A really great album that put me in a good mood. Easy to listen to and bop my head to, but also the instruments flow in and out of each other like a river. Has all the parts of elevator/local on the 8s music but is so much more.
Not sure if I'll have any of the tunes trapped in my head, but Miles Davis will likely land on my "need an instrumental to plug into while I work" list.
Let me preface: I am not what you would call a fan of the Beatles. They have some great songs that I quite enjoy, and I find Sgt Pepper to be a truly great album.
I had not listened to Abbey Road as an album. It has some good songs, no doubt, I would go so far to say there's not a miss on the album. But I wasn't left feeling enriched or heightened after listening. I'm not excited to roll back around to Come Together. It felt, to me, like "here's a set of songs the Beatles made."
This was a great find. I was unfamiliar with Patti Smith, and to find this album was a treat. There's an obvious Bob Dylan influence, but what I hear most is a more angry Jim Morrison. Hearing the proto punk sound come through was great.
This was such a surprise to how good it was. It made me feel like I was in a smoky basement room, having a nice scotch, while one of the greats sat on stage and read to me his own eulogy. A man at the end of his great life full of accomplishments looking at me and telling me all of his regrets.
It's an amazing album, it rewards a critical listen. And the title track is an absolute banger.
John Fogerty might've written Born on the Bayou, but in fact he was born in Berkeley.
Bayou Country, and CCR in general will always take you back to some memory where you were driving down the highway with the windows down, or they came on in some dive bar with no AC and the house started rocking.
The opening riff to Born on the Bayou absolutely defines iconism, Bootleg is that deep swamp tune in a musty bar where most the patrons are mosquitoes, Graveyard Train and Keep on Chooglin' are paying their respects to the delta greats and harkin back to Howlin Wolf through Duane Allman.
Sure, CCR might make some truly marketable music, but does that matter if you fall into that target demographic?
I really enjoy the Wailers, especially the earlier stuff. 400 years is a classic, Peter Tosh's voice is incredible.
There's some good ones on here, but man are there some snoozers. A few tracks on here felt like I was watching one of those 1950s PSAs that explained puberty and dating to 15 year olds. I had another Miles Davis album last week, In A Silent Way, that knocked my socks off. I feel like the shorter song length didn't give the artists enough time to spread their legs and explore.
I enjoyed Cars, the rest of the album is fun but it mostly sounds like "hey this sounds like Here in my Car"
I found this album to be interesting, it just misses me by a little. Its like there's a lot to identify with here, but it feels like art that isn't for me. And that's fine, there's plenty of talent on display here.
This blew me away. I've always been a "fan" of the Beastie Boys, but mostly just enjoying their hits and songs that show up on playlists. I hadn't listened to an album, maybe Licensed to Ill a couple times. The step away from their masterful sampling work, this album is the Boys flexing their mastery of their own instruments.
It's a mix of funk, punk, hip-hop, and metal. The instrumental tracks are a very welcome addition. It's absolutely a treat and had my head bopping from start to finish. Sabotage used to be one of the "meh" songs for me, and it's rocketed to my favorite from them now that I've got better context. I listened to this album four times yesterday waiting on a delayed flight. Amazing.
"Shit, if this is gonna be that kind of party,
I'm gonna stick my dick in the mashed potatoes."
Really fun yacht rock with some tasty guitar licks. I had somewhat low expectations but they were exceeded.
This is the beginning of a genre, but it was still too early for that genre to really get its legs. You can hear the origins of Mezzanine and Dummy here, but its still a little bare.
This really just sounded like a bog standard 1980s singer songwriter album. It was unapologetically 1988, but it was pretty boring for my tastes. It would be good to just have on for quiet time music or if you're having a dinner party and need something gentle in the background that isn't Fleetwood Mac, Indigo Girls, or Highwomen. I've always held that all genre's of jazz, pop, blues, or rock are pretty strictly defined by the style of their drums, so its no surprise to me that an album with no actual drums is a miss for me.
This was a nice surprise, I've never was a huge fan of Green Day, and their overplayed hits got old two decades ago. But listening to those same hits in context of the album they were on makes them shine more. Billy Joe's guitar tone is killer, but Dirnt's basslines are what carries these guys.
I tried to really enjoy this, and it's good.. but I really cannot see myself going back to this album. I'm happy for other people that like it, this just isn't for me.
This was really good, I have a soft spot for that vintage hip hop from the 90s, and this album hits that on all cylinders
I love Jack and Meg, and throughout this album I'm reminded that it wasn't Jack slamming open chords through whatever Big Pi he could find that made The White Stripes great; it was Meg completely holding down the groove. I think her drum work really made The Stripes stand out, and why Jack White hasn't found the explosive popularity since they ended. Get Behind Me Satan is not my favorite offering of theirs, I was more excited when "Ball and Biscuit" came on Spotify after the album ended.
Feels like the Talking Heads wore flannel but we're also a Beatles cover band. Not a bad listen, there's some fun stuff on here.
Was more interesting than I anticipated. Not quite my cup of tea but there's good here to appreciate.
Pretty creative, an interesting listen. Had a few bops.
The Mamas & The Papas are just, to me, what the Summer of Love 1967 sounded like, and here they are in full swing.
This was genuinely a ton of fun. It's his debut album, so he's like 21 on this record. Listening to it, it started to hit me: no wonder all the ladies fell for this guy, he probably got all the 1950s housewives actually aroused for the first time in years. He genuinely has an incredible voice and presence, sure he's a marketing and industry success story, but the foundation had to be there to build on.
Man this is a formative album for me. I've been listening to Trent for 35 years now and A Downward Spiral is just so fucking good. It hits that mid 90s industrial and just kicks it in your chest. Mr Self District martial arts intro just lets you know the count early. Closer is a the obvious radio banger with the insane three minute outro, then to follow it with Ruiner. I Do Not Want This through Reptile just have that equal depression mixed with anger, only to close things out with Hurt. It feels like someone going through the stages of grief. Exquisite.
I tried. I'm somewhat of a nu metal fan, I grew up with Korn, Disturbed, Staind, and Linkin Park.. but Slipknot has never hit for me. There's no structure or bounce, just noise and yelling. The drums feel completely out of place, almost like they were mixed wrong and it takes me out of it. I was honestly excited to try to hear what made these guys so big, but it was just a miss.
And Corey Taylor kinda sucks.
James Brown is always fun. So much energy, just knocking em dead.
Paranoid is one of my favorite albums of all time. It is the first CD I bought for myself.
Every track on this is iconic. There's no out of place notes. Just the birth of heavy metal.
I don't really like the Beatles, especially not John's stuff so this is a bit of a miss for me. I can kinda see what he's trying to do here, but he doesn't really have the chops to pull off the "I've got a groove here, let's just scream over it a bit" schtick.. it's missing the groove. It's like a mix between Bob Dylan and protopunk anger, but without the raw emotion and worse poetry.
This was one of the REM albums, unmistakeably REM in fact. The cunning ability to sing about just how awful things are but with that 1980s upbeat tone. It's a fun album, if not a little samey. End of the World is still a banger.
