1001 Albums Summary

Lucy introduced me to this one (thank you, Twilight), and I don't think I had much patience to listen to some of the more theatrical / musical-type songs at the time. As a whole, and with my 42-and-a-half-year-old ears, it's quite balanced. And I'm totally floored by how melodic the electric guitar is with the lead singer's voice.

This had to have been the inspiration for Jet Set Radio. Filled with some incredible sampling / DJ'ing, and the emcees always present something smart and quippy. Remarkable history here, as it apparently (following a lawsuit) changed how hip hop music, specifically samples, were regulated. Of course hip hop that's somewhat accessible to a wider audience would be the instigator of legal trouble. This is a good pacer album that I can hear spinning in a barbershop. Opening / ongoing sketch about gameshow contestants reminds me of College Dropout. Got a bit tired of it after 45 minutes, but have a lot of deep appreciation for the roots they set.

How does someone make words with a guitar? I just don't understand how Jimi was able to write these songs! There are moments when you hear noises with the electric guitar that sound like a unique language. Hums, whines, cries, moans... it's magnificent.

My peach leshy bard could learn a thing or two from these gents. There's a great Christmas song on here (Fairytale of New York) that is filled with insults and yet has an earnest string-driven melody behind it that might have me adding it to my holiday playlist. And then we zag to a James Bond-type song (Metropolis) that has me wondering what the hell this band is actually all about? These are well-orchestrated songs, and it's clear the band has a beautiful vision. Just not for me, especially after the first 10 songs.

"Do us a favor and get up and dance!" opens the record before a full-on celebration of disco (and bedroom disco sticks). Really striking use of strings, which helped me appreciate how well arranged disco can be. Formula? Of course. I loved the Pure Funk CD as a kid, which had a few songs deeply inspired by (or the inspiration for) this album. I suspect it hasn't ever been done as well, cover to cover, as this. There are a few songs (At Last I Am Free) where the 7-minutes drag a bit at your desk. That said, this album isn't really meant for listening at your desk. Try 7 minutes in heaven, amirite

Holy shit this woman sings. "Heartbreak feels good in a place like this." Water Under the Bridge feels like the encapsulation of everything on this one. It balances the ache of a breakup with optimism and hope, and guides us all the way from the initial hurt to the mountain climbing "I've got this, I'm stronger" feeling without saying it directly to you. Her voice carries every emotion in one song. How?! I think what's so impressive about this album is how it doesn't ever go so far that you are overwhelmed. The slower (Hello, Love in the Dark) ballads are balanced with Adele's vocals, as well as beautiful arranged strings and piano. Million Years Ago gently lean into European style guitar while still feeling authentic to her voice, which remains the centerpiece.

This one felt like a series of demos from a band trying really hard to find an identity. They landed somewhere between British Invasion and Weezer, and there are some cool (albeit brief) sounds in some of the 20+ 90-second songs. I felt like the only cohesive theme was disorder and confusion.

Mesmerizing listen. Fingers dance over the strings. I feel like I'm on a train watching the world pass by (Three Hours) during the journey Nick takes us on with his gentle, measured voice. Some sad songs that feel almost operatic... I can see myself in a Shakespearean theater as he laments, in front of an orchestra, about lost love. Day is Done is a brief, cryptic, clairvoyant song given Drake's young death. So, the album sits with me as both upsetting while oddly peaceful. The pace of this music and its softness offers an opportunity out of the sadness and depression at the heart of the lyrics.

Prefacing this as a clear reflection of its time. At times, sex-positive hip hop with some really fun samples, and a shocking approachability from male voices talking about respectful, consensual relationships. At other times, wildly raunchy and offensive - while occasionally done with a "we're just kidding" tone where the artists attempt to roll off of it as a joke. At its best, these are soft-hearted lumps that play a tough game with their beats but really are just horny dudes about "doing it in a Burger King bathroom." At its worst, groan-inducing and a lot of punching down on women. Sound wise... heavy DJ Jazzy Jeff and the Fresh Prince influence (or inspiration?), and clearly an inspiration for Lonely Island (Dick in a Box). Title track reminds me a bit of Beck's Debra, which came later (did Beck steal this one?).

Punk! Grunge! Seattle! Nirvana! Smashing Pumpkins! Metallica! Anarchy! Angst! A Seattle-centered collision of Hendrix's funky guitar sounds, at times (Mud live from Berlin), with echoes of Kurt Cobain's tired, frustrated voice. The album feels like it's about the slog that is life under a failing, capitalist government. I can't say this album is a cathartic experience, but I appreciate its honesty.

I love me a good instrumental album, and Brian Eno's name alone immediately interested me - specifically, how he'd approach a concept (music for airports) as opposed to a U2 album. This is an album you can ignore, which is to say, it's quite peaceful and you forget about it. Piano heavy, soothing choir, contemplation in its tone. Maybe a bit "mystery of the vista / great unknown" - maybe for a plane ride? - rather than something that's actually suited for an airport. Then again, this was the late 70s, and airports were a much different, more romantic place then. I like this music for work, massage... but not much else. 2/2 does sound a lot like the music in the movie, OBEX, where the hero goes on a long journey outside the safety of his home in search of his dog... in a video game that's all too immersive. It has the power to invoke thought, but isn't demanding that. We're now at a time where lo-fi and work music is its own genre. At the time, this was among the first - and its influence is clear 45+ years later.

WOOOOOOOW this album and this band. How am I today years old discovering them (at 42.5)? Before today, I knew way more about The Clash as an influence than a band worth following. My goodness, I'm glad this was delivered to me today. Demands a second listen.

The kind of music I imagine my roleplaying bard makes after rolling a natural 20

I'm not heavy enough for this

Snoozly and velvety. Good naptime music.

TV on the Moon, not to be confused with TV on the Radio

I can't say I enjoyed this, but I deeply appreciate how honest it sounds and feels. This is an experience.

More painful than listening to a voice text

If I were me, I'd be through with you and this album more quickly

Oh hey, it's the band that had that tough-as-nails song on Guitar Hero!

Stock music for an avant garde college student film. So if you're looking for that type of album before you die, here you go.

So easy, even a caveman can do it

I appreciate it, but what a slog.

Weird, but the good kind of weird.

A little bit of Dave Grohl, a little bit of Coldplay, a smidge of Oasis and a dollop of Tears for Fears. I dig it. The Doves to Keane / Snow Patrol pipeline was criminally under advertised.

Layla is a 5/5. The rest of this is meh.

Ambitious as hell. At times, perfect. Other times, it can be frustrating because (for instance) there feel like 3 or 4 album closers that the Pumpkins just couldn't pick between. But it's never poorly produced. For me, it doesn't quite stick its landing across both volumes. But there are enough moments of literal genius (especially for the time in which it was produced) to outweigh the more exhausting experimental songs. The variety is wild, from symphony to grunge to raw to polished. I'm not sure I'll ever have the patience to try to figure out the narrative across all of these songs, but it's an experience I'm grateful for.

Etherial, pleasant, haunting, Bjork.

Buckley ran so OneRepublic (Ryan Tedder) could walk.