I remember first hearing the Arctic Monkeys and liking the return to rootsy, raw rock sensibility. On this album, I liked the "garage" quality that gave it power and honesty. I was impressed with the guitar sounds - some of them expanded the sonic palette nicely. The central figure to me seems the vocalist. Unusual quality of voice and style, mixed up front, lyrics biting. It's all attitude, all the time. Rock indeed.
This is a worthy soulful, retro, low-fi effort. The mood is chill and I find it uplifting. I think a wide range of people would enjoy this music. I particularly enjoyed the melodic approach and the relaxed grooves. There was a nice balance of simplicity and layering.
I'd heard the name Fatboy Slim, but I wasn't aware of how familiar I was with some of his work. Some of it is good stuff. But not really my kind of thing. Good manipulations. I'm more into musical conversation. That is not this. Fucking in Heaven is truly obnoxious and horrendous. This type of music, I suppose like much of dance music, is repetitive. To me, it's repetitive to the point of annoyance. Some of it is the self-referential type of lyric that reflects a narcissistic generation. The artist assumes we care about them. We don't. We care about us, or the world as a whole. I prefer something that contributes to a shared experience/understanding. This doesn't attempt that. By the time I got through Build It Up, Tear It Down, it was all I could do to keep going with it. I said "thank God!" to myself when the album was over.
I like Springsteen more as a songwriter than a singer. I respect the musicianship on this album too. I like Badlands quite a bit. But a little Bruce goes a long way for me. These songs are BIG. They have space and density at the same time. There's a yearning quality to this album, and perhaps Bruce's music in general. Some of these songs deserve their place in the annals of rock history, namely Badlands, Prove It All Night, The Promised Land, and Darkness at the Edge of Town. I did not like the vocals or the guitar solo in Streets of Fire - annoying. It was enough for me to downgrade the album from 5 stars to 4.
The album starts with it's two big hits, and then the third was a lesser one. I listened on headphones and noticed a lot of the production craftsmanship. Clearly talented, Prince blends many musical elements, styles, and approaches, with an emphasis on the gospel/soul/R&B of American black music traditions. The album is also a product of the emerging technology of the day - sequencing, drum machines, sampling, advances in musical synthesis. It's a prime example of the marrying of the tools of the digital age with long-established musical lanes. In these ways, the album strikes me as noteworthy. That said, it's not my cup of tea. It's deeply dance pop. While that makes it accessible and catchy, and is not an indictment on its own, I just get bored with repetition, especially across an entire album. Songs that set a drum machine and go get old quick to me. For that reason, I can't give the album five stars, even though I imagine many would. By the end of this album, I was feeling like I don't need to listen to another Prince song for, I don't know, maybe the rest of my life. The lyrics, when they were trying to make sense at all, seemed perverse. I can't give something four stars that produces that reaction, even if I know others would strongly disagree.
I know this album very well. It’s one of the albums I’ve probably heard most, in fact. It’s breakthrough. What three guys can accomplish- wow! Each is so talented, and they work si well together to create a coherent whole. They take us to places we’ve never been before. In this case, a dystopian future. We could do well to heed some of the warnings about too much trust and reliance on authority. The music is iconic, and I think the title track may have been responsible for the invention of air drumming. Panned or ignored when it came out, it survives as an important breakthrough, if nit masterpiece. Definitely 5 stars.
Many of these tracks make me think that this is what Dylan would have done if he had been fifty years later or Tom Petty forty years later. It's a band, not a single artist though. It has an indie-rock production feel - in the mold of Tame Impala, Portugal the Man, and such. It's chill, sort of like Khruangbin. Not objectionable, a little steady-eddy - meaning lacking in dynamics. It's okay for background listening music, but I can't say it grabs me or impresses me much. I'm not surprised I've never heard of them before. It's fine I suppose, if you really enjoy this style. Since nothing strikes me either good or bad, this is the definition of a 3 star effort to me.
I'm not familiar with this music. The name Paul Weller rings a remote bell but I couldn't say why. He has a good voice. Nice bluesy feel to the music. Good amount of soul, groove, and emotion. I find this music engaging and interesting. Has My Fire Really Gone Out? features a nice layered jam - I find that satisfying. I liked Holy Man - reprise too. The overall mood, sound, approach of Weller on this album grew on me as the album continued. A very good sign of a work that has lasting value. I'd say this deserves no less than four stars.
Sade has an intoxicating voice. My only complaint is that the songs tend to feel very similar, so an entire album can get a bit boring. But the quality of the music is high.
I like the Cure and they have a lot of good songs. My personal bias is I tire quickly of singers with a whiny, crying type vocal style. So an entire album of Robert Smith is a chore. If this doesn’t bother you, I’m sure you would enjoy the record more than me.
I’m not a country music fan, so I am not the target audience of this music. From an analytical perspective, the singer does not sound good. This is a vocal-centric genre, so this is a critical part of the equation. A real struggle to listen to.
If you like punk music, I suppose you might like this album. There is some punk I like, but in general, I can't relate. And I really can't relate to the caterwauling of Courtney Love. This was a torturous listen to me, truly awful music.
This is an easy album to admire. Joni Mitchell is universally respected for good reasons. Brilliant lyricist, incredible vocalist, and as an artist, a true trailblazer. Help Me and Free Man in Paris are timeless masterpieces. There are no bad songs, and there is a pleasant variety. Raised on Robbery is a cooking little boogie woogie number, while a number of the others are smooth and slick stories set to a folk-music wrought storytelling approach. I can't see anything but five stars for this album.
