The best songs--America, Fakin' It, A Hazy Shade of Winter, Mrs. Robinson--are classics for a reason. But to me, there's a big dropoff to the second tier songs. Save the Life of My Child's attempts at light psychedelia just sound mushy; Overs, Old Friends, and Punky's Dilemma sound gushy; The attempts at a conceptual suite with the Bookends theme and Voices of Old People sound pretentious. But man, the highs are very high!
Urban Hymns has long been one of my favorite albums of the 90s. Listening again, the whole albums flows as a whole. The jams jam and the bangers bang. I should be sick of Bittersweet Symphony, but I'm not.
The first time I heard this band I had a visceral dislike of the shouted lyrics and mashed together noise. Very melody and very little complexity. I still can’t stand this.
I mean, this is a no-brainer 5 star album, obviously. But it's long been a bit of a frustrating listen for me. The best tracks are some of the best of all-time from anyone anywhere-Visons of Johanna, One of Us Must Know, Stuck Inside of Memphis, etc. But the album also grinds to a halt when the boring bluesy numbers pop up--Pledging My Time, Leopard-Skin Pill-Box Hat, Temporary Like Achilles. But between the iconic cover and the majority of the fabulous songs, this one is undeniable.
Thoroughly enjoyable from start to finish. Still rocks!
Oh boy. I went through a Doors phase in junior high, obsessed with every album. I'm no longer in junior high. The Doors have not aged well for me. Twentieth Century Fox is still a good tune though.
I've tried to get into this one several times over the years. It never connects and this listen was no exception. I get why people like the harmonies and soulful lead vocals, but I just can't take the baroque arrangements.
Lovely. Samey, but a lovely kind of samey
I've long loved Stereolab, and I"m always happy when a song pops up on a playlist or radio. It's been a while since I listened to this entire album though, and I must admit that, while still very enjoyable, it demands a certain relaxed mood. It's got a repetitive groove, but whether I'm digging that groove depends upon the mood.
Phenomenal album from start to finish. The songs are definitely swingin', and the album never lets up. Frank at his best.
I absolutely love Catch a Fire and Live!, but have grown sick of the greatest hits type stuff from overplay. I was interested to hear Exodus in full since it's been a while, and I thought maybe the overplayed songs (Exodus, Three Little Birds, Waiting in Vain, Jamming, One Love) might sound fresh integrated within the album. Unfortunately, it didn't work. Honestly, I wanted to like it more.
What an album. Intense and dirty from start to finish, with grooves that never let up. I mean, those first three tunes alone. Damn
I knew some of the songs--most obviously, Public Image, which rules. But I've never listened to the whole album. I didn't expect to like it so much, but damn, it's great. Relentless, powerful, thrilling.
Creedence rules, and somehow they are still underrated. Green River and Willie and the Poor Boys are near perfect albums, and Bayou Country is solid as well. The heights of Cosmo's Factory are the heights of 60s rock--Who'll Stop the Rain and Run Through the Jungle in particular. The other hits--Travel Band, Looking Out My Back Door, I Heard It Through the Grapevine, and Long as I Can See the Light--are a step down, but still fantastic. Of the deep cuts, Ramble Tamble rules--love the extended jam that loops back to the jagged licks that form the basis of the song. What knocks this album down a notch for me are the boring and mediocre covers of Before You Accuse Me, Ooby Dooby, and My Baby Left Me. While they elevate Grapevine, they play the other three covers straight. Still a great album though.
As with other artists on the list, this seems like the wrong album. Remain in Light, Fear of Music, and even More Songs about Buildings and Food show much more intensity and depth. However, this one is a very pleasant listen from start to finish. It doesn't have the bangers of the other albums, but not many weak spots either.
Everyone knows the big hits, which are unassailable. The second tier tunes are also fantastic--DMSR, Lady Cab Driver, Automatic.
Wow, this one was unexpectedly bad. Again, why this album on the list rather than melty face? Solsbury Hill is obviously fantastic, but most of the album sounds like he's trying to work out some of the prog hangover of Genesis while trying to keep up with the times by inserting late 70s classic rock riffs into tunes. The opener, Moribund and Here Comes the Flood are interesting, but most of it is a mess. What the heck is Excuse Me? The best I can say is that he was learning how to be himself to pave the way for his excellent later albums.
Loved it when it came out. Love it now. Time has made stuff like Slanted and Enchanted more approachable and, to my ears, made Crooked Rain less a "pop" follow up and more consistent with their debut, albeit with some more immediate songs like Cut Your Hair, Unfair, and Range Life. But the flow of Crooked Rain is what makes it great, with lots of loose, shaggy tunes interspersed with the "hits." Not a bad song in the bunch.
I understand why this would be considered important, groundbreaking, and cool. I can see how someone could get into it with more listens or with the right mood. But I probably won't. Not for me. Sorry.
Enjoyable listen, but didn't expect so much to be instrumental. It's smooth and funky, with standout tracks like Cisco Kid and the title track. Not sure I'll return to it much but solid album.
Really solid foundational soul music. Cry To Me, especially, is fantastic.
OK, so prog rock really isn't my thing. At all. I've seen these early/ mid 70s Genesis albums with the goofy cartoon covers hanging out in record stores since junior high and never had the urge to listen. At all. I'll start by saying the obvious: the album showcases amazing musicians in control of complex songs with intricate changes and shifts. It's impressive. And given Genesis's career, it's cool to hear Phil Collins focusing on his amazing drumming and background singing. Phil's voice blends seamlessly with Peter Gabriel's, and Gabriel's vocals are fantastic. But, ugh, the prog-ness of it all. I understand why it's considered a prog-rock masterpiece, and it's truly an accomplishment. But it's one I probably won't listen to again. Rating this is tough: objective 4 stars, subjective 2 stars
This is the first time I"m reviewing something completely new. Never heard of this dude or the album. It's got a nice jazzy, loungey vibe, and I can see it being a cool late night listen. But this has no business being on this list.
I've tried. I tried when this came out (bought the CD and I think sold it after giving it many chances), and I'm trying again. But the precious, whispery vocal delivery and overly mannered instrumental backing (ugh flutes) just don't do it for me. No thanks.
Right in my wheelhouse. The big three--Root Down, Sabotage, and Sure Shot, sound as great as ever. Is there filler? Sure. But it's fun filler, and the sequencing links the filler with the classics in a way that makes for a wild, entertaining ride. It fades a bit toward the end, but so what--they are having fun. Great album cover too!
Again, they are picking the wrong albums. Making Movies would be my pick for Dire Straits. However, this is a solid debut.
My college roommate had a few Peter Tosh cassettes back in the day and they were always a fun listen. It's been awhile and they still hit the spot. Peter Tosh has a fantastic, expressive voice, and his backing band is phenomenal. Gets a little samey at times, but it's a fabulous samey.
What can I say about Who's Next? It's one of the pinnacles of rock, from the iconic and still amusing cover to the flawless tracklist. Even the "lesser" songs like My Wife, Love Ain't For Keeping, and Getting in Tune are phenomenal. And the iconic warhorses still sound fresh after hearing them thousands of times. You'd think I'd flip the channel when something like Baba O'Riley or Won't Get Fooled Again starts playing, but I still crank it up. There's a reason why the punks of the 70s gave the Who a pass and Gen X bands revered the band. As a Gen Xer myself, this album was omnipresent on radio and the Who were one of the cornerstones of my musical knowledge base.
I'm familiar with the Mekons and liked what I heard but never dug deep. So this was a fun one for me. Lots of variety. The album really take off with Love Hard To Be Human Again, which turns into a driving maelstrom. Then what would be vinyl side 2 really gets moving, with Flitcraft, Country, and a run of great tunes through the final Lost Country. Great listen. I'll come back to this one.
Loved Nevermind. Never really liked this one. Black rules but the rest is overwrought
I've loved the White Album since my first listen in probably junior high, so no sense of perspective here. As countless others have written, this sprawling album is all over the place. Some continue to argue that it's a bit of a mess, but it's a glorious mess. Is there filler? Of course! But the sequencing intersperses the filler with the killer in a seamless way. Also, the filler were some of my favorite songs at that age. Revolution #9 is pretentious nonsense, but I wouldn't lose anything else. And packaging is iconic, from the cover to the lyrics poster to the amazing portraits that were hanging on my wall. Simply one of the greatest albums of all time and, to my mind, the peak of the Beatles' musical journey. (Let It Be is fun. Abbey Road is muzak.)
It's fine. Praise You is a great song, but this album does nothing for me at this point. Nothing particularly wrong with it, but it's not a top album. No business being on this list.
Beach House is fine, but why is this on the list? It was an enjoyable listen though
I'd heard most of this album before, but can't remember listening the whole way through. I've listened several times already today and understanding the groundbreaking reputation of the album. The industrial noise of the first half of the album is excellent, kicking off with the fantastic instrumental Speed of Life and progressing steadily toward one of Bowie's best with Sound and Vision. The ambient second half of the album is a complete shift. While not as immediate as the first half, it's an intriguing collection of abstract tunes starting with Warszawa. Great album--I'll be coming back to this one.
Just awesome. This was a foundational album for me and I listened incessantly in the early 80s. Back then I had the US version, which keeps the meat of the British version but adds singles like I Fought the Law, Clash City Rockers, White Man in Hammersmith Palais, and Complete Control. Today I listened to the British version, which is unarguably fantastic. But damn I miss those singles! Still a phenomenal listen.
Side 1 is as good as it gets-just flawless. Tuesday’s Gone and Simple Man especially jam. Side 2 has a noticeable drop off before ending w the still transcendent Free Bird.
Great album. Love the iconic cover--Bowie looks super cool and otherworldly (yeah, shot from Man Who Feel to Earth, so intentional). Although the album only contains six songs, I love the the variety of music, from the changing movements of the opener Station to Station to the super hit Golden Years to the more college-rock like TVC 15 to the funk of Stay to the mellow closer Wild Is the Wind. Fanastic backing band, including Roy Bittan of the E St. Band. Much more accessible than its reputation suggests, but still keeping things innovative and experimental.
Prime example of why doing this is so fun. As a huge Bruce fan, I'd heard about Suicide's influence on him, particularly on Nebraska. Always liked Dream Baby Dream, always respected and was petrified by Frankie Teardrop, and I'd heard other songs here and there. But I'd never listened to the whole album before this. Now on my second spin and, damn, it's fantastic. I hadn't realized the extent to which Suicide, like many 70s punk bands, were reimagining 50s rock. The 50s pastiche is what makes this album so cool. Ghost Rider, Rocket USA, Cheree, Johnny--really all of side 1--is much more fun than I'd imagined. Frankie Teardrop is still completely terrifying--it's isolation on side 2 makes an accidental listen impossible, thankfully. Listening now, it's so apparent how much this album influenced bands like Joy Division. However, many of the later bands they influenced, like Nine Inch Nails, seem less fun to me due to the lack of the rock and roll foundation.
OK, I get how this would be cool playing at a rave or a club or whatever. And when I put it on, I could see the appeal of the music. But it's so much of the same thing. It's fine and have nothing against it, but not a top album.
Right in my wheelhouse. Loved it when it came out, love it now. My main concert claim to fame was seeing Nirvana the day before Nevermind came out. I heard an advanced copy in a record store, flipped out, and asked the clerk about what I was hearing. We learned they were playing a small club the next night and had to go. It was a great, sloppy show, but I never thought Nirvana would become Nirvana. A friend and I moved to Chicago a few days after the show, and we knew something was up when kept hearing Smells Like Teen Spirit on the radio in random small towns in the middle of nowhere. Anyway, Nevermind is great now, but I remember thinking it was a bit polished for that sloppy band we saw. So when In Utero came out, I loved the interplay between the band's unmistakable gift for melody and their persistence on the raw, aggressive sound. I vividly remember hearing All Apologies for the first time when driving home to Boston from grad school. I thought it sounded like a long lost White Album track. Listening again, the albums sequencing is brilliant, and the whole thing flows much better than I remember. I'm sure I used to skip around on my CD, so my big revelation today is how much this album really works as an album. So fun to catch up with an old friend.
Always appreciated most of the individual songs but never responded to the album as a whole. That’s largely still the case, though this was an enjoyable listen. Side 1 is flawless-Tangled is still undeniable, You’re a Big Girl Now’s wistfulness still hits and Idiot Wimd is a tour de force. Side 2 drops off a bit but it’s more than solid.
I remember this being hailed as a comeback when it came out but never listened. Actually very good!
Never listened to this whole thing. Interesting and I’m sure it gets better w repeated listens but a bit on the dull side right now. I’m sure I’ll regret that review at some point
First couple of tunes are fantastic . Not so sure about the rest. Can see the influence and innovation but not that enjoyable of a listen
Eh had a brief white stripes phase but this doesn’t do much for me. It’s fine. Hotel Yorba kinda too cutesy and the other stuff kinda dull
Yeah the title track was overplayed 40 years ago and some of the album drags. Bobby Whitlock- god bless ya i can’t blame your excitement but the over singing is often brutal. But when it hits it really hits. I’m not a big Clapton fan but Duane Allman in particular seems to really challenge him and bring out his best. In particular Why Does Love Got to Be So Sad blazes and Anyday rocks-keep it going too
Had heard about Walker and tried listening but never to a whole album. Did this after many whiskys at a listening bar in Tokyo. Slapped on headphones in bed and it was incredible.
The title track obviously unimpeachable. Rest of the album is solid
It’s Rubber Soul. Just look at the iconic album cover! Amazing from start to finish-the songs are varied and complex, enhanced by wonderful sequencing. The incredible thing about the album is how vibrant and alive it remains today. Still a wonderfully entertaining and fresh sounding album. I spent the afternoon listening to the recently released super deluxe edition. Just wonderful!
Been awhile since I listened to this one. Still an enjoyable listen. Not much else to say...
When it came out, Groove is in the Heart sounded like the future. Today, it captures the optimism and innovative hip-hop-i-ness of the early 90s. It's still a fantastic song. The rest of the album is fun and better than I remember. In early 90s Boston, there was a Landsdowne Street dance club called Venus de Milo, with Roman statues and trippy decorations, playing at the time cutting edge hip hop, electronica, and alternative. This album is that nightclub. Not sure the album belongs on the list, but it's a fun time machine for me.
I really wish I'd been asked about one of the earlier Van Halen albums, but doing the best with what I got. Entertaining listen, but nowhere near as potent as their best stuff. Also, the album cover has always been and will remain terrible.
Later albums are more consistent but who can argue w Respect and the title track
