Not my cup of tea at all, but I can see how it's lauded by fans of the genre...
"Oh, this is just great. First Homer Simpson wrecks my pig, then Cypress Hill steals my orchestra, and now Sonic Youth's in my cooler. Get out of there!"
Well at least now I get the third part of the quote. Pretty sure Noise Rock is not my thing though...
Barely acceptable as background noise - these 90's rap artists must have been so insecure given all lyrics are talking about their dicks or chicks.
Recognised 'Islands' from the radio but nothing else really resonated. It's clear it's 'first album' material but it doesn't engender the wish to go look for anything else.
Definitely a product of its time that starts strongly (the singles are the standout, as you'd expect), the album loses steam towards the end but is still a good listen.
One-half easy-listening/elevator mood music, one-half soundtrack to a 90s-era PC transport management sim or Game Boy visual novel.
Sexy Boy is a classic.
A good listen, as you'd expect from Bowie, although I feel some of the earlier songs are a bit inconsistent compared to the singles and the latter half of the album.
~40 minutes of classic metal glory, plus Planet Caravan. 🤷♂️
Enough has been written about War Pigs, Paranoid and Iron Man that there's not much else to add, but don't skip on Electric Funeral, Hand of Doom or Fairies Wear Boots either!
The sort of mid-00's anonymous pop-rock that was ultimately so milquetoast it allowed someone else to lift their best song and effectively make it their own.
Whilst the many talents of Marvin Gaye are fully evident, listening to this album unfortunately just confirms that I simply do not like the majority of his work.
It's good to build out your understanding of artists by listening to works other than their big hits, but ultimately this did to me what other R&B and Soul tend to do - just wash over me, leaving little lasting impression.
Late-model commercial Elvis - the period where the bangers were few and far between, but when they hit, you thought 'yeah, that was a good one.
Nothing inherently bad here, but I also spent the listening time doing other things and none of the songs really grabbed me or made me thing 'yeah, that was a good one', which basically sums up
I found some of the more energetic tracks entertaining, especially when they built up a head of steam, but I can't get behind the vocals, which are fairly indistinct and sound like they were recorded using a mic in the next room.
Once of those groups that only really gel if you found them at that special time in your life when every artist was the best ever.
If you ever wanted to know what a 60's school dance actually sounded like, I guess this is the album.
Everything is typically weighted towards the Big Three (Jungle, Child and Paradise) but there's more in there if you dig below the surface, even if it's clear why they don't tour them.
It's easy to criticise the album for being very samey, but given it's a debute album from a fairly young group (at the time), can you expect much else?
Whilst I *appreciate* Nirvana, I greatly prefer their contemporaries and successors.
In Utero, as a sum of it's parts, is way too raw for me - I prefer Nevermind's more mainstream feel - although some of the tracks are very good, specifically Heart-Shaped Box and Very Ape.
Revolution Blues landed!
The rest didn't...
I've never listened to a Wailers album (or pretty much any reggae album full stop) but I was blown away by ~40 minutes of pure bangers (8 of which are on the Liked list).
Ray Charles doing what Ray Charles does.
Bruce has always been one of those artists I've always wanted to spend more time listening to than I ever did, which I guess is what this project is for...
Born to Run and Night are bangers, but I didn't really find much else stood out. Born in the USA still rates higher for me.
Heart Xmas: the Album, with added ick courtesy of Phil Spector.
Persisted through on the understanding there might be something that would resonate in there. Didn't find it.
My exposure to R.E.M. has been largely confined to the In Time compilation, so having the chance to encounter tracks deemed 'less popular' was fun.
A very good, albeit very acoustic (IMO), album. Drive, Monty got a Raw Deal and Ignoreland made it to the Liked list, alongside Man on the Moon, Everybody Hurts and Nightswimming.
Like many others have noted, pre-disco Bee Gees is just 3 guys trying to find a direction. There's some class melodies in there, but it's all very mediocre.
Ethereal and unintelligible in equal measures - an interesting listen and some genuinely good songs towards the end of the album, but not likely one I'd listen to again.
When you encounter perennial popular groups who have been around for decades, there's usually a good reason why the hits remain and everything else is forgotten.
Dancing Queen, Money Money Money, Fernando & Knowing Me Knowing You bookended by questionable subjects, cookie cutter dross and a 'title' track that's completely anonymous
A repeating theme throughout the entire project - picking full albums from legacy artists who are well known for specific songs only for most of the album to fall flat.
As I've posted on other reviews, there's a reason why good songs hang around and the filler disappears.
Yay: Son of a Preacher Man, Windmills of your Mind
Nay: Pretty much everything else...
A strange experimental album from a talented group of musicians who seem to have simply been left behind.
Unlistenable noise or high-concept brilliance?
Definitely the former...
You can see how this was revolutionary at the time, but looking back, with the knowledge of how manufactured the group was and how much of a phony Lydon has turned out to be, it loses it's edge.
Randy Newman.
1974 Randy Newman, but definitely Randy Newman!
It helps when an album has your favourite song by the group on it, but this is U2 at the rawest and most interesting.
Two decent songs bookend some well produced ambient meandering that seems more like it belongs on a soundtrack or in a jazz lounge.
Once again this project delivers less a 'you *must* listen to this album' and more a 'someone just really liked this song'...
Not sure how a collection of predominantly covers makes the cut over some of OR's other work.
This 'decidedly not indie' album had so much airplay of it's middling singles that it's all just water off a duck's back.
Sex on Fire stands out because despite being overplayed, it's still fun. The rest of the singles get progressively worse and a lot of the other tracks sound like filler to my uneducated ears...
Probably most telling is that all 3 albums by the group have fallen out of the book version of the project.
