Is this secretly a soul album? The piano crisply bounces like it's being played by a church organist (well, maybe a Unitarian church) who finally gets to let loose on the piano. Bowie sings like he's trying to make sure his neighbors on Mars hear him. He's smooth and raspy simultaneously, sometimes rambling like a preacher who just HAS to get this sermon out before they keel over. The electric guitar sounds like it was possessed by a higher power, with the solos searing atop the rest of the instrumentation (reminds me a lot of guitar solos in Usher songs).
I'm certainly familiar with David Bowie, and have heard this album before, but I've never really sat down and LISTENED to it. There's not a ton of classic rock albums from the early 70s that I'm super into, but with this certainly having a lot of unorthodox influences and the expansive vision of Bowie as he wrote and recorded, maybe that's part of the reason that I am finding myself enjoying this more than I expected. I don't know how "revolutionary" it sounds as I listen 54 years after it's release, but it still sounds fresh and interesting. It sounds lively and important. It just sounds GOOD.
I love the first song. This production is great. Everything sounds really clean and crisp, each instrument shining through. It has a really cool new wave feel to it that I enjoy... and then, the next song. Some bullshit fake ska/sea shanty shit, but this third track is growing on me as it keeps playing.
As I continue on, I can hear some connections between this and some of the emo/gothy bands that came a decade or two later. Big AFI vibes on tracks like "Never Had No One Ever". That vibe carries over onto "Bigmouth Strikes Again", which along with the title track sound like really interesting U2 b-sides. This album came out a little later than I expected, and contextualizing it as a 1986 album, the germs of college rock being planted here are evident and welcome. I expected Morrissey's vocals to wear on me eventually, but they never did. They really fit the sound.
I don't know how often I'm going to listen to this in the future, and the second + third song were a real letdown after that killer opener, but all-in-all, I enjoyed this more than I expected.
Alright, I have definitely heard this album but I don't remember anything about the songs (minus the ubiquitous "One"). I know it's infamous for having very little bass in the mix, and it's the first album with Newsted on bass after Cliff Burton died. In my head, the album's not much of a departure, if at all, from what came before it.
I don't know, maybe it's the mood that I'm in, but I'm just not really feeling it. I'm not a huge metal guy, so maybe that factors in. I can hear the riffs, and I'm bobbing my head to them. It definitely grooves. Songwriting-wise, it doesn't feel like they've missed a beat here (and I honestly probably like it more than Master of Puppets). I think it's mostly the production. It's like ALL treble, no low-end at all. Is there a remaster of this that improves on it? Is this pretty common for thrash? It's honestly just really hard to listen to. I think I would like it more if it sounded better. Probably could have just been eight tracks as well, this thing is over an hour.
Well, at least I always have "One".
What can you even say about this album that hasn't been said before? It's damn near perfect. Every note, every flourish, everything is immaculately placed. Even a goofy-ass song like "The Girl Is Mine" works because Jacko and crew took it so seriously. This is genuine art. I never get tired of listening to it.
I wasn't sure how I was going to feel about this. I'm not a big classic rock guy in general, and what with having heard a bunch of these songs so many times over the years on classic rock radio, I wasn't expecting to really get into this album. Boy, was I wrong! This truly took me on a journey. The production was really unique, in that it didn't feel like a modern recording in any way, and yet it still felt relevant and important. Definitely not dated at all. The songwriting was really good, and even the songs I've heard a million times just made more sense with their place in the tracklisting. I wish I could have listened with the lyrics to get the sense of the full story, but I was working and that just wasn't an option. I really enjoyed this. A pleasant surprise.
Okay, so as it turns out, as I was getting ready to listen to this, I realized I was confusing them with The War And Treaty this entire time. I knew this was a band of white guys and not a Black duo, but I was expecting a more folk-y sound. Imagine my surprise when "Under The Pressure" kicked in!
This is really cool. I can hear a little Springsteen in the vocals, and a little Death Cab-via-Jimmy Eat World in the music. Not listening the closest to the lyrics, but they give off a really isolated and lonely vibe.
Is this one of those bands that has kind of a different sound every album? Not sure on that one, but they feel like they'd have the ability to do so if they desired.
A little bit of 80s too, as "Disappearing" has a big "Running Up That HIll" vibe to it.
Yeah, I was straight up vibing to this. This felt really good, really haunting and I can see this, after a few more listens, just crawling into my guts and refusing to leave. I'm normally not a fan of a lot of multiple 7+ minute songs on one album (I definitely said "ugh" out loud when I first saw this album was an hour), but the time flew by. This is great.
Okay, so there are some interesting grooves on this album, but as a whole this album is kind of boring. I was kind of excited as it started - "Chic Cheer" is a fun opener and it was cool to hear the source of the sample of this Mary J. Blige song from my high school days. "Le Freak" is obviously a classic but it goes on for too long (although I suspect this is partly in order to help get more play in the discos back in the day). It just kind of gets boring after that. A lot of these songs are long but to no end, there are no dynamic changes or big musical mix-ups in them... they just sort of keep going and going. "At Last I Am Free" is one of the most boring songs I've heard in a long time, it just does NOTHING. I appreciate Nile Rodgers and certainly respect the career he's built and the influence he's had on so many songs and musicians, but this album just doesn't do it for me at the end of the day. Honestly, if all of these songs were no more than 4:30 in length, I probably would have rated it a little higher. I think the only tracks I would listen to again are "Chic Cheer", "Sometimes You Win", and "(Funny) Bone".
Quick review before bed: This was a very enjoyable listen. Good production, good songwriting. Didn't get to pay close attention to the lyrics, but both the words and the music felt upbeat and melancholy simultaneously, which is something that I LOVE in music. Will absolutely be listening to this again. I knew the name and the genre, but never the music, and now Joe Ely has a new fan.
This was fine. I've heard some Hole songs before (including the singles from this album) but never a full album before. I think I had the impression they were more grungy, and there were some songs on here where I could feel that influences in the composition of the tunes. Production-wise, though, it felt very crisp and shiny. Not a bad thing, but I imagine this was an album where they decided to "level up" in some way, or take the next step in their progression as a band. I wish Courtney's singing voice was like %15 better. When she's belting lyrics out, she sounds great, but there are a lot of times where she just sounds... bored of this project. I guess a lot of grunge singers probably did too, and I'm trying to remember that it's easy to shit on Love and trying to be fair in my analysis. I generally like her, but it just didn't hit consistently for me here. It sounded nice, and I enjoyed it alright, but I probably won't listen to it again. I'd check out the earlier albums, though.
This was a good listen. Although I appreciate jazz music, I'm rarely in the mood to listen to it, unless it's something like this. I like the inclusion of R&B and funk and disco elements... a few of these tracks had almost a Rick James feel to it, and damn am I just a sucker for this. I did find my mind wandering a bit after listening to this, but I'd happily put it on again.
Truly just a beautiful, brilliant album. Staying punk while simultaneously expanding the meaning and influence of the word, this is an album that sounds fresh with every listen, and holds something new to discover at every turn. I will say I would probably give it 4.5 stars if I could - I *do* think it runs a little long at 19 tracks - but given the significance and importance it played in the rise of my favorite genre of music, I'm happy to bump it up to 5.
What did I know about this album/artist before I listened?
I know these dudes were huge in the hard rock/heavy metal scene of the late ‘80s. I’ve heard the singles a bunch and know about their personalities. I’m presuming that, as a whole, it’s not going to stray very far from what I’ve heard so far - I assume that the singles are very good indicators of what the album sounds like as a whole.
What are my first impressions?
“Welcome to the Jungle” is a great opening track. That guitar delay gets your attention and forces you to tune in, and by the time you know it, the entire band is playing and I imagine this sets the tone for the album. It feels both gritty AND over the top.
What genre(s) come to mind as I listen? Are there any specific artists that are evoked?
Hard rock, absolutely. There are parts of this that don’t sound very far apart from glam metal (“Nighttrain”), which I feel like would be something GNR would be mad about being associated with (if they even had an opinion about that kind of thing). “Paradise City” is like basically just Aerosmith. I never noticed that before. I would have slotted them to be a little more “metal” overall, but these riffs are filled with blues-based boogie that you don’t generally hear in metal. “Think About You” screams 80s new wave in the chorus.
Is the production appropriate for the sound/era?
I like the production. It sounds a little dirtier than a lot of the metal that was on the radio at the time, but it also fits alongside it very well. The clean guitar that kept popping up in the second half of the album was nice. A clean guitar playing a lick over distorted rhythm guitar is a sound that always sticks out to me, and I wasn’t expecting in that “Think About You” chorus, but it mixed the sound up in a way when the album really needed it. None of these songs needed to be 6+ minutes, let alone three of them.
What did the lyrics evoke? What did the singer sound like? Were the lyrics more simple or clever, direct or vague?
Axl has more swagger in his voice than I think I gave him credit for. He sounds build for radio rock, but also has personality and attitude in his vocals. That swagger allows him to get away with some grace notes in a few songs that clearly clash with the chords, but aesthetically work. The lyrics seem pretty straightforward, ruminations from a derelict who thinks he’s on top of the world now that he’s moved to LA. Let it be known that these dudes always said what was on their mind, consequences be damned (let’s not talk about “One in a Million” from the following album).
What is your favorite track/why? Least favorite/why?
Most - “Nighttrain”, “Paradise City”
Least - “My Michelle”, “Anything Goes”
What sort of situation/vibe would you find yourself playing this album in? Playability factor?
I’d probably listen to this again, but to be honest, I don’t know when. Maybe if I need something at work that’ll keep me moving.
Final summary?
I think this is the kind of album that I like and appreciate more than I would ever specifically listen to. I enjoyed jamming to these singles again, and some of the deep cuts were fun, but I don’t really see myself returning to this album very often, if at all. I wonder if hearing a good chunk of this album on the radio for decades makes the rest of it feel anticlimactic in a way? Like, there were few surprises coming into this. It does the job it’s supposed to do. I’m sure this was a game-changer back in ‘87, but it’s hard to hear that now.
Well, this was the first album that made me go look up the criteria for how the albums for this project were selected. It's interesting to see that this got a ton of critical acclaim. This is fucking BORING. This is the kind of thing I put on when I'm reading and want something that is barely sound, just to have a little noise meandering in the background. While I admit that my knowledge of DJ work is not the deepest, this doesn't seem any more remarkable than any of the laid-back electronic stuff that had come out the decade prior. I just don't get it. I'd give it a 1.5 if I could, but since I can't, a 1.0 it is.
Quick review since I'm at work: this is very good. Good folk-inspired pop while also pulling from psychedelic rock, prog, and even a little proto-David Byrne in the vocals. Many songs went in different directions than I was expecting, and the vocals were nice and the lyrics were interesting. Will definitely listen to this again. Favorite tracks were "Over The Hill" and "I'd Rather Be The Devil (Devil Got My Woman)".
I've certainly known a bunch of Elton John singles over the years, but this is the first full album of his I've listened to. I enjoyed it well enough! Some good musical diversity, and a lot of the lyrics were more varied in topic and tone than I expected. His voice is great. This album cover is fucking awful.
Hole - Live Through This
What did I know about this album/artist before I listened?
I know Courtney Love. I know this was her band that maybe she had when she met Kurt? I know they were associated with grunge as well. I’ve heard the singles from numerous albums but never a full album. I know that her live performances (at least in the most recent decades) have been not the greatest, but she sounds fine on all of the singles I’ve heard. I’m wondering if that will hold up over a full album, and I wonder if there is any diversity in sound (the songs from Celebrity Skin I know feel more “alternative” than “grunge”).
What are my first impressions?
I’ve heard this first song “Violet”, so it wasn’t a surprise, but it makes sense that it’d be the opener based on what I know about the band. Courtney sounds angry. The music sound straight out of the 90s and of the time (complimentary).
What genre(s) come to mind as I listen? Are there any specific artists that are evoked?
I mean… grunge. 90s alternative. Kurt Cobain/Nirvana. Did Hole have a different sound or even exist before the two of them met? I don’t really know the timeline, but as intertwined as their two names are (fairly or not), I wonder if there was an influence on either’s work from the other.
Is the production appropriate for the sound/era?
I mean, I think it sounds exactly like the era that it came out of. There’s a good balance of soft/loud dynamics, with interesting chord choices, but all still based in verse-chorus composition. I would personally not have so many song parts where the tempo changes or the music drops into a completely different feel (that bridge part of “She Walks Over Me” is a stain on an otherwise excellent song), but I get that was of the time and is a personal preference gripe.
What did the lyrics evoke? What did the singer sound like? Were the lyrics more simple or clever, direct or vague?
The lyrics are interesting. They feel direct - it seemed easy to read each set of lyrics and know what Love was singing about - but also like there are a ton of parts missing from the story. Like, fragmented thoughts or phrases that are stapled together in some order to tell the story. That feels very 90s, but not in a derogatory way at all. Courtney’s voice is ragged-but-melodic. I don’t know what her childhood was like (I guess I could make a guess given some of these lyrics), but she sounds both anxious AND world-weary from her past. It makes for an interesting combination.
What is your favorite track/why?
“She Walks Over Me” - I love the energy on this one. Good melody, interesting/fucked-up lyrics, great vocal performance. Just a well-written song.
Least favorite/why?
“Doll Parts” - It’s just kind of boring. I don’t find the melody very interesting, and the music plods along without much variation or spice.
What sort of situation/vibe would you find yourself playing this album in? Playability factor?
This is something I could see myself just putting on to listen to as I do my bullshit at home. 90s stuff is basically ambient background music in my brain, so this fits right in.
Final summary?
Love her or hate her, Courtney Love makes herself known when she’s around, and this album is no exception. I can’t say this is the most original album from the time, but I don’t know who else could have written and performed this. She feels every word she’s singing and that passion and truth shines in the performance. I don’t know how often I would actually listen to this (grunge is not something I regularly reach for), but I won’t be mad as these songs slowly creep into my regular algorithms. I can imagine why Hole isn’t the first band people bring up when talking about this era, but this belongs.
Recommended tracks:
“Violet”/”Plump”/”She Walks Over Me”
What did I know about this album/artist before I listened?
Okay, I know that they are an indie rock band, maybe from Canada? I’ve heard exactly one song from - “Keep The Car Running” - which I don’t believe is on this album (*checks* it is not). They won Album Of The Year at the Grammys in the early 2010s for the album The Suburbs. I bought cheap tickets to see them at some point in the last ten years that I ended up selling to Timmy (the guy who recommended this album!). Like, I know who they are and some of their significance, but I have not knowingly heard anything from this album.
What are my first impressions?
First song was okay. I like the music and the way that the sonic elements were being introduced bit by bit. It all built to a satisfying climax and an extended outro, which when done right, I am a sucker for that kind of thing. I liked the lyrics enough, I imagine this is going to be an album full of aching and loss based on the tone that has been set (the thing IS called Funeral, after all). I didn’t mind Win Butler’s vocals, but I’m interested to see if I get tired of him by the end of this album. He has a warbling, wandering quality to his voice that isn’t awful, but I don’t know that I’m going to be into it after 50 minutes.
What genre(s) come to mind as I listen? Are there any specific artists that are evoked?
"Une année sans lumière" had a little bit of 90s Springsteen popping in (appropriate, given I know he was a stated influence among bands like this and the Killers as the 2000s went on), and I heard a little Jimmy Eat World on this and “Neighborhood #3 (Power Out)”.
Is the production appropriate for the sound/era?
I mean… I don’t know that you could get more early 2000s indie here if you tried. I guess I knew that this was a larger-sized rock band and had at least one multi-instrumentalist playing some non-standard rock instruments, but it was still a surprise to hear the accordion and the strings when they came up. Listening to this helps contextualize a lot of the bands I was seeing/playing with in the mid-2000s Kalamazoo DIY scene, where this was really rampant (and perhaps even more experimental/indie?) and the vibe felt really pompous/highfalutin’.
What did the lyrics evoke? What did the singer sound like? Were the lyrics more simple or clever, direct or vague?
The lyrics are my favorite part of the record. The first half of the album tells a story of a town hit with a power outage in the middle of winter, and I can see where my first impression came through here. Definitely more of a set of lyrics devoted to aching than loss, necessarily. The second half of the record is just… other songs, which is fine (I don’t necessarily think a conceptual suite of songs has to encompass the entire album), but it hits different after the telling of a saga of songs. I was concerned about what to expect vocally as the album went on, but I’m finding myself warming to Butler’s voice. It’s also nice that he’s not the only vocalist here, as Régine Chassagne has a lovely voice and I wish she’d take lead on more songs.
What is your favorite track/why?
“Neighborhood #2 (Laika)” - The verse sounds like an indie-rock version of a punk rock call-and-response-type song, and it segues nicely into a chorus with a different vocal feel. The two seem like they should clash, but they work really well.
Least favorite/why?
“Neighborhood #4 (7 Kettles)” - I liked the lyrics to this, but it with most of these songs pushing five minutes, this one felt too long and too drab. Not enough variety in the music and not enough momentum to really warrant the length.
“Crown of Love” - Look, I’m just gonna say it, 6/8 is not my favorite time signature, so if you’re gonna write a song with that signature, it’s gotta HIT. This was a boring, meandering dirge, and the abrupt switch into an upbeat 4/4 for the last minute felt more jarring than a heightening of emotion.
What sort of situation/vibe would you find yourself playing this album in? Playability
factor?
I suppose I could see myself putting this on if I was in an introspective mood in the middle of the night. (maybe I’d be lucky enough to fall asleep if it was late enough)
Final summary?
I was really interested to listen to this, and as it turns out, I had heard a few of these songs already. (I swear, I always assumed “Wake Up” was a Polyphonic Spree song!) As the album went on, though, my mind was wandering and I was less engrossed in this listen. The first half was neat in concept, if not execution, and I was hoping for a satisfying build as the album continued into the second half, but it seemed like it lost steam after that. Interestingly, that’s how I felt about a lot of these songs as a whole: these tunes kept seemingly building to something, but then couldn’t deliver in the end (most of these songs were too long anyway). I wonder if the album had been sequenced differently, if that would have made a different. Switch side A to side B, and vice versa, and maybe reorder the non-suite tracks, and then at least it would have felt like there was a cool thematic climax at the end of the record. I dunno, I’m probably not gonna seek this one out for a second listen, but I’d politely ignore it if someone else played it.
