11/9/2020
The Temptations: Anthology (1995)
I won't be reviewing greatest hits/anthologies/best of albums.
11/9/2020
Tom Waits: Rain Dogs (1985)
After a short break, I start the next 100 albums with another Tom Waits record. His deep voice and minimalist pieces are more listenable on Rain Dogs than Mule Variations. Some are confusing, others are catchy, but the concept of describing societal rejects is consistently compelling throughout.
11/30/2020
ZZ Top: Eliminator (1983)
"Sharp Dressed Man" may be one of the more annoying rock songs and yet still grossly overplayed. ZZ Top can surely hold a groove, but they became too predictable and the songs all too similar on Eliminator.
11/30/2020
Massive Attack: Blue Lines (1991)
It's great to come across more of the trip hop genre, which I hadn't heard of before listening to Portishead's Dummy. I like this one a little more. It's funkier, less bass-heavy, and with the addition of hip hop elements, it has its own personality.
12/1/2020
Roxy Music: For Your Pleasure (1973)
Experimental in how it blends glam and psychedelia. It obviously didn't hurt that For Your Pleasure had Brian Eno in on the production (which at this point in his career, he wasn't centered around ambience, but rather still in the rock aesthetic). Overall, Roxy Music's record plays like a cousin to Here Come The Warm Jets, which I'm in favor of.
12/1/2020
LCD Soundsystem: Sound of Silver (2007)
Categorized as dance-punk and electronica, it was bound to be a new experience for me. Occasionally, it reminded me of the Gorillaz. With many of the tracks on Sound of Silver comfortably over 5 minutes, LCD times things perfectly. Electronic genres can benefit from progressive elements as much as rock, and this is an example of that.
12/1/2020
Randy Newman: Good Old Boys (1974)
Toy Story and Disney man was putting out music before Pixar even existed. Most of this record is wholesome and quaint (example: "Every Man A King," though it was the one track on Good Old Boys he didn't write). Other than that, it's not something I find terribly exciting.
12/2/2020
M.I.A.: Kala (2007)
"Paper Planes" was a song I remember being obsessed with as a kid in 2007/8, but obviously had no idea what it meant. Sarcastic in true British fashion, yet with a strong connection to her immigrant roots and sympathetic to "third-world" concerns, M.I.A. has a deep understanding of the socioeconomic problems of those developing countries and the general plight of immigrants who flee to Western "democracies." Amazing production and incredibly intricate sound. This is about as good as the 2000s get.
12/2/2020
The Beatles: Let It Be (1970)
All good things must end. The Beatles were laying our their true emotions (mainly McCartney and Harrison) regarding the band's breakup, reflecting on their career together, and accepting that everybody's next move would be taking place separately... With George Harrison coming into his own as a talented songwriter, the revisiting of a true collaboration between the Four, confidence, and becoming masters of their craft in every way, the Beatles propelled themselves to this grand finale of an album, even though it may not have been their most ambitious.
12/2/2020
Jackson Browne: The Pretender (1976)
It feels like The Pretender is a more complete album than For Everyman. "Linda Paloma" is a nice nod to Mexican culture and music, where Browne uses that to write his own love song. The title track slightly escaped my attention.
12/3/2020
The White Stripes: Elephant (2003)
At moments, Jack and Meg White's Elephant reminded me of Pearl Jam's heavy garage style, and at others, Led Zeppelin's classic rock and roll sound, with Jack's voice even coming eerily close to Robert Plant's signature moans and yells. The dynamism on this record was fun to hear, opening with a loud single like "Seven Nation Army" and ending with the soft, acoustic trio of "Well It's True That We Love One Another"" as the album closer.
12/3/2020
Don Henley: The End of the Innocence (1989)
This whole album just sounds like a bunch of "The Power Of Love" ripoffs. It's a good song, but I can't handle 53 minutes of ham-fisted recreations. Don Henley doesn't even attempt to stray away from the coming-of-age, young love, and hometown experience rock clichés that were already overdone by 1989, and with much more nuance by so many other artists.
12/3/2020
Various Artists: The Indestructible Beat of Soweto (1985)
Though this is a compilation album, out of curiosity I gave it a listen. I had my first taste of traditional South African music in 2016 from a group of exchange students (who I later became friends with) that performed "Kwela Kwela" at a small cultural exposition event put on by an organization I was involved in at my university. Studio recordings of such novel genres make the listen more complete for me.
12/4/2020
Wu-Tang Clan: Enter the Wu-Tang: 36 Chambers (1993)
The Wu-Tang bounce off each other's rhythms really well and the way they mix a hard, gritty production with danceable beats is impressive. The skits on this debut album - which were common in gangsta rap - are OK by those standards until they went on the "I'll fuckin'..." yes-and banter about torturing an unnamed individual in hilariously ridiculous ways on "Method Man."
12/4/2020
Steely Dan: Pretzel Logic (1974)
With nothing but other Steely Dan singles like "Do It Again" or "Peg" to compare it to, Pretzel Logic is as musically rich and jazzy as I've ever heard Steely Dan. It seems that when jazz or pop rock have quasi-ambitious lyrics like those relating to the dangers of drugs or general messages of optimism, they can easily get ignored or come across as innocuous. I think you see some of that here, since it's harder to pull of a stronger message with such a wholesome sound. Nonetheless, I enjoyed the listen.
12/5/2020
Bob Dylan: Love and Theft (2001)
There are some nice arrangements on Love and Theft, and compared to his previous album Time Out of Mind, a much easier listen. The calm, long-winded folk music that Dylan made at this later point in his career isn't my favorite, but again, relative to Time Out of Mind, it kept me slightly more interested.
12/5/2020
The Who: A Quick One (1966)
Somewhat of a precursor to The Who Sell Out which came out a year after this, A Quick One still stands well on its own. Surprisingly, the record balances between being playful and experimental. Its production quality is rough around the edges (60s technology), but I don't doubt how great this would sound in a modern recording studio context. The album closer "A Quick One, While He's Away" is a 9-minute operatic piece with abrupt transitions between each act, but is lush and catchy within each one.
12/5/2020
Talking Heads: More Songs About Buildings and Food (1978)
On my first Talking Heads album, they collaborate with what seems to be the omnipresent Brian Eno, where David Byrne and the crew create a fresh variation of new wave that I hadn't yet encountered. Bringing danceable instrumentals to the mix and closing on a reflective note (or ironic snobbery?) with "The Big Country," there's not a low point on this record. That last song summarized my initial feelings right after moving to a mid-sized Midwestern city, a contrast to life in the Eastern US.
12/5/2020
The Modern Lovers: The Modern Lovers (1976)
The debut from The Modern Lovers is just a great collection of many alternative rock elements. There are hints of The Doors' psychedelic piano-playing, The Velvet Underground's proto-punk "I'm Waiting For The Man," while seemingly helping lay the ground for new wave.
"Hospital" is a raw story of a man who finally finds the perfect words to describe his emotions toward an ex-partner. Too little too late. It's immediately catchy and decisively somber, emblematic of the songwriting on the record.
12/5/2020
The Beach Boys: Smile (2011)
In what would've been the follow-up to Pet Sounds, The Beach Boys' next album is SMiLE. It was never really finished and they ended up scrapping it. It was labeled "the most 'legendary' unreleased album in popular music history." Fans would even re-imagine the track listing over the years to make their own version of the album.
SMiLE immediately captivates you. It's magical and grandiose in the scope of its composition. The record is split into movements and suites, albeit unfinished. It tells stories about the dark origins and history of the US, goes into a lyrical journey filled with imagery to different parts of the country (tropical Hawaii, middle America's barns), then progresses into reflections of life (coming-of-age and child-becoming-old-man concepts). There are many lyrics and instrumentals one can read in to, and I was even left confused at times, but even a surface level listen was enough to leave me impressed.
12/6/2020
Toots and the Maytals: Funky Kingston (1975)
I mean... OK. Honestly, I'm too new to reggae to go into specifics, but Funky Kingston was decent despite everything sounding the same. There's a "Country Roads" John Denver cover but where the words West Virginia get replaced with West Jamaica which was outright comical. But whatever makes the song work, right?
12/6/2020
TLC: CrazySexyCool (1994)
The album title is a reference to how TLC viewed themselves. An R&B/soul/rap trio with 3 distinct personalities: the "crazy" one, the sexy "one", and the "cool" one, apparently. Sprinkling in messages of personal responsibility, urging us to avoid crime and drug abuse despite living in a system that makes it easy to cave in. "Believe in yourself, the rest is up to me and you" they say on the smash hit "Waterfalls." There's also an absolute spittake of a skit on "Sexy-Interlude" because of its hilarious twist ending. The smooth rhythms on CrazySexyCool are also at the center of what makes it a nice record.
12/7/2020
Oasis: (What's the Story) Morning Glory? (1995)
Oasis like transitioning back and forth from guitar pop and noise rock on their 1995 album. They often employ the shrill vocals reminiscent of 90s/00s pop punk, yet juxtaposed with artistic and layered instrumentals. It's an original and lively piece, and easily surpasses in quality the endless cookie-cutter pop rock acts that were to come.
12/7/2020
John Lee Hooker: The Ultimate Collection 1948-1990 (1991)
I won't be reviewing greatest hits/anthologies/best of albums.
12/7/2020
Björk: Post (1995)
My first taste of Björk, Post was one of the most unique records I've ever heard. I had to look up all kinds of genres: industrial, baroque, orchestral, art pop, trip hop, breakbeat - all of which are sequenced perfectly. "Isobel" plays like a high-budget movie soundtrack. Sinister industrial tracks and covers of old-timey jazz hits aren't something you'd expect on a single album, yet it makes Post stick out.
12/7/2020
Jackson Browne: Late for the Sky (1974)
We've reached the last of Browne's presence on the Rolling Stone 500 albums list, and at this point, his formula was running on fumes. His soothing/silky voice is unmatched, yet other than that, the lyrical themes and his style showed few attempts at diversification. Jackson Browne is a great songwriter, but without having found new ways to express it, the sound remained stagnant. I liked The Pretender the most, then For Everyman, and lastly Late for the Sky.
12/8/2020
Roxy Music: Siren (1975)
Siren is definitely more fleshed-out and crisp than Roxy Music's other ranked record, For Your Pleasure. Again occupying some alternative music land, Siren is forthright in its production and resembles glam rock more closely. This confidence in presentation could lead artists to formulaic and less experimental songs, yet Roxy Music thankfully doesn't go overboard with it, maintaining a nice balance.
12/8/2020
Jefferson Airplane: Volunteers (1969)
Grace Slick, Paul Kantner, and Marty Balin complement each other's vocals greatly, and seem to have been used strategically for max impact. Moreover, Slick's voice is perfect for the role of San Francisco sound, but would even impress beyond the psychedelic scene. Collaborations with David Crosby and Stephen Stills on lyrics paired with Jefferson Airplane's trippy sound brings out an artful statement that catapulted distrust of the US government into the American mainstream.
12/8/2020
The Police: Reggatta de Blanc (1979)
A case of Guitar Hero II nostalgia again, "Message In A Bottle" may have introduced me to rock wasn't simply headphone music, but something people could throw themselves around to (obviously The Police aren't the extent nor the extreme of these bands). It appears they love playing on the idea of a nihilistic family man, here in "On Any Other Day" and later on "Synchronicity II" on their 1983 album. Reggata de Blanc uses heavy post-punk instrumentals to do a great job portraying anxious emotions and even invoking the thought processes of someone with a nervous tic.
12/9/2020
Arctic Monkeys: Whatever People Say I Am, That's What I'm Not (2006)
A large portion of the album's content brings up a meme perfectly summed up by a parody piece: Local Man Thought He Saw You at That Show but Wasn’t Sure and Didn’t Want to Be Weird so He’s Just Saying Hi and Making Sure.
Nevertheless, Arctic Monkeys pay great homage to the post-punk 1980s scene. Though concepts were recycled (albeit with respect), Alex Turner deserves credit in paving the way for bedroom pop by confidently using a velvety voice and inflections, elements which have become more and more mainstream.
12/9/2020
Mott The Hoople: Mott (1973)
Way more anthemic and full of bravado than All The Young Dudes, Mott is superior to the previous record. Power pop works wonders for the group, and complements Ian Hunter's voice. They're also surprisingly good at progressive rock even though it wasn't their focal point. "I Wish I Was Your Mother" makes for a sentimental album closer and a powerful finish for their discography on this list of 500 albums.
12/16/2020
The Smiths: Louder Than Bombs (1987)
I love The Smiths. That is a fact. Louder Than Bombs is a compilation album containing many tracks also in their other comp Hatful of Hollow, which are many B-sides, but great B-sides. Morrissey again showcases his wittiness, sarcasm, and passionate songwriting on this catchy 73 minute record.
12/16/2020
Eagles: Eagles (1972)
Too bland for comfort. The Eagles' self-titled album is wrought with one-dimensional production and presentation, with the exception of the timeless fan-favorite "Take It Easy" and "Most of Us Are Sad" which was the only creative direction the band took and the only track I enjoyed.
12/16/2020
Madonna: Ray of Light (1998)
At first resembling a Portishead Dummy tribute, Ray of Light picks up the tempo with a pop and dance twist which Madonna and her producer use to give it a cool and airy electronica finish. It then tapers down to its soft beginnings, making it complete.
12/16/2020
Johnny Cash: American Recordings (1994)
Johnny Cash covers many American country and folk songs in what is a very minimalist record: just his voice, his guitar, and sometimes a crowd. It was a nice and entertaining show but not anything over the top.
12/17/2020
Rage Against the Machine: Rage Against the Machine (1992)
Hyper political and right in your face Zach de la Rocha leaves no room for interpretation on Rage Against the Machine's debut album. Justifiable outrage with the US government's track record on war, civil rights relations, and state propaganda gets poured onto energizing heavy metal tracks that encourage activism, education, and a war against the status quo.
12/17/2020
The Doors: L.A. Woman (1971)
Currently my favorite Doors song, the title track "L.A. Woman" makes me imagine someone fleeing to Los Angeles, whether to pursue fame or escape their hometown. Portraying the best and worst of the city, Morrison drives the listener through this story. "Riders On The Storm" follows a serial killer hitchhiker, so it takes a direct ominous tone. Other parts of this record show Morrison's deteriorating emotions, and unfortunately this is the last of his recordings before his death.
12/17/2020
New Order: Substance (1987)
Compilation album.
Running like an alternative twist to the wave of 80s synth pop, Substance pushes the production of electronic music in exciting ways. At times sounding as though Diana Ross would come out (pun) on vocals and at others taking the familiar path of their Joy Division past, sonically, this is one of the most perfectly crafted albums I've listened to. I'd say "gothic EDM" is an oddly accurate description. My reaction to Eurythmics' album at #492 could've been alleviated if they had taken even minor notes from New Order's playbook!
12/18/2020
The Smashing Pumpkins: Siamese Dream (1993)
The Smashing Pumpkins can be distinguished from their tendency to go from soft and melodic to heavy and loud in moments. A prime example is the hit single "Today." Siamese Dream uses a flexible composition of progressive, psychedelic, and heavy metal rock, with Billy Corgan's vocals just as dynamic. Whether shrill or guttural in tone, it always gives them a creative uniqueness. Unfortunately this is their only album on the list. Mellon Collie and the Infinite Sadness (1995) should've easily made the ranks somewhere.
12/18/2020
OutKast: Stankonia (2000)
A critic called it "techno-psychedelic-funk." In many ways it's correct. As much a concept album as a piece to dance to, it's a formula perfected by OutKast at this point in their career. Much of Stankonia is fast and energetic hip-hop, yet consistently remains innovative with its beats, never reverting to any safe conventions.
12/21/2020
Buzzcocks: Singles Going Steady (1979)
Compilation album.
Buzzcocks come in almost as a parallel to the post-punk groups of the late 70s, which were instrumental in paving alt rock's future. Singles Going Steady also brings a more textured sound to classic punk, but steers more toward pioneering pop-punk.
This choice makes for a great and balanced punk project that satisfies most cult followers while also approaching mainstream definitions of catchy.
12/21/2020
Elton John: Honky Château (1972)
Much of Elton John's music is tied to its creative love lyrics, but because another part of his catalogue is defined as being full of piano rock classics, I have high expectations for how good his albums should be.
It's obviously hart to top a "Rocket Man," yet the rest of Honky Château was collectively underwhelming (in its ability to thematically piece the work together). Much of it sounded like a ripoff of "Crocodile Rock" but without the chip-on-your-shoulder/new-kid-on-the-block Elton John factor, and it ends up diluting the album's quality.
12/21/2020
Miles Davis: Sketches of Spain (1960)
It's a neither hot nor cold night in 1929. You're walking home on your own. The town is empty. Too empty. You think nothing of it, however, but the stillness is beginning to disturb you. Miles later, the anxiety builds up and you've convinced yourself you're being watched. And then...
That exercise in creative writing is my interpretation of Sketches of Spain's arduous but greatly composed opening track to this 1960 Miles Davis album, which delivers nothing but splendid orchestral jazz music, and inviting reflection.
12/26/2020
The Rolling Stones: Between the Buttons (1967)
The Stones released two studio albums in 1967, Between the Buttons, followed by Their Satanic Majesties Request toward the backend of that year. Buttons is easily the more pop sounding of the two, whereas Majesties Request aged looking like a straight up copycat of The Beatles' Sgt. Pepper's concept. That The Rolling Stones allowed themselves to polish their blues rock roots is enough to make this the relatively better project.
12/26/2020
Randy Newman: 12 Songs (1970)
A passive listen easily lets you conclude 12 Songs a more purpose-driven album than Good Old Boys at #394. Randy Newman was fleshing out his sound on this second album, but at this point we can picture how he would progress. I found no glaring issues. It's music well made, but it may just not be my taste!
12/26/2020
The Yardbirds: Having a Rave Up (1965)
With a normal runtime right under 40 minutes, this LP is 1/2 studio and 1/2 live album.
The combination of The Yardbirds' freewheeling sound and a cocky performance blueprint techniques later adopted by alternative & improvisational rock genres. The production is honestly not good at all, but 60s recording technology and this positive review allow it a pass.
12/26/2020
Billy Joel: 52nd Street (1978)
Ever since I heard Zanzibar, I always thought it didn't get enough love given it's incredible trumpet and bass joint solos. 52nd Street is Billy Joel's take on jazz rock. It progresses very smoothly and helps cement Joel's status as a legendary instrumentalist and singer-songwriter.
12/26/2020
Kanye West: My Beautiful Dark Twisted Fantasy (2010)
I've been waiting patiently to hear this one again. It's been a while I take it on cover to cover, and it gets better the more I pay attention to it. MBDTF is one of the best ways to get Kanye West's side of the story, so to speak. One can read into the ridiculous and nearly psychotic trains of thought on "Gorgeous" and following tracks while also discovering that Kanye is actually more woke than you may have given him credit for. On "Runaway," he puts his worst personality traits on full display, showing how much he can hate being an asshole, yet ultimately accepting it's a necessary part of who he is. Kanye picks his features tactfully, and My Beautiful Dark is a wildly narcissistic concept, but leave it to Kanye West to know how to pull such an idea.
12/26/2020
Dire Straits: Brothers in Arms (1985)
Classified strictly into the pop rock genre, that label doesn't do enough to describe Brothers in Arms. It's a surprisingly patient soft rock record by Dire Straits: the beginning of "Money For Nothing" sounding like the intro to a classic prog rock album. Dire Straits is a band that appreciates and stretches the sound of the guitar, or at least they did on this album. The sound is wholesome and minimalist, but also technical and complex.
2/9/2021
Neil Young & Crazy Horse: Rust Never Sleeps (1979)
Neil Young's voice and guitar style are easy to distinguish, and very relaxing. Rust Never Sleeps is bookended by the catchy "Out of the Blue" and "Into the Black," with nothing but the gold standard for classic rock in between.
2/9/2021
The Yardbirds: Roger the Engineer (1966)
Roger the Engineer showcases a more technically proficient Yardbirds, but playing the stereo version is a must if you want any flavor with your listen. Nothing grand in my opinion, but a few playful tracks here and there.
2/9/2021
Jay-Z: The Black Album (2003)
The Black Album is Jay-Z pushing the genre in new directions. Jay-Z welcomes elements of electronica, most notably on "Dirt Off Your Shoulder." Only the last two songs spoke to me, however. "Allure" reminds me of a beautiful Tyler, the Creator-style neo-soul production and "My 1st Song" has a more consistent and enjoyable flow than most of the album.
2/9/2021
Muddy Waters: At Newport 1960 (1960)
I quickly forgot my feelings toward this live album, which makes me think I wasn't blown away. It's not poor, though, just a calm listen. "I've Got My Mojo Working" is one of my favorite blues classics.
2/9/2021
Pink Floyd: The Piper at the Gates of Dawn (1967)
I discovered Pink Floyd in the spring of 2019, and my fascination with their music immediately threw me down the rabbit hole of 20th Century rock music. I predictably began on Dark Side of the Moon and made my way down to this psychedelic debut. They had a radically different sound in 1967, spearheaded by Syd Barrett's wild and avant-garde techniques. Behold, one of the crown jewels of the Summer of Love.
2/9/2021
De La Soul: 3 Feet High and Rising (1989)
Possibly the best 80s hip hop record on the list so far, De La Soul concocts a great collection of funky full length pieces and skits, a balance not so easily accomplished. Unfortunately you can't find this on Spotify.
2/9/2021
Talking Heads: Stop Making Sense (1984)
Three ranks down and we have another live album, but this time it's also the soundtrack to a film of the same name. On Stop Making Sense, Talking Heads perform their greatest hits. The presentation is different to their respective studio versions in a fresh way, as David Byrne keeps the personality alive and adds a unique angle in this live show.
2/9/2021
Lou Reed: Berlin (1973)
Berlin runs like a rock opera, almost sounding like Billy Joel and Roger Waters decided to make a collaborative album. Admittedly, it all initially came across as another boring rock trope (a band that adds an unnecessary symphony, being too loud for no reason, etc.), but Lou Reed gradually rewards the patient listener by building up the concept of a certain dysfunctional family in this solo album. "The Kids" is my favorite song on here.
2/9/2021
Meat Loaf: Bat Out of Hell (1977)
I almost liked it as much as Kiss or Def Leppard, which means it was sort of lame. What I think Lou Reed escapes in Berlin (#344) is what Meat Loaf apparently loves to do, and that is overwhelm us with obnoxious and melodramatic songs that sound like an amateur Styx/REO Speedwagon cover band never practiced or had anyone talk them out of what they were doing.
2/9/2021
Depeche Mode: Violator (1990)
"Personal Jesus" may have been the only part of Violator I recognized but the genre has become very familiar to me by now (New Order, Massive Attack seem related). I found the beats less interesting than other electronic/dance albums on the 500 list so far, though, which was unfortunate. The general flow isn't too worthy of praise either.
2/9/2021
Moby: Play (1999)
My first encounter with Moby's work, and I can say "Porcelain" lived up to the hype. Play has that refreshing, cool feeling that I love to hear in electronic or ambient music. I could see modern groups like ODESZA and Big Wild taking inspiration from this style of production.
2/13/2021
Black Flag: Damaged (1981)
An icon in punk history, Black Flag's 1981 Damaged let fans know what hardcore could become. The formula is short and fast: the cut and dry politics of young people undermining authority. It wasn't all uneducated edginess nor nihilism, though. "Rise Above" chants for the genre's unwavering focus on their political agenda above a quintessential drum pattern and Henry Rollins' gritty voice.
2/13/2021
Tom Waits: The Heart of Saturday Night (1974)
I'd say Tom Waits' earlier work is an easier listen than the experimental folk on Mule Variations, for example. The decision to play into jazz was appreciated. One can feel his signature sound forming at this point, but since I can't much connect or relate to his abstract compositions, the lack of percussion, or some narrative-driving beat underneath, it all become a turn-off. I'll consider revisiting this album later on.
2/13/2021
Big Brother and the Holding Company: Cheap Thrills (1968)
It's a little weird they used recordings of crowd noise, but I think it adds a good amount to these sorts of psychedelic rock albums. Janis Joplin's vocals are simply out-of-this-world versatile, and the rest of the band throws you into a whirlwind of noise on one of the coolest openings in "Combination of the Two."
2/22/2021
Jethro Tull: Aqualung (1971)
Aqualung may have one of the most annoying title tracks in history. Its beginning guitar riff is so obnoxious, but it somewhat cleans up its act come the chorus on an upbeat rhythm. On this cringeworthy King Crimson impression, Jethro Tull sound like pretentious Reddit atheists on this 1971 "classic."
2/22/2021
Radiohead: In Rainbows (2007)
In Rainbows always felt warm and heavenly from the first time I heard it. It really is just a collection of hippie love songs, but anyone can relax to "Nude" or "House of Cards."
2/22/2021
Soundgarden: Superunknown (1994)
Please end. Please end soon. Whether "Black Hole Sun" is the only outstanding track on Superunknown or if it's just the only one that sounds different, my confusion conveys how boring the whole listen felt. This record is all gritty, loud, relentlessly plain hard rock with an overplayed radio single.
2/22/2021
Graham Parker & The Rumour: Squeezing Out Sparks (1979)
I feel like comparing Graham Parker to an Elvis Costello or Boz Scaggs type character. Just an all around happy-go-lucky R&B loving man. It might be good, but this brand of rock isn't my type.
2/24/2021
X: Wild Gift (1981)
X and its duo vocalists John Doe and Exene give punk a Wild West tone, where Wild Gift sounds more like a soundtrack for grown-up Salton Sea highway rebels than the chaotic underground shows of DC and the UK. I think it's a great and necessary angle for the genre.
2/24/2021
Richard & Linda Thompson: Shoot Out the Lights (1982)
I knew Richard & Linda were a wholesome husband-and-wife rock duo on their Bright Lights (#471) album. Shoot Out the Lights is just as nice and down to earth, but not a monumental statement or anything.
2/24/2021
The Beatles: Help! (1965)
Ayee second Beatles album on the 500. So far, so good. Help! is better (incrementally) than Let It Be and is the band's last full-length record before going into their experimental years. The beat on "Ticket To Ride" is much more catchy and complicated than I remember.
2/24/2021
Neil Young: Tonight's the Night (1975)
Neil Young's a great writer, guitarist, and singer. Pretty much everything you need. Tonight's the Night is full of beautiful soft rock deep cuts that Young was apparently just pumping out with ease in the 70s.
3/1/2021
James Brown: In the Jungle Groove (1986)
In the Jungle Groove compiles both unreleased tracks and hip-hop remixes of funk, something that gained traction in the 80s. This collection showcases James Brown's talent as a band leader and an his (or his record label's) openness to embrace new trends.
3/1/2021
Sonic Youth: Daydream Nation (1988)
Daydream Nation is a great example on how to make adventurous noise rock without - you know - exploding ears with loud and pointless tones. The beats on this thing are intense, and the extended length of some songs adds to the dark and energetic themes when played front to back.
3/1/2021
Liz Phair: Exile in Guyville (1993)
This is supposed to be a track-by-track response to The Rolling Stones Exile on Main Street which I've yet to hear, so there was nothing for me to compare it to. Regardless, I think this debut Liz Phair album morphs emotions and consistently stays fresh.
3/1/2021
The Cure: Disintegration (1989)
Atmospheric drums, sparkling guitar, and Robert Smith's aching voice build the core of Disintegration. But that's only what it's like on paper. Some of the saddest and best written lyrics accompany unique and genre-bending new wave instrumentals. "Plainsong" is an incredible intro.
3/10/2021
Eric Clapton: Slowhand (1977)
Just a bunch of easy listening blues and guitar jams. Every track on Slowhand only serves as a tame replica of "Cocaine" however.
3/10/2021
David Bowie: Station to Station (1976)
Station to Station isn't the most famous Bowie album, but it still holds as a great musical project detailing his struggle with substances while maintaining a faint optimism. The long-form setup allows for Bowie to continue his appreciation for niche rock styles.
3/10/2021
The Police: Ghost in the Machine (1981)
On their 1981 album, The Police are just one record away from perfecting their new wave sound. Of course, they take up more lanes than that, musically (ex: punk, ska). Sting's writing is foreboding and cynical as always, but in true Police fashion, they sneak a love song in here and there. "Every Little Thing She Does Is Magic" was magic but his French singing on "Hungry For You" wasn't a highlight.
3/xx/2021
Randy Newman: Sail Away (1972)
After giving Sail Away a second chance, I'll be eating my words. At first this album seemed nothing more than a collection of soft piano ballads with nothing interesting about them. Come to find out the critical, depressing songwriting gave this record everything it needs to be a masterful musical commentary on everything from toxic relationships, nostalgia, religion, delusions of grandeur, and death.
3/10/2021
Nick Drake: Pink Moon (1972)
Full of the most naked and bleak acoustics, Pink Moon brings the listener straight into Nick Drake's mental state. With almost nothing but his breathy voice and guitar, the late singer-songwriter chronicles the reality of living with depression and loneliness, yet maintains a selfless optimism. Selfless because he eventually never overcomes his depression -having committed suicide three years later - but hopeful for the possibility of new life and the chance that others might enjoy life the way he never could.
3/15/2021
Radiohead: Amnesiac (2001)
Definitely a step down from most Radiohead albums. I can see where they were going with the dusty and slower sound, but the purpose/theme wasn't too obvious nor consistent with their different genre exercises. I liked "Pulk/Pull Revolving Doors."
3/15/2021
The Wailers: Burnin' (1973)
A bunch of groovy and happy reggae with two notable hits "I Shot The Sheriff" and "Get Up, Stand Up." Everything on Burnin' is of equal or near equal quality, even the deep cuts. My only minor dislike was the squeaky voice on the chorus of the shootin' sheriff song.
3/15/2021
The O'Jays: Back Stabbers (1972)
Philadelphia soul: a funkier variation of soul featuring string and horn instruments.
This album takes special care of each track, the band fully committing to the tempo they've set out with and freely adding and removing instruments as the mood sees fit. Not a dull moment anywhere.
3/16/2021
Pixies: Surfer Rosa (1988)
Think run-of-the-mill alt rock but with charisma. "Where Is My Mind?" is the center of attention, but I also suggest paying attention to the Spanish singing on "Vamos," and consecutive tracks "Gigantic" and "River Euphrates."
3/17/2021
The Velvet Underground: The Velvet Underground (1969)
Two years after their influential debut album, The Velvet Underground released a self-titled record which is completely different from their 1967 debut. The entire sound is more polished, and as if the band took the mellow and soft styles of "I'll Be Your Mirror" or "Femme Fatale" and extended it into a perfect love album.
3/17/2021
Tom Petty and the Heartbreakers: Damn the Torpedoes (1979)
Tom Petty's bright guitar work is among those in classic rock that has a distinctive sound to it. It's best displayed on cute songs like "Here Comes My Girl," but the performance gets old and everything starts to blend together for me after a while.
3/22/2021
Lauryn Hill: The Miseducation of Lauryn Hill (1998)
Rolling Stone moved The Miseducation of Lauryn Hill up over 300 places into 10th place for their 2020 edition of The 500, which means that while I really enjoyed everything on the album, it will be one of those I revisit to really capture the whole thing. I also fell in love with "Ex-Factor" on its own merits. I was late in learning that it was sampled on Drake's "Nice For What."
4/4/2021
Nirvana: MTV Unplugged in New York (1994)
The small scale live performance market has flourished in the Internet age, with shows like "From the Basement," "NPR Tiny Music Concerts," and triple j's "Like A Version." Whether it's an empty room or a dozen people, the format's gained popularity due to how close the audience can get to artists and their true feelings toward their work. Nirvana performs some of their biggest hits in this 1994 live album, which serves as a farewell to Kurt Cobain, the first Nirvana album released after his death.
4/4/2021
Jane's Addiction: Nothing's Shocking (1988)
Nothing's Shocking runs surprisingly smooth for a metal record. Something about the vocals seem new to me, as though an indie rock singer decided to try his luck at metal. That's a compliment. This whole record remains in consistent quality from start to finish.
4/4/2021
Various Artists: The Sun Records Collection (1994)
I won't be reviewing greatest hits/anthologies/best of albums.
4/18/2021
Red Hot Chili Peppers: Blood Sugar Sex Magik (1991)
As much as I wanted to enjoy Red Hot Chili Peppers' (RHCP) most Chad-looking art and album itself, I kept getting pounded by a constant barrage of overdramatic basslines and bass plucking, and then have to read these ridiculous song titles that sound like something written by a random password generator (See Mellowship Slinky in B Major, Apache Rose Peacock). RHCP made a consistent record, but their grating execution of short, choppy vocals on top of also short, choppy funk rock instrumentals were unpleasant aspects of the music that had me eventually turn the other way. Lastly, "Give It Away" is much more boring than I remember it as a kid. So that was disappointing.
4/18/2021
Creedence Clearwater Revival: Willy and the Poor Boys (1969)
More nostalgia just dropped. My tenth/eleventh grade history teacher once showed the class a montage clip of American events during the Vietnam Era, with "Fortunate Son" playing as its sound. The bleak but hopeful message and even anthem-like sound coming from it was very memorable. Though I may have heard the song long before, the context of that oddly powerful moment has stuck with me. That there are about three other huge tracks on Willy and the Poor Boys, and a continuously universal and intimately human sound are enough to turn this record into a great.
4/18/2021
Frank Sinatra: Songs for Swingin' Lovers! (1956)
As an emblem of American oldies, you forget Frank Sinatra was still in fact an artist that probably had worked on some albums. Songs for Swingin' Lovers! shows the popular artist's lyrical and vocal talent with a beautiful easy listening experience. (Two notable tracks: "You Make Me Feel So Young," "I've Got You Under My Skin").
I'd still like to dive into the work of some of his contemporaries to see how his sound differs from the "norm", however.
5/26/2021
The Beatles: A Hard Day's Night (1964)
On one hand this album showed how the Four were so popular in the early 60s, but most tracks on A Hard Day's Night aged poorly. Many get boring fast. But two I think are underrated include "And I Love Her" & "If I Fell."
5/26/2021
Beck: Odelay (1996)
The Odelay album I found on Spotify has a date of 2004 for some reason, but finding out it's eight years older was a little funny. A huge part of it is futuristically-rendered 60s psych rock with a few hard rock tracks sliced among them. I think it's a fantastic ride and comes with a funny ending with "Computer Rock."
5/26/2021
Lucinda Williams: Car Wheels on a Gravel Road (1998)
Lucinda William's 1998 album has a lineup of beautiful roots rock songs which paired with amazing vocals, sends us down the gravel roads she envisions.
5/26/2021
Jeff Buckley: Grace (1994)
Jeff Buckley's first and only studio album Grace has a few crooning ballads, and these are the best (often the only good ones). Many tracks have trouble mixing Buckley's voice with a heavy rock presentation, and it gets awkward. Other times the album suffers from setting up something pretty, only to get spoiled by an overdrawn buildup/pre-chorus. Check out "So Real" and "Lover, You Should've Come Over" above all else, and I guess his Leonard Cohen "Hallelujah" cover if you just came out from living your entire life under a rock.
6/2/2021
Bob Dylan: John Wesley Harding (1967)
It's a decent Bob album but nothing to write home about.
6/2/2021
Public Enemy: Fear of a Black Planet (1990)
This is a fantastic and classic hop record which got close to De La Soul's 3 Feet High and Rising in quality, but narrowly misses it. The pieces moved along well, but missed the agility and playfulness of other classic hip hip albums.
6/2/2021
Dolly Parton: Coat of Many Colors (1971)
Dolly's music is top-tier among Americana artists, and despite being more on the minimalist side (usually vocals, some kind of guitar, or strings), it packs a greater lyrical (genuinely down-to-earth) and musical punch than many operatic country songs or methodical songwriters. Coat of Many Colors is just a constant stream of this.
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