It feels like this album started the 90s trend for MTV Unplugged sessions.
I can see why, the audience interaction from the enigmatic Kurt Cobain makes this album feel personal and a bit raw.
This is what happens when country and smooth jazz come together. I am really not surprised that it has been the soundtrack to hundreds of dinner parties.
With massive hits like Even flow, Jeremy and Alive on it, you feel like you have heard this album all before.
But it is absolutely worth listening to in its entirety because the overall feeling of this album is a crossover between waining rage and increasing sadness.
Now I know why I bought this on CD.
I know I should dig on the vibe and message of this album. And I can see how it has influenced other artists (e.g. Beth Ditto is about 80% Janice Joplin's vocals). But I dont know what it is about this album that I didn't enjoy.
It feels a bit too disjointed or raw or something. I just am not a fan. Probably wrong but that is a me thing.
I feel like bossa nova songs have suffered from being associated with campy Austin Powers style comedies or elevator music. This album was fun to listen to and made me think of a chilled out bar where you can get a good rum cocktail. But also taking a 1970s mirror/wood veneered elevator to get to that bar.
I love the upbeat music mixed with furious vocals. The social justice of two tone makes me feel both very happy and very sad in equal measure.
You can hear the late 70s anger and discontent mixed in with some of the most catchy songs ever.
I enjoy the female vocals on this album rather than the male vocals.
And there are some mad drum solos on this album.
Overall not bad, but not my favorite.
Folky and full of beautiful harmonies. The feeling of this album is all blue skies and sunshine. Joni is an absolute songbird.
In theory this should be a perfect album, but Joni does this thing with her voice that I really dont like. So I would listen again, but it isnt my favorite.
So.
Many.
Christmas Classics!!!
I felt like I have heard these songs hundreds of times and I am sure I will hear them hundreds more times.
It takes a special kind of talent to make a song that people will voluntarily listen to every year. Let alone a whole album of them.
This really is the sound of future nostalgia for me. You can hear the 80s midi synth sound coming into focus.
Its full of rich full electronic sounds and could quite easily have been any number of late 80s or early 90s video game sound tracks.
Its big and loud and fast.
All the songs are short and half of them sound like each other. But that is Punk. It is supposed to be fast and furious.
But the Ramones always sounded like they had the Punk feel without the seething vitriol and resentment that the Sex Pistols had.
And there is Blitzkrieg Bop and a cover of Let's Dance. So that makes this a properly kick ass album!
This was a really complex and beautiful album. Full of harmonies and interesting choices of instruments. The heralding bugle was not one of my favorite choices however.
I enjoyed some of the songs like Bitter Branches and Written on the Forehead.
PJ Harvey is an undeniably talented vocalist, instrumentalist, writer and poet.
The only issue that I have with this album is, when am I ever going to want to listen to an album for pleasure when its overt message is the futility and desolate nature of war?
Its very powerful and composed in a truly impressive way. Just, not the album for me.
The perfect album to have a kitchen dance.
It fills the room and is charged with passionate feelings of crazy jealousy.
Some of the tracks sound very 90s and have a type of break beat or trip hop style that really suits these songs.
I was surprised that I enjoyed it as much as I did and would absolutely listen again.
This album sounds like a stream of consciousness of a person taking an acid trip.
There are repeat sections that pop up in different tracks, chatting about what is on their mind, snippets of phone conversations and overlapping chatter.
The feel of the album moves from elation to paranoia with upbeat riffs moving into discordant musical phrases.
I liked it, but you REALLY have to be in the right headspace to listen to this.
This album is strange in that it should feel more strange than it is.
A pop album with harpsichord, timpany and a horn section is odd. But it all works.
Even the theramin and bike bell/horn in You Still Believe in Me works.
I really cant explain how it does, but it does.
Couple that with the harmonies that sound like being on a beach in some idealised 50s California and you have this album.
Shouldnt work but it does.
Its full of obsenity, misogyny, chest puffing and weed use.
Its Snoop Dogg, what else would you expect from an album called doggystyle by Snoop Dogg.
That being said, the songs are good, its funny and the rhymes are really sharp and observant.
Its very much of its time but it has influenced hundreds of hip hop songs and albums so deserves its place at the top table of this genre.
I could have done without hearing Snoop Dogg having a pee though.
Vaguly folk-y, jazz-y and messy scat type vocals.
On more than one occasion I felt like there were two asynchronous melodies playing at the same time. Which I didn't enjoy, considering the overall feel of this album is easy listening.
My lasting memory of this album is me thinking 'Is this the same track?'
Could be improved by taking between 1 to 2 minutes off every track. As that time is mostly just noodling anyway.
Not for me.
Full of classic hip hop beats and the classic sound of the TR-808.
You can hear so many artists that are both contemporary and influenced by this sound.
Definitely Herbie Hancock vibes.
But Beastie Boys, Run DMC and even a bit of Nena Cherry.
I wasnt sure I was going to, but I really enjoyed this album.
A mix of rap, gospel and hip hop.
There is a 90s vibe to the whole album that I love because that is when I grew up.
This is definitely Missy Elliot's call for an end to the violence that dominated the hip hop scene in the 90s.
Its also a heartfelt remembrance of friends and colleagues of Missy's that have gone before their time.
I also really like that this is almost as vulgar as Snoop Dogg's doggy style. But unlike Snoop Dogg, Missy Elliot feels that she has to explain why she is being as vulgar. The more thing change the more they seem to stay the same.
Shine on you crazy diamond and Wish you were here are both commonly known to be written for Sid Barrett. Post his drug induced psychotic break.
So I suppose this is his epitaph, in a way.
Full of squashy synth, R&B guitar and experimental sound effects. I especially liked the dystopian story that was played out in Welcome to the machine and the feeling that someone was playing along to the radio in Wish you were here.
I liked this a lot. (4.755)
An absolutely classic rock album with two huge hits on it.
Breaking the law, which sounds like the soundtrack to a chase scene in an 80s cop movie.
Living after midnight, which I always forget is Judas Priest. It is a classic rock radio staple. So I always feel like it is more recent than it actually is.
You can hear the influence that this album has had on other rock bands.
United sounds a lot like The Wildhearts. And the punchy guitars and driving drums sounds like Van Halen.
This is much more melodic than it's classic metal album status might make you believe.
I enjoyed it and would listen again.
4.299
Steven Morrissey's vocals are operatic and the musical feel runs from power pop/rock in Irish Blood, English Heart to full on musical production crescendo big number in Come back to Camden.
Overall you come away with the feeling that Steven is very clever and talented. However he cant seem to get over the fact that people aren't giving him the recognition that he so desperately wants for being clever and talented. If you dissociate the songs from this wail of tortured genius, it is a witty, funny and enjoyable album.
Its just hard to do this.
(3.750)
The sound of this album is all overdriven lead guitar R&B noodling, heavy distorted drum solos and Woodstock era vocals.
Full of freak out, counter culture vibes this is a psychedelic rock album that keeps forgetting what it was doing mid song and uses the opportunity to try out a new song in the middle of the old one.
There is definite Jimi Hendrix and Deep Purple flavour. Which I always found a little slow paced and bit self indulgent.
I dont dislike it. But it wouldn't go on my heavy or medium rotation list.
(2.815)
I have always struggled to define what Bjork's style is. With the Sugarcubes it is a little bit easier to define. The feel of this album is a mixture of cool/hip punk. The Sugarcubes don't sound like they are going to spit on you. But Einar Om Benediktsson's vocals are, in places, quite in your face. And as you would expect, Bjork's vocals are wailing and mildly unhinged sounding.
There is some off kilter violin and some very The Cure sounding bass in Birthday.
Motorcrash and F***ing in rhythm & sorrow have a decidedly rockabilly feel.
But I think that I enjoyed Deus the most from this album. Because I like the idea that God, with sideburns and a quiff. might put me in a bath and clean me, really clean.
(3.659)
This album set it stall out early. It is going to be melancholic, grand and have a synth 80s feel. I love all of this.
I have to admit I am a The Cure fan and this has one of my all time favourite The Cure songs on it Lullaby. It has the perfect mix of sexy and creepy that puts me on edge. It is a fantastic song.
The overall feeling from this album is a wistful longing for things that have past. It will be going onto my heavy rotation.
(4.850)
This is a beautiful pop album that is full of rage and indignation. It feel Like Jarvis Cocker was working through some very personal issues that have had quite a pronounced effect on him.
With two massive hits on it (Disco 2000 and Common People) you would imagine that the rest of the album might be in the shadow of these songs. They are absolutely not.
I feel like Mis-Shapes (my personal favourite) is like a rallying call to a very British class war. And that theme continues throughout the album.
By far the most quick witted and British album I have ever heard.
I am so pleased with past me for having bought this when it came out.
(4.759)
A mixture of impressive synth, very skilled bass and beautiful vocals. This is a treat to listen to. The massive hit is the title track, which was banned from MTV because Annie Lennox did not appear as either female or male. Which I am sure catapulted the song into mainstream success.
I really enjoyed this album and it reminded me of just how electronic the Eurythmics were as a band.
Interestingly the stand out track for me was Jennifer. It feels like the soundtrack to any number of popular, 'set in the 80s', dramas. You can hear the inspiration for later Bat for lashes songs.
(4.299)
This album sounds like the best group of teenagers that formed a rock band in somebody's garage and just decided to record what they did over the course of a week or two. Then edit together the best bits. Which might be what it actually is.
I found this album with the huge hit Where is my mind? Thank you Fight Club.
It wasnt until later that I realised that this album had another amazing song Gigantic that is more raw and showcases Kim's voice as well as Francis's.
Its raw, melodic, aggressive, fun and catchy. No wonder it has influenced so many others.
(3.899)
I was feeling quite excited to listen to an album of Aerosmith songs that I havent heard a millions times.
And this album is in fact a collection of Aerosmith songs that I havent heard before. But it sort of felt like I had.
Here and there you can hear where other artists have been influenced by this album. Like Ian Dury (Sex&Drugs&Rock&Roll) from Last Child. Or Tenacious D (Car Chase City) from Rats in the Cellar.
Overall it was good, but didnt make feel like I wanted to listen to it a second time.
(2.780)
I could absolutely listen to this album from track 4 onwards. The complexities of the mysterious lyrics to Hotel California have been pondered over by hundreds of people and it has been played to death. So even just skip on 1 or 2 tracks amd you omw to a pretty good album.
It moves from rock ballad to strip club rock. And that's just from Wasted time to Victim of love.
It filled my mind with images of warm summer evenings and carefree days.
I enjoyed this album, but will probably bring it back out to play in summer. A wintery January day did not do it justice.
(2.650)
This album opened so well. I loved the upbeat energy and funk of The Cisco Kid and Where was you at. The rich 1970s funk and soul sound comes through strong. I couldn't help but help but tap my feet and get into the rhythm.
City, Country, City starts off well. With a mournful harmonica and funky organ pulling you through. But at the 9:30 mark when there is just bass, bongo and high-hat, it was all feeling a bit much.
Four Cornered Room drags out a bit too. But even though The World is a Ghetto is over 10 minutes long it doesnt feel as drawn out.
A really enjoyable album with a slow middle.
(2.500)
This is rock at is most melancholy. It is beautiful and full of amazing grand instruments. Like a church organ and banks of strings.
It is hard to give a rating for this album because it constructed in such a way as to perfectly convey a feeling of dread, paranoia and ennui.
Win Butler's vocals are so distinctive and powerful that, on their own I find them haunting and I both want to listen to them and run away from them.
Keep the car running and No cars go are both massive, up tempo tunes. And even they are full of sorrow and despair.
(4.250)
This album is of its time in both a good way and a bad way.
Yes there is a lot of misogyny, homophobia and talk about gang violence. But in 1994, I imagine that is culture and Nas is living in. Does it make it ok? No. But is Nas talented and is this album smooth and fun to listen to? Yes.
It has a very chilled feel, even though the subject of most of the songs is some variety of violence, threatening or intimidation. The overall feel is an album that you could put on as you just relax on an idle Saturday.
As long as you dont listen too hard to the expletives.
(2.850)
Undoubtedly this is a genre defining album. It uses so many different themes and musical approaches all in the same style. With big instrumental arrangements in Tonight, Tonight. Grungy guitars in Bullet with Butterfly Wings. Light harp in Cupid de Locke. Heavy over driven guitars and screaming in Bodies. It is clearly a magnum opus for the Smashing Pumpkins. But it is a long musical journey to go on from start to end.
And the slightly buzzing quality of Billy Corgan with guitar accompaniment can get a little much towards the end of Disc 1 (Dusk till Dawn) and the start of Disc 2 (Twilight to Starlight).
But overall I enjoyed this album. Even if it was a mission to finish in 24 hours.
(3.650)
I started this album and was immediately surprised. I thought that I didn't know any of the tracks on this album but I knew Roadhouse Blues.
Then I was expecting experimental rock with lots of noodling and organ playing. But this album is a full on R&B album. Lots of 12 bar blues riffs. You can hear some of the organ but it's not a front and central as I was expecting.
(2.755)
This is such an upbeat and happy album.
The uptempo drum brush beat, coupled with the understated acoustic guitar and Stan Getz saxophone right in the forefront sets a warm summery travelling mental image.
It feels like the kind of album to play in a car on a summer road trip or in a bar on a warm still evening.
I also feel like there is a passing resemblence of Desafinado to Fly me to the Moon in its into. The familiarity set me at ease and made this album more accessible to me.
(2.450)
There is a very distinctive Midi, Guitar, Piano and Saxophone sound to this album that really describes Bruce Springsteen's music. It is a big rock sounds that feels less aggressive than other rock artists.
There are three massive hits on this album Born in the USA, Dancing in the dark and Glory days. Only one of which I feel that I have heard enough.
The content of this album feels like it is very much focused on reflecting on past days. I can see why this album is very popular with men of a certain age as it could be the soundtrack to a montage of any number of men's lives.
The only thing that worries me about this album is just how many times Bruce refers to "Little girl"s. But I assume this is him reflecting on his youth when he was age appropriate for these girls.
(3.250)
I'm not sure what I was expecting from this album, but this wasn't it.
There is a strong 80s sound in this album coming from the synthesizer/drum pad combination. The overall feel is like the indie rock of Ned's Atomic Dustbin or Carter the Unstoppable Sex Machine.
Matt Johnson's vocals sound very much like Michael Hutchence in a smooth and easy to listen to.
There is a mix of pop, rock and R&B influences throughout the album.
Heartland sounds like a smooth R&B style song. With full on harmonica included too.
Sweet Bird of the Truth has a revolutionary feel. With included sample of military aircraft radio communication.
As a bit of a Neneh Cherry fan, it was cool to hear her on Slow Train to Dawn.
(3.333)
Full on blues album. Which is a strange for a band formed in London.
All of the elements are there twanging guitar, saxophone, slow drums and Mick Jagger's wailing vocals.
Two huge hits on this album Brown Sugar and Wild Horses. Both of which I feel haven't been played to death and I was happy to hear again.
As with all blues songs, the world is cruel and times are tough. But I cant help but think that life might be a bit better for Mick if he just cut down on the Coke and Smack. As that seems to be the subject of most of his troubles. Going by majority of the songs on his album.
(2.750)
This album was completely new to me. I didn't recognise any big hits, but that doesn't mean that there are none from this album.
The whole album has a beautifully warm sound that only seems to come from good 60s recordings. But I was particularly impressed with the nice stereo effects that put different instruments on different sides as you listen. This album has been mixed and produced beautifully.
The early songs sound very much like Elvis Presly (but that comes as no real surprise, given where most of his songs came from).
The middle songs start to sound like Otis Redding and Sam Cooke in a really enjoyable way.
Overall I really enjoyed this album and would come back to it possibly even over better more well known soul classics.
(3.333)
I always forget just how folk-y Fleetwood Mac's sound is. But it has a real country folk feeling.
This is a massive album that must have been on everyone I know's record shelf in the 80s and 90s. Four massive hits that are still played to this day, Dreams, Go Your Own Way, Dont Stop and The Chain... even though most people don't know that they know the Chain until 3:06.
This album reminds me of growing up and I can hardly believe that it is from 1977. It is a ubiquitous album that seems to have just always been there to fall back on and will be played over and over again on so many road trips and Saturdays.
(4.000)
I know that Joni Mitchell is very talented and very few people have ever been able to do what she does.
The piano and vocals are objectively very well executed and performed beautifully.
All of the elements are there to make this an incredible album. I personally just don't like it. There is a particular thing that Joni does where she changes pitch as she sings a line that I just don't enjoy. Its a me thing and I understand that. But I have listened to an album that I would not otherwise have listened to. And I didn't hate it. I just don't love it.
(1.750)
Much like Morrison Hotel I came to this album thinking that I only knew one of the tracks, the big hit "Riders on the Storm". But actually I knew a few more than that. I also knew "L.A. Woman" and I was almost convinced that I knew "The Changeling" too, but felt I had heard it performed by another band.
This is much more what I would expect from a The Doors album. There is more noodling and that reverb filter that makes Jim Morrison's voice sound a bit trippy.
Its a more experimental funk and blues album and I enjoyed that more than i thought that I would.
(3.250)
I got this album when it was released because I really liked the song "Girlfriend" and it was popular at the time. But I didn't really listen to any of the other tracks. Which I now know is a shame.
This is an upbeat sparkly album with really enjoyable 80s squishy synth, a mellow drum and guitar backbone and a surprising use of harpsichord.
I loved the French language versions of the songs. I have always enjoyed listening to songs with lyrics in a language other than English (as a person that can only speak English and then only barely).
A motivating and enjoyable album to help you put a spring in your step.
(3.125)
One of the more controversial artists of all time. I will just focus on the album and leave out any alleged personal life issues.
This album has three massive hits "Don't Stop 'til You Get Enough", "Rock with You" and "Off the Wall" alongside a couple of songs that were pretty big when this was released.
Its pure pop, funk, disco gold. All of the songs are catchy and make you tap your feet. Every song is complex, with stereo effects, a wide arrangement of instruments that feel like they have been arranged and mixed to studio perfection.
It is possibly the best disco album ever, I haven't heard a better one yet.
(4.500)
I will have to admit that I do not have an ear for jazz.
I find most of it entirely pleasant and I feel like I can appreciate the skill in producing something that sounds so rich and musically complex but to make it look like it is as second nature as breathing.
But I really don't feel like the jazz bug has bitten me and see this very much as background music rather than the main event. I really couldn't see myself ever feeling nearly as moved as the people at the Newport Jazz festival by this album.
But again, I didn't hate it. And I was more than happy to listen all the way through.
(2.750)
This is quite a strange album. It starts off as more of an artistic installation style performance piece.
To the extent that I wouldn't 100% have classed it as music.
Eight tracks of between 1:02 and 2:50 duration. All with their own little point but they seem to run into each other. All quite off kilter and not quite melodic. Like little crazy jingles for shops right on the edge of sanity.
It all come to crescendo with "Zen Archer" a more song like track with arrow sound effects throughout.
Then the album seems to start all over again with "Le Feel International" but this time turns into a a mixture of an Andrew Gold-esq Yacht Rock/Yes style Prog Rock mash up.
I don't know if I like it or not.
(2.000)
A completely fine pop/rock album. Lots of guitar driven rock songs with strong lead vocals from Bono.
Was there anything particularly stand out in the album? Was there anything new or groundbreaking in this album? I don't think so. But does that make it a bad album? No.
The first three tracks are criminally over-played to the point that I feel like I wouldn't be too sad if I didn't hear them again. The album version of "Elevation" has a slightly different mix to the single version. But overall it is just a very competent album that doesn't make me feel like revisiting it.
(2.125)
This album was so new and different to me, that it motivated me to find out more about Youssou N'Dour and the music that he makes. The style of music on this album is called Mbalax. And if you are like me and you had never heard of Mbalax before. Imagine the combining of smooth rock guitar like Robert Plant, with horns and the Senegalese drum called the Sabar (which you will have heard before in most African cultural music).
This coupled with Youssou's melodic and almost chanting vocals has a relaxing and captivating feel.
I enjoyed listening to and my cursory education into, this totally new to me style of music.
(2.500)
This is a deceptive album. On the surface it is a pretty laid back acoustic rock album with two MASSIVE hits that have been covered by more people than I can remember. "Fast Car" and "Baby Can I hold you" must be some of the most covered songs ever.
But listen in any amount to the lyrics of any of these songs and you find a call to arms and reconciliation for anyone that has been discriminated against. Tracy is clever, thought provoking and emotionally intelligent. The lyrics to her songs are as relevant today as were in '88. It is depressing how so little has actually changed in almost 40 years.
"Behind the Wall" is brave, heartbreaking and technically perfect. The acapella leaves a silence between the lyrics that is almost deafening.
(4.7)
I think that Tina Turner embodies a quiet female empowerment that she is rarely credited with in her music.
She is a black woman in rock. I and of itself this is an achievement. But add to this that she has a powerful, gravelly and soulful voice that I never tire of hearing.
Tina is the queen of the cover version with three of them on this album "I Cant Stand The Rain", "Lets Stay Together" and "Help!". All of which sound entirely like Tina's own version of these songs.
Add another two absolutely massive hits to the mix, "Whats Love Got To Do With It?" and "Private Dancer" and you have a classic album. Its smooth and soulful with a good balance between piano bar and 80s synth infused rock. One of the albums that I could put on when I don’t know what I want to listen to, because I will always want to listen to this.
(3.600)
