Messy and in-your-face, but not in a good way. Low quality music with horrid whinging, screeching vocals, which made 'Black Mountain Side' my favourite track (purely because it was the sole instrumental.) It hurts to play this knowing the band is highly-regarded, because if an all women band made music as low-quality as this, they probably wouldn't even be given a chance in the industry. There were okay moments, like the swelling, hard hitting instrumental breaks on 'Dazed and Confused', or the organ feature as religious allusion on 'Your Time is Gonna Come', but overall there are far better quality rock bands out there (from this time period, and in general) that I would much prefer listening to.
I enjoyed this band's gloomy and atmospheric sound, yet couldn't help but be a little disappointed by the project's failure to strike an equal balance between fostering this and distinguishing each song. I was reminded of some Velvet Underground projects, but unlike the Velvet Underground, nothing within this album stood out or was particularly exceptional to me. My favourite track was probably 'Light my Fire' (which Stevie Wonder does an excellent cover of by the way) and my least favourite was 'Alabama Song' which I found extremely creepy. Otherwise, this was a chill listen overall, but nothing too special or groundbreaking.
Really enjoyed how genre-bending and experimental this album was, with electronic aspects and killer vocals contributing to the overall sound. Prompt tonal differences could've been jarring, but they weren't for me, like when the Korn type nu-metal track 'Hi-five' effortlessly transitioned into the folk track, 'Ramshackle'. I think it's the great vocals which keep this body of work together. They are so integral and flexible amongst both the heavy, hard hitting songs and softer songs. Funnily enough, I hear a little Cameron Winter in the singer's voice, maybe I'll recommend this project to Geese fans!
I found this project so bland and boring that it was absolutely excruciating to get through. The only way I can describe it is if you took Radiohead's 'Ok Computer', sucked all the life out of it, and replaced masterful songwriting for cheesy and predictable lyrics. While 'The Scientist' was familiar and thus almost tolerable, every other track had me physically cringing, in particular the song 'Green Eyes', which is just destined for white weddings. I don't see how this can be one of the 1001 albums you must listen to before you die. I'm praying for an album by a female artist/band next...
Unexpected moments kept this project fresh sonically, like strategic vocal modulation on ‘Goodbye Blue Sky’, reversed vocals at the start of 'Empty Spaces’ or breaths haunting the background of ‘Don't Leave Me Now’, but if you’re a fan of this, I’d recommend checking out Kendrick Lamar’s ‘Damn’ instead. This album uses techniques to diversify the listening experience and emphasise themes, while ‘The Wall’ fails to do so in a carefully crafted way. My main criticism here is of the poorly executed satire, which is far from linear and less conceptually strong than in 'The Wall's' predecessor; ‘Dark side of the Moon’. Don’t get me wrong, I love a good satirical track (Eg. Lorde’s ‘Mood Ring’) but the sheer absurdity in this project’s theatrics were frankly annoying to listen to (Eg. ‘The Trial’) and tonal switches (‘One of my tunes’) came off as jarring, not clever. This could’ve been so much better had the most beautiful moments, like the strings on ‘Vera’, been collated together, while the rest was scrapped to the archives. In my view, this was a project ruined by its bloated track-list. I just don't think we need three versions of ‘Another Brick in the Wall'.
Unfortunately, this was just so not-my-thing. Aside from the wave of nostalgia brought to me by 'Fairytale of New York', which took me back to childhood christmases pretending to be the female singer in the duet, I can no longer enjoy this song after realising the slur it includes, it just makes me cringe. This album was just not listenable for me, but I'm sure it's someone else's cup of tea. To all my Irish ancestors, I sincerely apologise.
This album crafts a version of rock which is light, airy and dream-like rather than dark or gritty. I absolutely love the opening track 'I Wanna be Adored' and I was excited to realise that the religious allusion here continues throughout the project. My other favourite songs included 'Shoot You Down', 'I am the Resurrection' and 'Fools Gold'. Although I enjoyed this album, it didn't completely blow me away. I would have enjoyed a little more variety within the indie rock style that this album establishes.
Album generator. Give me a break. Not everyone wants to listen to rock all the time! I am so tired of men yelling! If I don't see Sade, Ella Fitzgerald, Lauryn Hill, Madonna, Sophie, Nico, Rosalia and my queen Björk on this list, I am going to make my own one thousand and TWO albums website, that will be much better than yours. Anyway, the fact that I am seething with rage right now is not Duran Duran's fault. In fact, I love the band and know they're classified as pop-rock, not full rock, but sorry Duran Duran, I shall have to accept that your album 'Rio' has been plagued by my sour attitudes towards this website thus far.
This is the kind of country album that I have an affinity for. It is soft, classic and stripped back, nothing too poppy or modern. There are nice vocals and harmonies throughout, particularly on the closing track 'Kids and Dogs', but my favourite track was 'Laughing'. Its polished nature and technical quality made it a standout from the majority of the rest of the tracks, which are utterly raw in a way that almost requires them a bit of a polish. Anyway, all in all, a good album for someone who owns an acoustic guitar.
Soft and enjoyable album with nice lyrics. Favourite tracks included 'Get to You' (where Crosby's contribution is made clear) and 'Draft Morning- alternate end' with beautiful guitar, strings and I think even harp? Some tracks however, didn't really work for me, such as 'Moog Raga' (which reminded me of Minecraft), or 'Universal Mind Decoder', a Futura free-esque album closer, just as long, but not quite as emotive or enjoyable. Maybe if I were a die hard fan of the band I'd be more appreciative of this little snippet into their process, but it didn't really do much for me. Another important note here is that this record is incredibly similar stylistically to the Beatles, especially in terms of vocals and harmonies on tracks like 'Goin' Back', so reccomend this to any Beatles fans.
This is an album I'd love to revisit on a calm, happy summer day. Even though sadly, did not understand the lyrics, the whole atmosphere of this project was incredibly calming, with each song holding a lot of presence and emotion. 'Clube Da Esquina N2' was a particular favourite, with a nostalgic quality to it which tugged at my heartstrings. Although this project was a bit long, moments like the electric guitar on 'Trem de Doido' keep it fresh occasionally. So cool to be able to listen to something the Brazilian language!
This is the kind of album that I think everyone can enjoy. I am so glad this album generator has finally gave me the chance to listen to it. I had no idea what to expect, as this is my first time listening to Fela Kuti, but I was so thrilled with the mix of jazz, soul and funk which I was met with! The vocals here are incredibly iconic and I would definitely love some of this on vinyl. I've appreciated it fully now with my noise cancelling headphones, really relishing in every element and layer, but I think it'd also be such perfect background music for a dinner or gathering! Really upbeat and powerful. Also, works really well for studying and locking in as the songs are so long and continuous.
'Wish You Were Here' is an album carried by its title track, which has poetic and thought-provoking lyrics as well as one of the coolest guitar riffs ever, which my dad often plays. I enjoyed how reflective the music was of the 70s, but its futuristic vibe was not fleshed out enough to make the synth inclusions not cartoonish ('Shine On You Crazy Diamonds'). Bringing occasional acoustic moments to the forefront was nice, but I often found myself bored waiting for these fresh moments. The vocals were quite strained and unpleasant at times ('Welcome to the Machine') although I did enjoy the crescendos built by winding synths. I wish there had been more of the lyricism displayed on the title track in the rest of the project, which is predominantly a looping and one dimensional soundtrack.
I felt that this album was striving to be experimental just for the sake of it, which harmed the overall sound. To me, it came off quite immature and unpolished, lacking any atmospheric, unique or impressive quality. Although it flowed together nicely and had nice vocal arrangements, the only way I can describe this is sort of "juvenile" in parts (Eg. 'Zumm zumm')? It felt like something someone who likes playing retro video games might find cool, so yeah, maybe not quite for me.
Funk and gospel elements were fun here, particularly on the opener 'Young Americans' or the groovy 'Fame', yet Bowie's vocals feel slightly messy and exaggerated across this project. 'Let's Dance', an album which came slightly later in Bowie's discography, keeps that funky, groovy magic alive while showcasing more strategic vocal modulation and skill ('China Girl'). It's a project I much prefer, also due it its lack of covers. The one of 'Across the Universe' here was not very good, I think I would have preferred some more original songs from Bowie showcasing a different kind of lyricism. Perhaps the more emotive kind, like in 'As the World Falls Down', or 'I can't give everything away' which is a devastating track from much later in Bowie's discography. I don't regret listening to 'Young Americans' as it is a brilliant album from an iconic artist, but unfortunately it was one which I don't think fully showcased Bowie's charisma, songwriting and vocal abilities!
Intricate, poetic, creative and just beautiful. This project is one I absolutely love, made by a highly intelligent visionary filled with talent. You have no idea how happy I am to finally get an album by a female artist on this thing, and especially with this being my favourite Fiona Apple project! I am so pleased! Apple's songwriting here (at the age of 18!!) is absolutely unmatched, the best I've seen on this generator journey so far. 'Never is a Promise' is a hugely impressive song of course, but I've also been loving 'Sullen Girl' recently, which is so devastating and impactful. Not going to lie, her music was a sound that took me a while to get used to, but now I absolutely love her. If you didn't enjoy this on first listen, definitely give it another go once you've familiarised yourself.
Not my favourite as far as The Cure albums go. Smith's songwriting goes strong here, as always, but sonically, this album felt messy, jumbled and blurred, just like the cover suggests. Although I do appreciate how atmospheric and dark it is, this stylistic choice is much better executed on 'Pornography's' follow-up, 'The Top', which is also packed with experimentation- a truly thrilling listen. Later works like 'Disintegration' also fine tune this moody, poetic sound to perfection, so although this album had some standouts like 'Cold' and 'A Strange Day', the lack of variation made it a bit disappointing for me.
An album that is, 'too much', in every sense of the phrase. Harsh, screeching vocals piled on top of excessive, messy instrumentals, all of which are at their highest possible volume and intensity. Overall, a project with no care, or quality in its construction whatsoever. Despite my predisposition for operatic rock (sorry Queen fans), I found myself struggling to divert from this prejudiced assumption when I discovered the opening track of this album to be essentially an acoustic version of Mario Kart's 'Coconut Mall'. By the time I'd arrived at 'You took the words right out of my mouth', things had not improved. A cringe-worthy talking intro I can only assume was added as an attempt towards artistic flair, a goal which was not realised on 'Paradise by the Dashboard Track', which due to its popularity, I expected to be the most palatable of the songs. Alas, I realised that I was not the demographic for this record, which I predict to be southern old men with a big trucks. Also, I've never tired meatloaf, so if you love meatloaf and this record, good for you.
I've come to know and love the ethereal side of Kate Bush you get on 'Hounds of Love,' with tracks like 'Cloudbusting' and 'Running up that Hill' being my favourites of her's. I really don't think Bush's voice thrives here in such a clunky and aggressive soundscape. Although I do applaud the experimentation, it came together to produce a pretty irritating and obnoxious sound.
An energetic listen with an overall sound that is really difficult to describe. It's a melting pot of various genres like Hip-hop, Jazz and Latin. I even got a bit of a Bollywood vibe on the opener 'Believe' for some reason. The music is pretty upbeat, but it can come across as excessive, songs like 'Dejame en paz' for example had a few too many random sounds for my liking. I also think it's important to note that my listening experience may not be the most reliable, as this album was not available on streaming. I listened from a youtube playlist where 'Santiago' was simply a drum cover of the song, not the actual song. It was good though, probably my favourite on the album. It's got nice vocal harmonies and is less over the top than the other songs (in a good way). Being able to actually watch a guy play the drums over this song did also make me appreciate how cool they are on this record. Probably would not listen again though as I prefer the genres featured here by themselves rather than fused altogether.
I came into this album expecting 'Harvest Moon', but was met with something much more clear cut. Unfortunately, the album has a stripped back style which I don't find very suitable for Young's vocals. They overpower everything, including the incredible lyrics, but it was nice to occasionally get a cool guitar solo in the mix, like on 'Southern Man.' I think I prefer Young's vocals on tracks that are more soft and hazy, as this just felt a little abrasive.
Prince was truly one of a kind, and I believe that this album perfectly encapsulates everything that was so iconic and special about him. The song 'I Would Die 4 U' is my favourite on this record and in my opinion, one of the most perfect pop songs to ever exist. The production on it is so evocative, with every little detail contributing not solely to a satisfying sonic landscape, but an actual feeling. Prince conveys a unique kind of yearning, love and desire throughout this record in a way I believe not many other artists can do. 'When Doves Cry' is another absolute masterpiece with lyrics, composition and ad-libs showing a kind of creativity that we just don't see enough in pop music anymore! Interestingly, there are actually a few tracks on this record that I don't care for very much (Eg. 'Darling Nikki', 'Computer Blue') but the title track, 'Purple Rain' is so immaculate, that it overrides any less than satisfactory moments. Prince's songwriting here ("I don't want to be your weekend lover") has clearly stood the test of time, as has his overall influence. I can pretty much guarantee he is your favourite artist's favourite artist. Easiest five stars on this website so far.
It's not often you see a whole album amplified by the fact that it is live, but this was certainly one of those rare cases! While it is overall a fun, energetic album thanks to James Brown's charisma and vocals, it can also be really emotional and touching at times, particularly on the track 'Lost Someone', where you can hear "yeah we love you" and "go on and sing that song" ringing out from the crowd. This must have been an incredible show to attend, and I'm eager to learn more about the historical significance of the Apollo (I believe I read somewhere that Lauryn Hill got a rough start to her career there?) Anyway, back to the topic at hand, the songs here had so much meaning behind them and 'I don't mind' is one of my favourites which I already knew about and loved. The sound quality is incredible considering the time period, and this was a really enjoyable listen!
An enjoyable, upbeat, summery album, with my favourite tracks being 'Jimmy Jazz', 'Rudie Can't Fail', 'Lost in the Supermarket,' and of course, 'London Calling.' Although the lyrics aren't particularly interesting or impressive, you get the idea that the band had a lot of fun creating this record. There isn't much technique or complexity involved, but there is a sense of enthusiasm which definitely carries over into the overall sound. Super cruisy and full of energy.
'In Utero' is my favourite Nirvana album, loaded with angst and haunting, poignant lyrics. 'All Apologies', 'Dumb' and 'Pennyroyal Tea' became my favourites this time around, but it's also worth mentioning that 'Marigold' (on the deluxe edition) is my favourite Nirvana song. 'Heart-shaped box' is of course a masterpiece which stands out here because it's so melodic in contrast to the other tracks. I was so close to giving this record five stars, but decided not to as it's really a mixed bag in terms of quality. For example 'Scentless Apprentice' and 'Tourette's' are loaded with emotion, but lack the execution and fine tuning you can see on other tracks in this project. I think an album can lack fine tuning and still be a five star due to its evocative, confessional and world-building nature, but there's also a fine line between achieving this goal and also being listenable in my opinion.
This album started off really promising with the track 'Turnover.' I found it to be an exciting album opener and great introduction to Fugazi's sound. Despite this, as the project went on, the songs started to bleed into one another, and the album became more and more tiresome. I commend Fugazi for the dynamic punk sound they establish on this record, the lack of variety makes 'Repeater' relatively unenjoyable overall.
I'm absolutely smitten with this captivating project. It's raw, honest and confessional, championed by the charisma of Courtney Love. Her vocals perfectly encapsulate the anger I can imagine she would have felt about the public scrutiny directed towards her at the time. Her vocals are not technically perfect, but I wouldn't have it any other way! It's through these unfiltered vocals she is able to so ruthlessly denounce everything expected of her as a woman in the music industry and thus, the public eye. She compares herself to a doll, "dares" everyone to "take everything" from her, and mocks every stereotype that she's supposed to adhere to. All of this I adore. I'm absolutely obsessed it, and my favourite track 'Miss World', is a song so timeless and true about the kind of unshakeable vulnerability that can stem from people's criticisms and mockery. The band's haunting and immersive melodies, culminate in a sound that is eerie, dominating and combative. I'm so pleased to have discovered this as, to put it simply, I feel I have been yearning for it my whole life.
"Do you feel the vibes?" No sorry I don't. This album was way too long, and even though there are a couple garage tracks out there that I adore (Eg. Sunship & Sweet Feminine Attitude's 'Flowers', Livin Joy's 'Dreamer' and 'Stand up Tall' or 'I luv u' by Dizzee Rascal) I couldn't deal with this. There's nothing outrightly wrong with it, it's just really boring, and repetitive. The vocals are brilliant, and I;m glad to see Elizabeth Troy credited as I feel like the most iconic voices of the garage scene often go uncredited or lack the recognition they deserve. I did listen to this whole thing, but I think if we're going to have a garage album on here, we should have one with better lyrics. "I'm crazy. Don't do it. Be sincere" ok. "And now even if I close my eyes I see I see" wow! not cliche at all! "I was in the dark and love opened my eyes."....you see what I mean? Anyway there are probably better albums out there at showcasing the genre, and shorter.
'Rock and Roll Ain't Noise Pollution'...you sure? Ok, maybe that's a bit far, because it's normally not, but here it kind of is. Beyond a few catchy hooks, there's really nothing special here. I get the appeal, it's dumb, fun music. But it's also hyper-masculine and misogynistic in a way that is quite uncomfortable to listen to (Eg. 'What you do for Money?' 'Shoot to Thrill'). If the production was good it might be enough for me to look past this, but it's pretty basic and boring. I get why some people like this, I'm just not one of those people.
This album has got a real Brian Eno vibe running through it, but it's missing that 'Born Slippy' magic I was expecting. 'Pearl's Girl' was definitely the standout track, as I'm a big fan it's 90s trip-hop feel (sort of similar to Björk's 'Enjoy') but other than this particular track, there was nothing outstanding about this record.
