Refreshing and relaxing, but perhaps a bit too relaxing. Started off strong with The Girl from Ipanema, but the rest of the record flew by without making too much of an impression, good or bad.
Fast, abrasive and youthful. Starts off strong with the punky and bouncy 'Deceptacon' and continues with many tracks in the same vein. Besides the post-punk influenced, 'Eau d'bedroom Dancing,' none of the other tracks particularly grab my attention, drifting by in a wash of angsty, poppy vibes.
Lyrically, there is a lot there to enjoy. Sonically, the lo-fi charm starts to wear out its welcome.
Considering this is one of my favorite albums from childhood and 'Waiting in Vain' is one of my favorite songs of all time, it would be criminal to award this record with fewer than five stars.
Although it has been years since I've heard the full album in its entirety, it still retains the magical charm that I remember from youth. A timeless message that means just as much in the 2020s as it did in the 1970s.
The first few tracks seemingly posed the question "what if The Beatles were bland and milquetoast"? Things improved slightly, but not to the point of ever feeling like there was a track that I enjoyed the entire way through. In fact, there were quite a few songs that I strongly disliked and found it quite tedious to make it through all of them.
I had hoped that things would improve closer to the end, as Mr. Blue Sky had a disproportionately large number of streams compared to the other tracks. Yet it was just as insipid as the rest.
The haunting and beautiful Nine Inch Nails cover of 'Hurt' elevates this album to a level where it would be difficult to hold this album in anything but high esteem. There's something very comfortable about the soundscape on this record: Cash's deep bassy voice and the sparse production, which at times opens up to something grand, feels very familiar and comforting.
Smooth, fun and enjoyable. Kind of like candy corn.
And for anyone who has lived the dream--the dream of replacing a hearty and nutritious full-course dinner with a plastic bowl overflowing with candy corn--the clawing, sticky sweetness beckons the dreamer to ask: "why the fuck is this bowl so sticky?? it's too fucking sugary god dammit."
That is to say, there could have been more substance to this bowl of candy and it is clear why it is no longer on future iterations of the 1001 Albums list.
This record sounds like the juices of a mango dripping down the chin of scorned lover. In a whirlwind of heartache, sensuality and healing, Sade provides the soundtrack to dance and cry and love without fear.
A flawless, breathtaking masterpiece. Many tracks literally moved me to tears, including ''All I Need' and the final three songs. Something in this album's atmosphere, lyrics and instrumentation touches at my soul and invites me to be more human.
> flying through Miami Beach in a car with doors that open not like this
> **limply mimes a regular passenger car door opening**
> but with doors that open like this
> **enthusiastically thrashes hands in the a chaotic whirl**
> fuck yeah
2 stars
Many beautiful moments on this record, both musically and lyrically. Stand out tracks for me are 'Edith and the Kingpin' and 'Shades of Scarlet Conquering.' Some filler and odd choices--that might make more sense on future listens--which ultimately bring the record down a notch.
It's OK Computer. Nothing short of 5 stars would be appropriate.
Stylish and brash. The closer, Flowers, was a standout track. Just beautiful.
Perfectly pleasant but ultimately not noteworthy.
