Punk rock album which starts off particularly strong with "See No Evil". The title track, Marquee Moon, is the nucleus of the whole album, and while fine drags on a little bit too much for my liking. While the vocals are not particularly enjoyable, with the comical background sounds and the whine/drone from Verlaine, it is saved by lively guitar parts and relatively fun melodies. Chief example of this is "Venus" which is one of the stronger tracks on the album by the 'huh's.
Solid album.
The Gorillaz self-titled debut album incorporates an eclectic mix of influences ranging from rap/dub/electronic to Latin rock. At times, this combination can make the album feel confused, and it lacks the drive and 'kick' of later albums "Demon Days" and perhaps "Plastic Beach". While it did not feel like a complete slog to get through, its hour-long length is certainly felt, and is not aided by weak tracks scattered throughout, including the opener "Re-Hash". Of course, this does not stop it from having fun songs such as the hits "Clint Eastwood" and "19-2000", and “Latin Simone” is a fun Latin rock tune.
This is a solid Talking Heads (punk pop?) album, made famous by the hit "Pyscho Killer". While that song is by far the best track on the record, the rest of the album is itself far from subpar. The music and arrangements are generally clean and fun, and the 38 minute run time did not feel like a complete slog to get through. This is not quite my cup of tea; I've never liked David Byrne's vocals, and some of the lyrical choices are strange, but as their debut album goes it is fairly good.
Key Songs: "Psycho Killer", "Uh-Oh, Love Comes to Town"
From the instrumentals of "Embryonic Journey", to the ballad of "Comin Back to Me", to the Alice in Wonderland inspired “White Rabbit”, this album combines a variety of instruments and a variety of moods to set into a series of neatly arranged and easy to listen to tracks. At times, it is Byrds folk rock, The Mamas and the Papas vocal harmonies, and Beatles psychedelica. True, it may be argued that it thus suffers from a lack of signature sound, particularly in the saturated sonic folk rock scene of the 1960s. Yet where it lacks in "originality" in terms of sound and performance, it more than makes up for it through a series of catchy melodies and memorable songs. Easily a no-skip album, and well worth a listen to.
Tommy is a concept album telling the story of a disabled boy called, suprise suprise, Tommy. While the idea of the album is interesting, its 24 song, 1 hour 14 minute long length is perhaps too long for a mediocre rock opera. It is not bad, and has standout tracks such as "Overture", but the overall sounds feels repetitive and a little dry, with key features including vocal harmonies and drums front and centre. For a band with such a glorified history as "The Who", it is doubtless a little underwhelming.
I'm not really sure what to say about this one. I was familiar with "Walking on the Moon" and "Message in a Bottle" already, and while the rest of the album has a similar vibe (reggae/rock ish) it felt like it was missing an element of something. The playing was good, especially the drum parts and guitar riffs, but overall it was solid but unspectacular.
Quite frankly, this album is a soul and R&B masterpiece. Aretha's incredible vocal range and ability are expressed in a way that does not seem like over singing; righteous flamboyance, if you will. The instruments and background vocalists accompanying her voice are well arranged and support her voice well, and the rhythm and melodic elements of the album as a whole are very nicely put together. Moreover, the songs are all distinguishable and great in their own individual ways. A classic, and no skips on this one.
Key Songs: "Ain't No Way", "People Get Ready", "Good to Me as I am to You"; but take your pick honestly
I must admit that this album has the unfortunate distinction of being quite familiar to me before I reviewed it for the list. As a result, some of the songs had lost its 'freshness' in a way, such as "O Children" which I have thought of as overplayed. Yet Cave's sound and themes are arguably an acquired taste, and it benefits from familiarity in that sense. Resultantly, it would have been hard to be objective when determining the LP's merits, but luckily I am ranking on my personal enjoyment anyway.
The production makes good use of backing choirs and an organ/synth, giving it churchy vibes in a sense, all of which are arranged well. Cave's snarling vocals are once again in the forefront, and provide a nice contrast to the aforementioned gospel sounds, while simultaneously being complimentary to it.
There are clear shifts in mood from the mellow introspections of "Cannibal's Hymns" to the lively, punchy "Breathless". Generally, the former are found on the first side of the album, and vice versa. Yet, the passion behind the music pierces clearly through the contrasting moods, and it never feels confused re purpose and theme.
A great album.
With a driving rhythm section, strange lyrical topics and a screeching lead singer, this album is certainly interesting. It's not bad by any stretch, and has some memorable melodies, even if the sound does get a bit repetitive at times. But it is energetic, and relatively catchy, and I can see it's appeal to 70s hard rock enjoyers. Would I actively listen to it? No. But I wouldn't turn it off if it came on the radio.
As the title and the name of the album suggest, this record features a lot of bongos. However, it is also full of relatively catchy instrumentals and guitar riffs in particular. While not spectacular, the concept is interesting.
"Goodbye Yellow Brick Road" is a lengthy album spanning many genres. It starts off particularly strong with a series of hits both energetic and reflective, including the 11-minute epic 'Funeral For A Friend/Love Lies Bleeding'. Yet despite the varieties of sound present in the album, it is heavily top-loaded and feels overstuffed towards the end, and it is not unlikely that as a whole it would have been stronger without many of the later tracks. Further, the songs at the start while good feel more like a compilation of greatest hits, rather than a collective album. Although the musicality is great, it suffers from the sense of lethargy permeated its later tracks.
"Dummy" is probably best described as depressed hip-hop. It has elements of electronica, and hip hop techniques such as the use of loops, but also regular instruments and organs. Such elements seem to fill in a sense of silence or darkness present in the background of each track. The mood of the album is generally quite sombre, not quite "monotone" but some of the songs do sounds quite similar. An interesting album, probably not quite my taste, but listenable.
Apart from the first song 'Exp', which is a peculiar interview with dizzying background music, Hendrix's second album is a blues/rock masterpiece. On the whole, loose, free-flowing melodies, combined with Hendrix's judicious use of wah-wah and phase pedals, create a semi-wild experience. Along with well known hits "Little Wing" and "Castles Made of Sand", the album is also stacked with less known, but just as good numbers, such as "Ain't No Telling" and "She's So Fine". Overall, a beautiful composition packed with consistent, catchy tunes.
Slipknot's self-titled album is resolutely simple and uncomplicated - angry, raw and with a lot of drums. Good for what it is ("hate" fuelled metal), but not good if you don't enjoy this type of music.
"Odyssey and Oracle" is lavish baroque chamber-pop, with singing storytelling fused with Beach Boys-esque harmonies. Thematically, it conveys typical psypsychedelic landscapes of freedom, imagination, and memory, ranging from the reminiscent tones of "Beachwood Park" and ascendant harmonies of "Brief Candles" to the chorals and modulations of opener "Care of Cell 44". The melodies, harmonies and instrumentals all combine together beautifully to tonally create an unmistakeable, melancholic feel, hearkening back to a time perhaps unfamiliar to the listener. A great album, no skips on it.
Key Songs: "This Will be Our Year", "Beachwood Park", "Time of the Season"
Although much of the album revolves around themes of death and mortality, make no mistake - this album is largely upbeat and energetic. Bold and experimental, the album has an indie-rock vibe, featuring choral vocals and lively guitar riffs, but also the strings, horns and xylophones of Baroque-pop. Such a mix of instruments results in a continuous sound - there is a lot going on, all the time. Yet, while loud, it still manages to be reflective. It has been said that the band experienced much personal loss during the making of the track. But rare among rock records, particularly during the garage rock era of the early 2000s, the album subtly captures the band's more melancholic emotions.
The Libertines' self-titled album is a very 2000s-esque brit-rock record, much akin to The Strokes or The Kooks. Yet underlying each track, even the more melodically cheerful, is the sense of conflict simmering within the band. It manifests itself in aggressively played guitar and fiery duets, but also in the dynamic changes of the softer songs. This is a record not particularly inventive or experimental, but still holds up well amongst the pantheon of other garage rock bands.
Boards of Canada's breakthrough album possesses a haunting ambience to go with wordless electronica. It is of a similar vein to Portishead and other electronic bands of its time in shunning dance beats in favour of downtempo psychedelia. On the surface, it is an album that is repetitive and lacks clear melody. But this is an LP that comes to life when wearing headphones, which allows the listener to pickup the more subtle elements of the sound. And where this album lacks in shifting tones and lyrics, it makes up for in creativity and imagination in terms of production technique and "instruments". Granted, it is not the easiest listen, and requires some concentration and a certain mood to enjoy it. But its is something new and unlike most other music, and on the whole the band pulls off the sound well.
"Channel Orange" mixes free-form flow with soul-like singing, and the usual background harmonies of modern pop-soul/funk. The production quality is great, with the arrangements generally quite stripped back, as common in the genre, without big shifts in tempo or timbre. The feel of the album is quite ambient, and attempts to be reflective, but is limited by the flow between the songs being a bit lacking or disjointed.
The album feels like mundane synthpop. In a way, it sort of encapsulates my general dislike of 80s pop - monotonous chord progressions, repetitive melodies, the same beat on everything. On top of it, the singing sounds like a parody of MJ and Prince.
As a massive Bill Evans fan, I am admittedly a little biased with this one. Like most jazz albums I don't fully understand musically, what is going on, but I do know it sure sounds good.
It combines exploratory bass lines, which deviate from the established walking bassline trends of the time, with intricate drum fills and introspective piano playing. Further, multiple takes of most songs allow the listener to consider different interpretations of the same theme. A great listen, and a great tribute to LaFaro, who died ten days after this was recorded.
trademark galloping bass
production wise, feels a lot rawer and more dirty than a normal iron maiden record
the singing doesn't feel as enthusiastic as later records (i think that's a good thing)
distinctive guitar solos, played quickly
doesn't feel like heavy metal, more like early prog rock
terrible cover art though
surprisingly diverse songs (e.g. remember tomorrow v prowler)
"Exodus" is THE reggae album. Featuring overt political messaging alongside themes of love, it is also characterised by its generally laid back vibe, relaxed singing and pulsating bass. Essentially it makes you think of the beach. Apart from its great and consistent rhythm section, the album contains generally catchy tunes. Yet do not mistakes this for a perfect album. Some of the songs are a bit bloated in length, and the sound does not really change a lot from track to track. But the sound is great, and it deserves its status as an icon.
A collection of instrumentals, not particularly bad, nor particularly good. Each track is consistent, and there are no bad tunes, but apart from the title track none of them really stand out. Instead, the thing that stands out most is the organ.
I don't particularly see the appeal?
too long
i find the singing kinda annoying
Experimental. Variety of instruments and sounds, more so than Regatta De Blanc
Short, sweet, and uptempo is the vibe of the album. The longest track is a mere 2:40 in length, and it does not seem to be the most musically complex album. This simplicity, though, along with its generally fun tunes and driving instrumental section, make it a enjoyable punk rock album.
Compared to his other work, this seems dull and over polished. The themes aren't anything new (seems to be some sort of breakup) and the tunes aren't emotive or interesting enough to warrant another listen.
Funky, jazzy and exciting.
I really don't see the appeal in this one. The instrumentation is boring, the melodies are too subtle for my liking, and on top of this a singing style that sounds like an out of tune siren. The themes and vibe is supposed to be laidback and reflective, but unfortunately the singing detracts from the intended effect.
I found this quite confusing - not just because it was in Portuguese, but more so it was a strange fusion of genres that I didn't quite get. Will probably take a few more listens to understand.
It is Metallica with an orchestra and sounds like the soundtrack of an action movie. Good for Metallica fans, not so good I'd imagine for others. I actually like it more than I thought I would, although it is a little too long.
Thriller consists of a few really good songs, and a few not so good songs. Yes, those few really good songs are classics, but this does not make this in itself a good album. Further, the album doesn't really feel like an album, and more like a greatest hits record.
I thought it was a relatively interesting listen, with some experimental tracks (such as the spoken lyrics of "In the Kingdom #19). But compared to some of the other albums of its time and others I have listened to its not particularly great.
experiments with sounds, unusual and varied instruments, and you can hear all the niche parts. produced really well, despite arguably relatively simple melodies
- songs often are unstructured
- layering
- good singing backs up moods
- good song construction - e.g. buildups, use of dissonance/haze of sheer noise (and voice singing properly over it exemplifies it even more - I am trying to break your heart)
only problem is hops into different moods too much. but perhaps that is the point?
Famous pop album, but I didn't find anything particularly special about it.
"A Rush of Blood to the Head" evolves from the mellower and acoustic "Parachutes" into more stadium-friendly pop, but still with hints of their indie-inflected rock beginnings. Polished production is combined with the melancholic themes commonplace throughout their early work, and embodied particularly in centrepiece anchors "Clocks" and "The Scientist". Further, while Coldplay has a distinct sound, they display their range in the somewhat lesser-known songs "Green Eyes" and "In My Place". On the back of all these elements, is easy to see why this album ranks among the best.
Seemed like fairly normal Britpop. Knew the hit "That's Entertainment" which is fairly solid, but otherwise don't think the rest of the album is worth listening.
Great rock anthems, with all the hallmarks of great rock anthems - great and prominent guitar hooks, catchy choruses, and memorable lyrics. There are really no bad songs on this album, and this is not just due to the songwriting, with the raw and muddled mixing sound combined with that iconic guitar tone breathing life into every song. Apart from the classics "Live Forever", "Supersonic" and "Rock 'n' Roll Star", lesser known songs "Up in the Sky" and "Columbia" are also great.
it has a lot of conga drums. apart from that seems a bit repetitive. seems like fine background music but not to listen actively idk
A laid back, minimal rap album that is also minimal on good hits.
Pretty fun sounding pop-rock.
Ambient soundscapes are mixed with classical instrumentation. I don't particular like the vocal deliveries however, and the tempo in the songs feels kind of stagnant.
interesting and fun takes on christmas carols through the wall of sound
Electric Ladyland is classic Hendrix. Psychedelic and aggressive, Hendrix's wailing guitar takes centre stage, enhanced with added chorus and echo effects. Yet in terms of sound, it is not as polished or varied as, say, Axis:Bold as Love. Further, it lacks consistency, with the hits a different class from the rest of the album.
Folk rock, with psychedelic hints. "Season of the Witch" is an interesting song, although repetitive, but the rest of the album doesn't really do much for me.
"I Against I" is a surprisingly good and diverse rock/metal album. Lead singer Hudson's vocals vary in style from rapid fire to near crooning throughout the album, and is accompanied by a vibrant instrumental section.
This rock album combines piano-driven melodies with a wall-of-sound esque symphony of backing instruments, prominent among them organ and saxophone. Springsteen's voice is noticeably not as gravelly as later on in his career, but his classic enthusiasm mirrors perfectly the feel of "running" and "moving" driving the album.
Baroque-pop with theatrical vocal delivery. On a macro level, it does fine, but I found it slightly repetitive and a bit dense.
Pretzel Logic is an interesting mix of rock with jazz and pop influences. The sound of the album is fluid and interesting, ranging from instrumentals such as "East St. Louis Toodle-Oo" to the atmospheric basses and piano riffs of "Rikki Don't Lose That Number". Vocals are strong and enjoyable, and reinforced by appropriate instrumentation.
An iconic punk rock record driven by Armstrong's nasal singing and prominent guitars. Has a signature rebellious and sarcastic feel running throughout the album, but musically is capable of being reflective as well as aggressive, even if this cannot be said the same lyrically.
"Younger Than Yesterday" features the classic Byrds sound: Rickenbacker guitar, rich vocal harmonies, mellow bass lines. Along with its classic psychedelic rock sound, elements of folk rock, country and jazz (through brass instruments) are also present. The result is that the Byrds' aforementioned signature sound is combined with these different genres to create a simultaneously diverse yet grounded album. Not the Byrds best, but very good.
Tusk feels sort of monotone, and compared to other Fleetwood Mac album doesn't quite do it for me.
Revolver is the Beatles shunning any care for live performances and creating a purely studio album. Primarily a work of psychedelia, the band embraced experimentation regarding both musical and lyrical content to create a diverse sounding album. Chief among these includes Indian influenced strings (Tomorrow Never Knows), metal-esque impressions (Taxman) and a nautical atmosphere (Yellow Submarine), complete with glasses, chains and bells. Not all of these innovations hit the mark, and the sound and feel of the drugs the Beatles were consuming during the album's composition are clearly felt. The experimentation can also alienate the more conservative sounding songs such as "Here, There and Everywhere". Yet the album's layered and vibrant sounds, combined with classic Beatles melodies, have rightly secured this album a place among the greats.
Feels like an indie rock band which takes the worst elements out of the rest of the indie rock bands.
Pedestrian blues. With celebrity appearances.
ELO's "Out of the Blue" is a monumental album. Not just in terms of its over an hour length, but in its dramatic, orchestral flourishes, and through its centrepiece the famed 'Concerto for a Rainy Day'. Yet above all it is a triumph of thematic fusion, melding rock and orchestra through falsettos, prominent synths, and strings to create the band's iconic sound. This album encapsulates it best.
One of the indie sounding/garage rock revivalist bands of the early 2000s, while the Hives is not indeed now my new favourite band but they aren't bad; just carried by their hit "Hate To Say I Told You So". Otherwise, their music is normal garage rock; lyrics attempting to be cheeky, fuzzy and distorted guitars, high energy.
Calenture is a melodically simple and safe album. It's essentially classic 80s Western rock/pop, with a singing style reminds me of INXS and Nick Cave. Yet as an Australian it evokes your childhood in a way, and its melancholic feels elevates it from yet another cheap album. A deserved inclusion on the list, and deserving of its flowers.
Green, prima facie, is an average rock album. Sonically, it is relatively safe, apart from the introduction of the signature R.E.M. mandolin. Of note is Stipe's vocals, which forces this relatively pedestrian album to, at times, threaten to become something greater. Yet, apart from, primarily, "Orange Crush", it fails to do so.
For an artist with the reputation of Bowie, and an album cover so iconic, I was expecting big things. Unfortunately, I was mildly disappointed. It was, in glam rock fashion, dramatic. Yet none of the tunes really caught my ear. Although some were at times interesting, such as the soaring end to Lady Grinning Soul or the bluesy opening track, it was slightly underwhelming.
Techno rock which has flashes of potential at times, such as "I used to", which gives flashes of U2. Yet it suffers from repetitiveness and a sense of listlessness.
The Downward Spiral both evokes and requires a certain type of mood. Primarily, it is industrial rock, it is an in your face, at times disorienting album, driven by Reznor's screeching vocals and it's themes abrasive. Within the chaos, and judicious use of distortion, it also manages to mix in elements of techno and ambient soundscapes. This, it's extremely dark lyrics, and surprising room for reflection amidst the chaos elevates it above the clutter of most heavy albums.
"Nowhere" is drum and reverb heavy shoegaze, which fluctuates at times between heavy and soft rock. This creates a unique atmospheric sound, which is often pierced by the contrast between the clear melodies and the often chaotic sounding backing instrumentals. It gets extra points for great cover art.
Burke is a strong singer, and here he is reinforced by a serious of good, steady soul hits. Granted, a lot of the songs are cut from a similar cloth. But it's a good cloth.
"Unknown Pleasures", prima facie, is mysterious and atmospheric with a dark, moody tilt. Such effects are resultant of a raspy, almost spoken sounding vocal delivery, strange lyrics, and experimental production techniques. Underneath the exterior, though, is a well-crafted post punk slash new wave album, of which most songs are distinguishable and enjoyable.
Neu! is an album of half punk rock, half ambient instrumentals. The punk rock side features warbled vocals, in contrast to the silent and reflective former half. Clearly an experimental and, somewhat confused, album.
So feels like it lacks any real depth. And this is not for lack of trying; the production is cinematic in sheer quantity of effects at times. But this doesn't boost what is, in my opinion, average pop.
I've never really liked Cat Stevens' voice, but this is a good album. In particular, the ambient acoustic sound does the melancholic feel really well. Combined with some well made melodies and intricate guitar work and you have an enjoyable album, of which highlights are "Father and Son" and "Wild World". But the rest of the album is good too, which is fairly easy when the macro sound of the album is so strong.
"Skylarking" claims to be a concept album, though identifying this concept is difficult at first listen. On the whole, it attempts to be a psychedelic album but gives the appearance of being rather thin in terms of musical performance and melody, particularly with the vocalist sounding like a budget store Tears for Fears. While there are a few good songs, notably "Ballet For A Rainy Day", the album leaves a rather unsatisfying aftertaste, and even the aforementioned song sounds like a bad ELO ripoff.
While Rod Stewart’s raspy delivery remains a 'love it or hate it' staple, the album as a whole feels strangely uninspired, failing to carve out a unique space in the crowded 1970s folk-rock canon. This is due in part to it's slightly dated lyrics, generally lethargic sounding guitars and vocal singers, and it's knack for repetition (case in point: the 4:02 length of "Seems Like A Long Time" does indeed seem like a long time). That doesn't necessarily mean it's bad, but you'd expect more for something considered one of the best albums ever. Perhaps it was innovative or great when it first released but it is well past it's best before date.
An album which sought to strip back the studio feel to create a more intimate, live-feeling performance. This is done not only musically but through segments where a performer, presumably on stage, addresses the “crowd” (us listeners). We are treated to prominent, “Low-End Theory” esque bass lines that mingle with wide-ranging harmonies not out of a place at a church choir, and there are a few cameos from flutes and blues guitars. Meanwhile, Lauryn Hill flaunts her vocal range at many turns, sounding at home both rapping and singing about subjects as varied as feminist anthems and gospel music. While it has been credited in reviving "hip hop" and "neo-soul", it can probably not best described as belonging in one, or even a category of genres. Such is its legacy; it is a "music" album.
