Solid B+; holds up pretty well; sounded very MODERN (and fresh), when it came out; 1st 3 songs very strong; song 1 (Good Times Roll) was the "class song" for my graduating class, in my senior year (1979-80); song 3 was a song that I remember my college friends and I talked about performing together (we never did, but I still think of that when I hear it, and take a stab at singing it); #4 less substantial (but ok, for an album); by around songs 5 & 6, I'm starting to wonder: do the songs start to sound kind of the same, after a while? I guess you could say that The Cars had a sound, *their* sound, and it was a pretty darn good sound, very much OF their time, but also at the cutting edge of their time; #7 is good; #8 is the "deep cut" that wasn't a hit, but I remember that some of my friends liked it a lot (I like it, too) - kinda trippy, and catchy, too; #9 is similar to #8, in being maybe a little deeper (less obviously a catchy pop hit song); together, 8 and 9 help to make the album a stronger ALBUM, and not just a string of catchy (but maybe a little lightweight) pop songs.
I've known about Kraftwerk for a long time (I think I remember JB - John Buchanan - who led a band at Notre Dame when we were there, and later played with the Soul Searchers and Chuck Brown in DC, saying, maybe in the later 80s, that Kraftwerk were cool) but, for whatever reason, haven't paid them a lot of attention, or been particularly drawn to them. I think they probably had an influence on many kinds of music, like, House, techno, and hip-hop. I do own 1 Kraftwerk CD (Trans-Euro Express), but am not familiar with this one. I did recognize "Neon Lights," though, because it was covered by a Georgia alternative band from the 80s that I like, Love Tractor (I think it was a minor hit for them). I would probably rate this one about the same as The Cars album (and, I'm guessing, a lot of the 1001 albums, lol), as a solid B+, which I guess will translate to 4 stars.
This is a difficult one to rate, for a couple of reasons: 1) it's in my DNA, since my parents bought it not long after it came out (late 1968), so I've been hearing these songs most of my life, and 2) there are so many songs, which run the gamut from great to filler. It's tempting to say that it would easily be 5 stars if they'd left a few off, although I'll admit that, as I look over the tracks, there aren't as many as I'd thought there'd be, of tracks that for sure I would have left off. So, I guess, I'm gonna go with a hesitant, almost reluctant, 5 stars, *even though* it's a messy, flawed, all-over-the-place album. But, I suspect, that was sort of the point.
Another difficult one to rate. I want to like this one more, because I've always been a fan of War, and I like their music. The (original) album, though (which I think is what we're rating), is just 6 songs, including 3 longer ones. Maybe if I listened a second time, I'd like it more? But still, it's not like I don't like it - on the contrary. I was gonna give it a 3.5, but then I realize that's less than I gave Cars and Kraftwerk, and in some ways I like this better than both of those (LOL). *Sigh* - I give it 4 stars (and kind of wish I could change Cars, at least, to 3.5).
Oh, man, this is so hard to rate! Before I started listening, I was thinking it could be 5 stars - but I'd forgotten how steeply it falls off, after the 1st 3 or 4. But: I sooooo love those first 3 (4?) songs! #4, Rock Lobster, is the beginning of my complicated relationship with this group, and this album (and that song, specifically), because, I guess, I was put off by the singer's weird voice, and puzzled by the crazy, weird (but catchy!) song, and so, I guess, you could say, I wasn't ready for "Rock Lobster," when it, incredibly (how did this happen?!) became (only) a minor hit, ca. 1979-80 (#56, in the US - though in Canada, it made it to #1). I also just confirmed my suspicion that they played "Rock Lobster" on Sat. Night Live (Google says it was January 26, 1980 - during my Senior year of high school), which I'm sure played a big part in the whole Rock Lobster phenomenon -- I'm also pretty sure I remember being at a party later in 1980 (I didn't go to that many parties, so this stands out, lol), and people dancing the Rock Lobster to this song. But, yeah, the singer's voice (and the band's whole shtick) were so weird, and I wasn't sure what to make of the whole Rock Lobster phenomenon . . . so it wasn't until (a year or two?) later, when I was in college, that I discovered that the B-52s had other, even better, songs, and were part of an exciting "new wave" of music, which included others (e.g., Talking Heads, Elvis Costello) who I was initially puzzled by, but soon came to love. Anyway, apologies for kinda getting sidetracked, but . . . CONTEXT, I guess. So, anyway, NOW? Today? I love the B-52s, and I LOVE the 1st 3 (4? 5?) songs on this album, plus I have to give props to the B-52s for helping to usher in a new wave of freedom and fun and creativity into popular music, and so I think I have to give this (unofficially) 4.5, despite the relative weakness of tracks 6-9.
Funny, I was just wondering this morning (before I saw today's album) when we'd get an album that I wasn't familiar with, and here we are! Jumping right to ranking: this would be a 3.5, if I could, and it'll be almost a toss-up to choose between 3 and 4. It's interesting to listen to music sung in a language you're not fluent in (or don't know at all). I know some French, but mostly, unless I really focused, it was just vocals as another element of music and rhythm. And, at that level, it's pretty good. It's a weird combination of old and new (for me at least; maybe different for you 2, since it's from before you were born): old (35 years ago), and yet, at least for me, there was a time when this would have been very fresh and new and groovy, and it *still* has some of that, at least to my ears, partly because I haven't heard it before, but also because the music itself feels fresh. It has a good vibe, and I'd enjoy hearing it again, so I think for that reason I'll give it 4 stars.
Oh man, so many thoughts . . . . Here's one: this album epitomizes the debt we 3 owe to Mombo. She must have bought this album around when it was first released (May 1971, a year before we moved to Florida), because I'm pretty sure I remember listening to it in South Bend. Anyway, safe to say, probably a pretty small minority of white kids growing up in the 70s whose mother bought this album. Thanks, Mom (for ALL the music)! I remember listening to this in the 80s (probably 90s, too), and feeling like it had been forgotten, but in the past 20 or 25 years or so, I feel like I've been hearing it (the hits, at least) more often. I bet this is one of the highest rated albums (by all the people who rate it here, I mean -- not just us). 5 stars (though, if I had the option, I *might* rate it 4.5 - but maybe 5).
Gonna have to choose between 4 and 5, here (wish I could give it a 4.5). 4 feels too low, but 5 feels slightly dishonest since (if I'm honest) I prefer (and have always listened more often to) the other albums we had when I was growing up, "Life" and (especially) "Greatest Hits." But, still, c'mon: this is Sly; I gotta give 5 stars (4 stars definitely feels too low)! Maybe this will help me remember to continue listening to this album (and also to read Sly's biography, which I have but haven't yet read).
If I were grading this by Ray's scale (the idea, I think, being that we should have about 200 each of 1s, 2s, 3s, 4s, and 5s), I'd probably give this one a 2, but, on my scale, I'll give it a 3. I've never been a huge Bowie fan, but most of his stuff is solid enough, and this album is pretty decent. 2 of the songs I already knew (Golden Years, TVC15). The rest, after 1 listen, good enough, maybe a little forgettable. Actually, if I could, I'd probably give this a 2.5, rather than a 3. A little boring, maybe? Curious to know what you guys think.
I don't think I've ever heard the full album, though I do seem to recall hearing/reading that this was one of his better solo albums; I'm familiar with 3 of the 11 songs (Vicious; Walk/Wild Side; Satellite). I think I'll give this one 4 stars, which is higher than I expected. I've long liked The Velvet Underground, but always sort of shied away from Lou Reed's solo work, partly because of his ("singing") voice, but also maybe a little because he seemed kind of . . . dark and scary. I think, in a small way, he colored how I thought about New York City, when I lived there (1983-87); he seemed like a quintessential New Yorker. My first exposure to Lou Reed, I think, was hearing "Walk on the Wild Side" on the radio (released November 1972, a few months after we moved to Jacksonville); I think even my 10-year-old self was a little surprised that it was played on the radio, but the song was (and is) undeniably cool and catchy. So, regarding the other 8 songs (that were not familiar to me - although 1 or 2 of them did sound a little familiar), I'd again say: a bit better than I expected, with an impressive variety of styles, and a good overall sound. And the singing voice, while slightly off-putting, wasn't really a big problem. So, yeah, not a 5 (for me, anyway - though I'm sure it is for a lot of people), but not a 3, either, so 4 it is (for me). P.S. After listening a second time to the songs I didn't know previously, I liked them overall maybe slightly less, so would probaby go for 3.5, if that were an option, but still choose a 4 over a 3.
What can you say about Tom Waits, other than the obvious he's one of a kind, sui generis, in a category of one. And maybe: you either love him or hate him (or, possibly: you have to be in the mood - love him one day, hate him the next). All I can say is I'm glad he exists, and has persisted (for decades, now), and, although it took me a little while to get there, I've been a fan of his for quite a while now. Since he IS in a category of one, arguably, it's difficult to rate him: he's only competing with himself. But, anyway, I'll give it 4 stars. lol
The 2 songs I already knew, "Bang a Gong" and "Jeepster" are GREAT, and I'd picked up references, over the years, to this album being great, too, and very influential on "glam" rock (and beyond), so I was prepared to be . . . blown away (?) . . . but, unfortunately, I wasn't. None of the other 9 songs really grabbed me, at least on first listen (but I wasn't inspired to listen again). I'd probably do 3.5 (7 out of 10), but I think I'll have to go with 3, based on the relative weakness (at least on first listen) to the other 9 songs. But those 2 songs are still GREAT, and I'm always glad to hear them on the radio :)
Weird to think that this album is (slightly) older than you guys. Curious to know whether either of you were already familiar with it (and also what you make of it). When it came out, it was BIG, especially in the Chicago area, since it was at the forefront of the 90s Wicker Park scene, when Wicker Park was the epicenter of coolness (or at least thought it was, lol) - a lot of indie music came out of there (or with connections there) then, and achieved a fair amount of success, probably not matched since, in the Chicago area. Before I forget, I just noticed that the video for "Never Said" (track 5) was filmed at the Garfield Park Conservatory. Trying to think of which of the 19 (!) tracks stands out, I'd probably (without thinking about it too much) choose that track, plus Fuck and Run, and Stratford-on-Guy. Feels more difficult than usual to rate this one, but I guess I'll choose 4 (rather than 3). Not something I'd choose to listen to a lot, but every once in a long while it's just the thing -- but maybe this is partly (and this wouldn't apply to you two) as a landmark of a certain time in my life. Also, though, I think the album has an impressive overall cohesiveness; the flip side of this, I suppose, is that (you could argue that) after a while, the songs start to sort of sound the same, and blur together. Still, I'm sticking with 4 stars, for an album that's a good way to spend an hour (every once in a while), plus, for me, a milepost from a certain time in my life, just before my sons came along :)
God bless Paul Simon; what a blessing his music is! That said, I'm struggling between 4 and 5 stars, for this one (even though it's an obvious classic). I think my primary struggle isn't really the album's fault, and so should be discounted/discarded: I heard these songs so much, in the first few years after the album came out, that they've lost a tiny bit of their impact for me, maybe? The other strike against it, and it's very minor, is that a couple of songs toward the end of the album (track 9, plus the last track, track 11) struck me as (relative to the rest of the album) lesser songs. Still, the rest of the album is so great, and still (40 years later!) sounds amazing, so I think I have to give this one 5 stars.
It's between 3 and 4 stars on this one, and I feel a little bad about this, but I think I'll give it 3. This brings to mind another general question about the ratings we're giving here: is it just how much we like it, or, in a broader sense (not just for us, but for everyone), how "good" we think it is. I guess maybe a mix of the 2, but with an edge to the former? Anyway, ELVIS. Yeah, it's complicated (for me, anyway). I think I picked up some of Mombo's . . . disdain (?) for Elvis, probably most of all because so much of his success was from covering songs that were originally done by black singers. Over time, as an adult, I've come to like/appreciate (but not love) Elvis. I was glad for an opportunity to hear this album, in particular, as it's mostly new to me, but I've long heard/known about it. The only songs I knew before (I think) are "In the Ghetto," and "Gentle on My Mind" (but that song I knew the Glen Campbell original, which I think I prefer). Might be interesting to ask Granddad about his take on Elvis: Elvis was most successful in the mid/late 1950s, when Mombo and Granddad were teenagers. In the 60s, he was overshadowed by The Beatles (and many others), but this album was part of his late-60s "comeback." (He died prematurely in 1977, at age 42.) Pretty good stuff, and tempting to give it a 4, but I'll stick with 3.
We're almost up to when you guys were born, lol. But, unfortunately (for me, anyway): pompous/pretentious, stressful/histrionic, unmusical/untuneful noise; no, thanks! Music by people who love theater (but not music)? I listened, dutifully (but with increasing dread) to all 12 tracks. I didn't like (hated, basically) all of them. It's difficult (impossible?) for me to like a band when I don't like the singer. And I don't like this "singer." Won't be (voluntarily) listening to any of this again. 1 star.
Most people only know this band (if they know them at all) for "Come on Eileen," which was on their *2nd* album, but this is their 1st album. For me, it's a little like Sly's "There's a Riot Going On" -- I've had the album for a long time, and this is a reminder that I should have been listening to it more (and should do so in the days ahead). This one is definitely between 4 and 5, and if 4.5 were an option, there's a good chance I'd go with that, but I guess I'll go (a little reluctantly) with 4 stars (again making me wish I could maybe lower a few of my early 4 stars ratings). The singer's voice is, umm, a bit *different*, but somehow, for me at least, it's not too offputting -- even, sort of, becomes part of what makes this band unique. Not sure exactly why that is, as weird (which often lies close to untuneful - if that's a word) voices often are offputting for me. Anyway, I'm pleasantly surprised to even see this album here in this list (although 1001 is indeed a lot of albums). Bonus points for a few of those song titles? (But 4 stars based on the songs alone.)
Who knows what I would have given this, if I hadn't heard half of these songs 1,000 times each, but, anyway, I'm gonna give it 3 stars, perhaps deducting a little for taking up too much of my music listening time. ;)
Also, for Robert Plant's voice, which I used to hate, and still don't love. And also for stealing from blues guys (similar to Elvis). One of my all-time favorite blues songs is "Killing Floor," by Howlin Wolf, featuring the great Hubert Sumlin playing some killer guitar. "The Lemon Song" is lifted directly from this (but nowhere near as good). Two other songs are at least partially credited to the great blues musician and songwriter, Willie Dixon. Also, the lesser-known songs on this album are pretty mediocre.
5 stars. Don't even need to listen. Biggest albums for me (thx to Mombo & Granddad) as a kid were probably this, Sgt. Pepper, and Sly/Family Stone's Greatest Hits. But I will listen. I love these songs. They're in my DNA. And they exist as a cohesive unit in my mind and heart. 5.5 stars ;)
Not really my cup of tea. Track 9, in particular: who needs that? (lol) So, between a 2 and a 3 for me, and I guess I lean slightly toward 2. (As an aside, I like band member Lou Barlow's spin-off band, Sebadoh, somewhat better.) Trying to think of something else to say about this one. Was kind of a fresh sound, I guess, at the time. If they'd had a better Track 9, might have been a 3, but, as is, I'm sticking with a 2.
When this album first popped up, I was excited: Ray Charles! R&B deluxe! Eh . . . not so much. This is slick, formulaic, and schmaltzy. Ray's voice is still great, so I guess I'll give it 3 stars just for that. Maybe this is a generational thing: this seems like music for my grandparents' generation, but, to me, just slick, predictable, and not very exciting or interesting.
Another slick from one - from a more recent era, but sounds pretty dated to me, at this point (although I wouldn't have liked it in the 90s, either). It's almost as if AI had tried to make 90s pop music, it might have come up with something like this? I feel like I'm hearing echoes of bits and pieces of other things, but not adding up to much of anything. Doesn't belong in this list. 1.
5 stars. Great ALL the way through. "Living for the City" and, especially, "Higher Ground" have (unfairly) lost (for me) a *little* of their sheen, from having been played on the radio so much, especially in the early years. I think I love all 7 of the OTHER songs on the album even more than those 2 hits (actually, sorry, AI reminds me that "Don't You Worry Bout a Thing" was also a minor hit - but not as big as the other 2 hits, and I don't remember hearing it on the radio all that often). Anyway, back to the album: the first two tracks start off the album nicely with an introspective mood, and then the rest of the album just keeps laying down one great song after another. And, ok, you know, I HAVE to give loving salute here to my dear mother (Mombo), because she's why I know this album so well. She bought all of Stevie's great mid-'70s albums, and we heard them fairly often at our house, and came to know them and love them, thanks to her. So, thanks, Mom! :) Ok, I know I'm not saying a lot about the music itself. It's both complex and catchy; it holds up to MANY repeated listens, and gets better with time (like a fine wine, lol). The more you listen, the more you hear and appreciate Stevie's genius, the depth and variety and perfection, and the cumulative greatness of the songs on this album.
My life was not complete until I heard this album. And guess what - it's still not complete, cuz this album added nothing to my life. Ba-dum-bum! (which I just saw is apparently sometimes written ba-dum-tss! - which maybe makes better onomatopoetic sense). But, anyway, I guess on an *intellectual* level I can kind of appreciate what (maybe) they were going for here, I just don't have any interest in hearing this again. It's kind of like the old "Gong Show" on tv, where you'd kind of get the feeling that the really bad acts kind of *expected* - no, WANTED - to be gonged off the stage. Happy to oblige! Might (if it were an option) have given 'em 1.5 for, err, novelty and derring-do. But -- too bad! -- not an option: 1 star.
This music (that we get here every day) sure is all over the place, huh? This one makes me think of the recent Ray Charles (which I only gave 3 stars), but I'm inclined to give this one 4 stars, and not sure why the difference, exactly. I think because it doesn't feel quite so slick and formulaic? It's plenty *tight*, but it also really swings. This one and the Ray Charles came out around the same time (one 1958, one 1959), so both before my time, and at a time (though already fading a lot by then, I think) when people *danced* to music (often at live performances) more than they do today. I bet it was fun to dance to this music. Also, right now "Fantail" is playing (track 10 of 11), and that bass is really jamming :) - and then the sax, too. And now track 11, I realize, is familiar (it's a theme song for some program I hear on WDCB, I think), and it's killer, too. So, yeah, this is a solid 4 for me (and, if this is your jam, and you gave it a 5, I wouldn't argue with you). But, I guess, if it's not, and you gave it 3 stars, no argument there, either.
Wow, has it really been close to 20 years since this album came out?
I remember, after having heard "White Winter Hymnal" (on the radio I guess, probably WXRT), and loving it, getting the CD from the library, and
being somewhat disappointed in the album. I'm not sure why, exactly; possibly -- unfairly -- only because (after only listening once or twice) the other songs weren't as immediately great as WWH? And maybe a vague sense that the songs tended to sound kind of the same. I'm mean, no question, it's a great sound. But, I will say, listening to it again now (a couple of times), I liked the other 10 songs bit better than I remembered liking them/expected to like them. And, I think, I got more of a sense of variety, from song to song. So, maybe a little unfairly judged, the first time around. Anyway, now that I've listened to the whole album again (twice!), it's easier now to choose between a 3 and a 4, and give this album 4 stars, without hesitation. Curious to hear what you two have to say about it. One of the first albums we've listened to so far that's younger than you two.
Look at that photo - how can you not like those people? British (mostly Scottish, I think) hippies, late 60s, letting their freak flags fly freely. So, you know, I'm already disposed to like them. Which is handy (for them) since their singing is, um, not the most tuneful. (That's how you know they're folk singers, lol.) But not just folk - psychedelic folk; listen to all the groovy stuff going on, all of the exotic instruments (sitar, gimbri, hammered dulcimer, penny whistle, pan pipe, etc.). Because of when I was born, I'm probably overly inclined to think hippies were the coolest people ever, which might translate into me overrating this album. But I think I have to end on 4, because of the singing (and also, I think, the melodies themselves were, at times, sort of . . . meandering?). I think we're rating these albums based just on the music, but if we included things like influence on future acts, and strength of artistic concept and ambition, I might be slightly tempted to give them 5 stars. But, as it is, 4 stars, for me.
I listened to this once, about an hour ago, and should probably listen to it again, a little more carefully, but my motivation for doing so is not high. And that's sort of how I feel about Sonic Youth generally: not motivated to listen to them very often. I do have one of their albums (probably their best?), Daydream Nation (actually a double album), which came out in 1988, 2 years after EVOL. For me, once in a very long while, Daydream Nation is just the thing. They're good at what they do; it's just not something I'm particularly drawn to. After a second listen, I did like it probably a tiny bit better. Anyway, it's between a 3 and 4 for me. (Btw, this is another one where I'm curious to read what you guys think.) I think I have to go with a 3 - it's interesting, but hard for me to feel much enthusiasm for it, so, yeah, a 3.
Having a bit of trouble thinking of what to say about this, and also how to rate it. Short version: I think I'll go with 4 stars. Quality-wise, I wonder if it might have been better if he'd left off a few tracks? Although deciding which ones to leave off would take a few more listens, lol. Anyway, there's definitely a lot of good stuff here. And yet, I have to say, not that many songs that *really* grabbed me? Maybe would grow on me, if I listened a few more times? Once again, curious to know your thoughts!
Not really my cup of tea. Music for angry teenagers? But I wasn't a particularly angry teenager. And I wasn't a teenager for long. I'll give him a 2nd star for . . . commitment to his aesthetic? And maybe helping angry (or alienated or disillusioned) teenagers. I guess this (album a day) practice upon which we're embarked is maybe good for . . . exercising our music-listening muscles? Although I think (if I do say so myself) that the 3 of us were already doing pretty well in that regard, and have earned our right to have opinions and preferences. ;) So, yeah, 2 stars . . . and I won't be coming back. But, worth checking out: right near the end of his life, Johnny Cash did a cover of the last song on the album, "Hurt," which is worth listening to.
I really liked Calexico, when they first came on the scene (that's a dated phrase, isn't it?), about 25 years ago, or so. I had a few of their albums, back when I was buying too many CDs, but I didn't have this one (maybe because, by the time it came out, I'd already bought 2 or 3, lol?). Initial thoughts, after listening through one time: it's good, very likely a 4-star album, but maybe not quite as good as one of the ones I have ("The Black Light"). Another thought is that it seemed like maybe it got stronger, as it went on (although the first song is good). About the music: they were cool and exciting, because they were doing something nobody else was doing, and doing it well: combining a number of different elements, to create *their* sound, which was atmospheric, complex, and somehow seemed to evoke where they're from (Arizona/the Southwest). I've started a second listen, and I think I'm liking it a bit more this time, as I better appreciate the complexity, the details, the cohesion, the atmosphere, and the music. Easy 4 stars, but I don't think I can quite justify 5, although it's tempting.
I kind of slacked off today, and only listened through this album once. I actually own this CD, but probably haven't listened to it for years. I'd forgotten what an awesome song "The Seed 2.0" is (5 stars for that one, for sure!). One thing this exercise will do, I think/hope, is remind me of some of the great albums/CDs that I own, but have been neglecting, so that can go back to listen to them again. Anyway, to not fall behind with the albums we're listening to together, I think I have to give this one 4 stars, and call it a day. But I will try to listen again soon, and see if I can come up with some more comments. I wonder if it would have sounded more unique when it first came out than it does now? It does have a lot of variety (among the tracks on the album), though. And good overall quality. And, I think, a thoughtful sequencing of the tracks, too.
"Jesus Walks" is pretty cool, but, for me, there's a pretty steep drop-off, after that. I guess the words are kind of interesting as poetry/theater/story-telling, but musically a close call between 2 and 3 stars. But I'll raise it to 3 overall for "Jesus Walks" plus the words (and a few Chi-town shout-outs don't hurt, either, lol). The "Spirit" songs, btw build off a great (duh) Aretha Franklin song, "Spirit in the Dark" (which I'd rather listen to than anything on this album).
I'll admit I didn't love this album, listening to it, just now (didn't hate it -- just didn't love it). But The Ramones were very influential, probably THE American punk rock band. And they were definitely a New York band, and I think I came to like them more when I lived in New York (1983-87), and probably heard them more on the radio. Trivial side note: I actually saw iconic (tall, skinny, long hair) lead singer Joey Ramone in New York, one time (I think it was in the 90s, on a return visit); pretty sure he was going into the famous comics/graphic novels/toy shop, Forbidden Planet. But, musically, listening today, I'd be hard-pressed to give this more than 3 stars. If I included their influence, and how their music, coming out in the mid-70s, when popular music had taken a turn for the worse (and boring), was like a splash of cold water in the face, I'd probably give them 4 stars (at least). But, since I'm just rating how I like the music on this album today: 3 stars.
Classic soul; such a great sound! Producer/engineer Willie Mitchell is often given a lot of credit for the great sound on Al Green's classic albums. It's between a 4 and 5 for me; I'd probably do 4.5, if that were a choice (if only to avoid giving too many 5s), but I think this one has to be a 5, even though I guess I could have deducted for it being so short (about 34 minutes). Back in the day, though, albums tended to be around 20 minutes per side, so I guess this isn't all *that* short. Anyway, for me, it's a near-perfect album, so 5 stars it is. Worth it to glance at Wikipedia (preferably before listening) to get a full picture of the (fairly extensive) musical personnel involved to create a deceptively simple and pure groove and sound.
This is a weird one for me, since this I'm not familiar with this guy. The only other ones like that so far were MC Solaar and Liars (and Robbie Williams was just a name, same with Pulp, basically). Anyway, trying to place where this guy fits in, and not having much luck. His voice (and maybe his music) remind me a bit of country singer Jimmie Dale Gilmore and of M. Ward (who's also half of She & Him). Country singer? Folk singer? Crooner? And here's also where I come up against: is it (i.e., how I should judge the albums here) "how much do I like it," or "do I think he's done a good job at what he's doing (even if the music doesn't appeal to me)? But, in fact, it's not that I don't like it; maybe more that I wouldn't seek it out very often? But I'm glad for the discovery, and might come back occasionally. 4 stars. P.S. I intentionally didn't look up anything about him until after I wrote this; am curious now to look him up.
My mind is a little blown that this album is new to me. I think I tended to dismiss the Beach Boys as lightweight, when I was younger, but then I started picking up hints that Brian Wilson was a genius, Pet Sounds a masterpiece, etc., plus, as I told Ray recently, Fred had an 8-track tape (!) of the Beach Boys Greatest Hits when we roomed together at FSU, and I came to love those songs. But, somehow, despite periodically reassessing the Beach Boys in my adult life, I never had any awareness (to speak of - I guess the album cover looks a little familiar, lol) of this album, or that it could possibly end up in this (1001) list. Also interesting that it came out 3 months before Sly's "There's a Riot Goin On" (which, as Ray noted, could be a response to Marvin Gaye's "What's Going On"). Just to take that a step further: Those 3 albums all came out in 1971 (Gaye in May; Beach Boys in August; and Sly in November), which was (obviously) a time of great musical creativity, and also a response to the Kent State massacre (May 1970), and the Vietnam War (and the draft) more generally, as well as growing awareness that humans were harming the environment. It just occurs to me that this album might reflect the end of Brian Wilson's innocence (if you want to be . . . poetic? . . . about it): no more light-hearted songs about girls and surfing - or, more broadly, the end of his generation's innocence. Ok, well, I still need to rate this album, lol. That's difficult, but I think I'll go with 4 stars. Not a 5; not a 2; possibly a 3, but I think it deserves a 4 (or at least a 3.5). At the moment, I'm listening a 2nd time, and there's this amazing flute (!) in "Feel Flows," so, yeah, definitely a 4, and I'll probably want to come back to this again at some point.
I bought this album (used), I think when I was in college, mostly from a vague sense that Traffic were supposed to be a cool n groovy late 60s band (and I liked the song "Feelin Alright" pretty well, although Joe Cocker's version is better known - and better). But listening again now, I'm reminded that, while it was perfectly fine, it was kind of a disappointment, and didn't really grab me. I went to look at the (my) album, and realized/was reminded that I must have given it away when I moved here from the house on Ridgeland, when I gave away a number of my less-preferred albums to WLUW (and to make my albums all fit in the cabinets built by Grandpa Dave). Again, not a bad album; good, but (for me) not great, and maybe not all that interesting or catchy? My favorite track, listening twice today to the 10 original tracks, was "40,000 Headmen" and, in particular the flute played by Chris Wood, who apparently also played "sleigh bells" and a "Coke tin" on the track (2nd album in a row with catchy flute ;) ). 3 stars.
This is a hard one to rate. What do you compare it to? And - for our purposes - is the prison setting relevant? (I'm tempted to say no, if only because, if the answer is yes, then HOW?) Actually, in some ways, the prison setting was just as a distraction, almost like a gimmick. But, on the other hand, I guess you could argue that, for *these* songs, and for Johnny Cash in particular, a prison kind of makes sense? Johnny Cash (and his wife, June Carter, of the famous Carter Family) come out of the American folk tradition, which tends to have a lot of tragedy, and morality tales, etc. -- so the songs that Cash played at Folsom Prison were (mostly) coming from that tradition, and maybe a prison audience was a particularly appropriate audience. But, still, for me: kind of a distraction (I'd probably have preferred a mix that left out most if not all of the between-song banter). I think what I'd say is that, if I just focus on the music, I'd give it 4 stars, so that's what I'm gonna do. Also, if you guys aren't really familiar with the Carter Family, maybe spend a few minutes with their Wikipedia entry (better yet, seek out recordings of their music, too). Once a dad, always a dad ;)
3 stars. Probably blew the minds of many white teenagers in the 1950s (not Mombo, though), but pretty . . . tame? bland? today (or even when I was growing up). Note covers of songs by Ray Charles (I Got a Woman) and Tutti-Frutti (Little Richard) - the originals are (not surprisingly) better. I admit that I only listened to this one once, but I'm not motivated to listen again. Not (at all) that I hated it -- just that I don't hear the need to hear it again. Regarding the music: it was competent, but possibly sounds a bit stiff, now? Historically, of course, this album was important: birth of (white) rock n roll, and all that. Possibly of slightly more interest for the two of you, since (I'm guessing) it doesn't sound quite as stale to you as it does to me?
