1001 Albums Summary

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This is one of the classic albums I've liked less the more I've listened to it over the years. The first time I listened to it several years ago, the transgressive lyrics and energetic crescendos clearly demarcated it as an important rock classic. It is clearly ahead of its time and is very novel for 1975, since it generates its emotive power from Patti Smith's charisma and songwriting skill as opposed to any kind of technical experimentation, virtuosity or progressiveness that typifies that era in my view. The issue is that its also one of the more inconsistent classic albums. Gloria, Land and especially Free Money are really amazing songs but the other songs are too monotonous and plain, to the extent that they become kind of aggravating. I personally think that lyrics are the least important part of music and good lyrics can only amplify a great song. But no matter how much of a "poet" Patti Smith might be, it doesn't matter if the majority of the songs are too limited to make her poetry shine through. I think it's telling that one of the oft quoted lyrics from the album is literally the first line, because whatever else of genius she says is buried behind a wave of identical droning chords that they are missed by the casual listener. It's very reasonable for someone to adore this album if the magic sauce of Horses' acclaimed songs applies to the rest of the album in their view. Equally I can clearly see how some people see this as trash - most of the album is quite annoying if you are not in the right headspace for it. I think it's fair that this album is critically and culturally preserved and I lean towards it being on the positive side. But it is still very unrefined and probably salvaged somewhat thanks to John Cale's production. Given it was Patti Smith's first album, released when she was only 29, those flaws are completely acceptable, and clearly, ameliorate the album for many people.

Such an amazing Christmas album, some absolute classics in here, velvet smooth flow and feel.

The concept and vision of Duck Rock are really impressive but the backstory of the plagiarism and exploitation completely sours the record. Best treated as a compilation of various artists, ignoring the evil manager slapping his name and lyrics on the record. Great to use as a jumping point into genres like mbaqanqa and merengue (and the actual artists behind the songs) but functionally distasteful listening.

Classic, jam-heavy hard rock. A little too unrefined and wild for my liking - I prefer the later Zeppelin albums. Unbelievable that these guys were only in their early 20s when they made this.

Obviously a legendary album, peak of the counterculture and lyrically potent in its own right. Lacking in a bit of meat - I do find that the middle of the album is largely filler and nothing comes close to A Day in the Life, debatably one of the most influential and critical songs of all time. Favourite Tracks: With a Little Help from my friends, Fixing a Hole, Mr. Kite, Day in the Life I can do without the others, and that includes Lucy in the Sky with Diamonds, which is actually my least favourite on the album. Still, it flows really nicely and of course the highs are stratospheric.

Historically significant record from one of the most socially conscious musicians of the 20th century. It's solid, unique and technically brilliant but not especially thrilling or emotive for me personally. The fact that so much of the album consists of similar call and response types of bars means there isn't a great deal of variation itself in the record. There are other records and artists I prefer for energetic jazz fusion-likes. Probably deserves a four overall.

Ambitious idea, but I don't really think Mussorgsky's compositions were improved in any way, nor was this rendition particularly interesting. The original compositions they interpolate into the album are much more inspired. The whole thing kind of feels like a gimmick on which ELP went all-in. Interesting that several rock critics absolutely despised this piece, although it seems to be appreciated by fans and prog rock afficionados. There are definitely some really nice keyboard lines in here, and I don't think it's that grating or pretentious. Perfectly adequate music.

Amazing album. Side A is perfect, starting with the electrifying Speed King, the proto-sludge of Bloodsucker (wouldn't be out of place in a Kyuss or Melvins album) and the legendary progressive jam of Child of Time. Side B is much in the same vein but there are a few jarring and questionable musical choices. Into the Fire takes too long to get going, and the organ solos in Hard Lovin' Man sound pretty terrible, but maybe that is a mixing issue. I would consider this a 9/10, but since this is one of the progenitors of heavy metal and definitely one that should be heard before death, I'll grant the 5.

One of the best singer-songwriter albums ever. Dark, deep and powerful. Musically pleasant to hear with even when disregarding the lyrics, which I think is important for long-term engagement.