Favourite Neil album. Recorded live, this is a fuzzy and chugging folk rock record that feels like a precursor to grunge.
Although rightfully overshadowed by the iconic eight minute title track, the other 75% of this album certainly has it high moments such as the Van Gogh tribute track 'Vincent' and the haunting 'The Grave'. An enjoyable time overall even when it falls into pleasant background music.
I don't think I'm ever going to 'get' jazz. This is a cool record with tons of swagger. It's just not for me though. I've heard the bass line of 'So What' countless times when I have tried to get myself into jazz before. The playing is immaculate and it has it's rightful place in music history, it's just not my cup of tea.
I've had a healthy fix of Sabbath and Zeppelin over the years, so I've never felt the need to check out Deep Purple and it looks like I've missed out on a classic! Mixing prog and blues with a dash of Hendrix, In Rock is an early heavy metal classic. I love the way epic organ playing compliments Blackmore's guitar work. Some parts may go on too long and there are some questionable lyrics on here there, robbing this from a perfect score.
My first Sinatra record and this was exactly what I expected from him. Sinatra sure can croon and the instrumentation is lush, but I found myself wishing for this to wrap up. All the songs sound similar and there is no variety. This felt dated and of its time. Compared to the rock and roll records coming out around this time, this has no edge to it whatsoever. Not for me.
Growing up in the UK when we this band blew up, it was uncool to like this band. Leaving my biases at the door, I had a good time with this. You can see why they blew up. 'Yellow' is still an absolute belter of a track, and I was impressed with some of the non-singles too. It's like if Radiohead focused on putting out hits instead of experimenting after releasing The Bends, which doesn't have to be a bad thing! They play it safe and there is a hint of blandness creeping up as you approach the end of the record, but it finishes up just before it detracted from my enjoyment too much.
Every twee indie record of the past 30 years needs to give this record its flowers. This is my go-to Velvets record when I'm not in the mood for the chaotic noise of the debut album. 'Candy Says' and 'Pale Blue Eyes' are two of the most beautiful songs ever. 'After Hours' is a delightfully innocent closer that features drummer Moe Tucker on lead. This is one of the best albums of the 60s for sure.
Dull dad indie. It is very hard to separate the tracks as they sound all so similar. Most of them sound like they are building up towards something before they end out of nowhere. The vocalist sounds like he's bored of his own songs. Sure, the instrumentation on here can be lush, but they doesn't mean much when everything else is so uninspiring.
I only have previously listened to the title track and I loved it, so I was pleasantly surprised when I listened to the full record. Harvey's voice is unique and the guitar playing is almost hypnotic during certain parts. There isn't a bad track on here, although the closing song 'The Colour Of The Earth' does feel like an unclimatic ending for such a great album. This will definitely be one that I will return to as I feel that I will need more than a handful of listens to fully digest everything.
A flawed thrash metal classic. The band evolved their sound by bringing in prog elements into the mix. My sole gripe with this record is that the production leaves a lot to be desired. The bass is non-existent and the album has a thin and metallic sound that robs the album of some of its punch. Every song is crafted masterfully, with Hammett's shredding and Ulrich's drumming stealing the show. Despite its 65 minute duration, the album never drags and I was hooked throughout.
I was expecting a complete cheesefest, but this was a trashy rock record that's very self aware with how schlocky the whole thing is. Some elements do veer into the goofy territory, such as the dual vocals on the title track and some of the lyrics will have you rolling your eyes The shock factor may have worn off in the past five decades, but that doesn't stop it from being a fun listen. 'Unfinished Sweet' has a neat extended instrumental outro that shows off the band's technical chops and that there is talent behind the shock antics. This is worth your time if you are in the mood for some silly yet theatrical glam rock.
There's nothing offensive about this. I admire how unapologetically English it is. Most songs are decent, but go on for far too long. You know what you are getting with this within the first handful of tracks. 'Everything' picks up the pace. You can tell that 'Creation' is going to be a single as soon as you hear it. This might have felt fresh in 1992, but it feels incredibly dated now. I imagine it would have felt dated within a decade of releasing. I'm not sure why this is on the list.
This was a lot less smug than I though it would be given my preconceptions about the band. Much more accessible than anything else I've heard by the band, its loud and noisy yet it still feels like good alternative rock that is a steps ahead of a lot of the grunge bands that they got lumped in with. It's able to be both radio friendly whilst still feeling experimental. Take 'Drunken Butterfly' for example. Starting out as loud anthem with a lot of attitude due to Gordon 's breathey vocals, the song takes a turn when Moore' s wailing guitar brings the noise in the second half. The biggest downfall to this record is its length. 58 minutes might not be a particularly lengthy album, but this would be an easy 4 stars if they trimmed the fat. It feels like they ran out of ideas 3 quarters way through.
On par with their debut. Some lyrics do fall into cock-rock territory ('Lemon Song' being the main offender), but the music is so good you can give it a pass. Page's wailing solo during 'Whole Lotta Love' still sounds as incredible as when I was first left awestruck by it as a child. Bonzo pounds the drums like a lunatic. Even the allegations of plagiarism can't make me hate this band as they can play so damn well.
This is a tough one to rate as it is a film soundtrack to a non-existent film. I'm sure this would pair well enough as a score to a good neo-noir picture, but I've certainly heard better movie soundtracks. This ain't Halloween or Jaws, basically. Although there are some moments of dread on here brought on by the industrial synths, a lot of the production feels dated. Listening to this as a full album, it's a bit of a chore to be honest. This is another one why I'm baffled that it even made the list.
I just can't deal with that voice. Costello's strained and whiny vocals are like nails on a chalkboard to me. The songs on here aren't much to write home about either. You might a nice guitar tone or melody here or there, but the song will outstay their welcome, either because of the length, meandering lyrics, Costello's delivery or a combination of the three. From what I know about Costello, this isn't the best starting point so I will try to keep my mind open when his other albums pop up next.
The warm and smooth production is top notch, with that popping bass tone being a particular highlight. The minimalistic intro 'Chic Cheer' kicks the record off with style before jumping into the disco anthem 'Le Freak'. The 7 minute 'At Last I Am Free' may serve as the record's slow jam, but it goes on far too long and dampens the fun vibe a tad. This is a damn fine record that uses repetition to its advantage to get those funky grooves burnt into your brain and to get your butt moving
Due to the energy and urgency that these guys play live, this is just as much of a hard rock album as it is a power pop one. The crowd reaction is immense, with it feeling like Beatlemania with all the screaming girls. The crowd vocalising on the chorus of 'I Want You To Want Me' take it to the next level and it is truimphs the album version. The yet-to-be released 'Need Your Love' is another highlight, with them showcasing their talent during the extended instrumental section. 'Surrender' might be their biggest song and it sounds so anthemic on here. This is such a stellar live album that I'd say you can skip the studio albums and dive straight into this record if you want to give these guys a try. The studio versions of these tracks lack the energy and edge that the frantic live atmosphere of At Budokan brings
What is with the UK's obsession dull men with duller names that churn out soulless singer-songwriter stuff that couldn't offend your gran? This was dreadfully boring. I knew 'Babylon' as it was huge chart hit at the time, but I didn't know the artist. It was just one of those songs you heard on the radio, but didn't know who sung it and never felt any urge to find out the singer. This is the type of non-offensive music that they play in a supermarket. This is what I worry people think Elliott Smith will sound like when I recommend him to them.
With song titles like 'Death To Everyone' and 'Another Day Full Of Dread', this is a sad album. I wouldn't chastise anyone for being turned off by how bleak it is. There's nothing performative about the sadness here. Oldham's vocals are so fragile and haunting. The instrumentation is kept fairly simple. I feel like this would comfort me when I'm feeling low. Thankfully I don't feel like that today, but I will keep this album in hand for when things get tough. If you enjoy wallowing in the hopelessness that you find in the music of Mount Eerie or Sparklehorse, this would be right up your street.
This was my first ever Flaming Lips album and it was a pleasant experience. Super psychedelic and dreamy, this is an album full of sunshine and good vibes. The alien synths do feel rather one-note and causes this album to become background listening at times. The only track I downright didn't like is the instrumental cut 'Yoshimi Battles The Pink Robots, Pt 2'. The screaming and synths started to actively annoy me here. I don't think I'll be rushing back to the whole album much, but tracks like 'Fight Time', 'Are You A Hypnotist??' and 'So You Realize??' would be welcome additions to any chillout playlist. I can see why this is on the list as you can see how this sound influenced the indie scene during the decade to come.
It is impossible to listen to this without thinking of Syd Barrett. Both left their bands due to drug misuse and severe mental health issues and ended up making wacky yet brilliant music. Spence's take on psychedelic folk and country is very far removed from the summery songs of Donovan. His voice is strained and haggard, but this only adds character to his ramshackle music. He plays all the instruments and it feels very amateur in a charming way. 'Broken Heart' and 'Weighted Down (The Prison Song)' drip with loneliness like all great country songs should. The album's closer is definitely the most experimental part of the album, with the near 10 minute track hypnotising you with its repetition, whilst the drums do their own thing in their background. Its not too far removed from krautrock! I wish the book had more odd gems like this instead of rehashing your dad's old record collection.
Oxygène feels both futuristic and retro. It is incredibly innovative to both the electronic and ambient music scene, while also feeling of its time. Its not too dissimilar to watching an old sci-fi movie and seeing how the past generations would imagine the world we live in today. That's not meant to discredit Oxygène, I actually think that might be part of the album's charm. The tone is very relaxing and you could easily use this album as background music or you could give it your full focus and get lost in all the sonic textures. There's always something going on to stop any of the six chapters from getting stale. Most people will know 'Oxygène, Pt. 6', even if they couldn't name the artist or song, but the entire album is worth your time.
It baffles the mind that an 18 year old could make this record. It all sounds very mature. Apple's voice is phenomenal. She has sultry voice that can convey fury and ire when needed. The melodies feel quite Beatleseque. This is a front-loaded album. The first half is perfect and loaded with hits, whilst the second half has slight dip in quality. There's nothing bad on here, just weaker songs that go on a minute longer than they needed too. Thankfully the final song 'Carrion' pulls everything together and is one of the best songs on the album. Starting out restrained, the song builds up to a thrilling climax when the wailing guitars and strings come in and let the record finish off in style.
This is certainly a strange album. Anyone going into this expecting cheery songs about surfing and girls is going to be very confused. I became obsessed with this album after Brian Wilson passed. I was lured in by the dark cover that you wouldn't expect from the Beach Boys. With the top-notch production and gorgeous harmonies, this still sounds like the band, but there is something darker lurking under the surface. The songs are mostly about pollution. 'A Day In The Life Of A Tree' is sung from the perspective of a dying tree. Although that may sound corny, there's something about the combination of the pained vocals and the organ that makes me feel so incredibly sad. 'Disney Girls (1957)' and 'Student Demonstration Time' are by far the worst tracks here, with the former song being a tacky Disney endorsement and the latter being a dated take on the civil unrest of the time. Post-Pet Sounds Beach Boys are such an interesting band. They continued to experiment and got varying results, but this album is a winner despite the weak cuts.
This has a lot of dated 80s production, with weak drums and uninspired synth parts. The two instrumental tracks that bookend the original UK album track listing do absolutely nothing for me. Mackenzie's vocals has the same theatrical flair that Morrisey has, but he's a much worse singer. Whilst Morrisey can croon, this guy yaps! By the time I got to the band's biggest song 'Party Fears Two', I was actively annoyed by all his vocal theatrics. I'm not completely negative on this. 'Country Club' is a catchy pop track. This is inoffensive yet largely forgettable, sounding like a much weaker version of bands like Duran Duran and Depeche Mode.
Live At Leeds shows The Who as a thunderous juggernaut of a live act. If the purpose of this release was to convince listeners to go out and catch the band when they come to their town, then I'm sure this album was a roaring success. This is a fairly faithful document of the band's live show at the time, with only minimal studio touch-ups. The band play fantastically on here. Full of bluesy energy, the band storm through three covers and three original songs on the original release (including a 15 minute extended version of 'My Generation'). I do question if this is an essential listen to all music fans, although it is essential to Who fans. While this set the standard to how good live records could sound, I think I would always pick the original studio versions over the frantic live renditions found on here.
I've always known and loved 'Fast Car'. I was surprised to find out it was released in 1988 as it sounds much more modern. Chapman's poverty anthems are brought to life by her powerful voice and show that very little has changed since this album hit shelves. This record is a reminder that poverty is cycle and things aren't always going to get better. This album is strongest when the production is stripped back and just focuses on Chapman's strong voice. There's times when things get too busy and distracting, with the synths aging an otherwise timeless record. The cheesy 'Baby Can I Hold You' and the reggae-infused 'She's Got Her Ticket' are a few tracks that show their age. Chapman can sing acapella and still demand your attention, as seen on the harrowing 'Behind The Wall'. If every song on this was even a fraction as great as 'Fast Car', this would be an easy 5.
This album is produced to sound like a live record. Whilst that gimmick might seem strange at first, the loose playing of the band and the feeling that everything could come off the rails at any given moment makes the concept work. The whole record feels like a party. Most of the tracks are covers, but they make them their own. 'Piece Of My Heart', 'Summertime' and 'Ball And Chain' are all essentially Big Brother & The Holding Company songs despite them not being written by them. If Janis Joplin's gravelly vocals aren't your cup of tea, then Cheap Thrills might not be a great time for you. Joplin's screams makes the hairs on the back of my neck stand up and the distorted guitar parts are loud and sleazy. These guys channel the blues better than Led Zeppelin ever could (I say that as a big Zeppelin fan!).
This is my first Stevie Wonder record and I had an excellent time with it. As soon as the buttery smooth 'Smile Please' kicked off the album, I was immediately charmed by the warmth and the soulful voice of Wonder. The production on here is sublime, with the harmonies of backing singers helping to create such a rich and dense sound throughout the entirety of the runtime. There's not a bad song here and everything feels varied. Wonder can turn down the pace with a slow jam like 'Too Shy To Say' before bringing you immediately bring you back to to life with the funky Moog-driven 'Boogie On Reggae Woman'. Wonders tackles a number of important topics here, from attacking then-president Richard Nixon on 'You Haven't Done Nothin' ' and reflecting on his own mortality on the haunting' They Won't Go When I Go'. If this is considered the weakest Stevie inclusion in the book, then I am absolutely buzzing to see what else this immensely talented man has to offer.
I definitely think I will need more than a day to allow this one to sink in. My first listen started out strong, but I found the record to feel over indulgent as it went on. Both 'Australia' and 'Arthur' started out great, but I felt resentment set in towards them as they went past the five minute mark with repeating choruses. The choruses on 'Victoria' and 'Shangri-La' are so big and infectious. There's lots of fun guitar parts and big sections peppered although out the record. This feels like a lost Beatles album filled with McCartney cuts that were too weird for the rest of the band, but this is a lot heavier on the biting social critiquing than anything Beatles ever put out. I feel like my rating could go up if I had more time with this.
Like Bowie did with Blackstar, Cohen turns his impending death into art. With his husky and worn voice, Cohen explores his complicated relationship with his faith and reflecting on his life. The instrumentation is sparse, with Cohen's intelligent lyrics getting all the attention they deserve. Cohen can write as well any great poet can. We get some gospel choirs, which further the religious themes found here. Being released so close to his death, songs like 'Leaving The Table' hit just that little bit harder. With the menacing bass line leading the song in, the title track is another favourite of mine. think you will struggle to find many late-career albums better than You Want It Darker.
I'm baffled why this isn't clicking with me. I've never been a Springsteen guy, but I would struggle to tell you why. A lot of artists I love find him massively influential to their sound (shoutout to the Gaslight Anthem!). I didn't grow up with Springsteen's music and I'm very far from New Jersey, so I have no nostalgic connection to him or his songs about growing up in the Garden State. The working-class anthems here sound massive, with a variety of instruments adding to the big sound. His voice is unique. It is filled to the rim with passion and that's all I need out of a vocalist. Not everyone has to be Jeff Buckley in the vocals department for me to enjoy their music. Its only during 'Something In The Night' that I find his vocal quirks irritating. I've given this a few listens and I'm not pulled in. I don't hate it, but I'm not emotionally moved by this at all. 'Badlands' and 'Prove It All Night' are the best tracks here, but there's nothing here that I'll be rushing back to.
At just 27 minutes, this was a delight to listen to and didn't out stay its welcome. Incorporating a more rock sound without going full country rock, Jennings brings some much needed edge to the country genre. There's a lot of sadness in this album and Jenning's deep voice conveys that incredibly well. Whoever said that country music was just emo with fancy hats must have been talking about this LP. With the exception of the strings-heavy ballad 'We Had It All', there isn't a whole lot of variety to be found here, but that's not necessarily a bad thing. It sticks to a formula and does what it does exceptionally well. It doesn't have a chance to get old due to the brief running time. I think a lot of people write off country as dumb music for hicks (I have been guilty of that mindset when I was younger), but albums like this that can turn those people into believers and show that the genre can be incredibly soulful.
I've always had a complicated relationship with Dylan. I'm not one of those people who thinks he's been vastly overrated and can't sing, but I have never been one who thinks he's the best songwriter of the 21st century. I enjoy the odd song and I'm intrigued by the legend of Dylan. On his most celebrated work here, I've always enjoyed my time with it but I have never walked away thinking it was one of the best albums of all time like many others do. With the messy organ playing, 'Like A Rolling Stone' is a stomper of a song and I would rate this album higher if we got more tracks like that. I love the loose playing of his band. Its almost amateurish, but adds to the charm and feels like you're watching an energetic bar band. Dylan is fine when it comes to his voice and his lyrics. There's a few good lines here, but I always found his writing style to be pretentious and vague. A lot of the songs go on for longer than needed, with the 11 minute 'Desolation Row' taking the absolute biscuit. Outside of the iconic opener, the bluesy 'From A Buick 6' and the cutting bite of 'Ballad Of A Thin Man' were two other strong cuts. I doubt I'll ever be won over by Dylan, but I'll be keeping an open mind when his other records pop up over the course of this project.
I find that a lot of rap in the early years hasn't aged the best and sounds dated rather quickly. Thankfully I didn't have that issue with today's album. It sounds fairly fresh and the things they rap about are still sadly relevant as it was back in 1991. The line about KKK now wearing three-piece suits knocked me back as how well its aged in today's messed up political climate. Chuck's vocals are demanding and he has a great flow. Flav serves well as the group's hypeman and even gets time to shine on 'I Don't Wanna Be Called Yo N***', one of the strongest tracks here. I was aware of 'By The Time I Get To Arizona' and 'Bring The Noize' due to my time with the Tony Hawk video games and they hold up from my childhood. Although the latter song is drilled into my brain at this point, it must be weird to see how a band like Anthrax collaborating with Public Enemy must have been when this released. There is a fair bit of filler on here that brings down my overall rating. Despite the bloat, I had a good time and I'm intrigued to hear more from these guys.
Not always an easy listen, you can hear how this chaotic and discordant record was a massive influence on the emerging post-punk scene. The loud drone of the synthesizers can make this challenging to listen to. The unhinged vocals are certainly an acquired taste. Dude sounds like he's having a severe mental health episode. I can hear a lot Geordie Greep in the vocals actually. The guitar and bass work here is top notch. When they get locked in a groove, its easy to forgive the more challenging aspects of this and you can roll with the chaos that these guys bring to the table. In these moments, everything come together in an ugly little package and you realise the album wouldn't be the same without the schizophrenic vocals and droning of the synthesisers. With its big chorus, 'Modern Dance' is the closest thing you'd find to a radio single here. 'Sentimental Journey' is the most inaccessible track, with the six minute track featuring smashing glasses and disturbing instrumentation. Although it may be a touch too weird for regular rotation, but I will always admire this for creating something so unique.
I won't waste much time exploring 'Bohemian Rhapsody'. Everyone knows it and the majority of people rightfully love it. It may be overplayed, but that doesn't detract from the fact that its a killer song and its impressive that it was able to reach so many people despite being a prog song with operatic elements. 'You're My Best Friend' is a sweet and sincere hit and 'Death On Two Legs' show the band at their most venomous. At eight minutes and change, 'The Prophet's Song' is the longest song here and you can feel the length due to extended vocal segment. As talented as everyone in the band is, this is rather overindulgent and some of the more theatrical moments can read as goofy. The old-timey cuts 'Good Company' and 'Lazing On A Sunday Afternoon' are oddities that I wouldn't miss if they were cut from the album. For an album that contains one of rock's most known and celebrated songs, there is a lot of filler on here.
The way everyone has been talking about this made me think that ABBA released a goth album. As great as that would be, this is quite a while away from Sisters Of Mercy. The lyrics are darker than what you would expect from them, this is still polished pop music - not that there is anything wrong with that! These guys know how to craft a pop hook. 'Head Over Heels' will be stuck in your head after listening to it. They do take a few creative U-turns. The slow build up and use of synths gives the opening track a spacey vibe and 'I Let The Music Speak' is straight up musical theatre. They sure can sing, but the emotion in their voices give the feeling that they are tired and just a bit fed up despite the upbeat music. This all gives the album a darker edge. There isn't a bad song here and I even ended up listening to the bonus tracks, which is something that I rarely do.
This is a perfectly fine punk record that came out of the cusp of the grunge movement blowing up. Where it falls short is when you hold it up to its contemporaries. This is noisy, but nowhere near as experimental as Sonic Youth. It may sound like Nirvana, but lacks the pop sensibilities and Cobain's passionate yell. I enjoyed how they incorporated harmonica into their sound on several songs, with 'Move Out' standing out. I don't recall other grunge bands using the instrument like they did here. 'Fuzz Gun' 91' is an instrumental piece that brings the fuzz as the name implies. 'Thorn' is the catchiest tune you'd find on here. Outside of these moments, there really isn't anything particular standout here. There's a reason this band isn't as well remembered as other bands of the genre.
Before The Stooges even released their debut album, these guys put out their first album where they play garage rock so intensely and raw that they practically invent punk rock. Recorded live, this album sounds like a great time. The recording quality isn't the best and the band aren't exactly virtuosos on their instruments (the high pitch vocals on the first track make this abundantly clear early on). What they lack in ability, they make up for in sheer energy and drive. The second side is definitely the weaker side of the album, with a lot of extended jams that don't justify their length. This album is at its best when they are pushing out no-filler rockers like the title track. I'll always admire this album for its influence, even if it may not be something I'll come back to in full a lot.
I'm disappointed that I don't love this as much as I should. Album opener 'Uh-Oh, Love Comes To Town' kicks the album off in style and sets the mood for the rest of the record. We get a whole lot of weirdo funk that doesn't alternate that much. There was a calypso vibe at the end of the first track and I wish they explored their world music influences further throughout the rest of the record more throughly. I found a lot of the tracks blend into each. They have good sound, driven by a killer rhythm section and David Byrne's anxious vocals. With its iconic bass line, 'Psycho Killer' is the obvious highlight. Most bands don't put out debut albums this well put together, but this is held back knowing that they are capable of.
Sophisticated without going all sophisti-pop and getting trapped in the clichés of 80s pop music, Talk Talk's third record is an absolute gem that features a layered sound that is both rich and dense. With a sound that feels rather modern, The Colour Of Spring doesn't rely on heavy synths and instead features jazz instrumentation that gives the album a lot of texture. Although this is an easy record to unwind to, there is also something interesting coming around the corner to keep you engaged. You get organs, harmonica and even a children's choir contributing to the sound. I'm baffled that this list decided against including the two albums that followed this one, as they would continue to experiment their sound to much critical success.
This feels like a John Ford cowboy movie - a touch corny and lacking the raw grit that Sergio Leone would bring to the genre, but there's still a great time to be had to be here. Both homely and comforting, Robbins is a phenomenal storyteller with a voice that demands your attention. I was already familiar with 'Big Iron' due to the internet memes and the album is more of the same.
Robbins is completely committed to the cowboy concept. There is a mix of fast songs and slow ballads to add variety to a record with the same lyrical themes. There's a reason why both the Fallout series and Breaking Bad have both gone back to this record to evoke feelings of the Wild West.
The album opens with 'Cisco Kid' - a swaggering yet repetitive number that will have you singing along to the chorus on the first listen. Things get a touch proggy with 'City, Country, City' begins. It is a funky 13 minute instrumental piece that feels like it could soundtrack a police chase scene in a blaxplitation flick. The progressive elements continue into the the next track, with 'Four Cornered Room' featuring trippy vocals phasing in and out and repeative instrumentation that almost feels tribal. I admire how this record can balance being experimental and being commercial so well. You've got 3 minute singles sitting alongside extended jams seamlessly. The album is a melting pot of funk, soul and Latin music. The vibes are immaculate here, with the mood always focusing on good times.
Hotel Yorba' and 'Fell In Love With A Girl' were the big singles that I remember the most from this album and they show off the range of the band, with the first song being a jaunty country track and the latter being a catchy garage song that doesn't even break the two minute mark. 'The Union Forever' was another favourite of mine. The track is an ode to Citizen Kane, and features quotes from the movie and an organ that gives the feeling of underlying dread. Critics have given Meg White grief since the Stripes blew up because of her rough drum playing style and I think the hate is largely unwarranted. Her ramshackle way of playing compliments the fuzz of Jack White's guitar and his yappy vocals. There is a decent amount of filler on here, and I wouldn't mind if 'Little Room', 'Expecting' and maybe a few other tracks were dropped to make this record a tight 30 minutes. When this album is good, it is exceptional. I still find it crazy how a band with such a unique retro sound became so big when that style was far from being in fashion.
A highly influential record, with everyone from Elastica to Minor Threat taking something from this album. Packing 21 songs into a tight 35 minute package, some of the more brief songs pass without being able to make much of an impression. The angry cuts 'Surgeon's Girl' and 'Mr Suit' work best in this format, with the influence on hardcore punk being very clear. The vocals here are at their best when they are shouty and snarling. We do get a glimpse of their poppier side with 'Fragile' and 'Mannequin' both having catchy melodies without jeopardising their punk sound completely. The album gets at its most chaotic on the title track, with an lengthy breakdown to close off the first side of the album. The burst fire delivery of the riffs are loud and the bass grooves pop. Released only a year after punk broke, these lads released an intense fully formed album which built upon everything that first wave of punk bands laid out.
This feels like an attempt to make their own Sgt. Pepper's. It is obviously isn't as polished and they do not have the budget to compete with The Beatles, they more than make up with passion and creativity. It is even more impressive to note that this was made by teenagers who were being oppressed by their government. This is certainly a lot more interesting than a lot of the more dull psych acts that came out once the hippie scene was in full swing. Mixing their own Brazilian tropicalla sound with psychedelica, they create an oddball record that is filled with texture and melodies. I'm also hearing elements of Beach Boys in their sound due to the harmonies they use. I'm most moved by the music when Rita Lee is on lead vocals. I have no idea what she is saying, but she has such a beautiful voice. They cover both The Mamas And The Papas and François Hardy here. I went back to listen to both the original versions of 'Once Was A Time I Thought' (listed here as 'Tempo No Tempo') and 'Le Premier Bonheur Du Jour' and I think that Os Mutantes have the better versions. This is a great discovery, this project has taught me how great Latin music can be.
I first have to give The Who credit for somehow making a rock opera about a mute pinball wizard and not making it feel like a pretentious mess. I admire their ambition, even if I'm unsure how often I will return to this as a full album. I am curious to check out the movie after spending time with this today. They pull the concept off well and I didn't feel like this double album dragged at all during its 74 minute runtime. There's a lot of dark themes to be found here, with the protagonist getting abused throughout the story. 'Cousin Kevin' is a song sung from the perspective of a particularly mean school bully and it handles the premise well. On the other hand, you have 'Fiddle About', which is a song about sexual abuse and it is tackled so clumsily that it almost feels like a joke. 'Tommy's Holiday Camp' is another song that is too damn goofy for its own good. Whilst we do get some good tracks like 'Pinball Wizard', this record made me realise that I much prefer The Who when they are putting out simplistic rockers instead of grandiose concept records like this.
I audibly groaned when I got another Elvis Costello record today. I'm still put off by his irritating voice, but the songs are so well put together and catchy that I eventually wasn't as bothered by his whiny vocals. Songs are snappy and don't get enough time to stagnate. You get pulled in by the hooks and it's time to move onto the next track. Costello wears his influences on his sleeves and you hear his love for early Beatles mixed into powerpop sound. The bass in particular had many moments that reminded me of Paul McCartney. You can see how new wave bands were influenced by the music found on here. The opening guitar riff of 'Lip Service' lays out the blueprint for great Smiths song. Costello's backing band were another high point for me, with the organ playing being the cherry on top. 'Pump It Up' and 'You Belong To Me' wouldn't be as infectious as they are without the drive that the organ brings to the songs. After having a terrible time with Brutal Youth, I'm very pleased and surprised that I actually enjoyed this.
