Was familiar with the singles of this album but had never listened all the way through (was more of a Pyromania kid). Actually, was more than familiar with the singles - they were omnipresent in 1987. At 8 years old I had a fake guitar (couple of pieces of wood nailed together) with which I mimed 'Love Bites' over and over- weird song choice, but it was on a mixtape I think either me or someone else dubbed from the radio. 'Pour Some Sugar On Me' of course was the biggest hit and a legit crazy good song, even if it, at times, sounds like Mother Goose gone insane. The production is the thing here, though. Mutt Lange (husband of Shania Twain, and call me crazy but there are several tracks on this album that could be Shania songs) produced the hell out of this. It's borderline avant-garde at points, somehow sounding still futuristic despite its dated qualities. The album starts with one of the more mediocre songs on the album, 'Women', followed by 'Rocket' which struck me as willfully obtuse. Finally, 'Animal' begins a string of undeniable bangers and the album really takes off. Couple of filler songs late in the tracklist and it should have ended at 'Hysteria'. Sonically, it's not too much to call this a masterpiece but the album as a whole doesn't quite live up to the talent behind the boards.
This was probably the first 'electronic' album I ever purchased. The imagery from the 'Firestarter' video was bizarre and menacing in a way that I hadn't seen before. I think they were probably one of the first, if not the first, electronic artist to really style themselves like a rock band, which was honestly the necessary ingredient for a suburban 18 year old like me to buy in, not to mention the MTV marketing machine, etc.
Overall the album holds up, if in a background music sort of way. The beats are fun and it's not too dense. The impact of this album is about a specific moment in time and it never really transcends that. But fun to listen to for nostalgic purposes. And the album cover is fucking great.
Beautiful, aching, simple arrangements on this sad, indie version of Captain and Tennille. Possibly the best late night album of the 2000's. Excellent production by Jamie xx, who adds emphasis to the emotion in all the right ways while remaining pulled back and never overwhelming the fierce intimacy of the singers.
Always been a Blur guy when it comes to Britpop, so I bought into Gorillaz right away. This is probably their least adventurous album but it still jams. The album largely feels like Albarn is trying to find his footing in this guise, sometimes falling back on guitar-y stuff and only selectively using guest stars, which become a huge feature of Gorillaz in future records.
Very excited for this one. I am familiar with Kraftwerk, of course, but have never done a deep dive. It's easy to hear how Kraftwerk basically invented one of the most important building blocks for bands in the 80's and beyond. The textures, tones and rhythms are undeniable and hypnotic. The songwriting is obviously not paramount here (even if there's a certain charm to the stilted 'robot in love' vocals on the poppier songs), and though perhaps I would enjoy this album more were it to be augmented by additional, more organic or varied, instrumentation, I respect the laser focus of this obviously trailblazing work.
Favorite song: the extended outro of 'Neon Lights'
One of the all time greats. Perhaps not my favorite Joni album but certainly the core text. Lots of memories of specific people, times and places associated with this for me. Required listening for anyone in their 20’s, it speaks to passion, longing and regret better than anything else, and lowers your blood pressure while doing so. On this listen, was struck by Joni’s unique combination of lyricism and melody- the tunes never leave your head, but if you try to sing it yourself you end up with endless 6-car-pileups on the freeway. Several songs on this would be the greatest, most moving song anyone else ever wrote. Also worth noting that my vinyl copy of this album is one of the best sounding records I own, much, much better than how it sounds on streaming. One quibble- the final track on the album has never really done it for me. I recognize the need for a chaser after ‘case of you’ but i have never been able to fully digest ‘the last time i saw Richard’.
Vocal group goes psychedelic! I actually love when established groups try to shoehorn their way into trends, if only because it’s interesting to hear how they fall short. In the case of this record, ‘Cloud Nine’ and the epic ‘Runaway Child, Running Wild’ seem to be the ‘psychedelic’ entries, and both are not that fun to me (or particularly psychedelic, for that matter). Someone wailing ‘I want my mama’ during ‘Runaway Child…’ definitely made my family’s ears perk up, but not in a good way. As the album progresses, the songs become more standard Temptations fare, and is better for it, but this group in general never quite resonated with me, despite my deep love of Motown.
Favorite song: "I Need Your Lovin'"
I appreciate punk and its place in history, but with hardcore, unless I heard it when I was, say, 13, the genre is hard for me to get into. Can’t say I’ll be spinning this one again anytime soon but the Wikipedia page for the Germs and Darby Crash is pretty entertaining. Favorite detail: Belinda Carlisle was their drummer but never played with them because of “an extended bout of mononucleosis.”
There’s everything to like about this very fun, funny and beautifully uncomplicated album. The definition of ‘crowd-pleasing’. Bonus: this album provided the perfect party music for my 3 year old to celebrate her birthday with this weekend.
Favorite song: ‘(I’ll be glad when you’re dead) you rascal you’
Happy to finally fill in a huge gap in my hip hop awareness. This album rocks hard, the first four songs are particularly astonishing - and were omnipresent, even for an 80’s kid in Texas who couldn’t name a single hip hop act. Jaw-dropping to realize the members were all 21 when this was recorded, with Rick Rubin only a year or two older. Just raw, raging talent with the right amount of polish and performances that were clearly honed by hours and hours of live performance. Despite the intensity, the album goes down surprisingly smooth. Great, energizing morning music! And if I squint, I can start to imagine what NYC was like when this bomb of an album dropped.
Favorite song: Raising Hell
Has there ever been someone as talented as Eminem who was as weighed down by his own hang-ups? I've never been mad enough or misogynist enough to relate to his music, even though his flow is extraordinary and the beats are fantastic. I know there's all sorts of arms-length commentary about and ironic distance from the violence, but it doesn't come across as particularly meaningful or clever. Too much of his persona is defensive, navel-gazing and self-aggrandizing for me to be very interested.
I have a soft spot for Calexico, whose two members formed the core of Howe Gelb's backing back in Giant Sand, at least during this record's era, though I never fell in love with Giant Sand's massive discography or had the attention span to investigate even a fraction of it.
I did, however, see Gelb play solo once in 2003 at the Knitting Factory in NYC (along with Kristen Hersh and Andrew Bird), and I remember being pretty impressed with his storytelling ability and charisma. He came across as a Dylan or Waits-esque troubadour in a way I just hadn't gotten, and still don't get, from the records. These songs have all the poetry and all of the sultry, smoky affect but none of the hooks. Regardless, Gelb did pick the right guys to back him: Calexico's John Convertino and Joey Burns are masters of southwestern atmosphere. They sound so perfect that you almost don't hear them, perfectly placing their frontman at the fore without distraction while still immersing him in sound. I want to like this more than I do; the songwriting just doesn't move me. But I love the sounds and I love the album cover! And I love anytime Juliana Hatfield is on backing vocals.
Favorite song: Temptation of Egg
This was the first Steely Dan album I got into and it’s probably the ideal entry point for someone more oriented towards classic rock than jazz, though on re-listen there are more jazzy tunes than I remembered. In my understanding this was their last album before becoming strictly in-the-studio employers of hired guns, and so the arrangements are maybe just slightly less interesting than their later albums when they meticulously focused on every little detail. 15 years ago I was drawn to the rock and roll scorchers, primarily Bodhisattva and My Old School, but with this listen, as a more seasoned Dan fan, I more enjoyed the Bacharach-meets-pedal-steel of Razor Boy and the nostalgic menace of the Boston Rag. Countdown is a classic and the start of a truly magnificent run of albums.
As someone who was introduced to the title track of this record by Jack Black in High Fidelity, I'm clearly not qualified to give any kind of universal critique of this album. However, following up 'What's Going On' with 'Let's Get It On' is a very funny choice considering the subject matter of both records. It's almost as funny as cueing up a reprise of the title track called 'Keep Gettin' It On' only 4 tracks in. The message seems to be: 'This isn't round 2. This is superhuman stamina that is extending round 1.' And did I mention there's a song called 'You Sure Love to Ball' complete with female moaning that I can only assume were field recordings? As Jack Black pointed to (perhaps somewhat problematically), there is a benefit to having a sense of humor about this music, which I guess is the same thing as confessing that one is not personally capable of being strictly earnest when it comes to erotic RnB, even if you appreciate the music. As far as this particular micro-genre goes, I guess I prefer a little nastiness, aka Prince. As a result, the corniest moments of this album don't go down as smooth for me as their analogues on 'What's Going On.' All that said, there is a lot to like here. Obviously.
Favorite song: 'Please Don't Stay (Once You Go Away)'
Just by popping up as my album for today, 4 distinct melodies exploded in my brain like reanimated corpses bursting through the soil. This is the album a prodigy makes when they need a few more years of life experience and the right producer in order to hit home runs instead of just doubles and triples. She would get both with her next record 'When the Pawn...'.
With a couple of exceptions, the sharp birfurcation between overt pop songs and sultry torch ballads makes for a confusing listening experience. The former really work for me (with the exception of 'The First Taste') and the latter, not so much (with the exception of 'Never is a Promise'). It's hard to know what mood I'm supposed to be in to immerse myself in this album because the two presented feels are so different, but what wins out inevitably are the long-winded and often sleepy ballads. It’s all worth if for those 4 songs that hit, though.
Favorite song: Never is a promise
First time listening to this band and a little disappointed I’m not more engaged, despite their reputation. Singer sounds like a combo of a lesser Bono meets Jim Morrison. Some of the guitar work is interesting and atmosphere is unique enough but the songs are pretty boring. Maybe if I was an emo teen in rainy 80’s England I’d feel differently. Or maybe they just have a memorable name.
Favorite song: Seven Seas
Coalminer's Daughter is my all-time, #1 favorite movie, but I've never thought of Loretta Lynn as an album artist (except for Van Lear Rose, I guess), so this was fun to digest in that way. Her golden voice is undeniable, the crack Nashville session musicians are locked and loaded throughout, and her subject matter is hilariously frank and emotionally honest. The queen!!!
The best. Saw them a few months ago after they surprise-announced they were touring again after many years. The venue was full of a genuinely inspiring group of aging, gentle weirdos and young, gentle weirdos. Aka, some of the best weirdos. Some malign Stereolab as background music, but to me that's often the best compliment you can give. Not all music is fit to radically shift a mood without also disrupting or demanding your full and complete attention. It's a special skill. Stereolab's music goes even further, creating a distinct cinematic feel to whatever it is you're doing, the weaving French female counterpoint vocals only adding to the effect. In terms of sounds and textures, they were ahead of their time, even on this album where the band is just beginning to explore more electronic elements. My favorite thing about this band is that when they really lock into an uptempo groove, they manage to be intense without being stressful, which is pretty rare when you think about it.
Favorite song: Emperor Tomato Ketchup
Nothing transports me to 2010 Barnes & Noble like this album. There I am, browsing the New Non-Fiction section, while ‘Someone Like You’ plays at a reasonable volume for what feels like the 10,000th time that week. But Adele is more than her outrageous commercial appeal and brand partnerships, at least some of the time. 'Rolling in the Deep' is a stone cold classic. She sounds great. It moves. The feeling and sincerity is explosive. And it's got a great pre-chorus (the best of all song structure elements). Unfortunately, the rest of this album mostly persists as a firehose of unearned emotion and the cleanest melodrama you've ever heard. Adele's titanic voice is worthy of more creative risk than this album provides.
A great mixture of Springsteen, Henley, Dylan, jam bands and ambient trance, with hypnotic beats that feel like they could go on forever. Like a runaway ghost train, shimmering in the fading light as it barrels towards a desert horizon.
Favorite song: Red Eyes
A curio of the psychedelic folk scene, legendary in its way and a testament to the unfortunately wise choice by Pink Floyd to go in a new direction, this record doesn’t hold much water for me. Mostly just kind of sad to hear a bright mind unraveling almost in real time. There are some flashes of whimsy and imagination but they can’t lift the material above the spotty production and lack of focus.
2008 feels like a long time ago but it’s still refreshing to hear hip hop that is connected to the history and tradition of the genre while simultaneously sounding fresh. Q-Tip’s voice is maybe my favorite in hip hop and it never wears out its welcome.
As far as Christmas music goes, this is about as good as it gets. Bonus points for the creepy as hell Phil Spector VO at the end.
Solid, often inspired guitar work with a unique blues-rock-by-way-of-Mali sound. Am I being too close-minded when I say that I’d like this album better if it was just instrumentals? Probably!
I was 10 years old when this album was released and it scared me. The dark, gothic atmosphere, the lack of recognizable instruments, the singer’s deep, insanely resonant voice. This album sounded like a vampire to me, the truly terrifying kind. Like the thick, jet black ooze that pulls you under to drown in the ScarJo movie ‘Under the Skin’.
Not as spooky to me now, obviously, but it still sounds like vampires made it, if maybe now the kinds of vampires that wear designer suits. And damn, the singles are staggeringly good. They were so omnipresent in the 90’s that hearing them again now is like stepping into my old self. Had never heard the full album before today and it will take me some time to digest it all, but I’m drawn to this music in a curious way, probably directly related to how frightening it was to me once upon a time.
Favorite song:
Policy Of Truth
Despite owning this album on vinyl, I had never listened before today ( I blame the terrible cover). I was ready to dislike it as I have recently developed an allergy to McCartney’s corny persona and too cute songs, firmly believing his instincts are best when tempered by collaborators of equal status (though I do love Ram). To my surprise, McCartney the album is an exercise in restraint, showcasing the best of Paul’s whimsy and playfulness. The songs are lo-fi sketches that evoke a fling in the countryside, never overworked or overstaying their welcome, like a pastoral Guided By Voices album. I especially appreciate the instrumental tracks. And in case you’re worried it’s all filler, ‘Maybe I’m Amazed’ rounds out the record in triumphant form.
Favorite song: Valentine Day
Orchestral funk/soul of the highest order. Supremely over the top but so fun that it doesn’t matter. At its worst it comes across as a sexier Henry Mancini film score, but the 20 minute ‘Do Your Thing’ is a funky barn burner that is alone worth the price of admission.
Favorite track: Do Your Thing
This is a bit of a head-scratcher for me, but it makes more sense aesthetically once you read the wiki on the group, the album and the bandleader. I’m not sure it would ever really hit outside of the bubble it was created within, though ‘Come On Eileen’ is a perennial banger for a reason. Ultimately, ‘Irish folk by way of Northern Soul’ only really needs Van Morrison, as evidenced by a cover of his that’s included on this record. I bet they were really fun live, though.
