Reviews by abrisskull

This is one of the few times when Bruce Springsteen did not record with the E Street Band, as he chose to release the 4-track demos as they are. Not only that, but the tone is a lot more melancholy than previous efforts, where the lyrics revolve around characters who have been through rough patches in their lives as extreme as criminal behavior or mass murder, and then finding a turning point for themselves. This album is not for everyone based on the overall tone, and how naked it is with just Bruce and his guitar. Perhaps there could have been a drummer for the faster tempo tracks like "Johnny 99" and "Open All Night", but that wasn't Bruce's intent. As it is, it's certainly an interesting piece for the diehard fans and those curious.

For this review, I am looking at the original release of this album. I will not include the four-song EP "A Something's Extra" that gets tacked on to the end of the CD and streaming releases.

That still leaves us with a double album that runs for about an hour and a half, and that runtime seems to be the elephant in the room here. As experimental as Stevie gets here, I don't think there's a bad or filler track per se, even though the baby recordings on the album cut of "Isn't She Lovely" are jarring, and some tracks like "Another Star" and "Black Man" go on for longer than they need to.

That said, I do not recommend marathoning this album in one session, because there is such a case for "too much of a good thing." Take a break between discs/records for this one. It belongs on this list, but only when approached with the right mindset.

Update 3/12/2026: Against the advice of my past self, I re-listened to this album in one session. Amazingly, I was not fatigued and thoroughly enjoyed it all the way through.

I will freely admit that I felt intimidated when I got this record so early on in my album journey. I was only a little over two weeks in when this behemoth dropped on me, so I caved in a bit. But, with time, I was able to warm up to longer releases, and that gave me the courage to consider revisiting Songs in the Key of Life, and I was not disappointed.

Credit to Stevie himself for being a masterful lyricist, songwriter, and multi-instrumentalist on this record, as he knew how to make a song engaging and thought-provoking in sonic and poetic detail. Songs like "Another Star" and "Black Man", upon re-listening, were some of the most fun extended funk jams I heard in some time with such aspirational messaging. Even the baby recordings on "Isn't She Lovely" now sound right at home as Stevie sang a heartfelt tribute to his daughter. Not to mention other highlights like the ominous synth-funk of "Have a Talk with God", the baroque arrangement of "Village Ghetto Land", the boppin' expression of music appreciation on "Sir Duke", the super eclectic horn and bass combo of "I Wish", the Latin beat influence on cuts like "Pastime Paradise" and "Ngiculela - Es Una Historia - I Am Singing", I could keep going on...

I do think it is worth giving Songs in the Key of Life the time of day, and I am glad to have come back to it after so long.

I've already heard "Heroin" off this album, which serves as a prime example of the psychedelic rock on display. The tone can swing from easy breezy pop to uptempo rockers and lyrics of sexuality and drug use. Your enjoyment of this album may vary depending on how much you tolerate the experimentation and the vocals as Lou Reed's deadpan delivery and Nico's contralto singing are not everyone's cup of tea. For those who can handle it, it's a solid recommendation.

From my understanding, this is a hardcore breakbeat album from a UK electronic dance group that is considered a pioneer of the big beat subgenre. That much is evident early on from "Break + Enter" with how hard the beat goes amidst synthesizer loops and samples of breaking glass. A lot of this album goes pretty dark with the sampling and beat intensity, to the point where it's closer to industrial than dance. That said, the 78-minute runtime is pretty daunting and requires being in a certain mindset. If you're into heavy rave music, then check it out.

Having only heard of New Order before from the singles "Blue Monday" and "Ceremony", I can say this album was quite the treat. It's good vibing post-punk complete with popping synthesizers, well-accented percussion from Stephen Morris, and Bernard Sumner's effortless vocal delivery. Tracks like "The Perfect Kiss", "Sunrise" and the instrumental "Elegia" pop off remarkably well, and the guitars get some time in the limelight on "Sooner Than You Think". Perhaps the songwriting and production are not consistently up to the high standard set by "Blue Monday", but there's no denying the group's performance is well done here. It's worth checking out if you're curious.

Update 1/20/2025: I decided to revisit this album for its 40th anniversary, after listening to two hundred-plus albums and hearing "Elegia" during the funeral scene in Stranger Things. I will admit now that the production and songwriting on Low Life is just as good as "Blue Monday", and that every track popped off well. I can pick up more incredible guitar and bass lines, and Bernard's lyrics take a more striking melancholy. The lone exception of course is "Elegia", which is appropriately haunting as a tribute to fallen brother Ian Curtis, who fronted Joy Division before taking his life and the subsequent band became what we now know as New Order.

I'm glad to have revisited Low Life as this album can go toe-to-toe with some of the best synth-pop albums I've heard thus far.

This is the first Lana Del Rey album I have listened to, fitting before her headline performance at Coachella this weekend. On the surface, this is weirdly new to appear on this “1001 albums to listen to” list given that it's barely three years old. Then you look around and find that it was added to the 2021 edition of the list within months of release. All this to say that it might have been a presumptuous addition because this sounds to me like it does not need to be listened to before you die.

Sure, there is some merit here with it being a baroque pop album that sounds aesthetically pleasing; a song like "Dark But Just a Game" is a good example of this style. But this album rarely leaves much of an impression, as Lana's wistful cooing and lyrical clunkiness don't work well, combined with Jack Antonoff's sheen pop production that does not mesh well here.

There are times when the lyrical themes conflict with each other. I can't imagine Lana is "Wild at Heart" and wanderlust while embracing traditional ideals like standing by your man on "Let Me Love You Like a Woman".

What surprised me was that this album ends with a cover of Joni Mitchell's "For Free" where Weyes Blood takes the final verse. Given her rich vocal timbre, it's as if she steals the show from Lana right at the end, which was probably not intended. Perhaps it could have been a ceremonial passing of the torch, but that wouldn't work because Lana followed up with another album the same year this dropped.

I have to assume there's a better Lana album out there because this was not a good first impression. It's certainly not a must-hear.

This was the debut album of Damon Albarn’s cartoon band, and in some ways they have outgrown the popularity of Blur. The appeal of Gorillaz can be drawn to how wide and varied the styles they can play, taking influence from alternative rock to trip hop and in-between. Tracks can take on a range of emotions from the melancholic “Tomorrow Comes Today” to the energetic “Punk”. The few guest appearances feel inspired such as Del the Funky Homosapien rapping on “Clint Eastwood” and “Rock the House”, as well as Ibrahim Ferrer’s cadence on “Latin Simone (Que Pasa Contigo)”. One’s enjoyment of this album can be attributed to how well they can tolerate the experimentation going on throughout this record, as well as Damon’s voice through his cartoon persona 2D. Because on some tracks like “Man Research (Clapper)” and “Sound Check (Gravity)” where he’s going into his high registers, it can make or break your experience. Still, it’s an overall fun time.

This was the follow-up album to the smash hit that was Rumours, and as such there was more room to experiment. Thus, we got a double album where it starts getting weird on track two "The Ledge", where the guitar is tuned down an octave to sound like a fuzzy bass alongside Lindsey Buckingham's repeated utterance of the phrase "Someone oughta." In fact, the tracks written and sung by Lindsey tend to be the standouts on this album, including "Think About Me", "What Makes You Think You're the One", and the spoof on punk songs that is "Not That Funny." That's not to say I didn't appreciate contributions from everyone else. In particular, I consider "Sara" and "Storms" as well-penned songs from Stevie Nicks, and opener "Over & Over" from Christine McVie helped set the tone. But, I'll admit the album slows down on the back half, with songs sounding similar and it makes the album feels it's length before picking back up again at the end with the title track and "Never Forget". It's overall a solid album, and I can understand the creative freedom Fleetwood Mac had from their immediate success. Just could've been a little tighter.

I can see why this album is included on the list. The Police were a massive new wave and post-punk group in the late 70s and 80s, and their short catalog is considered iconic. Synchronicity, in particular, is stacked with some of their tightest and most poignant songs at their final hour, including the likes of both title tracks, "Walking in Your Footsteps", "Tea in the Sahara", and "Wrapped Around Your Finger". There's a problem though - "Mother" is on the first half of this album, and it is a blight. One of the few songs Sting didn't write, it's a creepy track where Andy Summers frantically sings about how "every girl becomes [his] mother in the end." I understand if Andy felt pressured by his mother growing up, but his struggle does not translate well into a song. If you end up listening to this album, feel free to skip the track; the rest is fine without it.

I've heard of Elliott Smith before as an influential singer-songwriter, and that talent is showcased on this album. This is an easy-listening indie folk album that doesn't stretch itself too thin, complete with Elliott's whispery singing over some nice acoustic melodies. There are standout tracks like "Ballad of Big Nothing", "Angeles" and "Cupid Trick", though some tracks in the middle of the album admittedly run together and sound similar. Still overall, a pleasant experience from start to finish.

This was an amazing album. It's a throwback to the soul and R&B of the '60s but coming from a genuine place of passion. All of this is possible from Amy's charismatic voice, her lyrics delving into the conflicts and drama that can spur from a relationship, and the tight production chops of Mark Ronson and Salaam Remi. I've heard "Rehab" and the title track before, but the rest of the album is just as good as those two. Highly recommended if you haven't listened yet.

Oh yeah, this is a bonafide classic. Perhaps not to the immediate smash that "Are You Experienced" was, but then you start digging deeper. Tracks like "Spanish Castle Magic", "Little Wing", "If 6 Was 9", the title track, and "Castles Made of Sand" showcase the rich blend of blues and psychedelia Jimi was able to conjure with his band. Granted, the album starts with the weird-ass spoken word intro that is "EXP", but it doesn't take long for Jimi's guitar to kick in and before you know it, you're "Up From the Skies." This album comes with a high recommendation.

Having only heard about DJ Shadow before from his appearance in the DJ Hero video game, I can say this was an eye-opener. The way he weaves sampled words and instrumentals in new and meaningful ways, such as Cliff Burton's bass intro from Metallica's "Orion" as a backdrop for a beat on "The Number Song," makes for an intriguing listen. Other cuts like "Organ Donor", "Midnight in a Perfect World", "Stem / Long Stem / Transmission 2", and the medley of "Napalm Brain" and "Scatter Brain" add to the wide range of tone and timbre Shadow can pull off. Granted, this album is not for everyone, as it's an instrumental album running a little over an hour, comprised heavily of samples, and has a few interlude tracks that don't add much to the overall package. But it is highly recommended for those who are into this style of music.

Update 2/16/2026: I ended up revisiting Endtroducing..... over 450 albums later, having reviewed a lot more electronica and hip hop records since. At this point, I can safely say that my original review of this record does not do it enough justice.

For sure, the album does run a little over an hour and is comprised almost entirely of samples, but I wouldn't call that a detriment. If anything, the fact that DJ Shadow was able to compose a wide variety of both atmospheric and hard-hitting instrumental soundscapes that are engaging all the way through is quite impressive. From the opening introduction of "Best Foot Forward" with some cleverly-chopped sampling and record-scratching, down to the jazz-funk cerebral trip of "What Does Your Soul Look Like, Pt. 1 (Blue Sky Revisit)" with the unsettling vocal snippets, to moments of crescendoing drum loops and lush string samples on cuts like "Stem/Long Stem (Medley)" and "Napalm Brain/Scatter Brain (Medley)", even to erratic beat assaults on "Mutual Slump" while quieting down for softer, soulful introspection on the likes of "Building Steam with a Grain of Salt" and "Midnight in a Perfect World", there is a great deal of command in the sounds and recordings that DJ Shadow tapped into in the construction of this record.

As for my other complaint regarding the interlude tracks on this record, for the most part, I feel they serve their purpose in cleansing one's palette while transitioning from one scene to the next. Maybe the only ones that struck as odd were "Why Hip Hop Sucks in '96" as a bit of snide commentary towards the commercialization of the genre, and "Untitled" with a man's observations on a woman and her sisters' physical appearances, but they never truly felt damaging to the overall product.

I'm glad to have come back to Endtroducing..... with a greater appreciation for how DJ Shadow reinvented sample-based music with such an eclectic, moody experience.

As someone who only knew about "Rockit" before listening, this was an amazing experience. Herbie takes you on an audible journey that goes through several movements, and the only time the mood got questionable was the first minute of "Watermelon Man". But even that track settles into a chill groove. This is not an album for everyone, given that it's instrumental jazz and the first track is 15 minutes. But if you have the stomach for that vibe it comes with a strong recommendation.