A lot of super bluesy English 80s jamming songs. The first few tracks (Money for nothing, walk of life) are definitely the standouts, creative, fun, and proudly 80s (I waaaannnt my MTV). Basically everything else takes some patience, tracks that go well past the 6 minute mark with slow guitars and almost hushed vocals. Some of Knopfler's lyrics haven't aged the greatest though. Overall, solid album until track 4 rolls around.
What is perhaps the defining album of trip-hop (second to mezzanine the goated beetle album at least imo), is a very sludgy, creeping album that makes incredible use of the genres (r&b, rap, electronic) it takes inspiration from. There are not many artists with a sound quite like Massive Attack, and I was surprised at just how seamless everything is. There is such a distinct aesthetic to the sound captured on this album. Some of the best rap/hip-hop/trip-hop to come out of the UK for sure.
The Rolling Stones would probably have been exiled if they ever decided to play something like this on main street honestly. Not because it is a bad album, but because it a loud and proud album that encapsulates the zeitgeist of their time. In other words, this record sounds like one massive party, with bold brass, jamming blues guitars, and Jagger's distinctive voice guiding them all. It might not be my favorite, but there's no denying the statement made here by the stones.
64 years later, Live At The Apollo was probably one of the most legendary performances in all soul music. Despite the shorter length, listening to this album felt like being transported back in time and witnessing a piece of musical history. There's no denying the influence James Brown would have on future musicians. Above all, Brown's performance is a centerpiece of the Black culture of Harlem and the music of the time. Really a beautiful album that showcases just how deep the roots of soul music go.
Africa Brasil is definitely one of the strongest albums I've heard so far. Every song on this record is brimming with life, joy and emotion. What especially stands out is Jorge's voice, which is quaking with emotion throughout all of the tracks. The guitar work and especially the drumming are also big standouts. A beautiful fusion of music of Brazil and the African diaspora.
Garbage is not garbage. In fact, some moments on the album are probably some of the best grunge to have come out of their time, possessing both the crunchy guitars of alt rock and moody electronic effects. Almost all of the tracks were hit-or-miss for me, with Vow, My Lover's Box, and Milk being the best ones. They really shine when they lean towards their electronic side rather than their rock side. The problem is the best moments only come halfway into the record. Does placement really matter though? The b-side was definitely the best-side in this case of garbage.
This is more of a 3.5/5 out of ten but unfortunately this site only lets you judge art through a set of only five numbers. This aside, this record really has some incredible highs out of songs like the rush of title track, the guitars of King of Pain, and then obsessive, sneaky desperation of Every Breath You Take. That being said, Tea In The Sahara tries to pull some weird ahh deep shit parable for no reason. The production itself is pretty clean, prepped with all of fair amount of musical 80s toys without having to rely too heavily on them. Sting has to be the mvp of this album, nailing the vocals and the bass.
The best records in my opinion are the ones that manage to be both consistent in production and yet manage to be wonderfully creative. Such is the case of this record, a beautiful Bossa Nova album with vocals that are almost whispers, gentle guitars and Getz's incredible and seductive saxophone. This record defines the sophisticated, soft sound of Bossa Nova music, and the influences it would produce on popular music were substantial. The minimalist, intimate sound of this record really shows that much more can be done much less, all you need are a few key parts.
Even though country is a regressive genre that is best to avoid when you can, with a lineup like this, this is about as good as it gets.Dolly, Linda, and Emmylou sing wonderful harmonies alongside each other throughout the many yearning love ballads of the record. Although it is not too difficult to get tired of it around halfway through. A rare fusion of the traditional and the progressive in country music. RIP Dolly.
Pretty fire honestly, I've been sleeping on the brits when it comes to rap. Strong beats with some great electronic stuff on the side. Skepta's both witty and powerfully honest, denouncing superficiality with razor-sharp lyricism. This record takes its old-school American influences and creates a blend that is also true to its English origins.
For the first couple of tracks it can definitely feel like “haha screw the man I can say what I want and there’s more important things to focus on than the slurs and violence I rap about” and you can definitely see where the appeal is at least. Near the end of the record, I got real tired of all of the general bigotry and hatred. Slim really wants a reaction out of you, and even though there’s clearly more to the record, it is not easy to stomach everything that’s being said. There’s no denying Eminem’s intelligence and self-awareness in his rapping, and I can clearly see both sides of opinions on art like this, but you have to use your position of power as a successful artist and musician for something better than this.
I was initially wondering if I really needed the funk going into this record, but by the end of it, I decided I gotta have that funk. This record really is funky, psychedelic party music at its best. At first glance, this record might suggest that it is just silly party music made by a bunch of guys high on shrooms (which is partly is) but it is actually a surprisingly musically detailed and wonderfully creative experience. A super joyous record that really is just overall a groovy time.
38 minutes of these goblin geezers warbling into their microphones thinking that they’re the shit. And this is coming from someone who likes some black metal. Germs has all of the redemptive qualities of a gas station bathroom, which is where you’ll find a lot of germs anyway. The only excuse this record has is someone decent guitar, but almost every rock record on this list so far has that so that’s not getting this nasal noise any higher on the list.
Sometimes, you have to wonder if the people making records really are just talented or are just super high on drugs. Most of the times, it’s both, and it is definitely the case with Todd one this record. Super experiemental, super avant-garde, and it would probably be super off-putting to the billboard 100 normies. A lot of the songs do not really feel like songs but rather just a collection of sounds, and because of this, the best moments on the album can feel like a kaleidoscopic musical explosion of color. These bursts of pure artistic expression might honestly be on-level with the likes of bands like Pink Floyd. All of that being said, this album is super under looked because it is a testament to disregarding norms and genres and rules within music and just creating art, no matter what anyone tells you. You’re a wizard Todd.
Sade seems to me like the perfect singer and artist for the kind of breezy, cool, seductive R&B and Bossa Nova-esque music that she makes. Because of this, Diamond Life sounds incredibly polished and refined, almost like Sade was made specifically for this kind of music. The record goes by smoothly and time flies fast, it has that kind of chic 80s saxophone sparkle that defined the time period. Really, this album embodies cool in every sense, jazzy, lush, calm and sensual. There are few musicians out on this planet that can aspire to be as cool as someone as Sade Adu.
As an American monoglot, I can't exactly full appreciate the art and music being created by bands like Buena Vista Social Club, yet I can still sense the talent and joy out of a record like this. Overall a rich blend of African and Latin styles that makes for a pretty entertaining listen, even if it overstays its welcome with the lengths of some tracks. You really do have to appreciate the work that musicians like the Buena Vista Social Club have put into preserving and showcasing their musical culture to the world.
Not many records live up to their titles quite like Grace does, a record that matches its intimate emotional elegance with spiraling heartbroken crescendos. The precision, passion, and vulnerability of Buckley's voice makes it feel as though he's performing right in front of you and a small crowd. Whether it's Buckley displaying his emotional capacity through a dream-like lover (Mojo Pin), warning himself of the pitfalls of an intoxicating love (Dream Brother), or stubbornly holding onto a fading love (Lover, You Should've Come Over). The entire record encapsulates just how powerful love can be, at its greatest heights and deepest lows. Not only does Buckley possess a gift for his guitar and his operatic, overwhelming voice, he has an incredible amount of emotional depth and a capacity to love that moves a listener like me almost every track. Buckley even serves as a kind of role model for me, proving that men are more than capable of showcasing deep emotional affection and vulnerability, even if we are told to conceal our emotions. With Hallelujah, Buckley manages to recreate a song, and he does so with such precision and gentleness that, in this writer's opinion, easily surpasses the original. Above all, Grace is a testament to love and all of its raw, messy forms. RIP Jeff Buckley.
It’s super easy to put off a punk record, especially when it is made by a band that really didn’t make a whole lot of records. But when Jehu’s at the wheel, its a punk rock blast. So many songs on here are so long, with some crazy Tom Morello-esque effects on them as well (luau 7:45 sounds like flightreacts), but that doesn’t stop them from being generally enjoyable. Solid record but it really isn’t anything more.
