This might be a wildly off-base take but:
I think Miles Davis was a talented and charismatic eccentric. So much so that normie-ostracized, nerdy white guys took his musings and made it technical and complicated and derivative, kinda like what Zuck did with human interaction.
If you just don't think about it, you end up discovering how truly impressive this work is.
Radiohead exists in my mind as fragments of their early stuff showing on late night VH1. And from that, I've unfairly equated them with the 90s stuff rock one hit wonders that would have followed them in the late night programming.
That being said, I finally understand that they're a proper rock outfit, with crunchy, futuristic riffs, chanting off kilter lyrics, grounded by piano and drums and challenged with electronic synth and beats.
It's good. It's feels like the most futuristic throwback sound that's available.
They truly figured out the pop formula early on.
Listening to it you can hear the 4/4 beats and proper keys and tones taking a hold of you as you tap your foot and chat the rhythmic choruses that feel unique and reptitive all at the same time. It really is impressive to hear because this could be zshushed up with some new synths and bigger drums and feel new as any pop contemporary.
I think jazz has become synonymous with elevator music and grocery store white noise. So it's hard to realize how innovative the sounds and patterns and rhythms that came out of these players in their prime. You can hear them develop and test and move through the sounds so seemlessly, tempting each other to take their efforts to the next phase. Just imagine this statement: sounds like this didn't exist prior to these folks. It's so new that it feels like it has always been there.
Bluesy as all get out, it created the blueprint for Southern Rock for decades to come. It's simple, authentic, feel good and just rocks.
It's interesting
I gotta say, I feel like Green Day really finds the sweet spot between commercial Punk Opera for the disaffected suburban crowds and the low key callbacks to their early stuff for the heads and pop punk aficionados on this album. They’ve got the big anthems that everyone will remember while they were first exploring their suburban footprints and still make room for a few hits that will be remembered by the die hard fans.
An interesting album. Takes a strong start before veering into something more experimental, landing between their usual sound, goth opera and simplified driving synth riffs. Overall, not a bad outing but doesn't feel engaging as an album.
It's Bjork so you know it's gonna be different every time. And this isn't any different. It's dark and hollow and echo-y and big and brooding. It's like hearing a Greek tragedy from another planet. It's impressive as it is hard to take all in.
What is there to say. Eons ahead of its time, this music still feels fresh, relevant and more powerful than ever. My favorite thing to do as a corporate drone was to put on this album after lunch and see how quickly my productivity turned into rage.
No notes. Just one of my favorites.
Such a unique sound that was great for one album and then felt trite after. Definitely a great album with some great variation that shows that they had better chops than most. I'll never stop fighting for their bassist to be more widely recognized.
I think this is as old country as newer country gets. Distinct vocals. Great guitars. Great sound. Although it's not my cup of tea, I totally understand the vibe for those looking for a sing-along or a story.
This is some refined, quality, unproblematic R&b from a dude with nothing but soul and love in his heart. He definitely feels like you're having dinner for two in a loft and there's no one else in the world.
Even though they're known for their big hit, come on. Eileen, I feel like it's probably not representative of their other stuff. Tends to be a bit more on the ska rock side of things almost into ska/easy listening? Horns of plenty different cadences even some ballads. Not a bad showing from a would be a one-hit wonder.
