Reviews by aretzorn

I never got into R.E.M., but I tend to like everything I hear from them. They just don't make me go "I MUST HEAR THIS!" This album is a good example of what I mean. Everything on it is at least good, but I'm just never blown away. Can't explain why. Most of my favorite tracks are the overplayed ones like Drive, Everybody Hurts, and Man on the Moon, but I also really like Ignoreland, Nightswimming, and Find the River. I'm going to have to go with 4 even though there's really not a weak spot on the album. I'm glad to have listened to it, but I won't lose sleep if I don't hear it again.

It's like listening to a greatest hits album. There are 9 tracks on this album and at least 6 are greatest hits (Movin' Out, The Stranger, Just the Way You Are, Scenes from an Italian Restaurant, Only the Good Die Young, She's Always a Woman). Crazy. The remaining tracks are all good but simply not as great as the other six. Bottom line is Billy Joel is a great songwriter, so this album is an easy 5.

It's a stone cold classic and a ton of fun. So many great tracks, including classics like Killer Queen (Queen's breakthrough, with all the elements that make Queen great), Now I'm Here (Queen goes full glam, even mentioning Mott the Hoople in the song), and Stone Cold Crazy (proto-thrash). Songs I was less familiar with but enjoyed: Tenement Funster - in any other band Roger Taylor would be an impressive lead singer, but hard to beat Freddie! Flick of the Wrist - a cross between Queen and Black Sabbath. Lily of the Valley - sounds like it would fit well on A Night at the Opera. Bring Back that Leroy Brown - fun track. Weakest tracks: Misfire and She Makes Me. Misfire has seriously cheesy lyrics - literally a misfire. She Makes Me sounds like it was recorded in a large room with two small mics. Also, when you have singers like Freddie Mercury and Roger Taylor in the band, maybe Brian May shouldn't sing. Not to insult Brian May - he's the very definition of a guitar god. The guitar solo on Brighton Rock proves it right from the start. In fact, Brian May is outstanding across the entire album. Finally (literally), In the Lap of the Gods...Revisited is a great album closer. Easy 5.

Proto-punk, which made me wonder what the first punk album was. The Kinks were clearly ahead of their time in the 60s. I noted in my review of Here Are The Sonics (1965) that they were proto-punk. Some articles suggest Louie Louie was the first punk song - don't know if I see that connection as clearly as the Kinks and the Sonics. Anyway, this is clearly one of the major punk precursors. I liked the first four tracks a lot (Side 1 on the original album). Cool stuff. Side two is a little tougher to deal with. 1970 is decent but gets a little crazy in the second half. Fun House is also good for about the first half before it starts to get out of control. L.A. Blues is pure crap. The first time I listened I even skipped over most of L.A. Blues, which is saying something since up until that point I listened to every album I've reviewed in its entirety (120 reviews to date). On my third listen, I managed to sit through the whole track because I want to be able to claim I've listened to 100% of the 1001 albums. But this was barely listenable and that's an automatic 1 point reduction for me. If the album was just the first 4 tracks I'd give it a 5. Add 1970 and Fun House and we're down to a 4. L.A. Blues brings it down to a 3. There's punk and there's crap. This album started punk and descended into crap.

The word "genius" is thrown around too easily in music, but there's no other word to describe Bowie. This is dying as performance art. Should we have expected anything less from him? Not only that, but how many musicians are still transforming themselves on their 26th (!) album? Every track is brilliant and all the more deeper for the fact that he knew he was dying (although a few of them predate his cancer diagnosis). The song "Blackstar" is haunting - the 10 minute video is worth watching - disturbing and cool at the same time. "'Tis a Pity She was a Whore" - frenetic jazz over a driving bass line (that makes me think of "The Talking Drum" by King Crimson every time). "Lazarus" - this was the first one I heard off the album, seeing the video just after he died. Watching/listening to him sing "Look up here, I'm in heaven" was eerie (and still is). Again, death as performance art. "Sue (Or In a Season of Crime)" - the lyrics are a fun (?) descent into darkness. Almost like Poe - it also reminds me of some of the music on his album Outside (one of my favorites). "Girl Loves Me" - love the lyrics using words from A Clockwork Orange. Just another incredibly cool track (like all of them - let's also take a moment to acknowledge how awesome his band is on this album - also, how powerful is his singing on this album??). "Dollar Days" - this one is really tough to listen to, knowing that he was dying - the line "I'm dying to..." meant to be heard as "I'm dying, too." Is it a wail of despair or a cry of effort to make his last statement? Plus, that ending is so majestic with the combination of the sax solo, guitar line, and Bowie repeating "I'm trying to, I'm dying to." Man. Finally, "I Can't Give Everything Away" is just a beautiful ending to an amazing album and life. RIP genius and thanks for this beautiful, dark coda.

I kept listening to this album hoping it would eventually grab me. It's not bad, it just doesn't pull me in. I think the issue is, like other bands of this genre, every song is basically built around one riff that repeats over and over - maybe growing or fading, but still the same riff. The riffs are good and at least each song is somewhat unique, but individual songs don't seem to "go anywhere." It didn't help that they started with a lo-fi sound on Terrible Love and I'm not a fan of that style of recording. I liked the second track (Sorrow) much better. I like the singer's voice - reminds me of Mark Sandman from Morphine (particularly on Little Faith). Other songs I liked: Afraid of Everyone, Bloodbuzz Ohio, and England. I'll give it a 3 because I wouldn't mind hearing it again, but don't think I'll seek it out.

EDIT: I said I wouldn't listen again, but after submitting it, I found myself revisiting the album and really enjoying it. Changed the score from a 3 to a 4!

Pleasant. Nice. Nothing bad. Nothing great. That's the definition of a 3 for me.

I hoped to like this more, given how good the title track is - a classic, deservedly so. I walked away feeling that the album is generally - I'm not a huge fan of 80s electronic pop so I guess it had to get past that first. Favorite tracks: I've Got an Angel, Sweet Dreams (Are Made of This), and This City Never Sleeps. Everything else was ok, it just didn't hook me, even after several listens.

The music doesn't do much for me (not a country fan except for a few exceptions), but I like her voice and there are some good lyrics. Lazy review today.

In my earlier review of Protection, I noted I prefer their later work, like Mezzanine and 100th Window...but I hadn't heard Blue Lines (their debut), so I think the real issue was Protection suffered from the sophomore slump. I liked all the tracks on this album, although it took a little while for me to appreciate it as more than just background music. It's missing a little something that would make me give it a 5, but it's definitely enjoyable and worth hearing again so I'll call it a 4. Favorite tracks: Safe from Harm (cool opening track), Be Thankful for What You've Got (I thought this sounded like a modernized version of a 70s soul song - turns out it is...the original by William DeVaughan is really good, but I also like Massive Attack's take on it), Unfinished Sympathy (love the strings), Hymn of the Big Wheel (this was the track that kept catching my attention the first few times when I was mostly listening to the album as background music).

I first listened to this as background music and my initial impression was, eh, it's ok. Give it a 3. Then I paid attention to the lyrics. Damn. What a dark album. Bleak. I went back and forth between a 4 and 5. The music isn't exactly groundbreaking (although certainly good), but the lyrics are like a gut punch about what life is like for the downtrodden and the criminal. Bruce has an almost disturbing affinity for people who feel forced into a life of crime. Is there something you want to tell us, Bruce? By the time I reached My Father's House, a truly devastating tale of estrangement, I decided I had to give this a 4 only because I think I'd be hugely depressed if I listened to this album often. (oh, and then, in case you haven't already been devastated by this album, Bruce quickly gives you 4 more depressing stories in Reason to Believe to end the album. Thanks, Bruce).

This album is a master class in how to make an acoustic guitar rock. Pretty much love every track (although the last track is only "ok" in my book). Immigrant Song rocks, even if the lyrics are a little cheesy. Love the strings on Friends. Celebration Day is another cool track and I like how Friends segues into it - very cool slide guitar here (and elsewhere on the album). Since I've Been Loving You is a little on the long side, but is worth listening to closely - great guitar throughout with a fantastic solo in the middle. Out on the Tiles has a great groove. Gallows Pole is a classic - a classic with banjo, no less. Tangerine moves nicely from calm acoustic waves to rocking (with a bit of country twang at the end). That's the Way is very moving and Bron-Y-Aur Stomp is a fun acoustic track. Hats Off to (Roy) Harper is a bit of a meandering ending...really feels tacked on, but overall the album is just great. Easy 5.

Pastime Paradise --> Gangsta's Paradise --> Amish Paradise = evolution, fool.

Just kidding. This album is longer than it needs to be but there are lots of great moments. Favorite tracks: Sir Duke and I Wish are a one-two punch of coolness. Ordinary Pain - I dig the "response" section. Isn't She Lovely? is a beautiful song but I could do without the crying baby (even if it's about his first daughter). "As" is one of my favorites on the album - no idea why he didn't just title it "Always." Least Favorite - Saturn - um, yeah, those lyrics are pretty bad. Technically this was on a "bonus" disk, so maybe it doesn't count. I'd call this album a 4.5 and I'll round it to a generous 5, because I've been listening to and enjoying it for days.

It's all formulaic rock n' roll, but he was one of the primary "architects" of the formula and deserves a lot of credit. Super fun to listen to, but it's all basically the exact same song over and over. His voice and energy are definitely amazing. I'd give it a 3 for repetitiveness, but a 4 for being an original. Plus, I'm pretty sure Tutti Frutti is going to be stuck in my head for the next week.

Van Morrison has a great voice (time to admit I thought "Van Morrison" was his last name (like Van Halen). I had no idea it was short for Ivan Morrison. I'm learning much on this 1001 albums journey). But the songs sound like a lot of other songs (including each other). For example, while I enjoyed the opening "And It Stoned Me" I found myself singing The Band's "The Weight" over it (and The Weight was released 2 years earlier, so I don't have causation backwards). Crazy Love is good, but it also starts with the same essential tune as And It Stoned Me (and therefore, the Weight). Glad Tidings is basically Brown Eyed Girl part 2, so he's derivative of himself. Moondance is definitely different from the other tracks - it's a classic and I always enjoy it, but it's pleasant, not amazing. Overall, I give the album a 3 because it's pleasant, but also far too often derivative and repetitive.

Free Bird! Ok, now that that's out of the way...

Side 1 is PERFECT. Four amazing songs in a row. Tuesday's Gone, Gimme Three Steps, and Simple Man are all stone-cold classics. I didn't know "I Ain't the One" but it absolutely rocks. Love the guitar solo in the middle. The first three songs on Side 2 are not nearly as perfect. All of them are good (my favorite of the three is Poison Whiskey), but it's not at the level of the four songs on Side 1. BUT, then we have Free Bird, which really is one of the greatest rock songs ever (with one of the best guitar solos (plural) ever), so Side 2 averages out to amazing anyway. Between a perfect Side 1 and an amazing Side 2 (thanks to Free Bird), this album is a clear 5.

This is a very cool album. Mambo Sun starts things off great - cool from the first moment. Cosmic Dancer sounds like Bowie (and so does Planet Queen) - I admit I'm not sure who influenced who (whom?). Reading various biographies suggests it was mutual (plus, they both worked with Tony Visconti - heck, Rick Wakeman played with both as well. I also see Ian McDonald was on the album. RIP Ian). Jeepster and Bang a Gong are both classics for good reason. Again, the word that comes to mind over and over is COOL. On my first few listens I thought it was overly repetitive, but on subsequent listens I started to catch the different nuances between songs. Most importantly, I enjoyed the entire album more on every listen. Sounds like a 5 to me.

First, no to the apostrophes in mamas and papas. Second, did I really need to see that scuzzy toilet on the cover? This is a crap cover, literally. Ok, that's out of the way. I like the album a lot. Monday Monday is a beautiful song with fantastic harmonies. Love the vocal line on the phrase "that Monday evening you would still be here with me" (and similar moments through the song). Nice twist. Deservedly a classic. I enjoyed Straight Shooter and Got a Feelin'. I also like their very different approach to the Beatles' I Call Your Name. California Dreamin' is a classic, but sounds very dated. That's probably the biggest issue with the album - the recording style is very dated. I had a problem with Spanish Harlem - I know they didn't write it, but the line "I'm going to pick that rose and watch her as she grows in my garden" is creepy (I also thought that wouldn't be possible, but it is - who knew that the 1001 albums would teach me something about basic horticulture?). I call it a 4 because the harmonies are out-of-this-world good but the album sounds dated.

Basic 90s rock with way too many crappy sounding moments. I'm going to talk about songs that had moments I couldn't stand: You Would Know, Hispanic Impressions, You Can't Quit Me Baby, These Aren't the Droids You're Looking For, I Was a Teenage Hand Model. Annoying album. I'll give it a 2 because there were a few cool moments. I'm very sparing about giving an album a 1, but this one was up there. Or do I mean "down there"? Who cares. Next.

An absolute classic. This album is very much of its time, but the songs are SO good. Some of the songs sound better in subsequent live versions. I found myself watching The Concert in Central Park after listening to this - Garfunkel singing Bridge Over Troubled Water in that concert was possibly his crowning moment. Similarly, The Boxer is one of my favorite songs of all time (I love playing it on guitar), but I prefer subsequent live versions (check out the Concert in Hyde Park for a great version). Regardless of version, I get chills every time I hear "In the clearing stands a boxer, and a fighter by his trade/and he carries the reminders/ of every glove that laid him down or cut him till he cried out in his anger and his shame/ "I am leaving, I am leaving" but the fighter still remains." What a moment. Plenty of other great moments: El Condor Pasa takes you somewhere else. This is the first time I listened to the original version by Los Incas which sounds almost identical except the Los Incas version is an instrumental and has a bit of craziness in the last minute. Cecilia is a classic and Keep the Customer Satisfied is a fun little rockabilly song. Baby Driver is a fun classic-sounding rock n roll song (I even originally thought it was a cover, but it's not). The Only Living Boy in NY is a good track - I like the overlaid vocals in that one. The only tracks I find (relatively) weak are So Long Frank Lloyd Wright and Why Don't You Write Me. They could have ended with the live version of Bye Bye Love since it's a callback to their early days and the influence of the Everly Brothers. But Song for the Asking is a nice touch and perhaps it's poignant that the last Simon & Garfunkel album ends on a song that almost sounds like Simon is singing alone (I can barely hear Garfunkel in it). In fact, that's consistent with the cover - Paul Simon appears to be eclipsing Art Garfunkel. It makes sense...Paul Simon wrote pretty much all the music for Simon & Garfunkel and it was time for him to move on, leading to an amazing career. Great album.