Reviews by abrisskull

Alright, this is a funky-ass album from one of the legends Parliament, complete with scratching guitars, horns, oily bass courtesy of Bootsy Collins, and a loose outer space narrative. Is it cheesy? Absolutely. But that's where the charms lie with how much charisma George Clinton and company can pull off with this collection of tunes about interstellar grooving that doesn't overstay its welcome save for the opening skits. It's a silly album with a lot of craftsmanship to back it up, I dig it.

I've listened to this album before and it has aged like a fine wine. On their second album, Black Sabbath was able to perfect their formula for the early formations of heavy metal music. The songwriting and mix are impeccable so I can hear every member have multiple shining moments in the spotlight. Every track is a classic in its regard, even deep cuts such as the slow gaze of "Planet Caravan" and the short instrumental "Rat Salad." Iconic riffs are paired with timeless lyrics of destruction, be it of the world at large through war or of self by partaking in drugs. Maybe the sequencing of tracks could have been a smidge better like the drop in tempo from “Paranoid” to “Planet Caravan”, but that is a minor nitpick. If you've not heard Paranoid before, then please take the time to listen.

I'm already familiar with The War on Drugs as a heartland indie rock band from their later singles "Holding On" and "I Don't Live Here Anymore". The group was formed by Adam Granduciel and Kurt Vile in the mid-2000s, only for the latter to leave shortly after their first release. This is their third album, and wow Adam and everyone else who worked on this knocked it out of the ballpark.

Lost in a Dream is an album drenched in a blend of washed-out shoegaze and mid-80s-inspired roots rock that's intricate in its song construction. It's filled to the brim with gorgeous melodies, and several instrumental moments that resonate like the guitar solo of "An Ocean in Between the Waves", the reverb guitar sliding of "The Haunting Idle", the synth crescendo and interplay on "Burning", and the saxophone that shows up on "Under the Pressure" and "Red Eyes". Seriously, "Red Eyes" is one of those immediate smash singles from this record that I couldn't believe upon first listening.

Adam sings with a Dylan-esque delivery that maintains a balance between capturing an emotion without overselling it and holding it together on the edge of heartbreak. His vocals pair neatly with the lyrical content, where after a year of nonstop touring, his anxiety and depression bled into the words. He tries to hold onto fleeting moments of love before they fizzle out, even if it drives him near a breaking point. It's earnest yet self-aware enough to have some emotional stakes. He knows there will be heartbreak after heartbreak, yet he keeps looking no matter how much it'll hurt.

This is a strong record through and through, taking the rock of the past with the melancholic lens of the 2010s indie scene. Give it a chance.

Well, I've already listened to the collaborative album Brian Eno had with David Byrne, and thus I get to hear one of his earlier solo works. This was the first album in a four-part series of ambient music where the intent was to make them meaningful with irregular patterns and various motifs. It's a pleasant album to listen to in the background while working, with enough going on to keep it interesting, and doesn't overstay its welcome.

I've already heard "Hanging Around" and "(Get a) Grip (On Yourself)" as covered by other artists, and the rest of this album is just as sonically good as those two. This is a British punk/new-wave album with galloping bass, catchy guitar riffs, and plenty of organ melodies. The songs here have this driving groove to them, and Hugh Cromwell's low-register vocals are delivered in a campy fashion.

There is admittedly a problem, and it involves some of the lyrics. I can recognize that as a product of its time, there are some songs like the opener "Sometimes" and "Peaches" where they come off as a bit misogynistic. It's something that unfortunately can't be ignored even if the instrumental compositions are well done. Thankfully, not every song is written in that manner, as the rest of them range from mundane urban living to spooky apocalyptic scenery.

Overall, it's a solid album and is worth giving a chance.

Well, I've already heard "California Dreamin'" and "Monday, Monday" from this album. Aside from those two songs, "Go Where You Wanna Go" and "Somebody Groovy", there's not much here to write about. It's the debut album of a folk-pop group from the 1960s, complete with a couple of covers that don't add much to the overall product.

The only other notable aspect of the Mamas and the Papas is what happened after their breakup, which you are free to check out and make of what you will. As for the album, take the singles and the rest can be skipped.

I've felt that the Sex Pistols have been long overhyped as a punk group. Their very formation resulted from manager Malcolm McLaren getting involved, which comes off as against the DIY understanding of punk music.

I understand that for many people starting to get into punk music, the Sex Pistols may come off as a gateway band, not unlike the Ramones or the Clash. That notion has some merit, given how tuneful the band's song construction can be. Steve Jones came up with some catchy guitar riffs, while Glen Matlock, Sid Vicious, and Paul Cook were competent in the rhythm section. There is a backbone to this album.

But that brings us to Johnny Rotten. McLaren picked Johnny as the vocalist for the group simply because he looked like trash, which was the image he had in mind for the group. Well, he didn't just look the part; he is trash. Johnny is such an irritable vocalist. There have been far better vocalists out there who can better snarl and have actual conviction than Johnny ever could.

As for the lyrics, most songs tend to be pretty generic and try to be shocking or provoking for the time, and yes that includes the likes of the singles "Holidays in the Sun", "Anarchy in the U.K.", "God Save the Queen" and "Pretty Vacant." The one exception to this is track two "Bodies", which is an anti-abortion song that is absolutely disgusting. Hearing lines like "Dragged on a table in a factory" and "Throbbing squirm/Gurgling bloody mess" in the song's context makes my stomach churn, and I've listened to grindcore.

I get why this album was included on the list. I also get why it can be considered influential. But holy shit, it's not good. Check out the singles if you are curious, but that's the best I can offer.

It's another classic live blues album from one of the masters, and this time it's B.B. King at the Regal Theater in Chicago circa 1964. The show was pretty good, where the crowd got into it, and King himself had some nice banter in between songs. There are only a few nitpicks I had. I might be missing the context of a show intermission, but B.B. King was introduced again at the start of side two with "You Upset Me Baby." Also, the closing number "Help the Poor" wasn't as big of an ending as I would have liked. Still, I can see why this is considered a classic blues staple. Check it out.

Well, I'm already familiar with Fatboy Slim as a big-beat producer, particularly for the songs "The Rockafeller Skank" and "Praise You" from this album that I've heard on alternative radio. Needless to say, the rest of the album is of similar quality to those two tracks.

This is a very electronic album, where Slim experiments with beat loops, samples, and track manipulation to create fresh rhythms to groove to. Sure it's a bit repetitive and long, but that comes with the territory of the big-beat genre. If that's not your cup of tea, I get it. For everyone else, give this a shot.

I'm at least familiar with Liz Phair, having heard her comeback album Soberish back in 2021. It was a decent experience from what I recall, but what we got here is her debut from when the hunger was fresh.

From what I can gather, this album is framed with similar compositions and pacing to the Rolling Stones album Exile on Main St., which I unfortunately haven't listened to fully yet on this journey. Based on the songs I've heard off of Exile on Main St. thus far, there could be some merit to the comparisons. "6'1"" kicks the door down in the same way "Rocks Off" does, "Never Said" is as big and catchy of a single as "Tumbling Dice", and "Fuck and Run' does come off as a narrative flip of "Happy" where the woman is having trouble with finding a committed relationship.

But I feel like there's more than just putting a spin on one of the Stones' classic albums. While it undoubtedly rocks, there's a lot more production techniques going on from the teamwork of Liz and Brad Wood that makes Guyville stand out, such as how the feedback of "Shatter" ebbs and flows in the background. Also lyrically, a lot of the content here is very transgressive, where Liz comes into a very male-centric scene with a lot of swagger in finding her place and exploring the various ways women have been taken advantage of in the past, with a bit of humor and wit thrown in. It's certainly commendable.

I enjoyed this album a lot more than I expected. Guyville is one of those albums that is locked to a very feminist point of the early 90's, yet like other 90s classics this has stood the test of time. Check it out.

I've heard of Genesis before but only a few singles from the '80s and '90s. I hadn't ventured into their '70s catalog until now with this album. This is as genuine of a prog-rock album as possible, complete with various guitars, flutes, organs, and synthesizers. It's pleasant to have in the background, with notable passages here and there, and certainly with "More Fool Me" as the centerpiece. It's not an album I don't see myself revisiting as often, but I wouldn't mind if it comes up in rotation.

Well, this album makes sense for inclusion on this list, given that it is one of the finest hours of funk metal that has gone on to influence several bands after.

Every member on Rage Against the Machine delivers on their debut. Tim Cummerford’s bass slapping is infectious and has several moments. Brad Wilk’s drumming is well-accented, punches when needed, and makes use of a variety of percussive instruments, particularly the cowbell. Tom Morello’s guitar soloing and riffage are some of the most experimental sounds out there. Rounding it all out, Zach de La Rocha commands an excellent balance between rapping and harsh vocals.

A lot of the songs are meaningfully constructed, where the riffs stick to memory and there are several movements and percussive breakdowns in between.

As for the lyrics, I get that Rage might not be as beloved, given that they are a political band and the American political landscape has changed a lot in the past 30+ years. That said, it cannot be denied that a lot of the themes they touch upon are still relevant issues in the modern age, including the pursuit of freedom and justice, accountability, police brutality, racism and domestic abuse.

Love it or hate it, there are reasons this album has maintained relevance to this day. Go into this one with an open mind.

Well, I’m already familiar with Mr. Young as a prolific singer-songwriter. I’ve also heard “Heart of Gold”, “Old Man” and “The Needle and the Damage Done” before sitting down for this album. Needless to say, the rest of Harvest is just as good as those three if not more.

This is the kind of tightly constructed, well-written folk rock you’d expect from Neil Young, with a few surprises such as the symphony orchestra accompaniment on “A Man Needs a Maid” and “There’s a World”. There’s also a fair amount of electric rockers with “Alabama” and the closing waltz “Words”. Speaking on the former, I understand Neil has not looked fondly at “Alabama” with how the lyrics might not have been fully thought out, but I personally feel it’s aged better than the response we got from Lynyrd Skynyrd.

I can see why Harvest is considered Neil Young’s signature album. This is exceptional.

I will say I didn’t get into Prince’s music until after he passed away, and it’s a shame on myself because I’ve enjoyed what I heard thus far including this album.

It’s not perfect, where Sign ‘O’ the Times is a double album (originally a triple album) that can sound dated in places with extensive use of a drum machine. But, I will say a lot of tracks stand out, from the simmering title track that opens the album before kicking into full gear with “Play in the Sunshine”, to the sensual “Slow Love”, to the swagger of the duet “U Got the Look”, and even the admittedly grunge-sounding ballad “The Cross”.

Overall, it’s the kind of funky, groove laden, sexual 80s album you’d expect Prince to make, albeit a bit bloated. I’d divide your listening time into more than one session for Sign ‘O’ the Times, cause it’s certainly enjoyable when you’re not overindulging.

For this review, I’m sticking to the track listing of the 1981 second edition, with no bonus tracks factored.

From what I can gather, producer Brian Eno previously worked with David Byrne on prior albums with the latter’s group the Talking Heads. This album marked the first time the two collaborated separate from that group.

Inspired by Eno’s trip to Ghana for a West African music festival, this album takes sampled recordings from around the world and puts them over funk guitar riffs and percussive rhythms.

All this to say that it’s a very ambient album, where the samples take the place of lead vocals. It helps that the instrumental compositions in the background get pretty groovy in places such as on “Help Me Somebody”. Sure, some recordings sound a bit dated, but they never feel overwhelming in the mix. Not a lot of tracks stand out, but again it’s largely ambient and meant for the whole experience.

Overall, I enjoyed this album a lot more than I expected. Give it a shot.

I've heard of X before as an influential punk act, more specifically, the songs off their debut album, Los Angeles. Much like that album, Wild Gift is a solid punk album with some rockabilly styling and pleasant vocal harmonies courtesy of John Doe and Exene. Just about every track stands out on its own, particularly in the middle with cuts like "In This House I Call Home", "White Girl", and especially "Beyond and Back" with how uptempo it gets. It would have been nice if Los Angeles were included on the list, but if you had to pick one album from X, I'm cool with Wild Gift. Check it out.

Update 1/6/2026: I decided to return to Wild Gift in the hopes of figuring out why I couldn't consider this album great or exceptional. What I realized is that, for as much as the musicianship on this record is stellar, and the vocal chemistry between John Doe and Exene is superb, the overall rockabilly meets punk styling felt a tad homogenous. Halfway through listening, it started to feel like the tracks blended with each other. It's still a fun listen at the end of the day, though.

Oh yeah, this is one of the landmark albums in the pop-punk genre, which makes sense for this list. Tre Cool's varied and kinetic drumming, Mike Dirnt's memorable bass lines, and Billie Joe Armstrong's very personal lyrics over power chords make this album work exceptionally well. If I had to nitpick aside from the off-putting hidden track "All By Myself", it's that Dookie is a genuine 90's album; a lot of the attitude and tone throughout these songs are of the time it's from. It is certainly one of the best representations of said time though, and as such still gets a high recommendation.

This is an unfair inclusion in a list of albums to listen to before you die because this is a box set. It is a collection of 59 recorded covers of songs by George and Ira Gershwin, done as part of Ella Fitzgerald's ambitious attempt to cover the entire Great American Songbook canon.

For my sanity, I listened to The Very Best of the Gershwin Songbook compilation which is 12 tracks for a runtime of 45 minutes. I will say, Ella's delivery and improvisation are remarkable over these well-constructed show tunes. Perhaps this compilation would have been a better inclusion than the 3-hour original box set. Alas, what we get is what we get.

I've already heard the opening track "E-Pro" off the Rock Band 2 video game, and it's still a bop with the crunchy guitarwork over the sampled rhythm section from the Beastie Boys' "So What'cha Want." The rest of Guero continues down this path of alternative rock with hip-hop influences, sample use, and strong beats courtesy of the Dust Brothers. The momentum slows down toward the final two tracks, but overall the album was enjoyable.

If that last name seems familiar, Tim is the father of Jeff Buckley. The apple doesn't fall far from the tree, as they were both singer-songwriters with an impressive tenor vocal range.

Though I've heard Jeff's work in passing, I hadn't heard Tim's before. I will say this album is at least interesting, as it's a cross between psychedelic folk and jazz fusion, complete with songs spanning multiple movements and liberal use of the vibraphone. It's pleasant to have in the background, though conversely, it does mean little stands out except for how hard Tim goes off on "Gypsy Woman". It's a solid outing overall, give it a shot.