An interesting blend of 80s worldbeat, rock, R&B, soul, blues, and pop. The vocals are the clear star here, but the music is consistently interesting and complex, despite the late 80s over-produced feel. The songs are undeniably catchy, and the emotion behind the vocals balances out the crisp production. While it's definitely of its time, the songwriting transcends the format and could easily be interpreted through a modern lens.
Legendary album from a legendary band. Through a modern lens, it can seem a bit hackneyed, but that's just a testament to the album's lasting influence. Punk becomes mainstream in a way that is both hard hitting and accessible, making it a perfect entry point to punk rock. As with all good punk bands, if you don't know the song when you start listening, you'll be singing along by the end. The songs are just long enough to leave you wanting more before jumping on to the next song, keeping the energy level up and making you want to dance along.
Catchy songwriting full of groove and energy. The vocals and guitar switch seamlessly from smooth to aggressive, punching through the pop grooves with an unexpected rock energy. Occasional meter shifts keep the music interesting. The songwriting and production have a subtlety that is rare for alt-rock bands, pulling influences from The Beatles and Pink Floyd while giving it a distinctive 90s grungy feel. The influence of this album on a multitude of whiny 90s alt-rock bands who can't quite pull it off as well as Smashing Pumpkins is apparent. Why more songs on this album weren't bigger radio hits seems like a sign of the time more than anything, as there is not a filler song on the album, and many of these songs are better than songs that would become much bigger hits just a couple of years later.
The album opens with an amazing rock anthem. The driving drums and bass, and Plant's banshee wail make you feel like youre riding into Valhalla. Unfortunately, it's all downhill from there. The voice that was perfect for the proto-metal of The Immigrant Song becomes an unlistenable screech behind the confused country/folk/blues meandering of the rest of the album. There is no cohesion to the songwriting, with guitar, bass, and drums often clashing against each other. The slowed down blues of Since I've Been Loving You is a nice reprieve until Plant's caterwauling takes over again. The renaissance faire hoedown of a cover of traditional folk song Gallows Pole suffers a similar fate, and like many on this album, devolves into abject nonsense by the end. The only trace of rock & roll on the album is the opener, and there are much better folk, country, and blues bands out there.
Catchy lo-fi indie rock. A mix of influences are readily apparent, most notably Bowie and psychedelic-era Beatles, but this album is definitely something unique and original. The music has a playful complexity to it, as if seeing how many different sounds they can layer in without clashing with each other. In that, they succeed. A new sound comes in every few seconds at times, but they never seem to get in the way of one another. As busy as it is, it all feels intentionally crafted. The hooks and harmonies are catchy, if sometimes things get a bit noisy. As the album progresses, things get less complex, and veer off in a more shoegaze direction, which is less interesting than the front half of the album. Also, they really seem to hate the idea of working in an office.
A classic Bowie album that blends rock, funk, and R&B, as well as 80s pop sounds that would not be popular for another 5-10 years after this album released, all with Bowie's unique flair. It's hard to listen to some of these songs and not want to dance. Aside from Bowie himself, the background vocals and saxophone are the real heroes on the album. As with a lot of Bowie's work, some of the songs go on a bit too long, but in the case of songs like Young Americans, it's catchy enough you just don't care. Pink Floyd's Wish You Were Here came out the same year, and the song Win definitely has some similar vibes with smooth R&B verses and a punchy 5/4 time chorus. Across the Universe also gives Pink Floyd vibes, but more Time than Money. Bits of the album drag a little bit, but the vocals always shine through. Fame was way ahead of it's time, in that music would not sound that bad again until the 80s, combined with the worst meandering 70s funk has to offer. Who Can I Be Now closes the album out nicely, with a ballad in the same vein as legendary songs like Heroes or Changes. This album is a classic for a reason, and other less talented artists would spend many years trying to achieve what Bowie does on this album.
Back when electronic music was still nerdy. Pioneers of all electronic music Kraftwerk find a rhythm on The Man Machine that foreshadows decades of music to come. The insistent beep-boops of their earlier work are still here, but are incorporated lovingly into the birth of synthwave. Many of the tracks are more soundscapes than songs, and it works better that way. These are not the electro-pop songs that would come to flood the industry; they belong in a hard sci-fi movie more than a dance hall, although they are still highly danceable. While some of the electronic elements can be a bit abrasive at times, it just adds to the raw, unpolished feel of late 70s electronica. Unashamedly nerdy, lovingly crafted, and full of vibes, this album sounds way sexier than it has any right to, and it's delightful.
