes.
I’ve known Barry Adamson (and seen him play live multiple times) for decades as keyboard player with some truly great bands, ie Magazine and Nick Cave and the Bad Seeds. I knew he had a solo album but had never heard it. Turns out it’s an imagined film soundtrack. Interesting enough, but I won’t be relistening.
I already knew this album to some extent, and also some of Nick Drake’s earlier records. He’s hugely respected by - and influential on - some artists I really like. But somehow it never really spoke to me. The lyrics are a bit too vague and fey. And I can take or leave his voice, although I get that some people would love it.
Never heard of the artist before. It was ok but not really my thing. Did notice they are from Gothenburg, which is a really cool city!
There are quite a few things I’ve never liked Led Zeppelin. Lyrically they’re a weird mix of macho silliness alongside cringey songs mentioning damsels and castles. Some of their music is folky and/or fey. And I really don’t enjoy Robert Plant‘s voice.
And yet…how can a record that kicks off with Whole Lotta Love not be a five star album? Plus, anyway, even allowing for the elements I don’t much like, plenty else on the album is fabulous.
The best bits for me are when they’re playing fairly basic blues (as opposed to their Stairway to Heaven-style stuff), when they bring a kind of nerdy-but-hip white-boy swagger to the classic blues style. And this album is solidly, or at least predominantly, a blues record. Vocals aside, the drums, bass and guitar parts are off-the-scale good in places, and they have a brilliant sense of rhythm, groove and timing.
It’s really, really good, despite my lurking quibbles about Led Zep generally.
In plenty of places this sounds like a Rutles style Beatles / Beach Boys tribute band. Which is not to disrespect it. We’re familiar with the songs by those big name artists whose songs have lasted ever since, but they were part of a musical community at the time and everyone will have been swapping ideas and sounds.
However, as a new listener today, it’s hard not to just spot the similarities with music we know much better. The last song Time of the Season is pretty well known, and it’s nice. The standout for me, though, is Butcher’s Tale, which is really sad and hard hitting piece about the futility of war and its effects on youth. It feels like it’s from a different species from the rest of the album. I bet PJ Harvey listened to it while doing her ‘war’ album Let England Shake.
Hot Buttered Soul is the perfect title for this album. If you are into this kind of high-concept, luxuriant soul music, with time taken over everything, great musicianship and super-high production values, the album must be a real treat. I’m a not really that guy but I recognise the artistry.
This is a really good album. Not my favourite period of The Fall musically, but this album benefits from a mix that makes the lyrics more discernible than they often are, plus it’s something of a concept album with an anti-nostalgia/governance by the aged theme.
It’s fun to listen to some of the great songs like Oh Boy!, That’ll Be The Day, and Not Fade Away in their original setting.
Reflections are (a) it’s all surprisingly light in tone and sound (b) although Buddy Holly was direct contemporary of other early rock and roll greats, such as Chuck Berry, it feels like his songs were the archetype for what later became ‘pop’ and (c) the black/white crossover must have been a big deal in those days - if you didn’t know who they were, the Crickets’ vocal backing could easily have been a black group such as the Platters.
This has elements of Massive Attack and Skream! but in a more mannered and jazzy way. No doubt it was fun at the time, especially if you were a weed smoker. It feels a bit bland now; pleasant enough but not very interesting.
Without You is one of the all-time classic power ballads, a really great song. Nilsson also did Everybody’s Talking (though it’s not on this album) and that’s also one for the ages. He didn’t writ either song though. The material on Nilsson Schmilsson (great title) isn’t up to those kinds of standards. It’s ok, and there are some nice songs, but it’s not stellar, at least to me.
This has elements of Massive Attack and Skream! but in a more mannered and jazzy way. No doubt it was fun at the time, especially if you were a weed smoker. It feels a bit bland now; pleasant enough but not very interesting.
I was curious to listen to CTTE afresh and in full, since this kind of music had been an anathema to me in my teens, yet I know it’s revered by many people.
Well, I did try, but it just doesn’t work for me. A sprawling mass (mess?) of sounds overlaid with pretentious lyrics that take you nowhere interesting. If I didn’t know better, I could be persuaded that this is a very elaborate Spinal Tap-style parody of prog rock.
Putting this in context, it was released in 1978, therefore a time when heavy metal was being perceived in some quarters as old and stale relative to punk and new wave. So I’m going to guess that the super-high energy style and fast beats on a number of these tracks was fairly notable for a HM album of that time? But it’s still got plenty of the heavy metal tropes that don’t do anything for me. There are some good riffs to start songs but then it always morphs into ‘the usual’. Ironically the best track for me - possibly just because I know the original so well - is the cover of the Kinks’ You Really Got Me, a very structured song.
A glowing exception to my self-invented rule that rap albums don’t age well.
I wasn’t into the Beastie Boys when they first appeared, although like everyone I heard their hit singles and I thought they were OK. Much later, when I had access to streamed music, I tried listening to their first album (Licensed to Ill) a few times, but found it pretty tiresome and juvenile.
I’d read that Paul’s Boutique was really ‘the one’ and I had a go at it once or twice, but I reckon I probably didn’t get past the silly To All the Girls intro song and the fairly routine rap track Shake Your Rump that followed it.
Having now heard the album right through and - importantly - used good headphones and read the lyrics as I listened to each track, I think it’s brilliant.
The backing tracks, with their myriad samples from a wide range of genres, still sound fantastic even 35 years later. The production is great. And the lyrics match the music: clever, funny and erudite, with constant references to, and borrowings from, the worlds of art, literature, science, history, music and pop culture.
I never loved the three-guys-shouting rap style and still don’t. Plus also, as with almost any rap album, you have to wade through a fair amount of macho flexing (although here it’s often laced with humour). But this is a really impressive album and it gets 5 stars from me, which I really hadn’t expected to be the outcome before I pressed play.
I already knew this classic album well.
Johnny Cash singing jailhouse blues, with dollops of country and gospel, to prisoners in a prison. It’s wonderful.
A special treat is hearing the easy rapport Cash has with his audience. The songs are great too, lots of dark jailhouse laments. Fabulous.
I didn’t know about these guys. Side 1 is a bunch of songs that feel very West Coast USA of that era. It’s impossible to listen to them without thinking of The Doors, although I don’t know who in fact was influencing who in real time (but I do know it made me appreciate what a good vocalist Jim Morrison was…much better and more engaging than the guy singing with Iron Butterfly).
Side 2, the long title track, is another story though. Really interesting and innovative (including sounds and rhythms from other cultures) and it kept the attention for its full 17 minutes despite a couple of minutes of drum solo (usually a massive turn-off). The quasi-religious sounds towards the end took it somewhere unexpected, and the main guitar riff of the song is really cool: I can see how it influenced heavy metal and associated genres, which is what I read.
Solid country rock. In places it feels quite like the Rolling Stones of the same era. Gimme Three Steps is a cool song.
The Undertones would have been a great pop band in any era. The version we got, on this album, was powerpop infused with the sonic signifiers (and sometimes tropes) of new wave in its 1979-80 stage of development.
The first track is rather odd (its chocolate-and-girls title self-deprecatorily mimicking the Talking Heads’ rather more weighty-sounding More Songs About Buildings and Food) in the way it’s almost nervous about whether this new album (produced “in less time but with more care” than their surprise hit first record) is all that good. They needn’t have worried as it’s mostly very good indeed.
Some of the songs here are really superb pop songs, especially the lovely Wednesday Week, and Tearproof, as well as the hit single My Perfect Cousin. Others are filled with backstreets goofiness about guys called Norman and Terry and everyone’s often fruitless quests for girlfriends. It’s always charming and sometimes sublime.
Feargal Sharkey brings one of the most distinctive voices in pop music and Damien O’Neill is a superb guitarist. It’s interesting that their cover of Under The Boardwalk (which could have just been a hurried second album space-filler) sounds so good - proving the point that these guys occupied the postpunk scene but were at heart brilliant pop performers.
It has some 5-star tracks but isn’t uniformly strong. Nevertheless, a really good album.
I know and love this artist/band, and this album. They also continue to be a joyous live act, who I saw most recently in summer 2025. So it’s hard for me to be objective. If I try, I’d probably say this is a four star album from a five star act.
The best songs - oh baby, call the police and black screen - are stellar. The others are merely very good.
As ever, James Murphy laces his music with references to his own musical favourites. Just as examples, oh baby is a variation on Suicide’s Dream Baby Dream, and I can pick up traces of Echo and the Bunnymen’s The Killing Moon in the long runout to black screen. I love that stuff.
I’d never been a fan of U2. Not that I disliked them, I just never spent the time searching out their albums, although of course they had so many hits that you knew them well enough. Apropos of which, it’s quite a statement to start an album (as they do here) with three songs which were all hit singles.
Having listened to Joshua Tree all through, I think it’s good. Bono is faintly ridiculous in some ways but his voice is good and well suited to these songs (side note: I’d probably like Led Zeppelin a lot more if you could somehow substitute Bono’s voice for Robert Plant’s!). The musicianship is really good. The bass is always interesting and The Edge’s (stupid name) guitar style is really cool - rhythm and texture rather than rock and roll lead guitar histrionics.
In fact, I found it interesting that you could almost imagine some of these songs as electronica rather than rock, with just a bit of tweaking. Bullet the Blue Sky was probably the standout song for me of those I hadn’t heard before - sort of a mashup of Joy Division drum and bass sound with Patti Smith prose poetry over the top! And (without having done any background reading) the album seems to have a theme of reflections on America as the band sound it at the time. Of the ones I already knew, With or Without You is a great song.
The word that most readily springs to mind listening to this album is “tasteful”. Which isn’t exactly an exciting reason to listen. Sort of a rock/jazz/slightly funky fusion. The odd thing for me with Steely Dan is how the lyrics quite often have an edge to them but the music is unremittingly polished. Try as I might, I can’t get excited about them.
Musically, the minimalist, stripped-back beats underneath these rap tracks are really cool, you could almost say elegant. Apparently this album’s musical style was very influential on later hip hop artists, which is understandable since it’s such a good platform to rap over.
The rap itself is sharp and visceral ‘street’ rap: drugs, violence, gangs are central themes. It all feels experience-based and authentic (which, from background reading, it was). But the rappers had a philosophy and that also comes through the grittiness.
I don’t need to hear it again, but I’m glad I heard it once.
I knew who Hole were, and the backstory, but had never listened to the music. It’s not bad. The better tracks are the less hard-rocking ones.
This is really boring lumpen try-hard “revolution” metal rap. I don’t mind the perspective so much but it’s so simplistic and (law of unintended consequences…) feels like the kind of posturing, finger-pointing, nuance-lacking, non-debate discourse that is such a favourite tactic of the far right nowadays.
Unremarkable synth pop with unexciting lyrics and bland vocals. No idea why it merits a place on a 1001 all time albums list!
One track in, I was feeling mean-spirited about this album, but I kept on listening and after a while realised I was enjoying it; most of it anyway. The ballad-y ones, eg the final song, aren’t so great. But most of the bluesy tracks are really good.
I’d never heard this album, although a couple of songs were familiar as singles. What an odd record it is! Bits of it are prog rock-ish. Some of it is late period Beatles. Other parts have vaguely African rhythms. The lyrics are often trite, eg the song about dinosaurs. The one called ‘Mother’ is ridiculous, almost Monty Pythonesque.
Enjoyed hearing this, and learning a bit about the band (esp. Jeff Beck’s involvement) by reading their history. An interesting range of sounds including blues, psychedelia and Eastern.
I can’t get along with this. They just seem so self-satisfied with their own ‘cleverness’.
This was quite fun, as I read the Wikipedia info on the artist and album after listening and found it confirmed a lot that flashed through my mind as I was listening.
Namely, these guys sound like ‘proper’ musicians, possibly academically trained. Also, it’s a weird mashup of styles, some it sounding a bit like film soundtrack, with other stuff roots-music bluesy, more that was psychedelic/shoegazy (loosely in the manner of Spritualised), but yet other stuff had quite a ‘noise’ feel about it. And the lyrics seemed oddly bland, as if maybe tacked on afterwards, in a style that more or less made it possible to guess what each next line would be, word-for-word. Quite a lot of that turns out to be accurate. It was also interesting to read how the band evolved (and have done over the decades since they were founded), with a revolving cast of contributors, and that this particular album was a surprise commercial breakthrough.
But did I like it? Yes, mainly, and increasingly so after I’d got the hang of the way they were operating. The lush string/synthesiser parts were pretty, and I also liked the tracks where they went a bit harder and/or more bluesy. And the variations in style kept it interesting. I’m glad I heard this and I also dipped into some more of their stuff after the album finished.
At this distance, many of these songs sound like relatively generic, almost throwaway, beat-group pop. It’s hard to put yourself into the world for which a new release by the Beatles was a thing of high excitement.
The fascinating thing is how they were so close to going into a much higher realm of music and songwriting. You just get glimpses of it here. Hard Day’s Night and Can’t Buy Me Love stand out by miles from most of the material here.
And I Love Her fares less well when heard in its original context, but provides a template for the kind of song that Paul McCartney later excelled at.
Lyrically, the phrase “hard day’s night” is itself strikingly clever and presages the greater sophistication to come. It’s interesting though to hear some rather controlling boy-girl relationship lyrics from (presumably) John Lennon in songs like I’ll Cry Instead and You Can’t Do That. These sound like an early manifestation of instincts that he later acknowledged in Jealous Guy.
Interesting to hear but nothing much to make me want to hear it again.
A superb album that was absolutely ‘of its time’ (and at the cutting edge of a certain kind of pop) but still sounds brilliant today.
Fabulous beats, that are danceable but chop and change to avoid being dull, beautiful synths which sometimes texture and sometimes provide melody, great tunes with always-strong lyrics (eg I Am The Law…a philosophical disco track!) delivered in an unusual but distinctive style.
Don’t You Want Me is the cherry-on-top at the end (the girl’s assertive right to reply mid-song is a genius stroke) but there are so many strong tracks on this album.
I’ve listened to this before and (as in this relisten…) it doesn’t do much for me. The folk/country/west coast rock combo doesn’t speak to me, and although the musicianship and vocal harmonisation is good, it doesn’t excite me. The lyrics - when they’re not referencing damsels and ‘milady’ etc - are quite interesting as they’re straightforwardly personal and often vulnerable.
Had heard the band name but didn’t know the music. Listenable bass heavy psychedelia.
The vocals always grated for me when hearing TPF when their stuff was new, and that hasn’t changed over the years. And the lyrics do have some thought behind them, to be fair, but I don’t find them particularly interesting or profound.
Musically it’s of-its-time postpunk but with a few frills eg a bit of sax here and there. The best-sounding songs are actually the ones where they flash a bit of psychedelia, as per the band name, but even then I found myself wishing it was Echo and the Bunnymen who did the same thing but so much better.
These songs speak of alienation and are austere almost to the point of stubbornness. Even when the band cranks up the noise and tempo a bit, they do it in a very, very controlled manner.
When listening I kept thinking of the prose-poetry Lee Ronaldo tracks on Sonic Youth albums such as NYC Ghosts and Flowers (although Slint’s album predated that by some distance). But with Sonic Youth those tracks are interspersed with others that have a different style and texture, whereas here the sound is pretty uniform from first note to last. If it doesn’t catch your mood, there’s not much to look forward to.
I often like this kind of music but something about this particular example didn’t quite click with me.
I thought I’d heard some Sigur Ros in the past and that it was indypop-ish, but obviously not, unless this album is a huge departure from their norm.
These are nicely crafted pieces. A bit trippy in places and sometimes beautiful. Great foundational bass throughout. There’s a sense of ‘otherness’, almost ambience, which is exacerbated by the indecipherable language of the vocal track, which closes off one obvious way of accessing the songs’ meaning and intent. Whatever they’re singing about, I’m going to guess these aren’t songs about basketball and partying.
I didn’t like the first track much at all. But after that it was all pretty good. Staralfur is really nice, with a sort of a Massive Attack meets Peter Greenaway vibe to it. Hjarto Hamast and Olsen Olsen are good too. I’ll probably listen again.
Couldn’t get very interested in this!
Not very thrilling rock music.
Maybe I’m jaundiced by decades of Elvis impersonators, but I find it hard to take his vocal style seriously. That said, it must have been really exciting to see and hear this dangerous-looking but sweet hunk doing his thing at a time when for most people it was something brand new. For me, he’s at his best on things like Jailhouse Rock and Heartbreak Hotel, rather than the more croony songs. This album has a couple of bangers (and Blue Moon is fabulous, ditto Money Honey) but it’s a mixed bag overall.
The best bit of hearing this album for me was becoming aware of the brilliant guitar playing of Scotty Moore. Dextrous, playful, unpredictable - it really adds to the flavour of these songs.
Musically this just feels a mess. Masses of over-elaborate twiddling that frequently sounds incoherent, like the worst kind of improv modern jazz, with instruments taking turns at jumping in with portentous chord progressions that don’t take you anywhere, nor have much seeming relevance to the song lyrics. As to the lyrics, well, at least there’s kind of a theme, but it’s a curiously fogeyish little-England one that often sounds twee. The album gets one extra star for trying, though.
This album was thrilling in 1977 and it’s stood the test of time really well. It was a hybrid in many ways, the backing music being provided by American country-rockers, and Costello himself directing his traditional song structure instincts towards a punkish aesthetic to match the zeitgeist.
But while it could have been a weird melange, it turned out that Elvis’s razor sharp lyrics and angry geek delivery (coupled with an in-the-room-with-you production feel from Nick Lowe) fit the moment perfectly, providing a complementary counterpoint to the more visceral punk sounds and attitudes of the time.
It’s important to remember its context as a coming-from-nowhere debut album, and lyrically some of the songs reflect Costello’s emotional immaturity at that time, but the torrent of words and their snappy delivery made it an eye-opening treat then, and it’s still highly listenable now.
The opening tracks here are very much like Soul II Soul, as channelled through Massive Attack. They’re familiar-sounding, and nicely done, though without offering anything particularly new to my ears.
Things get more interesting from the third track, Homestead, where the musical content has a much more “eastern” flavour. To a listener coming from a more traditional blues and rock music perspective it’s therefore harder to access these sounds instantly, but this is clearly a serious piece of music from a serious artist, with a commensurately heavy theme of the nuclear threat and its impact on individuals and societies. I’m glad I’ve heard it.
The musicianship is good. The lyrics are thoughtful. But I can’t get along with this kind of music, with its grandiose but purposeless chord changes, overwrought drumming and intricate but dull guitar solos.
This feels like a short story collection. It’s songwriting in English tradition, as partly forged by Ray Davies himself. Quite a few of the songs have the feeling of musical theatre. It’s perhaps more interesting as a historical artefact than as music nowadays. But Waterloo Sunset is undoubtedly a 5 star song, one of the greatest ever.
A very solid album, on which Paul Weller showed he was still serious about writing songs, and channeling his retro R&B. roots. The song Wild Wood is lovely. Looking back, this album was the scene-setter for his real blockbuster, Stanley Road, a couple of years later.
This was better than I expected! I’m not a fan of metal (in its various guises) but while these songs had some of the usual traits I dislike, including macho lyrics, screaming vocals and show-off guitar playing, I did appreciate the ‘attack’ or urgent feel of the songs and the rhythm guitar in particular. In places it almost sounded like punk rock.
