Reviews by abrisskull

Oddly enough, this was the last album I listened to BEFORE I started my journey with this generator. I remember playing through Ill Communication when I was pondering what other albums I could listen to. It was mentioned that this record was included in the 1001 Albums to Listen to Before You Die book. I looked it up and encountered this generator website, as well as a full list across all editions. After realizing I listened to over 10% of the albums already, I figured going through the rest made sense. That's how I got started.

Now, revisiting Ill Communication over a year after I started, I feel a better appreciation for this record. It helped that I was into some of the singles like "Sabotage" and "Sure Shot", but now I can articulate this album for what it is - a culmination of everything the boys had done up to this point. From their early hardcore punk roots showcased on tracks like "Tough Guy" and "Heart Attack Man", to their rap rock fusion on "Sabotage", to their incorporations of samples and funk on "Root Down" and "Flute Loop", to more instrumental playing from the trio such as on "Bobo on the Corner", "Ricky's Theme" and closer "Transitions", their evolution in sound and style is highlighted throughout this record. They even embrace some new directions on this project, such as jazz motifs on cuts like "The Update" and "Futterman's Rule", and even towards the end with the Tibetan monk chants that permeate throughout "Shambala" into "Bodhisattva Vow".

Sure, this album is a bit bloated, given how much they accomplish within an hour timeframe. But with the variety throughout this record, and how well-structured each track is, it never felt as if anything was out of place or underdeveloped. That is quite the accomplishment, and I have to give the Beastie Boys credit for that. Ill Communication is a stellar record, worth checking out.

I'm at least familiar enough with Harry Nilsson such that I recognize the big three singles off this particular album, along with another single of his, "One", which is indeed the loneliest number you'll ever do. He's one of those long-past songwriters that most people don't recall until you bring up one of his singles that have been used in various soundtracks, and then people go, "Oh, he's THAT guy." With that said, how does Nilsson Schmilsson hold up decades later?

I'd say this album is pretty solid. It's the kind of slightly experimental pop-rock that I can get behind, with such swerves in compositions that I can see why he was called the "American Beatle". Between the piano-driven ragtime bouncing of "Gotta Get Up" and "Down", the chill guitar strumming on "Driving Along", the Caribbean-themed instrumental influences on "Coconut" and his cover of Louis Jordan & His Tympany Five's "Early in the Morning", his transformative, near-operatic ballad rendition of Badfinger's "Without You", and the epic seven-minute rocker "Jump into the Fire", there's a great amount of variety that Nilsson utilized across his covers and original compositions. I wouldn't say all of the tracks blew me away, as aside from "Jump into the Fire", the album does wind the momentum down towards the end. But I can hear the craftsmanship and dedication by Nilsson, the backing personnel, and producer Richard Perry, and cannot ignore how good this album ended up.

At the end of the day, Nilsson Schmilsson is a decent record from a man who deserves to be remembered.

What more can I add to the discussion around Aretha Franklin, the Queen of Soul? Such an iconic voice who proved to be influential across decades of popular music for her emotional yet powerful delivery. There was never a doubt as to how I would feel about her vocals.

As for the album itself, I Never Loved a Man the Way I Loved You boasts original compositions that are genuine bops, as well as covers that can go toe-to-toe with their original artists, and at times even transcend and transform the work into her own. Seriously, "Respect" has become more synonymous with her than Otis Redding, and her version of "A Change Is Gonna Come" rivals Sam Cooke's. There are several go-for-broke, boastful performances from Aretha and the accompanying musicians on this record, from the title track to "Dr. Feelgood (Love is a Serious Business)", from King Curtis's "Soul Serenade" to her own "Do Right Woman, Do Right Man", and so on.

This album is a certified soul classic that has withstood the test of time, and I'm glad to have enjoyed it from start to finish.

If I were approached in public to talk about Lupe Fiasco, chances are that the one thing I would recall off the top of my head would be "The Show Goes On" from his album Lasers, a song I enjoy that people can point to as the biggest highlight of his career. A couple of years after that, he went independent, and unless you were following his later material, it would appear as if he fell off the radar. It's rather bizarre to me, considering how much of the music industry was backing him up, especially given early connections he made with Jay-Z and Kanye West. Case in point, his debut album, Lupe Fiasco's Food & Liquor, made the most of this backing, and I consider it a success.

Between the variety of sharp beats and instrumental motifs from the multiple producers on this record, as well as Lupe's lyrical flow and intricate wordplay, enough is going on here to keep me intrigued. Also helping matters is that Lupe chose to stray from any violence or misogyny in his subject matter as he felt that was too prevalent in hip-hop music. Instead, we have songs that get on the cusp of greater philosophical understanding, such as the dissection of human nature and the actions one can take on "Just Might Be OK", the chronicling of stages of life through the lens of a skateboarder on "Kick, Push", the obsession with electronic devices on "The Instrumental", to the challenging of hip-hop culture stereotypes on "Daydreamin'" and "Hurt Me Soul", and a rather scathing critique of the United States's track record with humanitarian efforts on "American Terrorist". Sure, in moments, there are opportunities to go lyrically deeper, and a couple of tracks deal with a similar theming of Lupe's reconciliation with hip-hop music in its then-current state and how to move forward within the scene. But, I would say for the most part, this album proved to be thoughtful and introspective in its approach.

If anything, my issue with this album is that it is rather long. At the very least, I didn't feel the need to include a 12-minute outro where Lupe thanks everyone who was involved in his upbringing up to this point, no matter how small their contributions may have been. While well-intentioned, it does not feel necessary to the overall product.

Still, I'm rather impressed with Food & Liquor. I certainly get the appeal of Lupe Fiasco as a lyricist, and it has me curious how the rest of his output has been.

It was a matter of time before I covered Iggy Pop's solo career in addition to his time with the Stooges. I was at least familiar with almost half of this album, Lust for Life, his second effort with David Bowie, which saw a return to his recognizable garage rock style, compared to the experimental The Idiot. I'd say this record did a decent job of returning to form.

For a good chunk of this record, Iggy, Bowie, and company are in the pocket with the uptempo songs that are largely satirical. The title track with the bombastic percussion as Iggy rattles off various vices, continuing that manic energy on "Some Weird Sin", to the drive-by with Bowie by his side on "The Passenger", to challenging western perceptions of achieving fame on "Success", to the dysfunctional man portrayed on "Neighborhood Threat". These songs all capture a certain kookiness that is effectively delivered by the raucous instrumentation and Iggy's off-kilter vocal delivery. Even when they slow down the momentum on the ballad to heroin overdose on "Tonight", the composition still bounces and works wonders, even if the song sounds more fitting for Bowie.

That said, I don't consider every song on this record to be great. Iggy and Bowie tried to strike lightning twice on the same record with another slow-burning heroin overdose ballad in "Turn Blue", and it comes off a lot more corny with the sprawling lyrics as Iggy veers off-topic to talk about the sexual appearance of black people. A similar case can be made for closing number "Fall in Love with Me", which goes on for longer than it should in its midtempo slog about this romantic interest. Speaking of romantic interest, I would be remiss without mentioning "Sixteen", which is in fact about being in love with a sixteen-year-old girl. This was an unfortunately common recurrence with rock music decades ago, with much older men writing songs about being attracted to underage girls. Suffice it to say, the song hasn't aged well.

Still, I consider Lust for Life to be a solid record, as Iggy Pop went back to the garage rock format he was most recognized for.

After being surprised by the opening track of Blonde On Blonde, I was much more familiar with the opening track of this album, "Tangled Up in Blue", having played it on Rock Band 2. Not only do I still enjoy that track all these years later, but the rest of Blood on the Tracks turned out to be stellar.

The songwriting throughout this record was top-notch, delivering more lived-in character stories from different perspectives, as Dylan strummed pleasant acoustic guitar melodies and blew on his harmonica in between verses. While most of the songs tend to describe relationships that erode, Dylan approached these tales from various angles. The passage of time on "Tangled Up in Blue", the shift from third-person narration to first in "Simple Twist of Fate, the emotional maturity and acceptance of dissolution on "You're a Big Girl Now", the vehement vocal delivery on "Idiot Wind", the reckless abandon to venture out on "Meet Me in the Morning", the string of poker metaphors to describe such incriminating behaviors on "Lily, Rosemary and the Jack of Hearts", the direct plea to the listener to pass on the message of lost love on "If You See Her, Say Hello", the quiet-storm seclusion of the narrator as they reconcile with their broken heart on "Shelter from the Storm". These different narrative and vocal techniques give each track its distinct flavor, never overstaying their welcome, all while scaling back other session personnel to keep Dylan and his guitar a persistent presence in the mix. It is a deliberate choice that worked well to showcase the leaps and bounds he made in writing and performance.

Suffice it to say, Blood on the Tracks is a spectacular album that helped cement Dylan as a creative force to be reckoned with.

After getting Arrival as #18 on my album journey, I was curious what a second ABBA record could offer on this list. It turns out the answer was weightier lyrics.

The Visitors is often considered ABBA's "mature" record, as the lyrical content explores heavier subject matter than their previous work, likely a result of the band members' divorces and troubled recording sessions. The desire to be strong-willed in a tumultuous world in "Head Over Heels", the amicable parting of former lovers in "When All Is Said and Done", the emotional struggle in the aftermath of a crushing end to a relationship on "One of Us", the reminiscence of a past lover in "Like an Angel Passing Through My Room". These songs feel drawn from the lived-in experiences of the bandmates as they reconciled with themselves.

Juxtaposing these personal relationship stories are songs that also delve into another ripe conflict at the time, the Cold War. The title track and "Soldiers" illustrate the paranoia that likely persisted when countries were in several militaristic efforts against each other over what was then a looming threat of communism. Having the military and relationship conflicts intertwined throughout this record seemed like a stroke of genius.

Really, the only track that felt out of this place on this album was "Two for the Price of One". The song recounts a man who tries to get into a ménage à trois with two other women, except one of the women turns out to be the mother of the other. It's a rather baffling inclusion that doesn't fit the idea of this "mature" album.

Otherwise, The Visitors is still an easy-listening pop record at the end of the day. If you've enjoyed that style of music in the past, including any prior hits of ABBA, then you'll likely enjoy this as well. I do appreciate the more adventurous songwriting on this record overall, though I can see why the band would break up after this one and take three decades to reunite. It's still worth checking out.

Once again, tragedy strikes, and the generous host of this site, SidledsGunnar, responded in kind. With the passing of the legendary singer and metal icon Ozzy Osbourne, everyone was treated to a Black Sabbath album if they hadn't gotten all of them already. This will be the last Sabbath album I need to cover for this journey, and it feels good to end this chapter on a high note.

I found myself listening to Vol. 4 in its entirety, and I couldn't find anything to complain about here. This is astounding as the band continued to experiment with their heavy sound into new avenues. Whether it's the piano ballad "Changes" or the funky percussion of "Supernaut" or the doom-and-gloom closer "Under the Sun", the variety in style and tone on this record is well-varied and executed. Hell, I even enjoyed the eerie guitar delay echoes of "FX", and that interlude came about from the boys fucking about with throwing objects at Tony Iommi's guitar. It's amazing how much quality, influential music they churned out while high on cocaine, a sentiment they fully embraced on their ode to the drug, "Snowblind".

There ain't much else I need to say here, as Vol. 4 is such a phenomenal record. While it can be argued that this album is not as essential to listen to before you die compared to the self-titled debut or Paranoid, it was still a banger of a time. Long live the Prince of Darkness.

I will base my review on the track list of the original release of this album. Normally, I make a statement like this for an album review on this journey without any hesitation. The problem here is that I am excluding what could be considered the gateway track for this particular band.

I heard about the Lemonheads because of their cover of Simon & Garfunkel's "Mrs. Robinson", which was added to subsequent re-releases of their breakthrough record, It's a Shame About Ray. I can imagine that for many people, this is the one song they will recognize from the group, much to the chagrin of frontman Evan Dando and original songwriter Paul Simon. It's a shame, pun intended, because the album this cover is retroactively associated with is pretty solid.

This is an intriguing blend of jangle pop and grunge, where the guitar tones are bright and crunchy at the same time, as Evan and company blaze through a rich slice of bouncing tunes about finding bliss that ebb from character stories to strifes for bliss amidst the drug-riddled reckless abandon. There's a lot of Evan's personality that shined through in his performance and abstract lyrics, as bassist Juliana Hatfield and drummer David Ryan provided a strong foundation for these songs to be built upon. Opener "Rockin' Stroll", the title track, "Rudderless", and "Alison's Starting to Happen" were personal highlights that showcased the cheery angst this record employed throughout.

If anything, my only complaint is that this record is rather short. Clocking in at under a half-hour, there were multiple instances where songs could have been expanded. I can see why people would favor inclusion of the "Mrs. Robinson" cover in later releases, yet I feel that "Frank Mills" still works as a closer. Perhaps more time in the studio would have helped in fleshing out some of these tracks.

Still, I consider It's a Shame About Ray to be quite a pleasant outing for The Lemonheads. It's good to know that they are worth more than the one cover song.

After meeting The Smiths halfway on their last outing with Meat Is Murder, I can confirm that not only is their follow-up The Queen Is Dead an improvement, but a surprisingly good record on its own.

I was already into this band from an instrumental standpoint, as they continued to build on their jangle pop stylings. In particular, guitarist Johnny Marr was influenced by the likes of The Stooges and The Rolling Stones to craft some rather catchy melodies throughout the song, all the while the rhythm section of Andy and Mike kept it tight and bouncy. It certainly helps that the production sounds more polished in reverb, effectively bolstering the atmosphere.

However, the most significant improvement here is from Morrissey himself. Where I didn't always enjoy his vocal performance and political lyrics on Meat Is Murder, on this record, he went for darker and wittier with more space in between his words to get his quips across. From the opening title track that lampoons British society as it is still rooted in the monarchy, to poking fun at the head of their label on "Frankly, Mr. Shankly", to the couple's walk through the graveyard as he points out her plagiarism on "Cemetery Gates", to Morrissey's own big mouth when he talks during interviews with the band on "Bigmouth Strikes Again", to the sheer absurdity against religious conformities on "Vicar in a Tutu", Morrissey knew how to take the piss out of everyone including himself.

That said, it's not always clowning around, as Morrissey does take time to work out some rather somber tunes. "I Know It's Over" delves into loneliness that gives way to utter despair, and "Never Had No One Ever" offers a rather bleak perspective from someone who always felt was an outsider. Probably the two instances where the dreary and silly sides of Morrissey's writing collided effectively were "The Boy With the Thorn In His Side" which described his hatred towards the music industry, and the immaculate "There Is a Light That Never Goes Out" about a reckless love that plays with suicidal thoughts to express the desire to be with someone until the very end. The latter ended up being my favorite song on the record, not gonna lie.

The only song that I'm just lukewarm on was the closer, "Some Girls Are Bigger Than Others". I get that it's a sexually suggestive song, and I'm not against that notion. But it is rather odd for this song to follow after "There Is a Light That Never Goes Out", from the rather genuine reckless abandon for love to the "astute" observation of women. Even stranger is how the song opens with the fade-in that is abruptly faded out before being reintroduced with the reverbed drums. I understand that engineer Stephen Street likened this intro to opening a door, closing it, and then opening it again and walking in. It simply feels weird to me, even on repeat listens. The song is still a bop though.

So yeah, I genuinely enjoyed a Smiths album. That is a statement I never thought I'd say, because I didn't get into them properly before this journey due to Morrissey being a dick. But yeah, now I can count at least one record of theirs I can come back to.

As someone who has listened to the Red Hot Chili Peppers' discography, I can understand why this album was selected. Blood Sugar Sex Magik was the record that skyrocketed their popularity, after Mother's Milk opened the door with John Frusciante's melodic guitar playing and Chad Smith's more intricate percussion playing. The only ingredient missing from their alternative funk rock formula, which Blood Sugar brought, was Rick Rubin's bolstering production and assistance with song arrangements and lyrical refinement. Probably the biggest example of the change in dynamic from Rubin was encouraging frontman Anthony Keidis to adopt a softer singing style with deeper introspection on tracks like "I Could Have Lied" and "Under the Bridge". The result is a greater emotional variance on this record in addition to the hard-hitting riffs and funky riffage.

My only complaint with this record is a recurring issue with every other Chili Peppers record, which is the length. Clocking in at over 73 minutes, I admit to not always listening to the record in full. There isn't a bad track per se, as it is nice now and then to check out a deep cut such as the fast-paced "The Greeting Song" and the infectious groove of "Naked in the Rain". But this is another case of "too much of a good thing", where I more realistically enjoy this album in spurts than as a whole.

Blood Sugar Sex Magik is still a phenomenal record, one that proved the Red Hot Chili Peppers were a much more talented act with the right focus.

I had to go on YouTube for the title track. Otherwise, I was able to find the rest of the album on my preferred streaming platform.

With that established, Abdullah Ibrahim is the leader of the septet assembled for this record. He is a South African pianist and composer who helped spearhead the burgeoning jazz movement in Cape Town, creating such pieces that reflected on his wide-ranging influences from the multicultural ports of that town, alongside the likes of Thelonious Monk and Duke Ellington. He achieved notoriety for his anti-apartheid composition "Mannenberg", which was revisited on this album.

Across the entirety of Water From An Ancient Well, the pieces that Ibrahim and company compiled and performed reflect a sense of uplifting, heartfelt messaging conveyed without any words needed. Incorporating elements of gospel, blues, and other Western styles, the band was able to express their cultural freedom with subtle grooves and melodies that illicit such defiant joy. It's not necessarily all about the anti-apartheid movement, as some songs break up the pace for slower pieces that reflect on precious memories, such as the sultry lull of "The Wedding" or the heartfelt tribute to Ibrahim's wife on "Song for Sathima." But through each note, careful thought was put into each piece to allow space for each motif and improvisation to resonate without ever feeling overwhelmed. The result is a record where I can pick out individual lines from each member in the septet and feel rewarded for what I can pick out, such as the saxophone and trombone solos on "Tuang Guru" or the alto flute that leads the main melody on the title track.

Water from an Ancient Well was such an enriching experience from Abdullah Ibrahim that it needed no words to convey the lifting of spirits. In a word, spellbinding.

LCD Soundsystem is another group whose name I've heard yet never listened to their music until now. They were formed in the early 2000s by frontman James Murphy, who operated his independent label, DFA Records. They seem to be labeled as a dance-punk revival band with notes of electronica, and their second album, Sound of Silver, sounds emblematic of that description in a manner that blew me away.

This album is fully entrenched in its influences. From the opening "Get Innocuous!" that builds over what sounded like a sample flip from Kraftwerk's "The Robots", the band was able to conjure hypnotically tight electronic grooves amidst the driving guitar riffs, accented percussion with an extra helping of cowbell, and James's off-kilter delivery, at times paired with Nancy Whang's softer vocals. Throughout this album, I kept hearing elements borrowed from the likes of the previously mentioned Kraftwerk, David Bowie, Brian Eno, and Talking Heads. Considering I liked all of those acts, I was onboard for this sound.

Juxtaposing the grooves are the spare yet intense lyrics focused on the melancholy of getting older, becoming disillusioned as loved ones pass away, and what was once great can turn sour over time. From the hipster's contemplation on "Get Innocuous!", to the stereotypes lived in on "North American Scum", to the heartfelt tribute likely to James's therapist Dr. George Kamen on "Someone Great", and the self-destructive behavior observed on "Watch the Tapes", there's a degree of disenfranchisement and dry wit that James captured. These sentiments culminate in two poignant closing numbers - the title track, which in its five-phrase refrain summarizes the emotional turmoil faced when confronting nostalgia, and the bombastic "New York, I Love You But You're Bringing Me Down" about James's love-hate relationship with his hometown as it had went through major overhauls in image and operation under then-billionare-mayor Michael Bloomberg. They all tie in to the notion of a past that can't be easily captured again.

Sound of Silver was an excellent album that got me moving, yet at the same time got me reflecting with its striking lyrics. This is the kind of sound I can come back to.

I will base my review on the US edition of this album.

For those who don't know, Naomi Arleen McLean-Darley, better known by her stage name Ms. Dynamite, is an English singer and rapper out of North London. She began her career in the underground UK garage scene before being discovered by producer DJ Sticky and subsequently attracting the attention of British labels. Eventually, Naomi signed with Polydor Records and collaborated with producer Salaam Remi, who would later work with the late Amy Winehouse.

That's about as straightforward a path to a debut record as I've read, and I will say the album itself ended up rather good. A Little Deeper is a melting pot of musical backgrounds, including reggae, dancehall, UK garage, R&B, and British soul. Naomi commanded behind the mic as she ebbed between smooth R&B singing and boastful rapping over some slick beats, acoustic guitars, and electronic effects provided by Salaam and company. Adding to the flair are Naomi's lyrics, which feel personal in her reflections on coming up and empowering herself and other women. Highlights for me included the ode to her younger brother Akala on "Brother", the cutting off of toxic relationships on "Put Him Out", the desire for a higher standard in her partner on "It Takes More", and the collab with Bob Marley's son Ky-Mani on "Seeds Will Grow" where they both inspire people to work towards a better future for the next generation.

As much as I vibed with this record and respect Ms. Dynamite as a performer and lyricist, I will admit there were some issues with this record. This record is rather long, clocking in at a little over an hour. This wouldn't be as big of a problem if the second half didn't feel like a chore at times. Between the more standard R&B tunes that don't stand out much like "Now U Want My Love" and "Gotta Let U Know", and other tracks like "Krazy Krush" with the tingy electronic buzzes and farty synthesizers that sound like the worst kind of dated production, there are definitely some tracks that could have been cut.

Still, I consider A Little Deeper to be a solid debut overall. I know Ms. Dynamite hasn't done much with her musical career over the past two decades, but at least she was able to make a statement for herself early on.

On the one hand, as a fan of Tom Petty's work with and without the Heartbreakers group, I enjoyed this album for more than just the hit singles. There were some impressively written deep cuts, particularly in the second half, running from the biting groove of "Strangered in the Night" through the Hammond organ-led sway of "Luna".

On the other hand, I can still recognize this as a debut album, where the writing isn't as strong in places, particularly in the number of songs that are about playing rock and roll and blues music. A little more detail in the storytelling and stronger compositions in a few areas would have elevated this record to match the quality of its closer, "American Girl".

Taking both sides into account, I consider Tom Petty and the Heartbreakers' debut record to be good if not great. I know they will reach greatness with Damn the Torpedoes, but for now, this was still fun to revisit.

Grant Lee Buffalo is a group I started hearing about within the past year, having listened to a few songs off their sophomore album, Mighty Joe Moon. They're an alternative country rock band that uses American iconography and personal narratives in their lyrics, courtesy of singer-songwriter Grant-Lee Phillips. Their debut album, Fuzzy, gives a clear example of their sound from the get-go.

This album gleams with the strum of the distorted guitars along with Paul Kimble's melodic basslines, Joey Peters's spare percussive punch, and Phillips's hauntingly chill vocal presence. The lyrics may appear abstract upon a cursory glance, but some truly visceral lines paint a darker picture of America as seen through Phillips's lens. "Wish You Well" addresses propaganda and how news coverage can be spun for a differing narrative than what transpired, "Jupiter and Teardrop" tells the tale of two star-crossed lovers on the run from the law, "America Snoring" goes into the lack of inaction to combat the slow transformation of the country into a hellscape, and "Stars N' Stripes" outright mentions the underlying antisemitism rooted that needs to be called out. Probably the most vivid of these tracks for me was "Grace", using icons like the Lone Ranger and Harry Houdini to chronicle a reckless lifestyle that ends prematurely.

Fuzzy is the sort of album that feels timeless and poignant in its storytelling, bolstered by a gritty Americana sound that suits it well. Not a moment felt wasted on this record, which is remarkable for a debut. It's absolutely worth the listen.

The Jesus and Mary Chain is one of those groups where I've heard the band name, but hadn't listened to their music until now. They're a Scottish alternative rock band whose only consistent members are the songwriting brothers Jim and William Reid. They are considered progenitors of the shoegaze and noise pop subgenres, and after listening to Darklands, I can see why.

This album boasts the jangly, distorted guitars, droning effects, drum machine, and the brothers' hazy vocal deliveries. All of these elements coalesce into a blissful noise that feels laid-back in its presentation. Pair that with some vaguely dreary lyrics, and the vibe is set. That does lead me to my main issue with this record - the lyrics are simply there, and don't offer much in the way of detail outside of setting the mood on a cold, rainy day. It certainly works in that lane, but it could have afforded to be a little deeper.

Still, Darklands was an enjoyable record from the Jesus and Mary Chain. This album, and by extension the group, certainly holds up well in light of later acts to follow.

SZA is one of the more recent mainstream artists I've slowly gotten on board with. My exposure first started with her collaboration with Kendrick Lamar on "All the Stars" done for the Black Panther film soundtrack, followed by her feature on Doja Cat's "Kiss Me More", culminating in my listening to her second album, SOS. I consider that album good, albeit a bit bloated, which is probably not helped by the deluxe reissue that came out last year. I was curious about how her major label debut sounded, given what has come after. With all that said, how does Ctrl hold up?

Well, I consider it a solid alternative R&B record, complete with organic production, muted guitars, and subtle movements throughout that made the whole experience come off lush. Never once between the instrumentals and the guest features did I feel SZA was being overpowered, which is very much needed when this album ends up as an extended diary sprawl through her insecurities with these shifting relationships. The raw emotional core in her lyrics tended to be her second-guessing herself, wondering if she's even deserving of true love beyond the sex. From the opening "Supermodel" through cuts like "Drew Barrymore", "Prom", and "Garden (Say It Like Dat)", she dissects various instances of uncertainty in herself as she navigates through her love life. The men she comes across along the way also don't help matters in making her, from Travis Scott's more restrained hedonism on "Love Galore", to Kendrick Lamar's highlight of male obsession and entitlement while also experiencing insecurities of their own on "Doves in the Wind", to the buckling relationship with James Fauntleroy on "Wavy (Interlude)", to Isaiah Rashad's exhausted deliverance of a truth that he hopes could satisfy on "Pretty Little Birds". There are fleeting moments of acceptance or found clarity in the breakdown of her life, such as on the multiple partners' roles with this one guy on "The Weekend", the recognition of her romance conflicting with her work schedule on "Broken Clocks", and the full dive into a fling even while questioning the partner on "Anything". This leads up to the punch of "Normal Girl" in the acceptance of her differences from what is perceived as "normal" for a partner. Is it all a bit reckless? Sure, but in no way does SZA glorify this lifestyle, and if anything, she acknowledges that it's a common struggle on the closer "20 Something" where she prays for other people who may go through a similar song and dance. It's all about finding that control in the chaos of love, and that feels pretty enriching.

Okay, so what holds me back from outright calling this album great? Well, I have to admit, my problem lies with SZA herself. At this stage, it's clear that she is still developing as a songwriter, and there were a fair number of instances throughout the record where the writing can feel barebones, including multiple cases of repetition and rhyming a phrase with itself. Not helping matters are moments where SZA sounded like she was slurring her words a bit, which ends up making the final sound come off sloppier than it needed to be.

But at the end of the day, Ctrl is still a solid debut for her. I feel SZA's capable of making a great record, but until then, this was still a treat.

Having a Nina Simone album on a list of albums to listen to before you die makes sense, given her powerful voice and wide influence on jazz, soul, and R&B. I remember analyzing her original composition "Four Women" back in college, as the song explored the various livelihoods and struggles of black women in American society in the 1960s. I appreciate the album with that track made it onto the list, but how does the rest of Wild Is the Wind hold up?

Well, Nina ran the gamut of covers and renditions with her commanding voice and elegant piano play, reasonably backed by the session musicians. Some truly transformative takes stand tall in her catalog, including "What More Can I Say", "Lilac Wine", "Break Down and Let It All Out", and especially the slow and drawn-out delivery of the title track.

Honestly, my only complaint is that it is evident this album is a compilation of recordings from previous sessions, lacking cohesive flow from one track to the next. The pacing and tone were uneven in places, which made the listening experience feel a tad disjointed.

Still, it is a solid collection of songs from a generational voice, one who had such reach beyond the arts.

At least I was a little familiar with Sly and the Family Stone before frontman Sly Stone's passing earlier this month. They were such an eclectic group, combining elements of funk, soul, and psychedelia to create socially charged music that had bounce and audible impact. One of the best examples to illustrate their sound is this album here.

Stand is stacked to the brim with grooving call-and-response tunes with direct lyricism empowering individuals. The title track, "Everyday People", "Sing a Simple Song", "I Want to Take You Higher", "You Can Make It If You Try", all these songs oozed with attitude and positive energy as Sly and his siblings sang with such conviction. There are moments where the social commentary became more confrontational such as on "Don't Call Me N-----, Whitey" and "Somebody's Watching You", but those tracks felt complimentary with the overall empowerment vibe of this record. Even the 13-minute instrumental jam "Sex Machine" with individual band member solos felt at home here, giving everyone a platform to showcase their skills and lift themselves.

Stand is a classic record that proved to be a breakthrough for Sly and the Family Stone, a poignant album that epitomized mutual support for each other, against the odds. Rest in Power, Sly.