Solid guitar riffs paired with quality percussion sprinkled with some dancing piano chords and a satisfying horn section should make this a staple rock band. The droning and mithering sounds of Michael Stipe tear it all apart. Every song has flat unchanging vocals except "It's The End Of The World As We Know It" where he pontificates just more rapidly. He even seems to recognize his own shortcomings with an exodus of listeners turning away from his singing when he continually whines "Listen to me" in the track "Welcome to the Occupation." Staying true to the 1001 album project, I reluctantly listened to the whole album. Is it possible to rate this album and specifically Michael Stipe a zero?
Epitamy of an 80s quirky band exploring new sounds with the emerging technology of the time. I can totally see how the group members started and influenced Talking Heads. Even though they didn't continue with Talking Heads, they are definitely parallels, but David Byrne certain makes Talking Heads stand out on its own. "Word Play" is an absolute favorite. Granted to totally feels like a song you'd find in an early episode of Sesame Street or would be a KidzBop type song. Infusing synthesizer magic, rap/prose, bongos, guitar, and more I'm sure, just works together. "Genesis of Love" certainly is a groove based in funk. Seems to be an ohmage to funk origins with lyrics about Bootsy Collins and James Brown. The timelessness of the song is evident in its use in songs across time, specifically Mariah Carey's "Fantasy." The song "Tom Tom Club" illustrates the bands experimentation with unique and technologic contemporary sounds. Along the wildly unique is "Booming and Zoom." Essentially this would be if a pilot and ground control's radio broadcast was set to new age music creative somewhat of a one act play. Maybe trying to come up with a funk-reggae version of "Under the Boardwalk" wasn't the best way to recreate this timeless piece. Totally the musical seeds planted that may have resulted in KidzBop. While the Tom Tom Club may have been hip and trendy for the early 80s, it doesn't seem to have aged well.
When I was in college The Notorious B.I.G. was an enormous name is the rap world. However, for me back then it was more about the beats and overall sound. Listening to the whole album and paying attention to the lyrics brings new light to my experience and understanding of The Notorious B.I.G. and his music. From the very opening with "Intro" you get the idea this is a story about his life from the very violent beginning continuing to troubles of a lost yesterday in "Things Done Changed." Just like the chorus in "Gimme the Loot" and beats dropped in "Warning" most of his songs pulls you in bobbing your head. Lyrically, Biggie puts it all out there like a detailed journal giving intimate details to his life. On the surface, songs like "Juicy" and "Big Poppa" can lull a listener to thinking B.I.G.'s life is one to emulate. Taking in the album as a whole, it's wise to pay attention to the cautionary tales in "Everyday Struggle," "Respect," "Suicidal Thoughts," and many more of his songs reflecting the immense struggles in his life.
The Red Hot Chili Peppers showcase their ability to bring a jazzy funk with great energy as well as being able to slow it down within the same song bringing various feelings throughout the musical journey. The booming bass guitar is on par with greats like Primus. Favorites: Breaking the Girl, Suck My Kiss, Naked in the Rain. The Greeting Song.
"Thank You for Sending Me and Angel" felt like the beginning of a story with the protagonist going on a quest out into the world with upbeat optimism. The journey continues at a fast pace reflected in the quick tempo guitar in the background of "With Our Love." Light and airy but a determined message gets our hero through challenges in "The Goof Thing." "Warning Signs" cautions our character of traps out there for us all. Maybe our hero is really a heroine discovering themselves in "Girls Want to Be With the Girls." Several songs afterward seem to express conflict in various ways: what makes a job, questioning creativity, and love. "I'm Not in Love" eerily predicts "I believe someday we'll live in a world without love" The division seen in the world of the 2020s seems headed in that direction. We just need to "Stay Hungry" and eventually remember to "Take Me to the River" and be washed. The 80s are a bygone era, but this album reminds us all of the conflicting existence during a decade of damning hardships and gleeful hope. "Big Country" feels like a crescendo of this conflict. Our character appears to long for the country but in the end turns away from it. Maybe it's not the big country we all seek, but whatever we are turning away from, may we all get back to what gives us that gleeful hope! I'm not a big Talking Heads fan, but I really enjoyed this album and the journey it takes us on.
Korn always has a wonderful way to gradually build intensity and energy until it explodes into a wave of energy. Reminiscing back to my youthful days, I can just envision the swelling wave of the mash pit. They even bring back the impact of the bag pipe in "My Gift to You," reminiscent of the opening to their first album. Jonathan Davis's scat abilities in "Got the Life," "Freak on a Leash," and "Seed" bring wonderfully creative approaches to a song's journey. Though dark, the song writing, such as "Dead Bodies Everywhere" lyrically reaches into the depth of emotional struggles. The featured artists on songs Children of Korn, Slimkid 3, and especially Cheech Marin appearing as a guest vocalist for Earache My Eye reflect artists and genres influencing and contributing to Korn's breadth of music.
Depths of a sorrowful and longing soul. Even though it was drinking hardships away, girl done me wrong, young fool, etc. I was surprised by how it was more blues than country. Mostly avoided "the twang" until track 8 "Pride," the "anguished fiddle" in track 9 "There's No Fool Like a Young Fool" or the slapping bass in track 10, 11, and 12. Okay, so it started with a great blues beginning, but drove into country pastures. It's just needed something about his pickup truck. What miseries did Ray experience to create such a heart wrenching compilation?
Different. I could have stopped after the unfamiliar language and the repetitive cords song after song, but I also acknowledge the cultural difference creating distance in what my ear wants to pick up. Will I seek out more of his music, probably not. However, it was great to open a door to an artist, from what I read about Baaba Maal, who was uncompromising in keeping his African culture woven into his music. The last song stood out to me, not because the album was finally coming to a close, but how it reminded me of playful notes dancing and just having fun in the moment. Something like the innocents of an elementary music classroom with students discovering what they can do with a joyful noise.
In the first song "Blue Orchid," Jack White sings "You got a reaction, didn't you?" The simplistic driving bass drum and infectious electric guitar riffs certainly got a reaction out of me. The whole album gets a reaction out of me. My foot is still tapping along. It's delightful to hear all the ways The White Stripes play around with such a variety of instruments and sound with the tickling sounds of the marimba, soulful piano, rhythmic shaker, crashing cymbals, energetic mandolin, harmonizing vocals, as well as Jack’ infectious acoustic and electric guitars. The album takes the listener on quite a ride ranging from the upbeat speedy song of "Little Ghost" to the slow mournful piano chords of "White Moon." The lyrical word play of songs like "The Denial Twist" reminds us to listen carefully as Jack White states, "But you were hearin' a different song" and makes us want to listen to it again. I could easily listen to this album again and again.
Soulful revival. Being a father of a daughter, "Tears of Rage" seems poignant. I imagine there are many dads out there who lament how fast time together goes "And life is brief", especially when there are challenges, strained relationships, or just dealing with a teenager. "Why must I always be the thief "is something all parents likely ask themselves. Not sure the intention, but there's seems to be a spiritual wresting, "To Kingdom Come" gets us all to wonder if "I see a golden calf pointing back at me." A holy presence continues in Caledonia Mission and facing a watchman, getting locked out of the garden, and leaving the mission behind without what is desire. The masterful storytelling continues in "The Weight," and is accompanied with spirit filling blend of instruments and building vocals "and... and... and put the load right on me.". We all face hardships. and just knowing we have others who will take the load off should bring us all to tears. The Band sure moves me to wiping my eyes. A spirit saving revival style organ pulls at the soul in many of their songs. No other song captures the range of the organ like "Chest Fever." The majestic opening captures such grandeur then blends into a medley of rock and soul with an ending that pulls out all the stops. Music from the Big Pink is already a great album, but with Garth Hudson at the keys, it becomes a legendary.
This album has a feel of an old sad Hollywood movie. There's a timeless feel about it but also a fleeting memory of yesterday. There's a journey back and forth between a heaviness and a light delightfulness. The second track "The Black Hawk War, Or, How to Demolish an Entire Civilization and Still Feel Good About Yourself In the Morning, Or, We Apologize for the Inconvenience But You're Going to Have to Leave Now, Or..." is quite a mouthful but also a sign a complicated trek the listener is about to embark on. Another mouthful, the third track, "Come On! Feel the Illinoise! Part I: The World's Columbian Exposition Part II: Carl Sandburg Visits Me In A Dream" continues the old Hollywood feeling with a La La Land type big band number: trumpets, marimba, xylophone, big piano, synced vocals, etc. Track 7 "Decatur, or, Round of Applause for Your Step-Mother!" has a folksy feel, simple but lovable banjo, plucked guitar, and a subtle accordion with lyrics like "The sound of the engines and the smell of the grain, We go riding on the abolition grain train" Speaking of trains, track 8 "Chicago" has locomotive like building of guitar at beginning and again during the chorus. Overall the song has a very spacey, outer body experience of the universe and self-discovery with lyrics like "I've made a lot of mistakes" and "All things grow." From this optimistic direction, things quickly take a sharp turn into a heavy sorrowness. Track 10 "Casimir Pulaski Day" grabs the listeners attention with mention of finding out about someone's "cancer of the bone." The sense of struggle and sadness is throughout. Lyrically the song tells a sad tale, but the light and airy vocals and instruments, especially the trumpets outro, reflect a journey of coming to acceptance. The song "Pairie Fire That Wanders About" feels like an astrologist telling rich mythological stories of Andromeda and Aquarius. "The Predatory Wasp of the Palisades Is Out to Get Us!" is lyrically and musically complex. Comes across as a playful sound but lyrically weighted. Looking into the lyrics I discovered the metaphor that represents a “sting” – a sting of love, of resentment, or of regret. All of which seem captures a sadness and struggle, "I was in love... Palisades." It seems to be a love that is not accepted and not even by the love of God. "The Seer's Tower" opens with bass heavy piano chords. A song with a depth and caution. A stand still moment. "The Tallest Man, the Broadest Shoulders Part I: The Great Frontier Part II: Come to Me Only With Playthings Now" brings it back to upbeat and sense of joy not seen much in the previous songs. It's like coming up for a breath of fresh air. The cadence reminds me of America in Westside Story. Despite the peppy feel, there is a warning woven in "What have we become America" "Run from yourself" "Run for your life" but there is also a calling out to something greater, spiritual "The spirit, the carpenter" "Oh, great heaven, Oh great master."
Wow! What a musical epoch. At first, this felt a hard pass. It was something like a Phish type of album and needing some kind of psychedelic to make it worthwhile. Well, I believe this is the most I've written about an album so far and some how it's made an impact. There's an intriguing opposition between the sound and the immense weight of the lyrics. Seems kind of fitting the last two songs are instrumental with interpretation up to the listener. The ending piano in "Riffs and Variations on a single note for Jelly Roll, Earl Hines, Louis Armstrong, Baby Dodds, and the King of Swing, to name a few" echos out of a dream and a trumpet wakes us up and calls us into the next brief instrumental track wrapping up with "Out of Egypt, into the Great Laugh of Mankind, and I shake the dirt from my sandals as I run." Building flutes and striking piano notes escalate. The intensity and amplitude is all surrounding. Clanging bottles feel a little like rainfall. Stepping into a new day.
I can see why this made the 1001 albums everyone should listen to.
The ArchAndroid is a musically creative endeavor with futuristic sounds and wide range of vocals. “Dance or Die” has a rhythmic spoken prose with Monae’s driving high tempo verses. “Sir Greendown” has a slow worthy of a 007 movie intro. I was waiting for the drawn out lyric of “Goldfinger” to pop out at some point. “Cold War” seems to have influences from OutKast and its driving drum machine of “Bombs Over Baghdad.” This connection becomes clear in the next track “Tightrope” and featuring Big Boi. This old school funk number gets head bobbing and feet taping, and the back and forth between the horn section and Monae is playful and highlights what Monae call “classy brass.” “Neon Gumbo” is a prime example of her futuristic experimentation of sound: backwards playing synthesizer and electrified guitar. Now for the big band swing rhythm number of “Come Alive.” It creatively weaves back and forth between an old school number and a riff heavy electric guitar jazzing it up. It also showcases her vocal range. ”Mushroom and Roses” is a slow scintillating jazzy awakening. One has to wonder, what is the power and draw of Blueberry Mary? For act two, Monae carries over the melody from “Mushrooms and Roses” and Neon Valley Street feels like a continuation of a budding romance in this bluesy jazz piece with wonderful wailing guitar riffs. Taking a break form the modernistic themes, “57821” opens with a simple acoustic guitar and continues with dream like vocals. It all comes to a conclusion with “BaBopByeYa.” Much like a last big number of a Broadway musical, this lounge music piece lets the instruments tell the story of love and longing just as much as the vocals.
That’s probably the most well-known bass lines opening up Abbey Road. How did such brilliant and musically talented individuals come together? Pairing with McCartney’s impactful yet colorful bass slides, Ringo had a perfect hi-hat and tom pattern. I also read that Ringo’s left-handed approach also adds to the uniqueness of the sound. “Something” is just brilliant. George Harrison’s gifts of guitar clearly shines and tugs at all our heart strings. The lyrics, and the way he sings them, highlights Harrison’s emotional depth. There’s just something about it. McCartney tries to enter this arena, with “Oh, Darling” but when compared to “Something,” it feels like it’s better suited for a sorrowful moment in a holiday rom-com. Now it’s Lennon’s turn at desire in “I Want You (She’s So Heavy).” Lyrically simple, but Lennon’s and Harrison’s guitar play are the true spotlight of the song. It has an amazing blues feel which bound back and forth between a higher tempo, capturing how they a being driven mad, to drawn out heavy chords reflecting the deep longing. But good news, “Here Comes the Sun.” Harrison’s magic for weaving meaning lyrics and the beauty of an acoustic guitar shines brightly in this number. The album in its entirety feels like a 3, but it’s the genius of George Harrison which makes it a four for me.
These sage storytellers kick things off with the traditional English ballad "Scarborough Fair." The haunting harmonics of the Simon and Garfunkle combined with the ancient sound of the harpsicord makes this time cautionary tale stand out and one to pay attention to. Great opening to the second track "Patterns" with a heavily plucked acoustic guitar with a fun driving rhythm. However, it was surprising how quickly the tone changed to a steady percussion (bongo maybe?) helping us zero in on the story of his life's reflection with impactful lyrics like, "Impaled on my wall, My eyes can dimly see, The pattern of my life, And the puzzle that is me." "Homeward Bound" is fun tune riding the melody up and down like being on wavy backcountry hills. Serious tones followed up with upbeat and liveliness whenever they sing about going home. From the steady bass, rhythmic snare drum, and vocal playfulness, "Feeling Groovy" should put everyone in a good mood. Simon and Garfunkel seem to go back and forth between highs and lows. After such a fun song as "Feeling Groovy," they embark on "The Dangling Conversation" with a heaviness and feeling of dread with lyrics like "I cannot feel your hand, You're a stranger now unto me." However, I did enjoy the cleverness lyrically/musical with "Like a poem poorly written, We are verses out of rhythm, Couplets out of rhyme
In syncopated time" while they sing in syncopation with the last line." Sad, but very well put together song. Musically, lyrically, and a mirror we should all hold up to ourselves, I think this is my favorite song on the album. I pray my marriage never experiences the dangling conversation. Not sure it was a dig on Bod Dylan, but I enjoyed the guitar and guitar riffs in "A Simple Desultory Philippic." Didn't really enjoy "For Emily, Whenever I May Find Her." Too depressing and not a fun or clever listen. "A Poem on the Underground Wall" was a curious and upbeat song. It left me hanging wondering what the four-letter poem was he wrote on the wall. The last song feels timeless with so much hopelessness in the world and a longing to be saved.
Opening mournful church choir, deep bass chords, subtle organ and such a looming, fathomless voice in "You Want it Darker" delivers. Anyone else in the mood to watch the Sopranos? The sorrow continues with "Treaty" and it seems Cohen captures a hollow shell of himself without Ariel. Suprise, his struggles carry on in "On the Level." However, the soulful piano/organ and background singers create a bluesy beauty. I have to admit, with onslaught of despondency, Cohen feels like an old, tired, and suffering dog and may be best put to him out of his misery. "Leave the Table," just leave already. He wallows on with lyrics like, "That's how broken I would be" in the track "If I Didn't Have Your Love." At this point, move on already. There's musical talent here, but this dark album blocked light highlighting the gifts within this album. If you're wistful, this is likely your jam, but then again, "Mea Culpa."
Walking Wounded brings a combination of easy listening and electric beat drops like a futuristic longue singer. "Wrong" has some good building beat tracks but repetitive, and while the lead singer has smooth vocals, the energy of it all feels wrong. The remixed version of "Wrong" towards the end of the album has a slightly better spin. "Single" has some good depth with its steady rhythm and lingering saxophone in the background matching the broken-hearted storytelling. However, when the song asks, "Do you want me back," my answer would be no. Each progressing song struggles to pull me in. "Walking Wounded" states, "Are you trying to punish me?" No, but I'm feeling like this album is punishing my eardrums. The last track remix of Waking Wounded is just as battering but so much more prolonged. A few tracks "Flipside," "Big Deal," and "Mirrorball" actually pick up a little bit by playing around with unique sounds; scratching records, 90s beat tracks, acoustic guitar, etc. The vocalist in these songs actually seems to have a little more range of emotions but still exudes a brooding sadness. Ultimately, the melancholy ora keeps this album of the shelf collecting dust.
"Angus Dei" starts with a childlike experimentation with a violin bow and holy opening sung with Mideastern flair causes a listener to pay attention and wonder where this album's expedition is going to take them. Take the steady mumble of Tom Petty and throw in a new age music sound, and you get the next track "The One You Love." The dancing piano chords towards the end stands out. The long, and I mean long drone of Wainwright's singing of each lyric and floaty sounds of the instruments feels like this was produced under the influence of some great psychedelics. Maybe in the right circumstances, I could embrace the journey he wants us to partake. "Little Siter" is a fun contemporary orchestral melody which seems like something a young Mozart would create with his sister if they were alive today. Several songs have felt a little like Billy Joel with flowing piano tunes to go along with sweet reminiscing memories. “Crumb by Crumb” is a great track seeming to explore where love can take us. It captures us, we want more, it's scary like a dark forest, but it's important to take it step by step, crumb by crumb. Very clever and fun, just like the rest of the album. Naturally with a title of "Want Two," curiosity led to my discovery of his previous album "Want One." The covers complement each other hinting at how the two go together. I could sign up to listen to them in sequential order to aid in a new listening adventure.
The opening’s upbeat south of the boarder influence seems to hint this could be an interesting audio adventure. However, the endless crooning makes this feel like a soundtrack for a 70s television drama. I’m beginning to think someone on the 1001 album selection committee has a thing for singers with bleeding hearts. At least we break out of the heaviness with the sanguine tracks of “Hero of the War” and “The Old Man’s Back Again,” but Scott Walker’s eventual sorrow returns with the remaining tracks. Despite some good percussion, decent bass riffs, and Scott’s skating now and then, as in “Get Behind Me,” there isn’t enough to help me understand why this is on the list of 1001 albums.
An artist who is just as good, in the case of Sam Cooke, even better performing their music live than recorded is something special. I can see why the live version made the 1001 albums list. The opening song, "Feel It" and as instructed "Don't fight it," is a sign of a musician in touch with why people are driven to create music. I felt it throughout the whole album, and I can only imagine what it would have been like to listen to it live. What a showman! Sam has a great ability to sing about hardships and yet come across as someone who isn't defined or weighed down by those hardships. "Somebody Have Mercy" is a prime example of a longing soulful message but delivered with wonderfully jazzy R&B. Melody" is a great track with vocal playfulness and cleverness bouncing between two medleys. "Bring It on Home to Me," has the energy of a soul saving revival. So many great tracks. Even the audience can't help themselves in becoming part of this magical performance.
There are some interesting experimental sounds in this album, such as Aeroplane. Unfortunately, Bjork doesn’t really seem to get off the ground with Debut. She explores a range of emotions throughout and has some good messages, but maybe if I was born in a different year or under a different sign I could appreciate her talents. Other than some decent beats now and then, there wasn’t much I connected to in Debut.
A soft, flighty opening makes it seem like the listener is entering a dream-like experience. Not sure of the effect they were going for but some electric sounds seemed like a buzzing pest flying around. The pest and the song droned on for a little too long. Should have known this was going sign of things to come for the album. The next track felt like a techno-contemporary Bob Dylan prose possessing repetitiveness that didn’t aid the song or meaning with lyrics like “Broken your wings and you lost your demon.” The more I heard, the more I lost my desire to listen. The catchy guitar riffs and steady beat of “Aisha” almost pulled me in, but then the wild crazy lyrics and odd electric sounds pushed me away. “Neptune City” gave similar vibes. I’m all for experimentation in music and exploring what sounds can do and where it’ll take you, and I’m sure there are groups who would enjoy this musical journey. Unfortunately, I wasn’t one of them.
Classic British punk with a poppy flair. The opening song felt like an attempt at making punk more pop sounding but crashed hard. The simple repetitive monotoned keyboard chords were on the level of nails on a chalk board. In fact, the keyboardist brought great dissonance to the entire album. No better example than “No Xmas for John Quays.” “Mother-Sister” illustrated some really good driving punk rock beats and anarchist vibes, but not enough to drown out the album’s overwhelming 80s midi game keyboard sounds. Please make it stop. “ Live at the Witch Trials” and other songs had lyrics trying to send a message, but the punk approach to push away the masses, especially with the 80s experimental keyboard sound that countered any message that may have been received Without the keyboard, this may album may have shined, but with it, it’s just game over.
I was a little worried with the first song “Over and Over” with its belly up to the bar full of sorrow and an awful twang sound. However, the next track “The Ledge” delivered with a ramped up electrically charged guitar sound and playfully fun vocals. Plus, the bass gives it a jug blowing backcountry beat. Great song! Fleetwood Mac has great vocal harmony and complementary sounds. The guitars have wonderful and creative riffs and the organ in some songs really capture the mood like in “Think About Me” and “Angel.” I’ve never been a big Stevie Nicks fan, but she should be recognized for her ability to capture deeply emotional pieces in a rich storytelling approach as in “Storms.” A somberness is felt throughout the album, which may reflect issues the band was experiencing, but certain songs like “I know I’m not Wrong” and “That’s Enough for Me” were fun with solids beats. Rounding out the end, “Tusk” delivers with its delicious driving drums, haunting harmonic vocals, and electrifying horn section. This is an okay album, and if this made the 1001 list, I’m hopeful Fleetwood Mac will appear again.
Disco era funk at its finest. Can’t go wrong with a classic like “Freakout.” But what was a pleasant surprise were the instrumental tracks like the opening, “Chic Cheer.” “Saviore Faire” is another prime instrumental example of letting the guitar put the listener under a spell and just feel the music. The nimble fingers of Nile Rodger’s are legendary producing the essential ingredients in this intoxicating elixir. Someone consuming every drop of Chic’s sound will appreciate the next track “Happy Man.” Simple yet funktified looping guitar riffs, smooth background bass, layered ever-presence keyboard chords, and again Nile’s delectable solo should make everyone a happy man, woman, or child. “I Want Your Love” is an easily recognizable song, but I gained greater appreciation for the instruments played and mesmerizing solos. The perfectly timed tubular bells give the vocals a sent from above feel. The guitar solo mirrors the quickened pace of a fluttering heartbeat lost in love, and the wonderfully paired horn section keeps the lyrical yearning fresh and lively. The next two tracks are a pass, but the last track “Funny (Bone)” brought back an upbeat intermingling of instruments infusing orchestral funk highlighting a worthy way to exit an album. The only words in the entire song are sage advice which ever listener should head, but to list them here would take away from the enchantment of C’est Chic.
Can go wrong with old blue eyes and his velvety voice. Great big band opening with the familiar melody of “You Make Me Feel So Young.” Frank follows it up with a slower and more jazzy bang band number of “It Happened in Monterey.” The song pulls you in with its hypnotizing smooth bass blended with a trill and lively horn section making. The swoon continues with “Your Getting to be a Habit with Me” and correctly describing the power of his music with lyrics like “You got me in your clutches, and I can’t break free.” The mix of big band, orchestral, and jazzy numbers remind us the power weaving together so many complimentary pairing of instruments, especially the mood capturing horn section as in “I’ve Got You Under My Skin.” Most of the album is a testament to Sinatra’s crooning ability to put anyone under his spell. Fathers, keep your daughters away from anyone with this album of incantations.
