Dreamy but structured. A classic.
At it's most effective when simple. The storyline works to its advantage, and the hits are big hits. Some of the interludes are a little meandering, but the underlying melodies are very effective. Probably one of the best whole Who records.
Feels like the arcetypical blues-jazz LP. The live energy is incredible. Relentless pace.
Initially this felt like an ambient listen - high quality production, but not enough variety. Towards the end, there was a bit more going on.
Tempted to give it 5 syars for sheer quality of the first four songs. The music, the narrative, the way Geddy Lee's voice is utilised well heyond it's natural capabilitlies... alas, there's some odd production/structure choices on The Camera Eye in particular. Ah well, still amazing.
What seperates this from the 5-star albums of the 60s? The production. A real evolution in how Bob works with sound here. I personally prefer some of the 60s lyrics, but the quality here is undeniable.
A pleasant album that's joyful in the mid-section (and I assume technically excellent, though I'm no expert), but hasn't got any truely outstanding features. Would put on at work to concentrate.
In a word: smooth. Couple of different genres swirling about.
Pleasantly noisy. You can feel that Strokes-era energy.
Didn't quite hit after a promising start.
Good clean production, but didn't capture me one way or the other.
An LP defined by it's singles... and they are very good singles. Runs the risk of being a bit samey, so back-ending some of the good stuff is a wise move.
A great example of the genre - the hits are big, the deep cuts usually have some interesting stuff going on and the lyrics are relatable but brilliant. There are some inconsistentices - I'm fairly usually there's some weird production changes between songs, particularly around volume - but it can take it.
Very pleasant. Enjoyed the vocals.
It's a well-produced LP, but you have to approach it in the right frame of mind - it leans into the very darkest of its jokes, and isn't half as clever as it thinks it is.
Feels like a draft of songs designed to be remixed for the dancefloor.
Listening to this LP makes me very grateful for Jonny Marr... and very angry at Morrissey being such an arse. It is lyrically beuatiful, consistent yet with each track has having its own sheen.
Good fun! Not a personal highlight, but it's a defining sound, with big hits.
Not just a great LP, but a template for so much stuff that came after it. Is it possibly a bit too long? Maybe. Does it matter? No.
Better than it has a right to be - should sound same-y, but every moment is enjoyable. Fun.
It has some of the all-time great standards on it... but maybe a little distrscting filler too?
Innovative, a bit bizarre, very fun.
Can't say anything that hasn't been said before. The quintenessential modern indie LP.
A perhaps underrated LP in the face of their two previous works, this one has a solid theme that enhances the work without being overbearing. There are some real deep cut gems in addition to fan favourites. This is probably where AF peaked.
Everything you want from a classic jazz LP.
Got some of the stronger lyrics in the Bad Seeds back catalogue, and a good window for some of NCs softer, more spiritual work. A firm foundation for the iconic Idiot Prayer live LP of 2020.
Good fun.
Went by ridiculous quickly? Didn't have the impact of other Prince LPs.
Until about half way through, I would have rated this LP as average. Then the songs got too long, and towards the end the tone shifted in a weird way. Could have been a lot better woth some quality control.
Lots of good ideas. Some I like. Some I don't. Suspect it was more auead of it's time than I can give it credit for.
Very Easy listening, but not as substantial as their best work.
I got nothing from it.
It's fun enough.
I can see how this would be a defining LP for people of the right age, especially in a pre-digital world. I think how you rate it may depend entirely on how you rate the deep cuts.
There's some potentially interesting ideas buried in individual tracks - some promising riffs, experimentation... but it's all realised better elsewhere and feels generally unfocused.
It's unique, a piece of history, and Cash is on form.
Hits, followed by genuine fun. Not one of my favourites, but I feel a little guilt at not giving it full marks.
I enjoyed this even more than the self-titled. Possibly underrated; certainly makes me want to discuss The Doors more.
I think it's definitely a "mood" LP, elevated by excellent vocal production and lyrics.
Of it's time production-wise but an incredibly easy listen.
A man in total control of his performance. Suprising variety. Some definitive covers. A highlight in an excellent series.
Overrated in the extreme.
One of the cornerstones of the genre. It won't change your mind if you're dead set against prog, but it is technically amazing.
There's lots of good, classic songs on here. But there's not enough theme and drive to justify the length on a first run-through.
Fun enough.
Pleasant in all aspects, but not exciting.
A joyous jazz rump
It's alright. Doesn't do much for me.
Does it hsve many of the classics? Yes. Are the deep cuts good in their own right? Yes. Do I feel the inclinatikn to give it a perfect rating... not quite. Sequencing is an issue and I can't quite shake that it feels more like a compilation than an LP.
Good and fun, but surpassed by others over time.
Not a classic of the genre, but not bad.
Melancholic, not beautifully so, but consistent.
Good fun. Passed by so quickly.
It had some interesting ideas and at one point I could even hear a tune I could enjoy. Then it went sidewards. I love weird, but this dosen't use it well.
I'm not going to give it a one, purely because it implies I understand the genre on a level I don't... but dear God this feels in this day and age like a form of populist bull that hasn't got much original or defining going for it.
Well constructed, but highly unlilely to be anyone's favourite.
Really pleasant
There are the classic Britpop albums, the ones everyone listens to. This is the one that they should Aspire to. It has a gorgepus clean sonic base, with many of the tracks having their own foibles and signatures. Lyrically, it's diverse and intellectual curious. And yet, it is an album about the common human life, even as it occasionally explores individual figures. It is a wonder to behold.
It's ok when it's doing the ambient work properly
Probably the best Beck album I've heard. The soundscapes are good. Beck himself is at his best when he's sounding like a Nick Drake tribute act (make of that what you will)
Pleasant music for ambient listening
A classic rock album with something a bit "extra" in the sound (can't quite define what right now, apologies!)
The deep cuts work as well as the big hits.
I enjoyed it. It's what I want from a metal album (mostly).
Good fun. Consistent.
There's a part of me, weirdly, that wants to criticise it for something. But I can't.
Good balanced start. Loses its way towards the end.
Genuinely hard one to call. There is so much classic work on there, and the pallette is distinctive. But is there just an X factor shy? Are Daylight and Green Eyes a bit too much of a drag?
I think the beauty of this one is how it manages to he both radical and respectful to the format in equal measure. It has prupose and clarity, and musical excellence.
There are classic individual songs, but as an album, it's too much at once. Might be a problem with how I view the genre.
A very well crafted and intelligent album - almost(!) My favourite of the era
Its breezes by. Extraprdonarily tight, full of rhythm and feeling.
I would have enjoyed seeing Motörhead in person. This is not a way to sell it to a new listener. A fan-service release.
It's got good lyrics, and in a different mood I might be convinced it's special. But my mood is foul, so it suffers to be average.
The production is insane, the instrumentation is lush, the tones are just incredible. Both soothing and powerful. A masterclass.
Perfectly servicable. Art over artist problem?
It's not Meazzanine - but it shouldn't be, and should he proud for what it is. Unfinished Sympathy is a beaut of a track.
There is something magical about how they pull this style off. Dark, but utterly seductive. Full of sharp twists, yet oh so cohesive.
Very clean. Nothing special.
It's not as thematically strong as other Bowie albums, but does contain some of his best individual songs.
Was genuinely and pleasantly surprised by the range on this one. Not my favourite but I'd recommend as an entry point in the genre.
This sounds like a Nick Drake album fed through Paul Simon's pop skill. Which is not a bad thing. Haunting but slightly dissonant in it's application of sad lyrics against cheerful acoustic sounds, it's a powerful influence.
