I grew up with this in HS. It's slick, polished and represents the energy he brought to every performance. You have to see him in person for this to really hit hard because the man was the consummate performer. His studio albums were milquetoast, but that was not his passion. His passion was crowds and the stage and this album is the best example of it.
"Wonder Years" the Album... Quite a few tracks I knew existed -- and I like -- but I didn't realize were Van Morrison. Strong start, tapers at the end. (3.75/5)
EDIT: I keep coming back to some of the tracks and they've stuck to me. "Moondance" is the standout, but some others have really wormed their way into my ear. We've been at this over a month and I'm surprised how *this* album has lodged itself into my mind. I'm rounding this UP.
This immediately evokes a mall in the late 2000's or early 2010's. "Auto tune crooning"... R&B for people who don't know good music. Technically, well produced but essentially boring. The same themes, lyrics, samples, and music you hear EVERYWHERE. How did this album make the list? This was a slog to get through. What exactly makes this special or stand out from the sea of R&B that sounds exactly like this?? Background music for a dying mall... 1/5, one point for the talented producers who can effortlessly spit this crap out.
Music for my younger self. I don't think I'm this depressed anymore, or maybe never was. Rage was and is more my style. Nothing on this album surprised me or awed me. Is it possible that The Cure was so successful they unknowingly became a cliche? It was exactly what I expected before I hit play, and that may be a testament to their vision, but it doesn't mean I like it. 2/5, to help support all of those Hot Topic kids who needed spending money in HS.
Kinetic and energetic. A rush of punk and a seminal album from my youth. Now that I'm older and wiser, it hits differently. There's an purposeful sameness to most of the tracks. Maybe in homage to the Ramones, many of the tracks that weren't given hit-status have a limited chord pallet and are rhythmically similar. That's not a jab, but it's not as exciting as it used to be. It was a stylistic choice. The hit-tracks, Longview, Welcome to Paradise, Basket Case, and When I Come Around are the standouts, for good reason. This is a solid (impressive, even) first effort and with the benefit of hindsight we know was a portent of much greater things to come. (4/5) This is a fun, frenetic album.
The track All By Myself took me back to the time when cassettes had the "secret hidden tracks" for when you left the tape playing past the final note on the last listed song. Analog secrets.
I flirted with club/dance music about a decade after this album's release. I see the appeal of smooth, danceable music for dancing. This is a new album to me and I want to meet this album where it is in time. The first two tracks' heavy snyth, driving beats, and soulful vocals conjure "New Jack Swing" and exist close in time. It wouldn't surprise me if this album was a deep influence or contemporary to that movement.
Deeper into the album, the rapping is not good.. at all..even and especially for it's time. It's as if De La Soul was on opioids and couldn't spit anything of value out. The rap tracks really detract from the more soulful ones and bring the album down. It almost sounds like Jermaine Clement of the Flight of the Conchords and like a parody of rap.
Then there's the obligatory remixes. Hard pass on this. I tried to meet this where it was and I didn't like that place. (2/5), mainly on the strength of the tracks with actual, decent singing and the instrumentals, even the jazz flute tracks..
Am i being punk'd? The opening tracks are kind of obnoxious. Slow jams with childish lyrics. Is this trip hop? Very dated sound. (1/5) Ugh.. Did they just learn what rhyming is? Supposedly Unfinished Sympathy is the standout track, and I'm sorry, I don't see it. Maybe this was a cultural touchstone in a certain time and place, but nothing on this album has held up to the passage of time. The samples are misplaced, just putting strings behind a beat does not make it "ethereal", and the songwriting is hot, steaming garbage. Perhaps I'm a cranky old man now, but I couldn't even see my teenage self liking this too much. There are better ways to create good music using these tools and this admixture of ingredients. Did that mf'er just try and rhyme "weebles wobbles" in a song?? How is this a classic?
Pop? Electronic? Dance? What a mongrel sound. That's not a slight and the light, bouncy opening tracks are off to a good start. I'm only familiar with the band's name and I don't have any experience with their music. A contemporary of Arcade Fire's Neon Bible -- which is personal favorite -- it shares some DNA. Complex, competent arrangements and an "epic" & dreamy feel. MGMT is buried behind some vocal effects, has less ennui, and layered in more sounds, but is still as knowledgeable and steeped in their influences. (4/5) A few of the later tracks seem to lose some focus and went from dreamy to forgetful... I will forgive it on the strength of the first half of the album and overall, I like it.
Music to get stoned with. Mostly blues-y, sludge rock -- with some folk-blues-rock -- that actively struggles to keep the tempo from slowing down any more than it has. I didn't need to look up anything about this album to immediately place it in the early 70s. It's sound is blue jeans, pot smoke, and long hair. The musicians are competent but the arrangements just sort of blend into one another. I don't hate it, but it's not a love connection. (3/5) I'd probably enjoy it more stoned. Tiresome after a while, too.. I read up on it and found out it is a double album. There's not enough "meat" here to make a double album IMO.
Sprawling, cumbersome, and a bit pretentious. The opening track's discordant music helps to set that tone early, and the rest of the album doesn't disappoint in that regard. It's a like a college band that is somewhat competent was given a big catalog of mediocre music and are just throwing out anything that will find an ear. Way more misses than any semblance of a hit. Boring and waaaayyy too long. Utterly forgettable. (1.5/5) I'll round down because this was a CHORE to get through.
Light, bouncy neon pop. I'm a sucker for good pop music and this fits the bill just fine for me. Slick production and an energetic pace throughout the album makes the experience brief, which helps excuse the excessive use of snyth and drum machines, which do wear out their welcome pretty quickly. (3.5/5), and I'm rounding up because it's such a good example of that era's music. You can point to it and say, "This is what early 80's pop sounded like," and still enjoy it on its merits.
Oh! What a treat! An Amy Winehouse album is an automatic 4-star from me. That's the floor. Amazing production gets paired with her smoky vocals. It's undeniable that she was a generational talent, but her producers are some superstars too. She could have been invisible or simply fine without her backing. Many of the tracks conjure leather seats, mixed drinks, and a dimly lit clubs with a single singer on stage visible through a haze of smoke. The songwriting isn't as polished as the instrumentals, so my (4.5/5) is getting rounded down, but it's still a great album. Her short, tragic life is just one in a long line of musical talents gone too soon. It's fun to speculate on how much more she could have done if she hadn't died so young.
Background music. Non-threatening and just there. Strongly reminiscent of the movie "Hackers" from the early 90s. As a teen, it was cool, but now it's just kinda boring. (2/5).. I guess... There's some technical competency here and it seems the artist(s?) are trying, but it just doesn't work, now anyway. Dated.
A poet with backing tracks. It was pretty clear, early into the album, that the songwriting seems to be the draw. The music felt like an afterthought or that the music was built around the lyrics. It reminded me of something I'd have expected to hear on a soft rock station, which I diligently avoid. It was... Fine... But I didn't need help falling asleep.
This is my first time with Morrissey, so I'll just say it like this. I am surmising that his lyrics are the draw, but I don't have the time or patience to sift through them like they might deserve. I won't fault anyone for liking it. A few of the lyrics jumped out -- a little -- so I recognize there is something there, but it's not my cup of tea. (2.5/5) On the strength of the lyrics, but push it down to a 2 for the "my parents' rock" vibe that came off it.
EDIT: I've sat on this for a while and needed to come back and shoot this down a notch. I was driving through NJ that day and didn't give it enough attention. Some closer examinations and this didn't deserve that '2'. It does *not* grow on you and there's a sneering pretentiousness that helps to drag it down.
This album deserves a 5 just for Desafinado, but the rest of the tracks don't disappoint either. This silky, soft sound is music that you LISTEN to. It envelopes you and warms you like a potent drink. Getz (and Byrd) can do no wrong in my eyes. I want to sit on a patio by the beach, in the evening, let the warm air blow, and let these sounds just transport me away for a while. For the record, I'm not a beach 'person'. If I had a seat at a beach with this on, however, I would be. Absolute jazz classic with some of the best music ever committed to vinyl. (5/5). My only critique is that it's over too soon. I'll settle for a taste of heaven rather than none at all. My first 5 for this project, and worth every point of it.
Hindsight is a powerful perspective. 90's "alt rock", grunge, alternative, whatever... exists on a spectrum in my mind. It blasted into my young, impressionable brain with the opening chords of Smells Like Teen Spirit (yup, I'm basic, but it was one of my first rock albums on cassette tape that I bought with my own money. Does that give me street cred?) and faded away with the dawn of the new millennium and the era of Creed-like slop and nu-metal. This album is a transition to that end. It's slickly produced, musically competent, and in many parts a good listen, but it's more "American Pie" than heroin-chic and for me it's lost a little appeal. Early Hole was and is more to my taste. While I was living it, I couldn't see the era fading into the rearview. Now I can see the whole road. I don't begrudge Love her drama. She was a magnificent mess for a while and in music, especially rock, that's fine. But hindsight has dimmed this period for me. It's good and a high-3, but not quite a 4. It's the highest 3 I've rated so far, but just so. (3.95/5), rounded down for it's place in my musical history.
A laborious slog, even at 30-ish minutes. Vanilla soft rock that's eternally an eighth of a beat too slow. I'd fall asleep to it, if it's navel gazing and pretentiousness didn't piss me off. 1,001 Albums to Listen to Before I Die? To know to never listen to this crap again? Is that the purpose of this entry? A tale of warning? Beware the boomers and their famous producers!! Ugh .. (1/5) Zero if I could.. can't wait for all the Bread and Gordon Lightfoot to pollute my algorithms for a week until I slowly purge it. Maybe some speed metal or some punk will clean it out, like a fast-acting Drano or something?
Ren Faire Rock. I've never been a fan of "prog" rock, progressive, whatever and this album hasn't changed my mind, but unlike my younger self that would dismiss this outright, I guess I have softened some. I read many of the reviews for this project complaining about the flute, but I feel that's unwarranted. It was tastefully layered and doesn't offend me. It even slaps a little on a few of the tracks. Overall, though, it's just not to my tastes. Too "cerebral" for me, I guess.. (3/5), just middle of the road. I'm glad I've heard it now but I'm not going back to it. I can now appreciate Will Ferrell's throwaway joke in "Anchorman" better, when he howls "Hey Aqualung!!!" at the end of his ridiculous flute solo. I always knew it was a reference, I just never spent time with the source material.
Competent, confident, and incredible. Arena/Dad Rock at its finest. The album is just a super-hit factory with so many widely known and played songs, I don't think it's fair to call any of the songs "B-Sides". They just don't qualify for that "status". All of the tracks are radio-ready blasts of juicy rock-goodness, no matter where on the vinyl they sit. Since I knew almost everything by heart I tried to tune into the musicians and all I found was just talent overflowing and spilling out. That guitar!! It's otherworldly at times. Are they aliens as the cover suggests? This is the first album I've encountered in this list that is a truly a "must hear before you die", IMO. Exemplary rock and just amazing, heart-pumping music. (5/5). I enjoy a lot of music, and have tons of favorites. This is easily in my top 100, maybe my top 50. I'll never complain if it's on and it has basically never worn out it's welcome. I'm pretty sure many in my generational cohort were conceived to or because of this music (born '78) and I'm perfectly fine with that. Proud, even.
Oh, my heart. It's hard to say anything about this album that hasn't already been said before. Genius, perfection, classic -- take your pick. Of the collection of music I have, this is in the top 10 for me. Wonder's whole "classic"/"imperial" period in the 70's is one of the most creative bursts of musical energy ever released. We're all lucky to live in it's aftermath and enjoy all the fruits this period bore. This album, Innervisions, and Songs in the Key of Life all have permanent homes in my mind and heart, but if I had to choose just one of those three however... (what a Sophies choice!!) this is probably my favorite. It's so tight. Not a note out of place, not a beat where it shouldn't be, and in my mind Stevie had it all planned that way. There's not an ounce of filler on this album. Every song is a distinct and clear rendition of an emotion. Some of these emotions are so pure, in the right context, it just fills you up.
The opener "You Are the Sunshine of My Life" is adoration. "Maybe Your Baby" is the early stages of heartbreak and paranoia. The feeling of impending loss. "You and I" is a mature reflection of a long relationship. A deep, textured love. "Tuesday Heartbreak" is the bargaining and pleading after a breakup. Begging. "You've got it Bad Girl" is the confident acknowledgement of a mutual interest and a blossoming relationship. Confidence. Why is she so coy? "Superstition", the creative peak of this album, is a reflection on trying to see things for what they are. A demand to be realistic and clear eyed -- to stop making excuses. Clarity. Resolve. "Big Brother" is a very political song. It's a condemnation of the establishment/government and Stevie's frustration and deep well of generational anger are palpable. Frustration and anger. "Blame it on the Sun" is regret. A powerful wail of self-hate. How could he have been so stupid? "Lookin' for Another Pure Love" is resignation. She's left and gone. "I Believe..." Is hope. What a majestic song. The funky coda at the end is so perfect. Hope becomes a question mark "Don't you wanna fall in love again?" as the track fades out.
Sorry I gushed so hard, but this is a "must hear". No opinion, just fact. Stevie Wonder may not know blue from green, but he sees music and how it speaks about our emotions more clearly than any of us. He wrote this book of emotions to talk to us. He can't read the words on the page, but heard what it said and transposed it for our ears and hearts on to this album.
Perfection.
Lazer Blaze music. As a teenager in the 90's, this music appealed to my sensibilities. It was loud, aggressive, driving, and hyperactive. I recall going to the laser tag ("Lazer Blaze". See what they did there?) place and being bombarded with tracks like this. The Mortal Kombat movie soundtrack was a cousin of this. I even bought and enjoyed a few Chemical Brothers albums although not this one. Time hasn't been kind to this, for me. A few of the tracks standout with the notable highs being Block Rockin Beats, Piku, & Setting Sun. I'm just not this energetic or hyperactive anymore and the electronic/dance/noise genre just doesn't appeal to me as much. I'm too tired . This used to be a high 3, or possibly a 4 to my 15-20 year old self, but my 45-50 year old self is tiring of this. High 2, low 3, and mainly on the appreciation of what it WAS to me rather than on the quality of the music. The real low point came from the ceaseless repetition of "It doesn't matter.." on the eponymous track. I literally, like an old man, yelled "Shut up!" and hovered my finger over the skip button. I took a breath, composed myself and kept going but only out of loyalty. (3/5), because it used to mean something. It's a "low" 3, however. Block Rockin Beats still has it.
U2 is like the floor of "good rock" in my mind. They're undeniably excellent musicians, many of their tracks are classics, but I just don't get excited when I hear them. Case in point, "One" is a great song by all accounts, but Johnny Cash did it better. Maybe it's Bono? His larger than life public persona seems to scream "look at me!" and I think that detracts from the band's better qualities, which IMO does not include his voice. Sure, he can sing better than me, but there's plenty of people who can sing (at least compellingly) better than him. Cash took their song, just like Reznor's "Hurt", and filled it with so much more feeling and sang to the lyrics. The only track that gets me even close to excited on this album is "Mysterious Ways"... And just close. This album gets a shrug and a middle of the road 3. Yeah it's good, but I don't even remotely believe it's great, a classic, or timeless. Just a good (enough) example of popular rock at the time. A solid enough floor for better bands to stand on.
Classic. Otis Redding craps more soul in one bathroom break than most of us will experience in our entire lives. The man's voice is a weapon that strikes right to your core. Everything he sings is infused with his ragged, weary pleading and a saw-like edge. Add in the legendary Booker T and the MG's for the band (with appearances by some of the Mar-Keys on horns and Isaac Hayes on piano) and you have the alchemy for an instant hit record. Covers, originals, and a few tracks written by the (then) late and legendary Sam Cooke were tossed about on the playlist. I can't say that I have standout favorites, but nothing drags the album down either (although his version of "Rock Me" punched me right in the gut -- in a good way). Everything that Stax produced -- this was on their Volt imprint -- during this period was solid gold. They minted soul and sold it in bulk. In fact, my only critique of it is the rushed feel. According to what I read, it was mostly recorded in about 24 hours. This is the closest we'll get to a "cash grab" for the time. What's incredible is it's STILL a classic, in light of that. Their "throwaway"/cobbled together stuff is light years better than a comparable selection of their contemporaries' work; and way more palatable than the following decades' more polished, over-produced crap (I'm looking at you 80's, 90's, and 00's soul...). This is an easy 5 from me. No rounding down, just classic, Stax Soul.
Hard pass. Tried the first four tracks and this is officially the first album in this sequence I abandoned. I saw someone write that it sounds like a soundtrack. I agree, and not in a good way. Nope. (1/5). Just nope.
So... Here's one I'm nervous about. This was on heavy rotation in my youth, but I haven't given it a listen in a long, long time and that automatically puts it on shaky ground. Why haven't I? Isn't this a "classic" from my angst-riddled teenage years? Like Green Day's "Dookie", isn't it a timeless blast of punk rock for 90's kids? I don't think this will have survived the passing of time as well and it's because it was only a decent offering in it's time -- and despite that it was important to me. There are better bands, albums, and examples of this music from that time. I knew many (all?) of them. My tastes have grown and changed.
After a thorough listening:
I can honestly say, I'm pleasantly surprised it's held up really well. The first half of the album is an absolute banger, with a frenetic pace. It's the second half (after "Self Esteem") that I feared the most. It is a bunch of filler, but even the filler is at least fun and short. It's not timeless. I wouldn't recommend this to everyone, but I enjoy it (a lot) and am glad it has held up. (4/5)
(insert shrug emoji here) It reminds me of Mos Def. That's all I feel I can say on this. I didn't hate it, but I didn't like it much either. "The Food" was good, but the hit tracks grated on me, quickly. Just repeating the same words or samples over and over, a rap album does not make. (2/5). It was close to a 3 but it really didn't compellingly make it's case to me. Is there some historical context that puts this on the list? If Mos Def isn't on the list, THAT'S a tragedy. He does this style of rap/hip hop SO much better than Common. EDIT: Mos Def is NOT on the list. This does not make sense.
Not looking forward to this.. this album and period in music represents my "growing up". This slop was the exit door from "rock"/metal for me and on to other, greener pastures. Lets see if I was right to take the door out.
The "wall of sound" sameness is sooo tired. The ubiquity of this crap in the early 00's got so played out. Makes me wonder how I'll react when we get to Korn, an early progenitor of this sound and a band I followed for a while. The self-important lyrics and messaging weighs it down even further. I was hoping "In the End" would carry some weight, but I'm just so sick of it. (1/5) I have actively avoided this music for decades, and yet putting it on makes me feel like I just heard it yesterday. Maybe there's some artistic merit in here, but I'm no longer giving it a chance. It had a million tries and that's what killed it in my mind. Blame Clear Channel, not me.
Boy, we're getting a lot of Chemical Brothers in a short period of time in this project? We just had "Dig Your Own Hole" about a week ago. My views were tinted with nostalgia for that one. I may not be as kind to this album, but it's also some of their earliest work which I always thought was better.
This one is mostly inoffensive, more electronic, and less frenetic than Dig Your Own Hole. This album confirms it though, I'm getting old.. I'm just not as excited about electronica/dance/etc like I used to be. More than "Dig", this album wouldn't hurt as some background music (could work well as a soundtrack!) but I'm not intentionally putting this on. It's smoother and more mellow. I don't have the patience though for it all the time. (3/5) to remain consistent. I used to love them more, but I've clearly grown out of them.
I'm going in blind. I know White from the White Stripes and his semi-public persona, but I haven't exposed myself to much of his music. Interesting to see where this goes.
White's voice must be an acquired taste. As a Tom Waits aficionado, I'm not one to cast stones, but I haven't acquired this taste yet. It's like a poor man's Robert Plant. However, when he slows it down and keeps the register lower, it works on certain arrangements. "Love Interruption" and "Blunderbuss" were pretty good in part, because of that. Otherwise his voice irritates me with a lot of the rest, especially the harder songs. "Freedom at 21" rocked, aside from his singing. He's great on the guitar and clearly has an ear for songwriting. Solid, middle-of-the road stuff, that could grow on me. (3/5)
The floor starts at 5, for me, and I'm not likely to deviate from it. As Cobain's most mature outing this album was a glimpse at what could have been had he not taken his life. I recall being surprised at how different this was than "Nevermind" when I first heard it, but I was along for the ride. I have visited this album within the last few years and I recall that it hadn't worn out it's welcome. There's a heavy layer of nostalgia frosting on this for me though so I'll try to be critical. Just not sure I need to be all that 'critical' of it. It was a masterpiece then and it holds up -- if my memory serves.
Heavy was the head that wore the crown. I don't know what Cobain was looking for (it's likely he didn't either...), but fame sure wasn't it. This entire album seems like a response to his explosive fame. He obviously didn't want it and said so in every way possible. Just the discordant, opening blast of the "Serve the Servants" sets that tone immediately. Abrasive guitar work, his raspy, pained screaming, and his inflamed songwriting signaled his intentions. Fame was not his goal or desire. Everything on this was a message to the world, "I don't want this!" and it's a powerful, poignant message. He didn't want anything on this album to sound 'good'. It's got sharp points everywhere along its edges and you definitely don't want the kids to play around it. I can see why the studio almost didn't release it -- and I really feel that was Cobain's (and Albini's) intent. The purest and most painful expression of punk sensibilities. "I've reached the top, but I don't want to be here. Here! Take this shit and push it down your throat."
I can even appreciate why a fair number of people wouldn't like it. "In Utero" doesn't want you to like it. (5/5) Never before and never since has a punk album been so thoroughly realized from such an interesting vantage point.
Final point: has there ever been a more poignant closer to an album? "All Apologies" is Cobain's final letter to what I guess were his fans as he saw it. The "Unplugged" version of this still haunts me. With the benefit of hindsight, we know it's essentially a suicide note. I'm sorry he never found what he was looking for and the world is less for it.
Hmmm... Ok. I have a relationship with hip hop/rap that is best described as "part time". I dabble here and there and stick mostly to the hits. I don't often go deep into albums or full discographies for many rap/hip hop artists. I'm genuinely curious where this will go. I've cleared my mind for this one, and I hope it repays.
Is it me, or are his raps just a fraction of a second behind the beat? The sung choruses and guest rapping pull it back out of '2' territory. I feel like I need to start clapping with the beat like a frustrated elementary school music teacher to help him get back on the beat. The contrast is steep on "Patiently Waiting" when Eminem comes in ... Otherwise, it's well-produced and the samples are arranged well. Some of the tracks are downright fun like "In Tha Club" and "Heat" early in, but boy does it drag on... This could have been a double album, and at the one hour run time, it basically is. Trim the fat some.
Overall, it's a high '3' for me. Definitely good, bordering on great, but I need more time with it. A good-to-great example of rap/hip hop from that time and a showcase of 50's talents. Just... ... Keep the time a bit tighter... (3/5)
It's like the lovechild of the first Clerks movie soundtrack and the Velvet Underground. Early 90's "college rock", "independent" (whatever that means), the proto-indie (ur-indie?) band, Pavement.
It's got a really unfiltered sound that I dig. I really wanted this to be my bread-and-butter as a kid but I didn't know where to find it. I knew it existed, but I didn't know what rocks to turn over. My hometown's "underground" scene in the early 90s was replete with this stuff. I knew some kids who knew some kids where I could sneak a listen of a track or two, and it all sounded like this - raw, energetic, and very genuine. "Summer Babe", "Trigger Cut" and later "Two States" really stood out. My inner 13-year old really, really wants to give this a '4', but I'm gonna keep it at a '3', because I'm older and wiser. I got into it, but realize I probably wouldn't after some time. It's probably too raw for my older ears. (3/5), leaning towards a 4...
So, I started this a little excited. I like Simon and Garfunkel enough and appreciate their music for their time. I remember the hits on this one, especially "Al" and "Diamonds", even vaguely "Graceland" from my childhood, but I never got deep into the album... Boy, these hits are load bearing, aren't they?
This is "Boomer: Midlife Crisis" the album, isn't it? I can see how people scream over the 'cultural appropriation' and normally I can (kind of) forgive that sort of thing when it's done well and respectfully. Here, it is not done well. Simon is just not carrying his weight with these songs and letting the "Hey! Look what I found!" novelty rule the day. His voice is so weak and the arrangements -- aside from the cultural grafts -- are just boring. "I Know..", "That Was Your Mother", and "Gumboots", for instance, are good examples. "Homeless" is a big swing and a miss.
Music is a language and different types of music are different languages. All languages have a word for "Water", because it's universal. I don't believe Simon was being, necessarily, cynical in his use of these varieties of types/styles, but his musical 'accent' (if you'll allow me the analogy) was way off. We couldn't make out his "Water" in these other languages because of it.
Now, the flip of this is that *I* don't know these other varieties well, which I freely admit. I don't know much 'world' music. Maybe Simon's 'accent' is fine, but to my ears it still holds too much aging 80s white guy energy with far too many artifacts (that bass?? Just tone it down, man.) from that era weighing down the music. (3/5) but almost exclusively on the strength of the hits... And even "Graceland" and "Diamonds.." have lost some of their luster for me on careful examination. I'm actually being a bit generous. "Al" is just too joyous and has a special place in my 8-year old heart to give this anything less than a '3' but only because of it.
I can honestly say, this is the first disappointment I've had on this project. We're only 30-or so albums deep but my expectations did NOT match my listen.
Oh, f*ck yeah! This is an intelligent, menacing and grimy album. It's a flash pan of musical genius forged out of some of the worst conditions our society can muster. These eight (!) guys recorded their frustrations and lived life on to this. They mixed it with some innovative sampling, a raw sound, and sparse arrangements and crafted a new sound, which has been repeated and imitated ad nauseum since. Old martial arts Shaw Brothers film samples with a slice of hard street life? Yes, please!
There's a complaint to be made that the violence on this album is unappealing, glorified, and/or unnecessary, but I strongly disagree with that, here. With the Wu, that violence was their lived reality. Their raps throw the curtains back to show us all where they've been. Whether that's uncomfortable or not is on the listener, and isn't the Wu's responsibility. Any society that spawns something like this needs to listen and look it directly in the face. It's both thrilling and terrible, but the story has to be heard. You can feel their anger throughout and it's potent. (5/5) Instant classic and unconditionally required listening. Wu Tang Clan ain't nuthin' ta f*ck wit.
Wild Beasts seem to be, solely, distinguished from other late 00's bands by their lead vocalist's annoying 'style'. Some sort of weird falsetto, lilting, sing-song that in the upper register bears a striking resemblance to the Muppets' Miss Piggy... Just imagine a growl and him saying something like "Kermie!"... Go on, try it. It improves the experience marginally. When my wife tried it, she said, "Yeah, it's like the Muppets singing The Cure" (the track, "All the King's Men", especially). Not sure I would insult The Cure that way, but I see a passing resemblance.
Just track after track of weak and needlessly repetitive arrangements. You could have cut a few bars off the end of most of the songs.
This lists' strong prediliction to British musicians/bands is becoming more and more obvious as we plow through the list. I'd never heard of them before this, and it's inclusion is curious. They seem mostly indistinguishable from a lot of other groups during this time.
It is simple, repeating music that leans heavily into 'dreamy', and it comes off as really fucking boring and bland. Were it not for the vocalist, this would be a '2' from me. Just a meh.. whatever. It's something that would come on randomly on a pop station in a rental car. Music for the liminal spaces of life. BUT, this dude's idea of singing actually makes it closer to a '1', and in some parts unintentionally funny. (1/5)... I'm GiViNg ThIs A OnE StAr In A WeIrD FaLsEtTo ThAt CoNsTaNtLy GoEs Up AnD DoWn...
I gave this proper attention, and.. eh. I'm taking a 'shrug' on this one. "The Weight" is doing a lot of lifting here, but the last few tracks salvage a weaker front end. Just some standard 'hippie' rock. It's not bad, but it didn't ignite me either. I knew and like (a lot) "The Weight" and "This Wheel's...", plus their version of Dylan's "I Shall Be Released" was... (hesitate)... fine, I guess. The only other standout was "Chest Fever". But, again, the front half of the album wasn't great. Just (3/5), but a pretty low '3'. Not sure it deserved entrance in this list, either. It's competent, just far from compelling and/or exciting.
Duck Rock? Uh, ok..? the British (UK) slant on this list is on full display here, it seems, after reading the reviews before going in. I've never heard of it or him (even in passing) and I consider myself pretty knowledgeable in music. I've been a good sport, so far, but I hold little hope. I do vaguely recognize "Buffalo Gals", but it's been eons since I've heard it.
What the actual f*ck is this? Is this what cocaine does? I've never had the privilege. This clinches it -- I officially know what the soundtrack to cocaine sounds like. What a hyperactive mess. I chuckled at the absurdity of it. It's definitely something, but it's not anything I care for. "Jive My Baby" and "Duck For The Oyster" actually had me rolling around laughing they were so absurd. Not sure that was the intent. (1.5/5) because I laughed (unintentionally), but rounding down because there is nothing redeeming here. It actually felt more like an assault.
I'm not sure how I feel about this. It's listed as 'punk', but it's like some early 80s new wave. It is too 'polite' to be punk. I don't hate it; I could like it. The energy is very "f*ck off, wanker!" -- even this vanilla, suburb boy can see that.
However, it is not all that bad. Whoever is on the organ/keyboards is absolutely killing it. There's a polished grimmy-ness (I know that's some weird, Zen koan shit...) to it that is appealing. I could come back to this, but I have a busy day. (3/5) On the hopes that more listens will have this grow on me.
"Discovery" and "Random Access Memories" are better. They were tighter, more focused and had better production with better musicians. This is too long (or at least it *felt* too long...) and unfocused. You could be forgiven for leaving this on in the background of a big party. It's catchy and could attract some attention, but it would and should never command all the attention. It's so repetitive, as well. Why wasn't (at least) "Discovery" on this list in lieu of this first album? Why not the better (best?) they have to offer. (3/5) Still trying to decipher the choice matrix for this project?? I like Daft Punk enough to get through this, but I defer to their better music in almost all other cases.
Anyone else feel that the British "new wave" in the early 80's was a bit 'overrated'? The overrating is on full display here.
So, I think it's a few things that I don't like about this album. First, the vocals. I'm now *officially* not a Morrissey fan.. The way he's mixed in -- and this is true for the whole album -- makes it sound like he's trapped in a metal box far, far away. Maybe that's for the best. His singing is mediocre and I read along with the lyrics -- the messaging is... 'of its time'. That's as polite as I care to be. There's some good stuff in there, but it veers heavily into insufferable in a few spots. "Meat Is Murder " is the best example. Got it. You're a vegetarian. There are better ways to message this, rather than club us over the head with it. I respect the position, but he's not changing my mind with this. Not even close.
Second, the quality of the production is just so plastic and has this obnoxious, metallic echo that really defines this type of music ('new wave'). I like it in smaller doses and it has been done better by other musicians, but not here. It actively sabotages this work. The other musicians are ok. The guitarist is good, maybe even great, but the rest are dragged along, weighed down heavily by Morrissey.
(2/5) Out of respect for the other musicians on this album. Not Morrissey..
You guys OK? What a bleak album cover for a band I commonly associate with summer days and **beaches**.
(SHAKES THE BEACH BOYS) Is everything OK? Speak to me! C'mon tell me what's wrong! Something's not right. Did you have too many drugs last night?? It is the late 60s, early 70s after all. Where's Brian!? Tell me where Brian went! Something is up and I don't hear Brian. What is *HAPPENING*?!? WHERE IS BRIAN?!
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What an incredible unraveling. The skills and virtuoso of Brian mostly absent, the rest of the Boys made an album that seems completely divorced from the "Beach Boys". The first goddamn song is telling us *NOT* to go in the water?? I could feel my stomach drop like a roller coaster knowing we were coming down from their creative peak for this ride. Thrilling, I suppose, but the best is behind us.
This is like eating a Big Mac without the special sauce. It might remind you of what it tastes like and have some of the qualities you like, but without the special sauce, a Big Mac it ain't. The rest are all good musicians, no doubt, but the "Beach Boys" this isn't..(3/5) in homage to "Pet Sounds" and other, earlier and better works. I recognize the talent on display here, but such an about-face from their sound, image and reputation is just so jarring. I spent the whole album with my mouth agape and the words "What is this?" kept slipping out.
This was a botched attempt at a reinvention, and a beautiful mess because of it. I endorse it's inclusion in the list because it's a great example of this phenomenon. A talented super group subject to the same forces of entropy as the rest of us. They just sounded better going out than most.
A very slick, talented, and polished garage band (there I go with the Zen koans again..). This seemed to be produced to sound as *if* it were live/in a garage somewhere and I'm entirely on board. The first half of the album is really good, with standouts being, "I Hope.." and "Tokyo..". The second half slows down some and I think the formula (garage band 'feel') doesn't work quite right. The tempo needs to stay high to let the magic happen. "I Want You" may be the sole exception to this rule.
It evokes an early 60s garage band feel that reminds me of that fun, Tom Hanks-directed film from the 90s "That Thing You Do!". The lyrics are a tad shade darker on "Blood.." than the movie's eponymous song, however. (4/5) For being an unexpectedly fun album. Not sure what I expected going in, but Costello delivers here.
