Hard to listen to this with fresh ears and hear beyond the beach party soundtrack that this has become. Waiting in Vain and Three Little Birds are the highlights for me. Christgau calls it "solid and enjoyable," and that about sums it up.
Of the many white men in the sixties who are seen as visionaries because they had access to high fidelity recording equipment and intellectual property lawyers, Bob Dylan is Lebron.
It's Woody Guthrie with most of the rough edges sanded down. Folk music with a stylist. And it's nice to listen to, serious but with a sense of humor, well paced and dynamic.
I'm on day 3 of this project, and I'm having to change my expectations. So far I'm listening to nearly ubiquitous music -- Bobs Marley & Dylan, now Paul Simon. Music I've heard nearly my entire life without ever needing to seek it out. Taking the time now to purposely listen to full albums by these artists who've always existed in the atmosphere, is this a useful experiment? I don't know, probably. Is it worth whatever this is going to do to my Spotify algorithm? I'm not sure.
I see the genius in Graceland. There's good music here, but I have to shake off a lot of context to get to that point, and I think I have to work too hard at that to really enjoy it.
I realize I have given this record a chance before.
I'm not sure I have any desire to listen to it again.
It feels like 1986, and surely so perfectly capturing an era is meritorious (honestly, you can learn everything you need to know about the mid-80s by starting at the Graceland Wikipedia page and reading all the linked articles), but it's capturing a particularly slick essence of the time to which I have a bit of an aversion.
There are some songs I might revisit, but, if I'm looking for African vibes, I'll probably listen to some African music. I guess if I'm ever in the mood for mid-80s cocaine vibes, I might reach for this, but I'd rather listen to Talking Heads.
My sister, when we were in high school, was really into this for a while. I think this is my first time as an adult listening to it front to back.
I can hear the roots of so much music that I love in this album. It's the ur-album for so many subgenres of pop and rock music.
I can do without Run for Your Life, but otherwise pretty perfect.
Hard to deny how fun this is.
Big riffs, big drums, high-pitched screeching. It's generic and formulaic, and it's pretty fun.
I love this, especially the experience of listening to it as album. I love the feeling of relief in Franz Schubert after Abuzug ends. I love the way Endless Endless ties everything back together at the end. It feels like reading a novel; there's narrative movement, and it's obvious a lot of thought went into the sequence of songs.
I was surprised by this. Some interesting stuff happening here, definitely sounds like it was made in 1990. I think Sinead O'Connor is one of those people who existed in a slightly different plane of reality than the rest of us.
This isn't my favorite Elvis era, but it's still pretty great. The mix of country and Stax-style soul is wonderful.
This is so much more of a Soul record than I remembered. Though he set the standard for loud guitar rock, I think the best moments on this record are the slow grooves where his guitar playing is just as masterful, but more subtle and nuanced than say Purple Haze.
There's a moment in my life, when I was 11, when I checked out this CD from the public library, and so many new doors opened for me. I can't imagine my life now without that moment.
Nice and pleasant, easy listening. Would the world be any different if this album never existed, probably not. But I'll listen to it again.
I would guess even the members of CSNY only like a handful of songs off of this album. This is the epitome of boomer music. This album told me to knock on doors until I found a job. This album texted me on the 2nd day of the month to ask why my rent is late. This album specifies the race of every non-white person in the story it's telling. This album campaigned for McGovern but voted for Trump.
Really enjoyed this. So much that I played it twice.
Big band is not the flavor of jazz I tend towards, but this gets a little gritty in a way that's missing from most big band. And the drums! Lots of nice rhythms. But the longer I listen, the less I care; it all sort of blends together into the background the way big band jazz can.
I'm having mixed feelings listening to this now. The violent nihilism doesn't have the same impact, feels tired and entitled.
I was only really familiar with the song "We Are Family," which is not a favorite of mine, but this is good.
Listening to these canonized classic albums, I've often been struck by how even if an album doesn't particularly resonate with me, I can here the roots of other things I love. This is the opposite. This is the Pandora's box of shitty boomer rock.
I love it. A classic. Oozing, humming, swirling; a dirty lovely mess.
Perfectly ok. I like the Neil Young songs.
This isn't rock and roll, it's musical theater. I find myself enjoying lots of it, but multiple times I've the experience of being like "wait, this is the same fucking song?" and it is the same fucking song. They're all so long. Even the "short" songs feel like they just keep going on.
As a teenager, the moments where the Doors intersect with the Stooges where the only Doors songs I was interested in. Now, I can find interesting things in the slower moments. I still find myself drawn to the wilder, raw-power rock, and I still feel like there's a lot self-indulgent navelgaze and boring White Blues. But there's stuff here I want to hear more of.
What a nice surprise. I've never spent any time with this record or band before, and I'm so glad this project pushed me to listen to this.
I know where Syd Barrett lives
This shouldn't even appear on the list of 1,001 Beta Band albums to listen to before you die.
