I’ve always loved “It’s the end of the world as we know it” and all of the best aspects of that song are the best aspects of the album as a whole. Great instrumentals, great harmonies, and political commentary that can be both funny and dire. Besides a few songs I just don’t care for, this album does a lot right, and I’ll probably like it more as time goes by.
It’s a good mix of folk-blues by one of the best to ever do it. There’s a lot I like, but there’s nothing I really love, and while I understand Muddy Water’s influence and might love something he’s done eventually, I don’t really have strong feelings toward this recording.
Beautiful arrangements. Every bit of performance is impressive, but more importantly, actually sounds really good. The songs in here are looong but the longer songs are also easily the best ones because it gives plenty of time for Yes to flex every musical idea they have to the fullest. My one critique is that last two songs feel out of place with the rest. You go from 3 6+ minute master works to two kind of decent songs that don’t really do anything for me.
This will probably become a 5 later on, but fully processing and appreciating Bob Dylan lyrics in a day isn’t a task I have the focus for, so I’ll more than likely appreciate this album more as time goes by. It’s really easy for a man with Bob Dylan’s voice to not be cool, but a combination of the sick electric instrumentals in the back and amazing lyricism makes him so likable, and way cooler than you think he’d have the right to be. We really need a modern day Bob Dylan…
I really don’t think there’s anything wrong with album. Rush’s lead vocalist is incredibly fun to listen to, the instrumentals and production are on point, and the song writing is really good. Even the 10 minute long song “The Camera Eye” keeps my attention just because it’s done well. I like this album a lot but I don’t quite love it enough for a 5, though that’s something that could change with time.
Very messy, but very fun. Love the vocalists and instrumentals, but whoever’s on bass absolutely steals the show. It’s definitely cheesy at times, but I think the reason I end up liking this more than Chicago’s similar jazz-pop style is that BS&T doesn’t give the feeling that they’re trying to or think they’re cool. They just have fun, and it’s hard not to have fun with them.
Big band that doesn’t overstay its welcome and knows how to be quiet. I do prefer Neal Hefti’s louder arrangements to his quieter ones, but the mix of the two is really nice on this album, and no song choice feels too jarring. Fun, easy, and well aged.
There’s pretty songs on here for sure, and even the more abrasive experimental songs sound good, but it’s all just fine. I feel no emotions listening to this. “Life in a glasshouse” is the most interesting song thanks to the jazz instrumentals, but even that song just barely clicks with me. Maybe after listening to Kid A I’ll understand this companion album better, but for now it’s just meh.
Song structure can be a little repetitive and the instrumentation could just use a liiittle bit more depth at times. It’s pretty perfect aside from those two things, the lead vocals are pure ear candy and the overall vibe created by the instrumentation that is there overshadows the fact that the song writing is pretty simple. Very consistent.
I’ll need time to truly justify this 5, but I feel like it’s the right choice. I love the lyrics, they can be kind of stupid, kind of smart, kind of funny, and Morissey’s performance sells it perfectly, even if he’s not the best singer ever. There’s not a skip here, and I’m sure I’ll be able to talk about and appreciate the smaller and better details that make me love this album as time goes on.
review coming later just wait
It’s naaasty, the electric guitar and electric harmonica absolutely rule this album, and Mr. Waters himself is performing like he’s in his prime. No skips, every song is attention grabbing, and the funk is in me.
