Miles Davis' Birth of the Cool packs a significant punch in a small package. I was mostly introduced to Jazz through listening to samples in Jay-Z songs such as "D.O.A. (Death of Auto-Tune)," "Roc Boys (And the Winner Is)...," and "Show Me What You Got." Miles' influence is demonstrated by other Queens artists such as Nas, whose vocals can be found on Miles' beats on the Evolution of the Groove album released circa 2007. It is no coincidence that The Low End Theory, an album by one of my favorite bands, A Tribe Called Quest, features bass from one of Miles Davis' longtime bassists, Ron Carter.
Back to Miles Davis: while I am no expert at Jazz, Miles' contribution and evolution from Bebop to Cool Jazz really made a cultural impact. Gone were the powerful solos, and here stood 2-4 minutes of pure, cohesive jazz. As a fan of Rap and Hip-Hop, Cool Jazz stands at the forefront of samples and what I love about the genre. I listened to Birth of the Cool on a snowy December day, and the music felt like a warm scotch going down. Pure, warm music. This album featured no skips and received 9/11 likes: Move, Jeru, Venus De Milo, Deception, Godchild, Boplicity, Rocker, Israel, Rouge. This album receives an 81.8/100.
Album: In the Court of the Crimson King Artist: King Crimson Rating: 56.8/100
Verdict: An iconic cornerstone of progressive rock that oscillates between heavy, timeless classics and wandering experimentation that sometimes misses the mark.
Track-by-Track Analysis
1. 21st Century Schizoid Man Including Mirrors This opener defines the classic King Crimson sound. It is aggressive, precise, and undeniably heavy. It is impossible to listen to this without making the connection to modern hip-hop; the track was famously sampled in Kanye West's "Power," bridging the gap between 1969 prog and modern culture. Decades later, the song still hits like a classic—it hasn't lost any of its edge.
2. I Talk To The Wind Things start to get interesting here, shifting drastically from the opener's aggression to something much softer. The first half almost felt like a skip; it leans heavily into a Moody Blues or Yes aesthetic. It is surprising to hear this side of the band—while King Crimson is often associated with dark, sardonic, and complex sounds, the first half of this track sits firmly in the realm of Baroque Pop.
3. Epitaph Including March For No Reason And Tomorrow And Tomorrow This track carries a similar energy to "I Talk To The Wind," maintaining a more melodic and atmospheric approach. However, it feels heavier in spirit. Certain movements within the song evoke the doom-laden atmosphere of Black Sabbath, creating a moody bridge between the album's softer textures and its darker lyrical themes.
4. Moonchild This starts with a "jam band" energy, evoking the atmospheric tension of Led Zeppelin's "No Quarter." However, the track loses its momentum about halfway through. Around the 5-minute mark, it devolves into random dissonant sounds that feel less like a composition and more like aimless wandering. For the casual listener, this becomes a definite skip.
5. The Court of the Crimson King After the dissonance of "Moonchild," this track is a relief—"finally music" again. It opens like an acoustic operatic ballad, returning to the grandiose structure that defines the album's best moments. It serves as a fitting, majestic closer that redeems the lull of the previous track.
Album: Coat of Many Colors Artist: Dolly Parton Rating: 80.9/100
Verdict: A smooth, beautifully paced album that highlights Dolly's songwriting prowess, moving effortlessly from autobiographical classics to folk-inspired deviations, only stumbling slightly on the final pop attempt.
Track-by-Track Analysis
1. Coat of Many Colors A perfect opener. The guitar work is fantastic, featuring smooth picking and a nice walking bass line that drives the song gently. As an autobiographical piece, it feels incredibly genuine and grounds the album immediately.
2. Traveling Man I love the opening bass line here. The sound shifts distinctly, feeling more like Southern Rock than standard country. It adds a nice grit to the early part of the record.
3. My Blue Tears The most striking element here is the high vocal pitch. It stands out distinctively from the previous tracks, showcasing a different part of her range.
4. If I Lose My Mind The pacing shifts down here, offering a nice transition from "My Blue Tears." It is a very easy-listening track that lets the album breathe.
5. The Mystery of the Mystery The tempo slows even further, but it works in the album's favor. The pacing so far has been excellent. The slow bass lines are a highlight, and Dolly’s voice is exceptionally smooth on this track.
6. She Never Met A Man (She Didn't Like) The title alone is delightfully bold—it brings a certain attitude before the song even starts. I found myself really invested in the lyrics and the story being told. It makes you wonder who hurt her to write this; it has that same dramatic DNA as "Jolene."
7. Early Morning Breeze Honestly, this is a pleasant and surprising genre shift. It sounds very much like Linda Ronstadt or Joan Baez—very folk, very "wow." The songwriting feels heavily "Bob Dylan coded," stepping away from the polished country sound into something more raw and atmospheric.
8. The Way I See You The title strikes you first. Musically, I wasn't impressed initially, but the lyrics are lovely. The saving grace comes around the 1:45 mark where the piano adds a beautiful layer that elevates the whole track.
9. Here I Am Great lyrics and a standout performance. This track is all about Dolly's powerful vocals, which take center stage and demand attention.
10. A Better Place to Live This feels like Dolly’s attempt at a pop hit, but it doesn't quite land. Compared to the rich storytelling and musicality earlier in the album, this feels somewhat empty.
Album Review: Tom Petty and the Heartbreakers (Self-Titled)
Rating: 83.1/100
Overview A dive into the debut album that started it all. The record balances rockabilly roots with a gritty, almost punk edge, showcasing a band playing with "iconic hunger."
Track-by-Track Notes
1. Rockin' Around (With You): This track has a very fun, up-tempo rockabilly feel. It definitely clarifies why the band was originally plagued by the "punk rock" label—there is a raw energy here.
2. Breakdown: A certified classic. Knowing the backstory regarding the gritty rise to fame (the "Gibbon woman" and the allegedly haunted, dingy recording studio) makes this sound even grittier than before.
3. Hometown Blues: Heavily influenced by Elvis; a strong rockabilly vibe.
4. The Wild One, Forever: Loved the opening here. It is very soft, and the drums serve a purely melodic purpose rather than just keeping time.
5. Anything That's Rock 'n' Roll: Features a fun Rolling Stones/Elvis Costello beat. It makes perfect sense why this track found such success in the UK.
6. Strangered in the Night: The riff sounds a bit like "Day Tripper," but paired with surprisingly dark lyrics.
7. Fooled Again (I Don't Like It): feels like a staple rock song of the era, featuring that classic background organ but driven by stronger rock vocals.
8. Mystery Man: This one felt a bit out of place. It is very twangy and disrupts the pacing of the more upbeat sections. It feels like it is "just kind of there."
9. Luna: A very haunting track. The tone shift here works really well, specifically as a setup for the high energy of the finale.
10. American Girl: The iconic song and a generational hit. It always brings to mind Elliot dancing in Scrubs. The upbeat tempo masks a deep, generational yearning—Tom Petty wanting more, backed by a band playing with hunger.
Album: Electric Ladyland Artist: The Jimi Hendrix Experience Rating: 78.2/100
Track Notes:
... And the Gods Made Love: Just sounds, adds to the psychedelic feel.
Have You Ever Been (To Electric Ladyland): Nice slow blues feel. Honestly would be great at the back end of an album. Just chill bluesy vibes.
Crosstown Traffic: Classic Hendrix track, pure rock and innovative. Jimi plays the literal shit out of a comb, and honestly does a great job of conveying the feeling of being stuck in crosstown traffic.
Voodoo Chile: Very "Jam Bandy." Honestly wanted to abandon after 7 minutes in, but it picks back up at around 10:30. Loving the Hard Rock sound at the end (13:00-).
Little Miss Strange: Fun song, Noel Redding's concession on the album. Fun little song. Has a little "Crosstown Traffic" feel in it.
Long Hot Summer Night: Fun bluesy licks.
Come On (Part 1): Fun blues tribute. So up Jimi's alley.
Gypsy Eyes: I can see why this song was a point of contention for Jimi. It is very short and polished. I understand the 50 takes. That said, it is a great track!
Burning of the Midnight Lamp: I love the yearning of the guitar on this track. Love the message and the emotion it evokes of burning the midnight oil. Jimi messing around on the harpsichord creates this iconic sound.
Rainy Day, Dream Away: Fun inclusion of horns on this track.
1983... (A Merman I Should Turn to Be): Mood setting. I always liked the song, but now I am listening to the lyrics and musical storytelling of Jimi's underwater Utopia contrasting the chaos of the late 60s.
Moon, Turn the Tides....Gently Gently Away: Honestly thought it was a continuation of "1983."
Still Raining, Still Dreaming: Definitely sounds more definitively Hendrix and Bluesy.
House Burning Down: Positively funky. Very Sly and the Family Stone.
All Along the Watchtower: The Dylan cover, the classic, the chaotic sound of the guitar. Hendrix makes it his.
Voodoo Child (Slight Return): Hulk Hogan brother, NWO brother. A song that is effortlessly cool, despite being played on the spot for TV crews. Seems to be born out of the latter part of "Voodoo Chile."
Album: Kid A Artist: Radiohead Rating: 98.1/100
Track Notes:
Everything in Its Right Place: Hypnotic but kind of clubby. I like this as an album opening track.
Kid A: Haunting lullaby feel. So far I am drawn in by this album, when I expected experimental trash. Gets more experimental and electronic around 1:50, but still like it.
The National Anthem: Fun bass line. Reminds me of Idles on the Caught Stealing album.
How to Disappear Completely: Delightfully haunting. First song with notable vocals. "I'm not here / This isn't happening / I'm not here / I'm not here." Such an iconic and relatable line about anxiety.
Treefingers: Light melodic sounds that lift the mood from "How to Disappear Completely," good palate cleanser.
Optimistic: Most traditional song. Like a heavier Oasis sound. I like it.
In Limbo: The guitar playing is very melodic. Crystal clear vocals.
Idioteque: Lot of industrial sounds, "Ice age coming". Instrumentally not my favorite, but I love the lyrics and chorus.
Morning Bell: Love the vocals on "release me."
Motion Picture Soundtrack: Like the organ sound.
Untitled Hidden Track: It's an untitled track.
Album Review: Pretzel Logic – Steely Dan
Rating: 72/100
The Vibe: A mix of sophisticated instrumentation and confusing storytelling. While the bass lines and production shine, some tracks veer too far into "bland yacht rock" territory to make a lasting impact.
The Highlights: Grooves and Instrumentation
The album opens strong with distinct musicianship. "Rikki Don't Lose That Number" sets a high bar immediately with that driving bass line and a satisfying guitar finish. This momentum carries into "Night by Night," which delivers a fun, funk-inspired bass that keeps the energy high.
The title track, "Pretzel Logic," is a standout centerpiece. It features a haunting opening and a driving rhythm section that anchors the song, complemented by a tight mini-guitar solo and well-placed trumpets. The instrumentation is also playful on "East St. Louis Toodle-Oo," where the "Peter Frampton" talk-box effect creates a fun, ragtime instrumental break.
The Critiques: Lyrics and Tone
Despite the musical proficiency, the album struggles with consistency. "Any Major Dude Will Tell You" feels like basic yacht rock; the lyrics come across as bland rather than profound. Similarly, "Barrytown" has a solid beat, but the lyrics are difficult to parse, feeling like a generic upbeat '60s rock track rather than a cohesive story.
"Charlie Freak" is the biggest point of contention. While Steely Dan is known for their ironic juxtaposition of dark lyrics with bright melodies (similar to Foster the People's "Pumped Up Kicks" or The Monkees' "Last Train to Clarksville"), this track misses the mark. The storytelling is there, but the sound doesn't land, making the irony feel less effective than their contemporaries.
Track-by-Track Breakdown
| Track | Song Title | User Notes |
|---|---|---|
| 1 | Rikki Don't Lose That Number | Nice bass line. Nice guitar toward the end. |
| 2 | Night by Night | Fun funk bass line. |
| 3 | Any Major Dude Will Tell You | Very basic yacht rock. Lyrics just feel bland. |
| 4 | Barrytown | Liked the beat, but struggled to make sense of the lyrics. Feels like upbeat 60s rock. |
| 5 | East St. Louis Toodle-Oo | Fun instrumental. Ragtime feel with "Peter Frampton FX" (Talk box). |
| 6 | Parker's Band | Straightforward uptempo rock with a fun sax solo. (Note: This is a tribute to Charlie Parker, rather than a cover). |
| 7 | Through With Buzz | Feels very Elton John. |
| 8 | Pretzel Logic | Haunting opening, driving bass. Nice mini guitar solo and trumpets. |
| 9 | With a Gun | Fun upbeat tempo. Engaging lyrical storytelling. |
| 10 | Charlie Freak | Good storytelling, but the sound didn't click. The "happy sound/dark lyrics" irony wasn't executed as well as other classics. |
| 11 | Monkey in Your Soul | A nice, fun, non-serious palette cleanser. Liked the horns. |
Final Verdict
Pretzel Logic is a technically proficient album with undeniable grooves, particularly in the low end. However, the varying quality of the lyrics and some stylistic choices prevent it from being a masterpiece. It’s a solid listen, but not without its skippable moments.
