This is a lengthy introduction to Beastie Boys and it brought me through several genres and sounds that I did not expect. I found several of the interludes quite enjoyable, as well as my favorite track “Get It Together.” I enjoyed the incorporation of unconventional sounds and the emphasis on the bass and flute (I’m biased as a former flute player). Overall, it is a solid piece of work, but I didn’t fully connect with it and I’m not sure I would listen to it again.
My formal intro to The Cure and it truly is an album best listened to in its entirety. The instrumentals are the star as they seamlessly blend into the next but are distinct enough to stand on their own. Some of my favorite features were the inclusion of the rain and thunder on “The Same Deep Water As You,” as well as the strings and bass variations found all throughout. By far, my favorite track was Lovesong, from the very first listen. There’s an undeniable sense of loss you feel as you inch closer to the end. The album’s production is indicative of its time period, yet it avoids feeling antiquated.
Not typically something I listen to but it was quite enjoyable. Waters puts on a performance that is nothing short of electric by the time you get to “Got My Mojo Working (1 and 2.)” I like the performance’s progression as the band and audience’s energy build off of each other with each song. Waters bids the audience farewell lamenting about his potential musical legacy in the soulful “Goodbye Newport Blues.” It was interesting to compare the live and recorded versions of several songs and noticing the stylistic differences.
Right off the bat, it caught me off guard as it is not the type of rock I’m used to. It feels like a borderline between country and rock, with the intensity turned up towards the latter end of the album. I’ve never listened to Neil Young, or so I thought since “Old Man” sounded SO FAMILIAR. By far it was my favorite track, but I did enjoy the unexpected orchestral arrangements found in some of the tracks. Its strength lies in its simplicity and Young’s ability to dissect unpleasant topics (loss and loneliness.)
A quick and smooth listen. Both tracks offer its own different approaches. Shhh/Peaceful still exhibits some energy and features a groovy guitar and what sounds like an organ. In A Silent Way feels like a dream sequence with the light piano and bass. It’s something I would put on when I’m winding down.
For some reason I expected it to be the sound to be a lot heavier, but the sounds and voices were brighter, youthful and more melodic. The album feels like we are following the ups and downs of a crush/relationship as reflected in certain songs (ex: metal baby). Some standouts included Pet Rock, which had a pretty groovy sound as it was closing out. The end of Satan felt like a nice taste of what I had originally pictured. Considering the sound, this album could have fit more in to the 2000s. I could see myself listening to this again.
It ended almost as quickly as it began and I enjoyed every minute of it. The album opens with the groovy “Good Times” that features a bass heavy breakdown that was genius. “A Warm Summer Night” sticks with the album title’s premise and has a sort of sensual vibe, as if calling on a lover. Throughout the songs, the piano and bass stood out the most for me. The piano in “Can’t Stand To Love You” has a sort of blues inspired feel to it. The only downside could be the repetitive nature of some of the lyrics, but I didn’t mind. All I know is that I would have tore up the dance floor if I had been alive when this album came out.
I’ll admit this one is hard to rate. Part of the appeal of a Christmas album is to enjoy them during the season, not to mention I grew up celebrating Christmas with Los Hermanos Flores instead of carols.
However, the album’s relevancy even 60 years later is not lost on me. I have heard several of these renditions individually but never knew they all came from the same album. Songs like Christmas (Baby Please Come Home) and Sleigh Ride have had continued popularity on social media. The standout for me is Darlene Love. Her vocals were powerful and the most memorable. The vocals and production are a time capsule and enjoyed better on a speaker/cd player instead of headphones.
Listen again?: Yes, in December
I was a bit skeptical at first of it being placed in hard rock but I understood it the further I listened. Right off the bat though, the keys and guitar had a bit of funk to it that was quite catchy. The star of the album for me were the keys, idk how to fully explain it but it added so much to the sound. “Are You Happy” is where the songs go from unassuming to ramping up towards the album’s full potential.
I can’t talk about the album without getting to the title track. I don’t mind a long track unless it feels like it’s dragging along unnecessarily. That wasn’t the case for In-A-Gadda-Vida. While its lyrics are sparse, the instrumentals are able to carry the majority of the song. Each component of the group (keys, drum and guitar) have the time to shine individually and avoid sounding disjointed.
Listen again?: Yes
It’s definitely not an album for everybody. I was unsure how to feel initially but it grew on me during my second listen. From my knowledge, it seems that electronic music as a genre was in its infancy during this time and makes an album like this innovative.
There’s little to go off lyrically but the primary theme consists of robots and machines, from the delivery of the lyrics (The Robots) to the effects. Sonically, Neon Lights was the most interesting and differed from the other tracks. I won’t lie, some of the melodies are pretty catchy.
Listen again?: Maybe
I didn’t know what to expect, but I enjoyed it. There’s a sort of grit from the guitars and effects chosen that really add to the tone of the album. For a song title as uninspired as Song 2, it was an instant favorite. The tracks seem to go back and forth between impulsivity (Chinese Bombs) and then introspection (Death of A Party). Even “Essex Dogs” begins with revving noises and slowly fades and closes out the album.
Listen Again?: Yes, I have a feeling it will grow on me even more.
First time listening to The Clash and it’s funny because I just encountered this same album at the record store the other day. This album seems to have been released in the midst of the punk movement in the U.K. and the lyrics cover everything from anti-war, critiques of the U.S. and U.K. and anti-capitalism. “Janie Jones” is an energetic opener that sets the tone for what’s to come. “Police and Thieves” not only had poignant lyrics but the bass line has been stuck in my head. Their commitment to being unabashedly themselves is evident, as “Garageland” reminds the audience that no matter the success, their origins are as a garage band.
Listen Again?: Yes
