Harkens back to a very specific point in the 90s rock scene that was very deeply against what America was becoming--a country of quiet disdain so that polite society's vanity would remain undisturbed. An excellent blend of the 80s/90s "rap" (if you can call Rage's vocals that) and heavy rock, both used in service towards a greater, angrier message. This album is perfect in service to its namesake, it is an angry group of people that want you to stand up against the large-looming shadows of oppressive capitalism, discrimination, hatred, and worst of all, the societal rationalization of these practices. It wants you to "Rage Against the Machine".
I'm 1000% willing to bet that when JG Quintel was talking to his music supervisors for Regular Show, he directly referenced this album. Same for any GTA V music supervisor asking what their "Heist Music" ought to sound like.
I wont try to get into history as that is way out of my ball knowledge, but if I had to take an educated guess (and based on the ethos of this being one of the "1001 most influential albums" in music), this was likely a MASSIVE turning point of an album for the music industry. Who knows if it was actually that influential at the time of release, but it is clear that these presumably German dudes were tinkering with what was going to be the complete future of sound. Late stage disco was the thing of the 70's, and I imagine that synths and drum machines were starting to rear their heads at this period. These two were artists using brushes completely new and foreign to them. Saw wave synths. Artificial drums. Fun and funky beat patterns. and most of all, ALMOST NO VOCALS. This album is the exploration of "machine", as it was introduced to "man" in its mystique, modern representation in the 70's and 80's. This album is a piece that (now according to the wiki page that I read) represents a maturity of electronic music.
One of my favorite other reviews from this site:
Music made by men pretending to be robots for people who are pretending not to be robots.
Little bit o this, little bit o that ahh album.
Honestly, I can understand why this is perhaps one of the most influential albums of the late 80's and early 90's. You can hear an evidently transitory sound in Prince's instrumentation, incorporating more of the artificial "pop-y" sound into it's style. Yes, this was also the case in many 80's songs, but what I heard in this album was the CLEAR shift into the modern music world.
Personally, not my cup of tea, some of the songs were rather sporadic and the album as a whole felt more like a compilation of good times in the studio, rather than a cohesive piece of work (which is what I personally enjoy).
This is very quintessentially Queen. The guitars, vocal processing, and overall structure of the songs, of course, really make that sound what it is. Enjoyed the seamless transition from track to track, always wish that that was a trend that stuck around for more modern albums. This album is clearly very well structured and thought through--which I enjoy. It's just a shame I am rather indifferent to Queen as a whole.
New album for me: Y
Favorite Tracks: Procession/Father to Son; Some Day One Day.
Fun, bitchin, groovin, basically the peak of the 70's American Rock movement, where heavy pianos, digital organs, and two step swinging grooves were the dominant force of the time. A natural evolution from the jazz and swing that dominated the decades preceding. While I'm not familiar with doors, I'd imagine that they were likely one of the larger driving forces of this movement.
I was initially frustrated, as I saw that the first song was 28 minutes, so I just started listening. I forgot that there were only two songs in this album, both 20-30 minutes approximately, and I was almost frustrated by the sheer length of these tracks. Now, I can only wonder how the hell Miles was able to riff on for 30 minutes on the trumpet, twice. Wow. Good stuff, great morning jazz. Makes me want to pick my trumpet back up.
This one was a groovy, classical country album with lapsteel, guitar, banjo, fiddling, the whole works. Released in 19568?!?! Imagining this is quite a precedent-setting album as far as genre and style go. I appreciate the concept of "settling down" and the mindfulness towards Christianity, women, etc. It's country is showing. Too bad I'm just not partial towards the genre or sound. A good album, but just not for me.
So weird, so improvised. Quite a fun and original listen. I like to imagine that the intro song basically inspired the entirety of the glass animals based on sound. A good change in pace from some of the more boring albums on this list so far. How do I know? Because I added four songs to my liked songs!
I am also a big fan of the wild guitar/synth solos, dramatic atmosphere, and general cinematic and epic feel that this album has to it. I'm just a sucker for good story.
Surprisingly high use of the term f*gg*t, what did the Dire Straits mean by this?
Money for Nothing and Walk of Life are both on this album? Damn, so many bangers.
This is the type of album that I imagine a stereotypical 80's human, sitting in a classic 80's finished midwestern basement den, smoking 80's weed and drinking 80's beer, would listen to in the most nostalgic way. Embodies the era fully, and is just fuckin groovy. First time thru the whole album, but I was impressed by how many songs I was actually already familiar with. A testament to this album imo.
The other thing that makes this album a clear beast to me is the fact that my recommendation algorithm keeps feeding me banger after banger which are topically related to this. If it was bad, my recs would be shit. or something like that.
Bro.... What is this opening?
I think I'm starting to drink the ale-flavored Koolaid on this one. i'm one for a good album of storytelling, and there is most definitely a narrative here. I would enjoy this much more if I was shitfaced and sipping on a Guiness in the back of an Irish Pub, but alas.
You know what, fuck it, I loved listening to this. DnD side quest idea generated thanks to it. Very contemporary for its time in the mid 80's.
Peak sad ballad 90's. Makes me imagine going to the underwater themed high school prom where the cute girl takes off her glasses and suddenly looks like Sinead O'Connor. Would listen again, probably will go back and save a few tracks, add a few to my playlists. Unfortunately, not quite enough bangers to bump it into 4-star territory for me.
This was a very good album. Obviously I'm giving deference towards pop albums so far in this listen through, especially ones that came during my life, but I think that Lorde has always been able to distinguish herself with an incredibly distinct voice and style of music that the bedroom pop girlies wish they could emulate. It is a satisfying collision of instrumentality and percussion in both the tracks and her own voice. While there are only really 2-3 songs that, for me, were memorable enough to like/playlist (Green Light, Liability, and Supercut), the overall sound is just original enough--in terms of 2010's pop--for me to feel that this is a significant cut above the rest of stuff that was coming out in this decade.
It was a classic 80's sounding album. Will have to give it another listen, but there really was not anything that immediately caught my ear.
Feeling nostalgic. Reads like a cliche garage punk rock album, but of course it does, because it was probably one of the first albums to establish the genre. I enjoyed listening, and told myself I'm going to give out less 3's, so this one gets a 4.
Not quite sure why, but I'm quite excited for this one. It could also suck.
Update: I Like it. It's weird, but it's an oddly endearing sound that I simply cannot shelve to the background. Lonesome Tears is really f**ing good. Which is probably why I will go back and listen to this album again and inevitably fall in love with it.
OK Lit, this is supposed to be sad boi music. Probably why I like it.
This one gets the vaunted 5-stars from me. While not every single song was a crazy hit, Lonesome Tears will be on repeat for a while, and I will likely want to go back and listen to some more Beck. I think this album is also quite indicative of where I am at in my life rn, and that is quite deserving of a 5star
I don't listen to her a lot, as gospel/soul is not my typical genre. But it's Aretha, it's really good vocals, performance, etc. I appreciate this album for it's authenticity, especially after hearing about her story in the Aretha Franklin movie (ikik all biopics are just artist puff pieces, regardless). 4 Stars, maybe 5? I'd have to re-visit and revise.
At first, liking this album a lot less than I initially anticipated... then... Heart Shaped Box. The Boys song!!!! This one's good, tbd if the rest of the album is the same.
And famous successsion song R*pe me??? I lied, this is peak.
I went back and listened to this album two more times. First of all, testament to the album to intrigue me enough to go back and listen again. Second, echoing what many albums say, this is surprisingly different to Nevermind, which was such a polished album. On a surface level, I really appreciate the symbolic ties between the songs and the body, really taps into a greater question about the objectification and devalutation of the person, which was big in the 90s. On a deeper level, I am currently in my angsty 20's part of my life which is really why I liked it.
In truth, I would need to listen to this again to give it a proper rating, but one of the most notable things is that this was a truly remarkably original album as far as sound goes. I always believe that Glass Animals are a direct derivative of Radiohead, in that you can hear quite plain and clearly the sonic and vocal influence. Radiohead did it first though. They did a lot of things first.
This one was... a weird listen. At first I wanted to hate it, but liked it. Then as I continued through, I wanted to like it, but hated it. I resonate with a lot of what people say with the country blues-y twang. The final song was the real nail in the coffin of making me realize that this album is so painstakingly MID. People really were able to get away with making the most mundane stuff in the 60's and 70's, huh. The lyrics were just "i'm sad" on top of a banjo and a soft brushed drum groove. Nothing more to it. In a sense, there are a lot of albums on here that I've listened to and will listen to that are like that, and perhaps it is my bias away from anything country-sounding, but I just could not connect to the song at all. They were good, but nothing more.
Neil Young tried to make 'Southern Rock' a thing to catch up with Chicago's groove; instead, he only opened the Pandora's Box of mediocre country musicians that still invades American music culture to this day. 3/5.
I didn't listen as closely, so I feel that I owe this a rewatch at some point. Regardless, I cannot lie that the voices of these three were phenomenal to listen to, and while I am not necessarily partial to country, I am partial to Dolly.
Not even all of the fun little references to Nashville could overcome the fact that I'm sick of the '67-'71 Country Albums of doom and despair that this list is pushing on me.
EDIT: After listening a touch more, at the very least, the objective quality of the music is growing on me. I can't absolve the album entirely for the fact that it is 2 whole hours, but I don't truly hate it. It's kinda fun, giving it an additional star.
This one was great. Exactly what I would imagine listening to on my 2002 stereo CD setup with big ol bookshelf speakers. Just the right amount of production, great vocals, and also sadness. P.S. Fuck the people hating on this for boring bland starbucks sh*t--it's playing in Starbucks for a reason
I was wondering why their accent was so ridiculously fuckass, then proceeded to find out that they were Irish. Yeah, that explains it.
On another note, I was shocked by how much I actually liked this album. My expectations were initially that this was going to be yet another cruddy country snoozefest, but I found myself enjoying this one quite a bit. It is rather well produced and I do think the vocals are quite satisfying to listen to. There is also a very evident early 2000's influence on it which is neat. That being said, if there were only 1001 albums that were to exist that I ought to listen to, I don't think this should be one of them. 3/5
Eddie Redmayne does rock and roll. Slightly better than average, nothign novel, but American Girl gives it a 4 in my heart.
GTA music meets that one Regular Show rap battle episode. Love it. I'm partial to any rap or hip hop with good groove, so this gets a great rating out of me, even if it is in large part due to it just being fun to listen to.
Ahh, it was produced by Timbaland, that explains my partiality towards it. As I listen a little more, the album truly isn't anything significant, but per reviews and wikipedia, tis a major album for establishing that female rappers are valid in a world lacking them hereto. Either way, as a young person, i'll take this any day over the nonstop slop of 1959-1969 country twang.
Thus far, I have found it to be an enjoyable, yet mediocre, 90's yacht rock listen. Regardless, I thought it hilarious as I was listening to Man on The Moon and thought "this is nice, i should save it", and proceeded to see it be one of the most streamed on the album. Funny how the general public consensus with good music can work like that. I can't quite give it a 4, so it gets a 3, especially because this is one of those albums where I had high expectations when judging by the cover. It did disappoint slightly.
JK, many people love this, and I've been using it as lean-back music, so perhaps I should re-visit. 4 for now.
I was on the brink of giving Ocean Rain a 2, for the fact that it sounds like a perpetual album of "Car driving into the sunset music"--Ocean Rain (the track) made me think otherwise. Definitely a depth to the lyrics that I will likely grow to appreciate on the next listen through. Great way to end the album.
Unfortunately a lean back listen for me. It was very clearly an early 80's album that had influence on the subsequent genre of yacht rock and soft rock from the late 80's and 90's. It was groovy, but I don't know that anything really spoke to me. Maybe I need to start listening to these more actively, but if Beck can grab my attention, then so should these people.
EDIT: Revising to a 2, because I just cannot jive with mid being a 3. Going to try and go by my Letterboxd rules for rating.
Freaky ahh album. It has that one song used in literally every 2000's movie ever. I know it probably gets hate for its repetitiveness, and there is merit to that argument. However, I hear a lot of the fundamental roots of house and electronic music in here, along with some bitchin disco. So 4 stars.
Is this an album that should be heard before you die? Sure.
Does it suck anyway? Absolutely.
do you have any idea how hard it is to experience CIA psychological torture at work? Because now I do.
This just doesn't quite do it for me. It's fun, it's a step out of the regular culture. It is groovin. But it just doesn't quite seem like something that is to my taste. Either way, I don't quite finding myself tune it out as much as I have the lesser albums that cause my interest to wane. It is musically interesting and a good lick of world music to widen my palette I suppose.
Had no idea what to expect based on the cover. Maybe another world music album back to back? Definitely major political messaging. Regardless of the messaging, the sound is way ahead of its time. Feels like I'm listening to something from 2010 or later.
It's quite funny to see the hate on this album for its repetitiveness. Yes it's repetitive, but for some odd reason it does quite well to scratch that itch for me.
O fuck, just realized im only 4 songs in.
Not nearly as fun, exciting, or original as Automatic for the People was. Somewhat boring, a listen where I couldn't help but constantly wonder when it was going to be over.
Wow. Wanted to be indifferent due to my biases against some of the 70's stuff I got so far, but this one is the opposite. I LOVED it. There is something so special about going through the stages of finding that you really, thoroughly enjoy a new genre or artist that you haven't listened to before. Happened to me most recently with NIN, now this. There is a degree of shock, surprise, denial, and then finally euphoria when you come to find that you have discovered something novel to you and beautiful. That feeling is why I'm doing this.
Billy Joel if he was actually good.
It's albums like these that really make it difficult to keep pushing day by day.
