A classic punk record by “the only band that matters.”
maybe i’m a bit of a scrooge, but christmas music has never done it for me. the tunes from the ronettes and darlene love got me into the holiday spirit just a bit, but the grandiose production from phil spector quickly wore away at me, and made this a bit of a slog to get through.
Aretha Franklin was such a powerhouse. Lady Soul is all killer, no filler, and is a masterclass in soul music. If you don’t enjoy this, consider your privilege of hearing revoked.
i love the smiths! johnny marr, mike joyce, and andy rourke! that’s it, no other members, no one else worth mentioning because the smiths were only THREE people, not four!
preachy, self-important, and unnecessarily complicated; kind of like if my ex girlfriend was an album.
“All Things Must Pass” is the first record I’ve come across on this site that truly feels like something you have to experience before you die. This is pure, unfiltered George Harrison. This album truly begs the question, “why the hell did Lennon and McCartney limit this guy to only a couple songs per Beatles album?!”
The jams are fine, I can personally take them or leave them, but I don’t think they detract from the album’s quality the way others say that they do. Overall, this is a GH showcase, and the fact that we were invited to listen along is above all else, a privilege.
boring and repetitive, most of these songs go nowhere and are mostly forgettable. the vocal performances are uninspired, and honestly hurt some otherwise pretty decent songs. that isn’t to say that there aren’t some moments of genius here, as songs like “bandelero desperado” and “sanctuary” definitely grabbed my attention. however, i can’t help but feel that this album is a bit flat, and is missing a certain edge to it. just an awkward, clunky, and mostly forgettable “dance” album.
i think i appreciate the concept of this album more than the album itself. i didn’t mind this at all, but i found it made for a pretty disjointed listening experience. tons of cool ideas here, but this music would be much more powerful if it was paired with a film, instead of being a standalone album.
a quaint album by an artist who wears her influences quite proudly. while the joni mitchell and john martyn comparisons seem a bit overblown, you can certainly tell that orton has a deep appreciation for these singer/songwriters.
this record is fine. certainly not bad, but not too memorable either. there are a lot of cool ideas and some definite moments of genius on central reservation, but nothing done consistently enough to reel me in. i’m right down the middle in this one, if i could give this album the score of “indifferent/5” i would.
good old-fashioned rock n roll. tom petty has always written pretty straight forward songs, but i’ll be damned if i don’t get them stuck in my head once i hear them. the album sags a bit in the middle, but each song is pretty solid, albeit a little generic, save for breakdown and american girl. a solid first record from petty and co., but it doesn’t quite capture the brilliance of their later records.
didn’t knock my socks off, but a pretty solid album nonetheless. buffalo springfield has never been my favourite “era” of stills and young’s lengthy careers, though the band made some undeniably good music.
mr. soul, bluebird, and rock and roll woman are some seriously amazing songs, and show that neil young and stephen stills have always been strong, strong songwriters. poor richie furay, i can’t even begin to imagine how hard it would’ve been to be a third wheel to stephen’s and neil’s genius.
not that interesting. two dancers doesn’t do a whole lot to separate itself from other indie acts of the 2000s. the instrumentals are derivative and both singers have unbelievably aggitating voices.
i can see the appeal here, but i’m a little unsure of the accolades this album has received. self-serious indie music like this was a dime a dozen back in the day, so i’m not sure what made people think this album was better than the rest in 2009.
a bit bland. adele’s got such a great voice, but this comes across as a bit hollow. i’d imagine this is what a lab grown soul album would sound like.
also, she made one of the cure’s greatest songs sound painfully boring, which i did not appreciate.
this thing’s smooth like butter. i’ve seen a few reviews calling this “boring” but lets be real, the purpose of an album like this isn’t to listen to it intently… it’s background music for something else…
jokes aside, this album is solid, and manages to blend soul, jazz, funk, and even a bit of hip-hop together quite seamlessly. i’d definitely need to be in a certain mood to listen to this again, but overall, i liked this quite a bit.
cool production and creative sampling, but it doesn’t blow me away. b-real’s voice is a bit annoying, and stops me from fully immersing myself in the album.
not bad, but doesn’t do much to set itself apart from other hip-hop albums of the early 90s. lacking the charisma of the beastie boys, timelessness of atcq, and grit of wu tang clan. just a meh hip-hop record.
this record is just good fun. straight forward, no nonsense rock n roll. oasis had rock music down to a science, and churned out a remarkable amount of hit songs in a relatively short time. this record launched the band straight into the stratosphere, and well, the rest is history; sold out stadiums, heaps of drama, and millions of adoring, almost ravenous fans. say what you want about the gallaghers, but they were destined to be rock stars, and this record proves it.
an exceptional addition to an underappreciated band’s underrated discography. the kinks have unfairly lived in the beatles shadow, as most of the band’s similarities hinge on them both being a few mop-topped brits from the 60s. village green is such a uniquely british album, drawing from english characters, communities, and sentiments encountered by ray davies.
i think music this grounded in english culture was never going to take off in the states, even if it sounded this good. while the beatles wrote accessible, yet (mostly) intelligent pop/rock songs throughout their career, the kinks leaned into theatric, almost whimsical tunes that could only be truly understood and appreciated by the brits. now, pair this with their disasterous 1965 US tour, which barred them from playing in the states, and you can understand why bands like the beatles, the who, and the stones left the kinks in the dust during the british invasion.
it’s a real shame this album flopped upon release, and had to be “rediscovered.” the wit, humour, and character-driven lyricism of ray davies makes him one of the most unique and, to me, interesting songwriters of the 60s. each song is solid, and wonderfully connects together to form this concept of preserving british culture. this record is proof that the kinks deserved better, and didn’g quite reach the heights they were truly capable of.
a cornerstone of the roots reggae movement. a haunting record which explores themes of faith, liberation, unity, and political consciousness. while it may not be the first reggae record i’d direct someone to listen to, it certainly captures the essence of the genre. a beautiful, deep record, steeped in faith, culture, and activism.
definitely an interesting record, but not something i’ll come back to. in theory, i should like this, but it didn’t quite gel with me.
obviously a classic, but feel like the album’s reputation has always been *slightly* overblown. side a is a tad hit or miss for me, but side b is marvellous, that stretch from “you never give me your money” to “the end” is the greatest thing the beatles have ever done.
a behemoth of an album. oozing with creativity, this isn’t something you just listen to - you have to fully surrender yourself to an hour long transcendental experience. when it comes to rock, it really doesn’t get much better than this. easiest 5 stars of my life.
