This is my first full-length exposure to The White Stripes, and dare I say, the first time I've ever paid attention to "Seven Nation Army". That song is absolutely incredible, and while the rest is consistently great, it never reaches the heights of that song again. The two acoustic numbers disrupt the flow for me and "Little Acorns" is jarring too (but once that song kicks in, it's killer).
Already very familiar with this album.
Peak.
One of the best early alternative US albums; "Blister In The Sun", "Add It Up" and "Good Feeling" are songs for life. Perfect for this list as I believe this is deeply essential.
Heard before challenge.
This is where, for some, Neil really finds his stride. For me, it's another entry in an already stellar career up to this point that is affirmed by some really incredible songs. I'll always die on the hill of "A Man Needs A Maid", and I don't need to say anything else about "The Needle And The Damage Done"; plenty has already been said.
This album's hits have probably reached overplayed status for a lot of people but I gotta say, hearing them in the context of a record on nice headphones really brings out their character. Solid listen for the rest of it, too.
Heard before challenge.
For years, this was one of my favorite Radiohead albums. I've fallen slightly out of love with it recently but this is still one of their best works. "Videotape" might just be their best song.
Finally getting some proper exposure to Joan after knowing her connections to Dylan for the longest time. Hearing this with some of that work in retrospect and my other exposures to artists who seem to have lifted from her technique (I'm shocked that Happy Rhodes seemingly doesn't list Baez as a vocal influence, their styles especially with vibrato sound very very similar, and I love that) makes for an interestingly aware listen. Cool album.
Wow, finally getting into Sly, too little too late I suppose. I'm pretty unfamiliar with funk as a whole outside of some song-based examples but finally hearing a whole record in the style like this is great.
One of my favorite albums of all time and a bit of a life-changer at 15. The perfect prelude to the noise pop and shoegaze developments of the late 80s and early 90s, sickly-sweet hooks and melodies buried beneath a net of static, with vocal deliveries both apathetic and earnest all at once. An album for the ages and one that absolutely deserves to be here, in my opinion.
While I have always been more of a fan of Oldham's with the Palace Music project, this album spoke to me just as much as something like Days In The Wake or Viva Last Blues when I first heard it many years ago; it just didn't have the staying power or the obsessive replay factor that those two records had for me. To revisit it for this challenge was a beautiful, brilliant experience. Hearing this as an adult, for the first time in literal years, gives it some new depth. Will Oldham remains one of my favorite songwriters of his generation.
Not my favorite Steely Dan record but certainly an amazing way for them to open their career. I tend to give this one some flack because of the numerous vocalists (I've always been a believer that Fagen is the best vocalist for the group and should've been the only one from the start), but all of the Fagen-led songs here except "Dirty Work" tend to be my favorite. Special mention to "Brooklyn (Owes The Charmer Under Me)" though.
I went into this expecting to require context from the film - which I've wanted to see for a long time and just haven't gotten around to yet - but I was pleasantly surprised. This album flows wonderfully; light, airy (ha), not-so-secretly sad and very mysterious. Obscured. A bit of a Badalamenti vibe here at times. Some Mike Oldfield and Pink Floyd in there too, for good measure. Moon Safari this is not, and at this current moment, I feel that this is better.
I mean, seriously, what can I say about this that hasn't already been said? This album has been a key part of my life since I was 13 years old and even though it's no longer my favorite Floyd record, it's as essential as it comes. When I think of "art rock", this immediately comes to mind. Majestic.
My favorite PJ record of the two I've heard so far. "Dry" might be the perfect descriptor of the sound of this record. Definitely a raw record, one that doesn't compromise and favors authenticity and natural occurrence.
Musically, this is decent. I can't follow along with the vocals unfortunately but reading about this album, the story and passion behind it is fascinating. Not really sure if I'd put this in the book though.
I won't hide it here: this is one of my favorite albums of all time. A genuinely formative listening experience that has been the soundtrack to my journey in the last couple of years. The best thing to arise from the Steely Dan canon and that's saying something. Essential in every aspect, a must listen and one of the most brilliantly human albums ever recorded. Not to mention its incredible ability to test a sound system. A genuine dream production.
Maybe my favorite Big Beat album I've heard so far, a really engaging and energetic listen that rarely overstays its welcome. A powerhouse, but at the same time it also comes across very much like a product of 1997. Not that that's a bad thing.
This one's been on my list for quite some time now, glad to finally check it out. I personally believe that albums like Tommy perfected (or as close as you can get to it, I suppose) the early rock opera form, but this is nothing to sneeze at either. Side A in particular feels weirdly influential on the Elephant 6 music collective, which it very well may be. There is a gigantic bombast to this that I didn't expect from the Kinks, only really having heard their biggest hits from 64-66 and then "Lola". Exciting stuff.
ELP often holds the reputation of being one of prog's campiest, most ridiculous bands...and in the case of this, they'd be right. But it's impressive and theatrical and so grand and dramatic that I can't bring myself to hate this.
Although I will ask why this is in here and not Brain Salad Surgery or Welcome Back My Friends. There's two ELP records in here and neither one has "Karn Evil 9". What the hell man.
Finally, FINALLY hearing this one. I've been almost afraid to listen to it, as any record with a song like "Fast Car" is prone to failing to stack up to the power of its singular smash hit masterpiece. Thankfully the rest is quite great, but man, there is a REASON that song is still brought up and listened to today. Incredibly powerful songwriting here throughout, highly impressed.
Feels like a cross between early Queen and T. Rex with a markedly worse vocalist. Thanks but no thanks.
Regardless of any musical content, THAT is one of the worst album covers I've ever seen in my life. I don't know who approved dude on the right's ability to walk around shirtless and with that haircut, but they should be questioned. I don't want to think it's affecting my interpretation of the music, but it's a sensory nightmare. I can smell this picture and it's not pleasant.
I cannot tell you how long it's been since I last heard this album in its entirety. It's been at least 10 years. Revisiting it for this challenge has left me with complicated feelings. At 13, this was one of the best albums I've ever heard. At 23, it's just another Chili Peppers album. I've always been more of a Blood Sugar Sex Magik guy but when this album has its moments, they're incredible moments. When it doesn't...it's the Chili Peppers for every reason I dislike them. I'll save the gripes about the mix because everyone and their mother has mentioned them but it really only affects my opinion of a few songs. Eventually I'll hear the unmastered edition.
It's not quite Pink Floyd as we know them now, but it's an incredible record nonetheless. Barrett's contributions put them perfectly at home in the psych boom of 1967, and despite how quickly the Floyd would abandon the softer, childlike nature of Syd's work, they leave an impression and an impact here. Thus begins the output of one of the greatest bands to ever walk the earth.
Conceptually, this is wonderful, I love the use of the NYC street recording samples that Holmes acquired during his time there. There's a gritty cinematic vibe to this and I dig it. The only problem is I think every track goes on far too long and this is yet another dance album that approaches an hour long runtime.
And this was where I wrapped up the core Simon & Garfunkel discography with an album sometimes considered their best by the more folk-adjacent people. I gotta say, it's probably my 3rd favorite, only behind Sounds of Silence and Bridge Over Troubled Water. Still an absolutely great record though; undeniable songs like "Scarborough Fair", "Homeward Bound", and I truly adore that "Silent Night" sound collage thing at the end.
A lot more synth-driven than I expected. Growling bass throughout too. Pretty cool. Saw some people refer to this as "The Doors on speed" and that seems pretty accurate at times.
One of my favorite albums for over a decade now. Oldfield recorded this pretty much by himself at 19 which really makes me want to practice every instrument I've ever played for even a moment and become proficient at every single one. The ending of Part One always gives me chills. A brilliant masterful record. Its use in The Exorcist (as small yet iconic as it is) helps as well.
The intense vocal stylings of Neubauten meet the surreal disorienting dark-circus vibes of Foetus, but it's all in French. Maddening in a cool way but not really essential. I'd recommend it to anyone looking for the darker end of the industrial rock spectrum but not to many other people.
