I mean what could I say about CCR that hasn't been said before? What a voice. Chords that turned into classics. 9958379 cover bands. But I would tolerate assholes blasting their bluetooth speakers out in the serene lake campsite 80% more if they played this whole album instead of Katy Perry interspersed by Born In The USA and Kid Rock.
As far as the actual album goes, I like the flow of it. I especially like the energy shift from (my fav) Graveyard Train to Good Golly Miss Molly. And ending on instrument solos is just fun. 33 minutes of easy country rock is already my kind of thing so I enjoyed it. Even if I was missing a coors for the experience.
Pretty great for a debut album from 1994. I particularly like the synth choices and guitar. I do want a bit more from it, however. The poppier songs would be pretty fun and easy to try at karaoke, but also I enjoy the moody atmosphere it projects overall quite a bit. I wonder if I would prefer the non-remastered version. omg I just noticed they remastered the album image for it too. Anyway, a for sure pick if I ever got the urge to collect cassettes. Stupid Girl is my favorite, like most other people.
Not gonna lie I was kind of dreading this one... I think I got enough of The Offspring as a teen to last a lifetime.
The last album we reviewed was a debut (also 1994), and while this one is early along in the discography, I'm not observing much of an "early" sound to the band. It's The Offspring. Completely and undeniably. Which I suppose is a credit to this being their breakout album.
That said, the album has an interesting shape. The first block of songs are focused with their punk revival sound which gets broken up by the playfulness of the major hits right in the center, and then back into a bunch of short and sweet high energy punk songs (along with a ska-like) which ends on a nearly 11 minute song that is mostly silent in the middle until finally ending on some riffs from Come Out and Play. I do like that move after the thesis lyrics of "I'm not a trendy asshole."
Similarly to CCR, the main vocals carry such a distinctive sound that songs kind of meld into each other in spite of varying themes. Hang on -- Oh God. Oh Jesus. Spotify just pulled up the thumbnail for the Hit That music video. I forgot about that beast Oh God. I must look away now. Goodbye. See you tomorrow.
While it's not one of the really formative albums from my youth, the earlier sound of Arcade Fire really gets to me. I'll take the AF Liker stigmata in this friend group with no resistance. I have listened to it a couple times through on roadtrips, but it's been years since I've done it in full. An ex-relative of mine once said this album was the best liveshow he'd ever been to and I believe him in spite of rumors of them pulling some stinker shows in semi-recent. Forgive me for this 5/5
The lyrics come off like a prose-y teen diary: juvenile, alluding to dynamics and scenes that don't reveal much of a story beyond vague longing, but aside from the first song they do manage to float along without many clunks. Melodrama, yep.
None of the songs are bad offenders, I like the production on Hard Feelings/Loveless particularly, but nothing strikes out at me as interesting or engaging. Maybe because I'm not under the age of 23. But Lorde has a strength in making repetition and similar lyrics flow without getting obnoxious, to the point of track partitions not being obvious at times, so it was an easy listen. The final song Perfect Places is where all the energy dripped off the rest of the album roast like a concentrated mid-2010s pop jus.
Supercut is the one I might listen to again.
Cocteau Twins tracks get featured in my playlists pretty often but I've never given a full listen to this album. It would be a big effort to single out all the elements I like about it but I'll just sum it up with: this is very much my kinda shit.
Droning. Dreamy. Evocative. Vocals and keys float above layers of primordial shoegaze guitar and thudding percussion. It's less sophisticated than Heaven or Las Vegas but imo that's to benefit.
The first half is more varied than the second, but I enjoyed zoning out from Amelia onward to Domino's wakeup energy and guitar shift. Otterley is so atmospheric I instantly love it. Great album.
I want to give it a 4.5/5 only because it can't beat Heaven or Las Vegas in my heart.
I bet their liveshows whip, and this album has pristine production, but it is just so solidly mid-aughts radio that it doesn't do much for me.
Respect for the droning and rhythmic guitar. Huge disrespect for "17." Another statutory alt-rock ballad, how groundbreaking.
I found the opener "Closer" & the last two tracks "Be Somebody" and "Cold Desert" to be the closest to my speed, but even so, they washed over without doing anything interesting and pretty unimpressive lyrics. Well, maybe that weird fakeout fadeout at the last 2 minutes of runtime counts. But OK.
2 more of these KoL albums to go on this list for some insane reason.
Got halfway through 2112 before the ole truck's bluetooth conked out and never recovered, but I must confess I preferred how it sounded on there over the perfect clarity of overhead headphones. Rush seems like it needs the right time and place and it might go hard. Otherwise it's solidly not my kind of prog rock. My mom had such a grudge caused by Rush overexposure from my uncle and a highschool bf that most of this band was largely absent from my life until recently.
I appreciate the variety, yet I come out with the double sensation of feeling like I just listened to the same background chords for half an hour. The Twilight Zone is pretty funny in concept but I wish it was a little sillier.
Final verdict remains just not my kinda sound.
Dual bass is a sound I didn't know I needed, and I REALLY like the way the vocals swim and breach through it. I've heard this band's name in passing but I knew next to nothing about them. Perhaps it's just nostalgia, but lately I've been craving sounds of the 90s and it's a treat to hear something fresh to my ears with the exact flavor of post-hardcore that I enjoy.
"In Like Flynn" is a very strong start and I can practically see the snowboard halfpipe compilation forming behind my eyes with "Rockets Are Red." "Satin Down" comes at the right moment for some darker moodiness before it shifts back into gear for "Let Me Come Back." I am a complete sucker for mood transitions, and this album delivers that excellently without sacrificing momentum until the final downtempo "Bughouse" sendoff.
I think I might need this on CD, like, right now.
get on your dancing shoes you sexy little swine
Now that was so gorgeous and unexpected. I'm already pretty fond of instrumental albums but this was a real treat. Each song delivers soundscapes that flux and flow; the mind wanders easily without being taken out and interrupted by new sound additions. The balance here is incredible.
I had to reel in my initial instinct to give it a 5, as "Djed" is so so strong as the frontloader, and after thinking on the whole (and an immediate second listen) it's a high 4, like 4.7/5, which I'm gonna round into a 5 anyway.
Big band and swing aren't my usual picks for jazz, but it's hard to not tap my feet to this album. "Midnite Blue" comes just in time to slow the energy, but offered only a little reprieve from the strong and shrill horn group, which I know is characteristic of the genre, but I tolerate it only so much before it loses me. The atomic theme is appropriate in 1 sense I suppose.
Regardless, I still think it's a great album and offers a lot of variety in its tracks, and judging from its place here in a list that's kinda lacking from this era (and earlier), this is probably going to be the epitome representation for swing. And for that I say this is excellent representation, and I had a good time, even if it's not my favorite genre. "Lil' Darlin'" is a lovely sendoff that will be particularly memorable to me.
This album has so much: distorted easy listening, cacophonies, political friction, experimentation, tongue-in-cheek homages, genuine jams, koto appropriated on electric guitar, unmistakable 60s keyboard, dreamy vocals, self-reference, yelps mixed into percussion, primordial synths, uptempo, downtempo, etc., etc. I can see with absolute clarity why an album like this was tapped for "must listen before you die."
Psych-rock is another one I usually don't enjoy unless done well, but this album is way ahead of its time. It's challenging and alienating, and frankly not something I'd put on to fill in space, but it's the exact kind of experience I was hoping to get exposed to on this project. Very inspiring.
Another album that feels like a pinnacle of its genre. Unfortunately I wasn't in the best mood while listening so it took an unrelenting quality, but I'm glad to have a solid blues album in my repertoire.
Now this is a tough one to rate. Completely unchallenging indie soundtrack music *is* something I'm into, but I struggle with the reasoning on this being on the 1001 list. Maybe it's just a good representation of that idea, maybe it holds a place in some greater 90s context, but in a vacuum it isn't very engaging. None of the songs jump out as something I want to listen to again.
In spite of that, I actually had a great time on a long semi-stressful drive listening to it because it didn't derail my thoughts. The album offers a decent range of sound variety, and it holds that niche of non-fatiging background music superbly. A+ for being music perfect to talk or think over, but not much credit for stirring the imagination.
A very smack dab in the middle type of album, a 2.5, so rounded into 3.
