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.
