142
Albums Rated
3.13
Average Rating
13%
Complete
947 albums remaining
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1960
Favorite Decade
Jazz
Favorite Genre
other
Top Origin
Wordsmith
Rater Style ?
9
5-Star Albums
4
1-Star Albums
Breakdown
By Genre
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By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Technique
New Order
|
5 | 3.18 | +1.82 |
|
Yankee Hotel Foxtrot
Wilco
|
5 | 3.31 | +1.69 |
|
Pretzel Logic
Steely Dan
|
5 | 3.39 | +1.61 |
|
Odessey And Oracle
The Zombies
|
5 | 3.41 | +1.59 |
|
Calenture
The Triffids
|
4 | 2.55 | +1.45 |
|
Funeral
Arcade Fire
|
5 | 3.56 | +1.44 |
|
Tea for the Tillerman
Cat Stevens
|
5 | 3.68 | +1.32 |
|
Axis: Bold As Love
Jimi Hendrix
|
5 | 3.77 | +1.23 |
|
I Against I
Bad Brains
|
4 | 2.93 | +1.07 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Tommy
The Who
|
1 | 3.33 | -2.33 |
|
Thriller
Michael Jackson
|
2 | 4.23 | -2.23 |
|
I Am a Bird Now
Antony and the Johnsons
|
1 | 2.84 | -1.84 |
|
Chocolate Starfish And The Hot Dog Flavored Water
Limp Bizkit
|
1 | 2.51 | -1.51 |
|
Tusk
Fleetwood Mac
|
2 | 3.47 | -1.47 |
|
Paul's Boutique
Beastie Boys
|
2 | 3.46 | -1.46 |
|
Cupid & Psyche 85
Scritti Politti
|
1 | 2.39 | -1.39 |
|
Fear Of A Black Planet
Public Enemy
|
2 | 3.34 | -1.34 |
|
This Year's Model
Elvis Costello & The Attractions
|
2 | 3.31 | -1.31 |
|
Sound Affects
The Jam
|
2 | 3.26 | -1.26 |
5-Star Albums (9)
View Album Wall
Popular Reviews
LCD Soundsystem · 1 likes
3/5
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.
Michael Jackson · 1 likes
3/5
Starts off real strong, but is inconsistent at the end.
1-Star Albums (4)
All Ratings
Television
3/5
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.
Bruce Springsteen
3/5
Gorillaz
3/5
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.
Talking Heads
3/5
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"
Jefferson Airplane
4/5
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.
The Who
1/5
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.
The Police
3/5
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.
Aretha Franklin
4/5
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 nicely put together. A classic.
Key Songs: "Ain't No Way", "People Get Ready", "Good to Me as I am to You"; but take your pick honestly
Nick Cave & The Bad Seeds
4/5
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.
Alice Cooper
2/5
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.
Incredible Bongo Band
3/5
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.
Elton John
3/5
"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.
Portishead
4/5
"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.
Jimi Hendrix
5/5
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
2/5
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.
The Zombies
5/5
"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"
Arcade Fire
5/5
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
3/5
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
3/5
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.
Frank Ocean
3/5
"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.
Scritti Politti
1/5
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.
Bill Evans Trio
4/5
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.
Iron Maiden
3/5
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)
Bob Marley & The Wailers
4/5
"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.
Booker T. & The MG's
3/5
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.
2/5
I don't particularly see the appeal?
too long
i find the singing kinda annoying
The Police
3/5
Experimental. Variety of instruments and sounds, more so than Regatta De Blanc
Ramones
3/5
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.
Marvin Gaye
2/5
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.
Herbie Hancock
4/5
Funky, jazzy and exciting.
Antony and the Johnsons
1/5
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.
Os Mutantes
2/5
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.
Metallica
3/5
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.
Michael Jackson
2/5
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.
Cyndi Lauper
3/5
Sonic Youth
2/5
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.
Wilco
5/5
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?
Justin Timberlake
2/5
Famous pop album, but I didn't find anything particularly special about it.
Coldplay
4/5
"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.
The Jam
2/5
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.
Oasis
4/5
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.
Sabu
2/5
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 Tribe Called Quest
4/5
A laid back, minimal rap album which brilliantly fuses jazz and hip hop. Grew on me after a few listens.
Elvis Costello
3/5
Pretty fun sounding pop-rock.
Sigur Rós
4/5
Ambient, otherworldly.
Various Artists
3/5
interesting and fun takes on christmas carols through the wall of sound
Jimi Hendrix
4/5
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.
Donovan
3/5
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.
Bad Brains
4/5
"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.
Bruce Springsteen
4/5
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.
Elvis Costello & The Attractions
3/5
N.W.A.
3/5
The Good, The Bad & The Queen
2/5
Elvis Costello & The Attractions
2/5
Super Furry Animals
2/5
Rufus Wainwright
2/5
Baroque-pop with theatrical vocal delivery. On a macro level, it does fine, but I found it slightly repetitive and a bit dense.
Steely Dan
5/5
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.
Public Enemy
2/5
Idk
Green Day
4/5
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.
The Byrds
4/5
"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.
Fleetwood Mac
2/5
Tusk feels sort of monotone, and compared to other Fleetwood Mac albums doesn't quite do it for me.
Beatles
5/5
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.
Soul II Soul
2/5
LCD Soundsystem
3/5
A pretty inventive and experimental dance rock album, which I enjoyed more after a few listens.
Roxy Music
2/5
Jeru The Damaja
2/5
John Lee Hooker
3/5
Pedestrian blues. With celebrity appearances.
Electric Light Orchestra
4/5
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.
The Hives
3/5
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.
The Triffids
4/5
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.
Creedence Clearwater Revival
3/5
Steve Winwood
3/5
R.E.M.
3/5
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.
Marianne Faithfull
2/5
David Bowie
3/5
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.
Can
3/5
LCD Soundsystem
3/5
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.
Nine Inch Nails
4/5
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.
Dinosaur Jr.
3/5
It's surprisingly good rock; sure, the distorted guitar can get a little wild sometimes, but its all part of the ride. This is a high 3.
Ride
4/5
"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.
Solomon Burke
4/5
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.
Joy Division
4/5
"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!
3/5
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.
Peter Gabriel
3/5
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.
Cat Stevens
5/5
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.
XTC
2/5
"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.
Rod Stewart
2/5
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.
Lauryn Hill
4/5
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.
Pulp
2/5
Medicore.
John Martyn
2/5
An echoing, often slow soundscape, evoking images of the outdoors where nothing really happens. It is an album essentially driven by its ambient sound and Martyn's slurring, whispering voice. "Couldn't Love You More" and "Small Hours" are the standout tracks here, although the album is fairly consistent throughout.
The Velvet Underground
4/5
Listening to this album evokes a somewhat unsettling, flickering stillness. Purposefully underproduced and intimate, it is The Velvet Underground at their most vulnerable. It is easy to get lost in the tracks, some of which, admittedly, blend together in terms of sound. Most of the songs, apart from "Pale Blue Eyes", the dream pop of "Candy Says" and the experimental "Murder Mystery" are straightforward, rock songs about love. Resultantly, it is perhaps "After Hours" which is the most significant track on the album. It is a song offering respite from the relative messiness of the rest of the album, and is refreshingly simple; stripped back acoustics are paired with a thumping bass, clear vocals and a narrator dreaming. Of something impossible, yes, but still dreaming. And it is this naivete that concludes the album that has stayed with me the most.
Fishbone
3/5
Reggae meets Metallica to create an entertaining, fun album. The band certainly seemed to be having a lot of fun creating this record, which is highly energetic and has elements of both ska and hard rock, albeit with a "goofy" feel. Of particular note is some guitar-driven rock/funk and a thumping bass, although the band showcases its versatility throughout, from the horn-drenched ska of "Ma and Pa" to the aggressive punk of "Subliminal Fascism". Meanwhile, lyrics reflect on topics such as racism and family.
Deep Purple
3/5
Jack White
3/5
“Blunderbuss” is about beginnings and endings. White’s debut solo album, it is a departure from “The White Stripes” more straightforward, gritty sound towards rock fusion. White in particular showcases his experimental tendencies and musical range, incorporating elements of blues, rock and jazz. Thematically, it is, quite moody, with the content said to be about death. This feel is reinforced in part by the album’s relative lack of energy and “catchiness”. A solid, albeit strange album that feels like it is missing something.
Ray Charles
4/5
The album has two distinct flavours; a big-band era swing side, and a side featuring romantic swing ballads. Intersecting the two is Ray Charles' gospel-inflected piano playing and emotive, often passionate vocal delivery. In combining these two worlds, Charles demonstrates his genre-bending ability, excelling at both uptempo and reflective tunes (although the Sinatra-esque second side is admittedly weaker) to create a soulful, bluesy pop album.
Ice Cube
3/5
Ash
3/5
90s/early 2000s esque indie rock. Couple interesting songs but not the most noteworthy album.
Talking Heads
3/5
"Remain in Light" is a deeply layered electronic/funk album characterised by polyrhythms and repetitive phrases. These repetitions create an underlying 'groove', which is built upon by unconventional instruments and vocals. Byrne adopts a stream of consciousness lyrical style; the viewer is not entirely sure what the singers are saying, but that is not the main appeal of the album anyway. Similarly, the songs lack clear structure and chord progressions, and are instead formulated by pedal points and the aforementioned repetitions. Key to this is the much appreciated "Once in a Lifetime", a dizzying mix of call and response and strange lyrics. All in all, it adds up to be an interesting (and certainly influential) listen; but it is tiring to listen to after a while, and requires a certain mood to fully appreciate.
Queen
3/5
"Sheer Heart Attack" is Queen approaching their signature sound. Unfortunately, this means that sound-wise it feels like each song is just repeating in a slightly different way. Prominent, of course, is Queen's signature theatricality, which embodies itself in May's rapid-fire vibrato approach, multi-layered vocal orchestration and Freddie Mercury's soaring voice. Yet apart from a few songs, notably "Killer Queen", the star of the album, many of the songs are hard to be distinguished from each other.
Sisters Of Mercy
3/5
Iron Maiden
4/5
"The Number of the Beast" displays Iron Maiden at its best. Flowing guitar solos, energetic rhythm sections, and surprisingly sprite melodies characterise this ultra-consistent LP. It's influence on bands such as Metallica and Megadeth are evident throughout in snarly vocals and deftly picked intros which explode into pleasant frenzies.
Bob Dylan
3/5
In "Bringing It All Back Home", Bob Dylan adventures into the realm of electric instruments. Dylan's characteristic raspy voice is reinforced with a prominent harmonica and versatile guitar parts while he plays through a series of blues and folk songs. Yet, the stripped back production sometimes irritates the at times wild harmonica parts, through accentuating it over the rest of the song. It is a major drawback from the relatively lovely melodies Dylan crafts throughout the album. It is a good album, yet that feeling of tension is too overbearing; the best song on it is the deft "Love Minus Zero".
Bobby Womack
2/5
"The Poet" is a soul album with distinct gospel and R&B influences. Of note is a strong backing band, where something is always going on. Of particular significance a thumping bass, energetic piano and lush choir. It is limited in that Womack's gravelly, raw vocals are not on the level of the soul greats, and it shows it's age in cheesy spoken word parts and straight-up bizarre lyrics (see "Secrets" for a great example), which makes some of the love songs seems insincere. A decent album which has its flourishes, but one that shows it's age all the same.
Otis Redding
3/5
"Otis Blue" is a statement of passion from Otis Redding. Concise and spirited, Otis is ably backed up by an energetic backing band as he performs a mixture of R&B covers and originals, offering fresh takes on songs such as "(I Can't Get No) Satisfaction" and "Respect". While it can be criticised for being monothematic and lacking variation in terms of tone (as well as a sub-par album cover), with the exception of "I've Been Loving You Too Long", Otis' expressive vocals ensure its legacy.
Bob Dylan
4/5
"Highway 61 Revisited" revisits the blues-folk of "Bringing It All Back Home". Fully electric, it is arguably as energetic as its predecessor but tighter, blues-rock focused production ensures a fuller, more fluid sound. Dylan's lyrical ability shines through many times, particularly in what is in my opinion his best track, "Desolation Row", which pairs canonical references with a deft guitar backing. Musically, however, the feels like it lacks inspiration in parts, particularly in his blues numbers. The length of some of the tracks further contribute to the slight sense of lethargy and monotony.
Blur
3/5
"Parklife" is a quintessential British album; a mixture of genres, tongue-in-cheek lyrics, emphasised Cockney accents. Apart from that, it is a solid piece.
The The
3/5
"Infected" is a dark, densely produced alternative rock album, in which The The offers a commentary on their social and political context. Apart from that, and dark lyrics, there is not much to write about, good or bad.
Simply Red
2/5
"Picture Book" is an unfortunately unadventurous and bland pop record.
Thin Lizzy
4/5
"Live And Dangerous" ticks off all the boxes on what a great live album is supposed to be. Energetic, it offers fresh takes on their songs, even if some of it was overdubbed in a studio. The band performs strongly, combining well-mixed instrumentals with catchy melodies.
Led Zeppelin
3/5
"Physical Graffiti" retains Led Zeppelin's characteristic feel and edge, but creates a grander production feel with this mix of rock genres. Superb performances from the drums and guitar in particular are mixed with some energetic beats, and the album is consistent, if not slightly lacking in creativity.
1/5
Really don't see the appeal in this one. Monotonous sound, and noticeably poor lyrics - I usually don't even listen to the lyrics but this was terrible.
Arcade Fire
4/5
As the band describes it, "The Suburbs" is "a letter from the suburbs". It captures a sort of nostalgic yet compelling picture of growing up, complete with interplay between warm, youthful memories and a feeling of angst for the future. The tracks, which often flow in and out of each other in transition, are varied in style and tone. Arcade Fire move into straightforward rock in tracks such as "Month of May", then readjust into a reflective synth of "Half Light I"; but many of the songs have a bouncy, rhythmic jangle that I have come to associate the album with. Butler's dramatic vocals emphasise the lyrical themes of the album, and is reinforced by wall of sound esque production hearkening back to the orchestral strings of its prior albums. While it may slip into messiness, and drags at times, the album succeeds in capturing the "feel" of suburbia, as well as the liminal space between youth and adulthood.
Neil Young
4/5
"On the Beach" is a laidback, bleak, folk blues album. Young explores themes of anger and alienation through a rough, stripped away production and mellow arrangements. He further captures this in introspective guitar playing and melodic lines, as well as a notably impressive album cover that perfectly captures the melancholic theme.
David Bowie
3/5
“Heroes” is ambient rock, with electronic elements. The production is beautiful and careful with tiny arrangements that really add to the sound, particularly on the instrumental tracks. It has a dense, wearily optimistic atmosphere where lyrics take a backseat, although Bowie does provide passionate vocals. "Sense of Doubt" is a great example; a dark, brooding piano punctured by small pockets of breezy synths. An interesting album, though not quite my taste.
Dire Straits
4/5
"Dire Straits" has a the warm air of laid back grooves, created in particular by clean and cosy guitar lines. It is a refreshing break from many of the eras more explosive sounds into a more understated atmosphere, like the feel of a quiet evening.
Marty Robbins
4/5
There is no album that captures the spirit of 1950s country Western music quite like this one. Tales of guns and outlaws are the predominant theme, and are mirrored with Robbins accessible American drawl, transporting you to the idealistic old West saloon. This is the album's main essence: a tribute to a nostalgic and, even in Robbins time, long gone and unrealistic ideal. But listening to this album you can't help but believe it, at least for a time.
Mike Ladd
2/5
Avant garde, experimental hip hop
Nick Drake
4/5
"Bryter Layter" ventures into chamber folk, and at times feels like it lacks the intimacy of Drake's other works. The added backing instruments however don't quite remove the mystical, haunting quality of Drake's work; take the jazz-infused "Poor Boy" with its rhythmic comping and its gospel-infused choir, or the ponderous flute of "Sunday", for instance. It is this that makes Drake's work so appealing.
Tom Petty and the Heartbreakers
3/5
Pretty stock standard, mundane stuff. As someone very familiar with Petty's stuff, his voice is not particularly strong here, "American Girl" aside.
Deep Purple
3/5
High-energy, aggressive rock. It is clear what sound they are going for, and on most accounts they manage to pull it off thanks to some great guitar lines and energetic rhythm sections. "Speed King" is an excellent starter, and the pivot from heavy to reflective through the interplay between guitar and organ is a great touch. Although "Child in Time" is a touch on the long side at more than ten minutes, the album is generally of a good length. Enjoyable, but not particularly standout.
Roxy Music
2/5
Leonard Cohen
4/5
Mature and, stripped-back, Cohen creates an intimate, personal setting and fills it with intimate, personal songs. These songs often tell stories: see "Bird on the Wire", for instance, inspired by his release from the throes of depression, or the semi-triumphant war-inspired "A Bunch of Lonesome Heroes", or the biblical retelling of Abraham's sacrifice of Isaac in "The Story of Isaac". The simplicity of production further allows Cohen's lyrics to take centre stage; it feels like the music is merely an accompaniment to poetry.
Nina Simone
3/5
Great, soulful piano playing; however, I found her vocals (controversially) a bit lacking and hard on the ears in parts.
Michael Jackson
3/5
Starts off real strong, but is inconsistent at the end.
Slade
3/5
Pretty fun.
Ella Fitzgerald
4/5
Very smooth, calm vocal jazz album. It is very long though, and all of the songs are performed in similar ways.
Santana
4/5
Santana has developed a reputation for smooth, polyrhythmic beats, and "Abraxas" is no different. Latin rock with hints of psychedelia, particularly on opening track "Singing Winds, Crying Beasts", Santana energetically slides from tune to tune, many of which are instrumentals. Carlos Santana doesn't really need his voice though; his brass inspired guitar style is as distinctive and dynamic ever, and his more restrained, jazzy playing on "Incident at Neshabur" is up there with some of his best. He is arguably outshined, however, by the remaining members of his band, who perform brilliantly in developing this vibrant, rhythmic LP.
The Prodigy
2/5
Rave music which goes on for a bit too long
New Order
5/5
Infused with house pianos, pumping bass sequencers, and synth-heavy atmospheres, New Order's sunny beats merges new wave and indie rock, weaving melancholic melodies with danceable beat to create a beautiful album.
Stevie Wonder
4/5
"Songs in the Key of Life" is one of Stevie Wonder's, and perhaps music's, most emotive albums. Musically, the album features influences from a wider variety of genres, such as funk, jazz and soul, which is all tied together by Stevie Wonder's lively, energetic voice. An atmosphere of hope and love flows through the very fabric of essentially ever song on the double album, in the warm, layered production to the mellow horns.
Such an atmosphere mirrors the lyrical themes of the LP; Wonder comments on the human experience while calling for acceptance, love, a recognition of the power of music. He does so through both social critique (such as opening track "Love's in Need of Love Today") and gratefulness ("Isn't She Lovely"). He is not alone in espousing these themes, but he is unmatched in his uncanny ability to have his sentiments communicated to the listeners even without lyrics. True, the album is rather long, and some of the songs could have used a bit of trimming and get repetitive (such as the five minute long solo in "Isn't She Lovely"); but it is a great album nevertheless.
Led Zeppelin
5/5
It has been said many a time that this album is the greatest rock album of all time. True or not, this is at least Led Zeppelin at their very best. It rolls seamlessly from harder rock songs ("Black Dog"), to epics ("Stairway to Heaven") to the introspective "Going to California". Not much else needs to be said...
My Bloody Valentine
3/5
A monotone album, where nothing good nor bad happens.
The Go-Go's
4/5
I was surprised I had never heard of this band. Has a sunshine, upbeat aesthetic to each of their new wave/pop rock tracks. Interesting piece of trivia that The Go-Go's are are an all female rock band.
Miles Davis
4/5
"Birth of the Cool" helped kickstart one of my favourite genres of jazz, and music in general: the titular "Cool" jazz. Here, Davis' nonet meshes together well to create a short, snappy album with a high tempo feel. However, while this is a solid album, in terms of Davis' wider catalogue I didn't enjoy it as much as I thought I would.
Echo And The Bunnymen
2/5
Immemorable.
Death In Vegas
3/5
"The Contino Sessions" attempts to build a moody and atmospheric record, but it ends up dense and restrained. Unlike many others, I didn't particularly appreciate the guest vocalists; but I thought the instrumentation was...just fine.
Beastie Boys
2/5
I really like the use of sampling and production technique, but the voices of the rappers (too much shouting, whiny) reduces its appeal considerably.
The Smiths
4/5
Nothing to add.
Eels
3/5
"Beautiful Freak" offers some introspective, lo-fi textures in a generally cohesive and straightforward sound. Unfortunately, that's all that happens in the album; I didn't really connect to it, and its sound is quite uniform across all its songs.
Hole
3/5
"Celebrity Skin" has a lot of attitude, from its chunky riffs, aggressive vocals and distorted guitars. The punchy "Malibu" is a great song, and demonstrates the albums uneasy polish; it has generally tight, controlled production, which reduces the more abrasive elements of its sound, and has it sounding halfway between pop rock and 90s alt rock.
Frank Sinatra
3/5
I understand Sinatra's appeal; a significant, influential voice, with a signature sound. However, "In The Wee Small Hours" has the same formula running throughout all the songs: a simple chord structure, lyrics about heartbreak, and Sinatra's voice being at the centre. This is not a bad sound, but it gets repetitive, and unlike other singers of similar mood such as Chet Baker, it lacks truly great supporting instrumentation.