Reviews by aretzorn

I hated White Light/White Heat but I went into this ready to give it a chance. I'd call Side 1 (the first six tracks) a 4, maybe even a 5. Great song-writing. Venus in Furs is probably the nicest sounding song ever written about BDSM. I really liked the droning viola in this. All Tomorrow's Parties is an excellent song - I knew the cover version by Japan, but never heard the original. Good stuff. Side 2 has way too much annoying feedback and sloppy guitar, similar to White Light/White Heat, which makes me want to give Side 2 a 2 at best. In fact, after listening to these two albums, I think Lou Reed was just a lousy guitarist who covered it up by playing noise solos. Ever time Lou Reed plays a sloppy solo filled with feedback I want to punch him, which would be rude since he's dead. I'll give the whole thing a 3. I understand its influence, but I can't take the noise.

The songs definitely have a cool metal groove. Some of it is the stuff nightmares are made of. I don't mind some growling, but this was a little much for me. Wish I could hear this with a singer who wasn't constantly screaming because the music is pretty awesome. Giving it a 3 but would have given it a 4 with less screaming.

Another great album. Not a single weak track. Easy 5 stars.

The album started off ok - "White Light / White Heat" sounded like proto-glam and was promising. "The Gift" had a fun riff and story, with a good punchline. However, underneath both these tracks were hints of the noise that was going to annoy the crap out of me later in the album. "Lady Godiva's Operation" sounded like some decent 60s psychedelia until the doctor part where it got weird. "Here She Comes Now" also had that 60s vibe and wasn't bad. But then the last two tracks brought the noise rock front and center. "I Heard Her Call My Name" had a horrendous almost all-feedback guitar solo that sounded like garbage to me. The jam in the middle of "Sister Ray" was just sloppy and all noise. I wanted to shut off the squealing organ and feedback. The end of "Sister Ray" was even more obnoxious than the middle. I tried to give the album a fair shake - even listened a second time, and that's when I noticed that the noise was present throughout, just not as noticeable on early tracks. I like some Lou Reed solo stuff, but I'm definitely not a fan of this album. Giving it a 2 rather than a 1 solely because there were some redeeming moments.

A little too much of all the same. I loved them on Graceland - Homeless and Diamonds on the Soles of Her Shoes are fantastic. But then this entire album is mostly more of the same. The one track that caught my ear as sounding different was "How Long?" which had a bit of doo wop going on which was fun. Nothing wrong with the album, it was enjoyable to listen to...it just lacked variety.

Fun, fun, fun (or should I say funk, funk, funk?). The only track I disliked was "Night of the Thumpasorus Peoples" because there was some weird deep warbling synthesizer sound that was making my stomach twist. Aside from that, this was just freakin' fun to listen to, particularly Mothership Connection (Star Child), which I've heard sampled a ton ("Swing down sweet chariot, stop, let me ride"), and of course Give Up the Funk which is an awesome classic. Favorite line of the album: "Can you imagine Doobie in your funk?"

My first impression was pretty negative. I really didn't like his growly voice. At about 3:30 into Shore Leave I was basically asking "wtf am I hearing?" I had a similar reaction to 16 Shells from a Thirty-Ought Six. His voice was more tolerable on later songs like Swordfishtrombone and Soldier's Things. I kept thinking "I'd probably like some of this music if it weren't for his voice." On my second listen I found myself getting past his voice and enjoying the music more. On the third listen (I'm persistent) I even started appreciating his voice more (3:30 into Shore Leave still made me say wtf, but I started to like his style on 16 Shells). As I write this, I'm on my fourth listen and this album is growing on me like a fungus.

I'd say after one listen I was at a 2 because I liked the music and hated his voice. I wrote a note at the time: "If he wasn't singing like he just gargled battery acid, this might be a good album." By third listen I was at 2.5 and rounding to a 3. On my fourth listen, I'm at 3.5 almost 4. I'm going to keep it at a 4 to acknowledge that this was a difficult album to get into, but it's clearly an album that rewards attention and multiple listens.

Previously listened to the second Undertones album. This is their first album and my reaction is pretty much the same. Fun band, catchy tunes, nothing I'd go out of my way to listen to. Solid 3.

There's plenty to like about this album, but the biggest problem is the similarity of too many of the songs. That said, she has an outstanding voice and powerful lyrics. Fast Car is the most well-known song and it's definitely a great track. There are a few tracks that are "different" from the overall folk/adult contemporary sound (e.g., Mountain O' Things - I really enjoyed the vocal tune and the drums in that song - and She's Got Her Ticket - straight forward reggae but at least different than the rest). The a capella Behind the Wall is certainly powerful...it's sad that my thought was that the lyrics were predictable. They shouldn't be.

So, good album, but too much same-same. I don't mind hearing it, but I wouldn't rush to hear it again and that's why I give it a 3.

Now this is jazz I can get behind. The first track is absolutely gorgeous. I wasn't paying close attention at first (jazz is usually background music to me), but about 4 minutes in I found myself drawn in and captivated. I ended up transfixed the entire time. Beautiful track.

The second track is outstanding also, and I love how there were so many unique motifs on this album. Too many jazz albums sound like "more of the same." This album was constantly evolving and flowing. Mind-boggling that this is mostly improvised.

I spent the day playing this album on repeat and kept finding new moments that surprised me. This is what jazz should be. Outstanding.

Station to Station is an album I've listened to many times, but made the mistake of never listening closely. I've been missing out. It's an amazing album, particularly when appreciated in the context of Bowie's struggles with drugs at the time. Every track is fantastic...high points for me include the guitar work, particularly the outro for "Stay," Bowie's top-notch singing, and the heartbreaking lyrics. Lyrics that really hit: In "Station to Station": "It's not the side-effects of the cocaine/I'm thinking that it must be love." In "Stay": "Stay - that's what I meant to say or do something/But what I never say is stay this time/I really meant to so bad this time/'Cause you can never really tell when somebody/Wants something you want too." Brilliant album. Easy 5 rating.

It was the same song 9 times. Giving it a 2 rather than a 1 because at least it was nice background music.

HOW HAVE I NEVER LISTENED TO THIS BAND?? I loved every minute of this album. Another band I had heard of but hadn't heard. This 1001 albums thing is so great for finding music that I haven't listened to but should have. As I listened to the songs and read the lyrics (including looking into the background of a lot of the lyrics) I kept coming back to the phrase "depressing lyrics/soaring songs." It's an unusual juxtaposition that really works. The album background is difficult - their first album after guitarist and songwriter Richey James disappeared without a trace (he was declared dead many years later but never found). I really liked the songwriting and in particular the guitar sound. I kept wondering if guitarist James Dean Bradfield was influenced by Alex Lifeson because he uses a lot of unusual chord voicings similar to Alex...later found an article where the Manics interviewed Rush. Apparently they're huge fans. Makes sense given the guitar sound (but not their songwriting - that's very different). Looking forward to digging into their catalog - I see The Holy Bible is also in the 1001 album list and I'm sure I'll be listening to that soon.

Ehhh, not really my thing. I liked "African Dance" and "Feel Free" (plus "Ambition" which was a bonus track) but the rest didn't do much for me. "Dance" which was basically "African Dance" with a spoken vocal sounded almost like a parody. I wanted some Flight of the Conchords type lyrics. Oh, well.

This is a classic album by Hugh Mase...ZZZzzzzzzz. Sorry, not a jazz fan. I'm sure it's great.

EVH is called a guitar god for a reason. This album is a showcase for his amazing guitar playing. Listening closely I also have a new appreciation for AVH's drumming. The only thing that keeps me from calling this a 5 are the cheesy lyrics...I realize that's part of Van Halen's thing (mainly thanks to David Lee Roth). But lyrics like "dig that steam, giant butt"? Insert eye roll emoji. Then again, lyrics that could be just as cheesy work in Hot for Teacher: "I brought my pencil...gimme something to write on"..."I don't feel tardy." Now that's just funny. I'll give it a 4 for amazing musicianship and fun songwriting, but the cheesy lyrics on songs like Top Jimmy and Drop Dead Legs keep it from being a 5.

Not a big Janis Joplin fan. There are some things I can appreciate - Piece of My Heart is a classic and deservedly so, but in a lot of cases her voice grates on me. For example, her rendition of Summertime is supposed to be a classic but I couldn't stand her voice on it and even the fuzz guitar was annoying me. I liked a bit of the first track, "Combination of the Two" - it was half good sixties heavy rock and half hippy time. "I Need a Man to Love" had some good funk going on, but it also made me feel that this album is very much of its time. The best albums are timeless. I found Joplin's voice grating again on Ball and Chain, which is a shame because I really like Big Mama Thornton (her original version of Hound Dog blows away Elvis). Not sure if a link will work, but here's how Ball and Chain SHOULD sound: https://www.youtube.com/watch?v=vbdUjHmCHA4 ...take it away Big Mama. Have to call this album a 2, unfortunately.

I was pleasantly surprised by this album. I'm not a big pop fan, but I felt the songwriting and production quality were excellent. I also understand why a lot of people wanted to see him as the new singer for Queen - there were so many moments he sounded like Freddie. Solid 4.

It was ok. My initial reaction was "I've never heard of this band" and then heard "There She Goes" and said, "Oh, I know this song." I enjoyed the album but don't think I'd go out of my way to listen again.

Here's another band I've heard of but (thought I) hadn't heard. Loved the first track Beetlebum. Then Song 2 started and I realized "of course I've heard this." I never knew this was the song name (and band) for the "whoo hoo" song. It's interesting how significantly the style changes between songs. Beetlebum is hugely different from Song 2 and both are different than Country Sad Ballad Man (although the Nirvana influence seems pretty evidence in both of the two latter songs).  Then M.O.R. sounds like it could fit with Roxy Music (although this changes later in the song). These guys are all over the place, but I'm mostly enjoying this (Chinese Bombs is a bit of noise, but then I'm Just a Killer for Your Love sounds pretty cool). I'd rate it higher, but I'm having a problem because I have no idea what this band is supposed to be. They are seriously all over the place stylistically. Kudos for variety, but as the Who would sing..."Who are you?"