Queen is at their best when they're at their most theatrical, and there are times here when they fully commit, but other times where they don't. Songs like Stone Cold Crazy, In The Lap of the Gods, and the first two tracks fulfill the genre label of "glam rock", sounding both epic and ridiculously fun. Other tracks feel a lot more dull, and like they could be made by any random 70s band. They don't go full hard rock, but they aren't particularly theatrical either, so they just don't emotionally register for me. Of course, the standout part of the album is Freddie Mercury, who more than proves why he's considered one of the greatest performers ever. The worst thing that a band like Queen can be is dull, and unfortunately on this album, they fall into that trap too many times.
The title track here is, hands down, one of the greatest country songs of all time, an absolute tearjerker of a ballad focusing on two of the genre's favorite subjects: God and poverty. I'm a sucker for songs about being happy despite difficult circumstances, and Coat of Many Colors definitely fits the bill. The rest of the songs don't quite match that song's quality, but it's still all very well done country pop. The midsection of the album can get a bit repetitive, with a stretch of songs with very similar structures and chord progressions, but Dolly is a talented enough singer and songwriter to make it work. The back half of the album starts showing off more variety, with the musicians embracing more diverse sounds without straying too far from the country pop mold. This is not the best country album, or even the best Dolly Parton album I've ever heard, but there's still a lot to like about it.
Absolutely gorgeous exploration of the intersection between folk, rock, and jazz. The arrangements here, for the most part, are stunning, subtly complex in a way that takes a truly close listen to fully appreciate. It feels like wandering along a peaceful river, not always knowing where it leads but still knowing that there's a clear path. There's a gentle playfulness that's present on a lot of Joni Mitchell albums, but is rarely as pronounced as it is here. Of course, Joni is an excellent lyricist, and while her writing doesn't explore the same depths as something like Blue, there's still plenty of insightful observations about life and love to be found here. Like the production, her songwriting style often feels unpredictable, sometime adhering to traditional pop structures only to veer unexpectedly in a new direction. This album is a bit frontloaded, with some of the jazzier tracks like Down to You or Twisted feeling a little clunky, but this is still an overall great experience.
One of the best psychedelic rock albums I've ever heard. Carlos Santana and his band really knew how to jam. I'm not familiar with the recording process of this album, but the arrangements are all so loose and adventurous that it gives the feeling that it's all been improvised. Everyone involved does an incredible job but Santana's guitar work is truly the star of the show, his playing is so emotive and driving with tons of memorable riffs. This is primarily a rock album but the flourishes of blues, jazz, and Latin music give it so much personality and color. This is primarily instrumental but the portions with vocals are excellent. The lyrics are nothing special but they don't need to be, as the vocals clearly aren't the primary focus and are more just a component of the greater ensemble. The two most famous singles, Black Magic Woman and Oye Como Va, are obviously both excellent, but the deep cuts hold their own quality-wise. So many albums from this era label themselves as "psychedelic" but very few truly live up to that descriptor like this one does. It truly does feel like an acid-tinged journey through space and time, and it's easily my favorite on the list so far.
Is it possible for something to be pleasant to a fault? If it is, this album is a perfect example. Paul Simon is a rock-solid songwriter, his harmonies with Art Garfunkel sound excellent, and the songs are all beautifully arranged, but the cutesiness can get to be a bit much sometimes. I like folk music a lot, and I'm not against music sounding sweet and cozy like this, but all the nature imagery and lullaby-esque melodies and glockenspiel parts on songs like Cloudy or 59th Street Bridge feel like eating too much ice cream and getting a stomachache. My favorite aspect of this album was the sound of recording, I loved the ramshackle feeling of it. It almost sounds cavernous at times, like you're listening to them in a massive, empty concert hall with amazing acoustics. This was solid but definitely not my favorite in this style. Also, credit where credit is due, the Bob Dylan parody was pretty funny.
