Reviews by aretzorn

I've heard better bands play in a garage. In fact, it sounds like I'm listening to a lousy band play in a garage. A band that can't be bothered to write complete songs or play/sing in tune. Absolutely awful (especially Ex-Supermodel. What the hell is happening? Is someone moaning into the microphone? Snoring? Horrible. Also, Chicken Blows blows).

Ah, the age old question - is Elvis Costello the most ridiculously over-represented artist on the 1001 or Leonard Cohen? At least I don't mind Costello's music, so I'll give the edge to Cohen for most over-represented artist. My formula remains: no artist should have multiple albums unless they evolve significantly between albums (e.g., Bowie, Floyd) or their albums are simply iconic (Led Zep) or both (Beatles). This doesn't sound much different than his other albums on the 1001. It's not bad, but it's not so great to warrant its inclusion with so many other Elvis Costello albums. Favorite tracks: Pony St., Kinder Murder, 20% Amnesia. Next.

Smooth grooves over hard lyrics. Musically outstanding, both the writing and the playing, and I love how most of the tracks flow into each other. Plus, Marvin Gaye may have had the smoothest voice in history. If you didn't pay attention to the lyrics, you'd think it was just some smooth let's get it on type music. But then the lyrics create such a jarring contrast. Protests, war, drugs, pollution, poverty. Yet there are also moments of hope on the album. There are a lot of albums on the 1001 that make me question their inclusion. There's no doubt that this is an essential album and demands a close listen. Outstanding - and sad that a lot of it is still relevant. Favorite tracks: What's Going On (I liked a comment on Genius - notice that it's not a question. He's not asking, he's telling us what's going on), Mercy Mercy Me (so smooth while talking about the destruction of the environment - but, hey, that sax solo is awesome!), then the entire second side - Right On, Wholy Holy (love how this track is almost like a relaxing breath after the tension of Right On), and Inner City Blues.

My absolute favorite Yes album - in fact, this is a desert-isle disk for me. Roundabout is such an iconic tune - that first reversed piano chord followed by Steve Howe's iconic harmonics is just perfect. I first listened to this on vinyl and there was a little crackling sound in the background that always made this sound like it was being played on a rainy day. Probably one of the few experiences I preferred on vinyl. The classical guitar intro leads into a rocking tune, driven by Chris Squire's awesome bass line. Particularly love the interlude (the section singing about an eagle). The whole song is outstanding, especially live. Cans and Brahms is the first of the five individual showcase tracks. It's fine - Rick Wakeman could have contributed something better, but it's ok because he took Yes to a new level in joining the band for the first time on this album. We Have Heaven is the second showcase and it lets you know what an army of Jon Andersons singing would sound like - y'know, if you ever wanted to know that. South Side of the Sky is awesome - a hard-edged song (especially live) - you can almost feel the struggle of an expedition in the snowy mountains or south pole, whatever it was supposed to be. After Five per cent for Nothing, a throwaway showcase track (apologies to Bill Bruford), we hit the classic jazzy Long Distance Runaround followed by The Fish, showcasing Chris Squire - he used to ham it up live and solo really dramatically...I remember how he would hold his bass straight up and would slowly pluck this super-deep bass note and let it ring out, vibrating the entire arena. In fact, I need to take a moment to point out Squire's incredible bass sound and style on this entire album. He was so unique - RIP, bass god. Next, the final individual showcase - Mood for a Day, a beautiful Spanish guitar piece by Steve Howe that I've played more times on guitar than I can count (or at least tried to). Finally, Heart of the Sunrise - one of my favorite songs. Not favorite Yes songs - favorite songs period. I read recently that Steve Howe felt the opening riff had a very King Crimson sound. I don't know if I hear it, but it's an amazing song (and, again, even more so live - these guys were an amazing live band). The frenetic beginning followed by the mysterious sounding section with Wakeman's keys building over Squire's awesome bass line - Billy B. building the drum line from simple to more complex as it proceeds, and Steve Howe joining in with a quiet yet building version of the opening motif until they all come together with that frenetic opening riff again. Then we reach the verse, which feels like floating down a river, complete with ebbs and flows, followed by side trips down musical tributaries, all building to a final majestic finale. Ok, I'll settle down now. I don't know how this album sounds to non-prog fan ears - I imagine it's a tough listen for some - but to this prog fan Fragile is as good as it gets. One of the easiest 5s I'll give.

Very cool album. Another band I had heard of but never listened to an album (of course, I knew Pretty in Pink. Turned out I had also heard Dumb Waiters - I recognized it as soon as it started). Every song rocks and always has a cool twist to the sound. Really love the guitar sounds on this album, and I like Richard Butler's punk style singing over the more post-punk/new wave sound of the album. Occasional moments reminded me of Bowie (particularly when the sax plays), but they have a very unique sound. Definitely a new fan. Favorite tracks: All of This and Nothing (my favorite track on the album - love the cool instrumental section at the end, but the whole thing is awesome), Dumb Waiters, Pretty in Pink (classic - one thing I really like about the songs on this album is that there are always unexpected stylings/notes in the songs. This is an 80s classic, but has some unusual notes in it, particularly in the outro section. Very cool), No Tears, Into You Like a Train, It Goes On. Really, every track - these were just the ones I liked the most.

Generally cool background music. Definitely liked the Brazilian rhythms (the drums are very cool throughout). Tragic story about how he died shortly after. This was a good listen - I'd call it a 3.5, but I doubt I would seek it out again which makes it a 3. Favorite tracks: Antropófagos (Cannibals), Samba Do Gringo Paulista (Paulista Gringo's Samba or, as I like to call it, if King Crimson did samba!), Abraço (Embrace), A Noite Sem Fim (The Endless Night).

Smyoooooth Myoooosic. Super derivative and drags on close listen (particularly the second half), but a cool groovy background listen with very high recording quality, excellent musicianship, and Maxwell has a great voice. Favorite tracks: Sumthin' Sumthin' (big phat phunky bass), Ascension (good groove), Dancewitme (great bass and guitar groove).

I can appreciate just how difficult it must be to create an album from around 1,000 samples and to have it flow so smoothly, but ultimately this is just cool background music to me. I tried to really seek out what makes it "great" since it's in the Top 100 of all time on RYM, but it just didn't pull me in. That said, go check this out on whosampled.com - I went through all the samples featured for Frontier Psychiatrist and it was a lot of fun - helped me appreciate the artistry a little more, but unfortunately still wasn't enough to make me want to rate the album higher. Favorite tracks: Radio, Flight Tonight, Frontier Psychiatrist, Etoh.

One of my favorite albums of all time. Perfection in every way - amazing songwriting, pristine production, outstanding musicianship - this is a desert island disk for me and has been since its release. What's particularly amazing is the leap it represents from his 4 previous solo albums (which were all outstanding in their own right). Three of the lesser-known songs sound like they fit a bit more with his previous output - That Voice Again (man, his singing on the line "only love can make love"), We Do What We're Told (Milgram's 37 - as in the Milgram obedience studies), and This is the Picture (Excellent Birds - today is the first time I listened to the Laurie Anderson version - this one is more fully developed). But let's talk about the more well known tracks: Red Rain - incredibly powerful and probably a surprise to anyone who thinks this is an album of Sledgehammers and Big Times; Sledgehammer - sure it was played a zillion times on MTV so I should be tired of it, but it's still a great song to me (although I'd argue the weakest of the greats on this album!); Don't Give Up - incredibly sad, incredibly beautiful, with gorgeous guest vocals from Kate Bush; Mercy Street - such a beautiful song...love the harmonies and the lyrics; Big Time - amazing bass line, produced by Jerry Marotta using drumsticks on Tony Levin's bass, which led to the invention of Tony's iconic "funk fingers"; finally, In Your Eyes - an all-time great song - powerful, beautiful, a perfect track in every way (aside: I never liked that the 2002 remaster put it at the end of the album. For me it's always the first song on Side 2). Even though I've heard this album a million times, I gave it the same close listen I give every album on the 1001 and came to the same conclusion I always do: an absolute masterpiece.

It's a bit derivative (90s alt-rock), but it's my kind of derivative. A little repetitive, too, but I like the sound. 3 feels too low, because I wouldn't mind hearing it again. I'd call it a 3.5 that I'm rounding up because I enjoyed it and could keep listening, but I'm sure that doesn't sound like a ringing endorsement. Favorite tracks: The Whores Hustle and the Hustlers Whore, Horses in My Dreams, We Float (by far my favorite song on the album).

Headline: British guitarist puts together outstanding cover band.

Even though Let Me Love You, Rock my Plimsoul, and Blues De Luxe are all credited to Jeff Beck and Rod Stewart, each are fundamentally basic blues turned up to 11, which is even more evident on the Willie Dixon covers. They also play some non-basic blues covers (e.g., Shapes of Things, Morning Dew, and Greensleeves), which I tend to appreciate more because they lead to a more original sound. You can hear how this is an essential album in the history of hard rock. In fact, it's clear Jimmy Page was "inspired" by Jeff Beck (Page is legendary for ripping off others), so that would make this a stepping stone to Led Zeppelin (you can even hear similarities between Rod Stewart and Robert Plant). It lacks that certain something that makes an album a true classic, but it's definitely a good listen and there's no question Jeff Beck was a great guitarist and highly influential (RIP). Favorite tracks: Shapes of Things (unique approach to a great song - Beck was the guitarist on the original Yardbirds version), Morning Dew, Beck's Bolero (read about the backstory - fascinating), I Ain't Superstitious (my favorite of the straightforward blues tracks on the album - fantastic guitar work).

The good: He has a really good voice and the songs are all decent. The bad: it's all the same song over and over, sometimes a little upbeat, sometimes not. Oh, and it's country. That said, not the worst thing to listen to.

I don't like country. But I really liked this album. Started with instant recoil from the typical country twang and is that freakin' banjo? But then...hey, these lyrics are pretty interesting. Hey, I think I like her voice. Hey, that's an interesting chord progression - very different from basic country. Hey, that's a really catchy track. Hey, I've been listening to these songs for days and they are completely stuck in my head. It's still a little bit too much country which keeps me from calling it a 5, but this is really good country. Favorite tracks: Slow Burn, Lonely Weekend, Oh, What a World, Love is a Wild Thing, Happy & Sad, High Horse.

In 8th grade, I did a lip sync performance to It's Tricky with another kid in class. Two super-white kids, but we thought we were freaking awesome. So, I still have a soft spot for this album. Relistening to it MAAAANY years later, it holds up really well. Rocking tracks, awesome rapping - it's no wonder it's considered a seminal breakthrough rap album. The rock-rap combination works really well, and of course it brough Aerosmith back to life. Easy 5 for me. Favorite tracks - I like the rock-rap tracks best, but the straight rap songs are fun, too: It's Tricky (love the My Sharona sample), Walk This Way (great combination of the two groups), Raising Hell (great heavy track), You Be Illin' (I laugh every time), Proud to Be Black (my favorite pure rap song on the album - I'm raising my white fist in solidarity).

My initial reaction was shock that there are two Prodigy albums in the 1001. The first few tracks had me even more irritated - here's that same Prodigy beat in every song. I started thinking maybe they're great when you're at a rave stoned out of your mind but listening on a Sunday morning? Not so much. Well, then I found myself listening over the course of much of the day and it grew on me every time I listened. I was listening while working, and before I knew it I was grooving with the whole album. And THIS is why I think it's so essential to give albums on the 1001 more than one or two listens. Who would think this one was a grower? Favorite tracks: Their Law, Voodoo People, Poison (really great groove), The Narcotic Suite: 3 Kilos & Skylined.

It's a decent enough album. Musically, it sounds pretty similar to a lot of British Folk. Everything I read says that it's the lyrics that are most groundbreaking for British Folk, and I'll agree it's more down to earth and less ye olde greene forest faerie, but it didn't pull me in. Overall, I enjoyed listening to it, doubt I'd seek it out again. Favorite tracks: the title track (more rocking than folk), Down Where the Drunkards Roll, The Little Beggar Girl.

Ok, so I liked this album, but I'm going to show my Western bias and not rate it higher than a 3 simply because I don't know what they're saying and can't connect with the music. But, it sounds good, the musicianship is excellent, and I appreciate having heard it. Nice bluesy African stylings and I like the guitar lines. I wouldn't mind hearing it again, but doubt I'd dig deeper into it. Songs that caught my attention: the first three tracks were pretty compelling, particularly on close listen - Soubor, Irganda, and Al Hassidi Terei. But then I kind of drifted. Ai Tchere Bele caught my attention on every listen, and then I found I liked the remaining tracks. 3 feels lazy, but that's what I'm going with.

I'm a fan of the late prog musician Kevin Gilbert, who was a member of the Tuesday Night Music Club, and an excellent musician and songwriter in his own right (check out his solo album Thud, released in 1995, the year before he died). KG was dating Crow while a member of the TNMC and he's the one who invited her to join that collective of incredibly talented musicians. Every article I've read says the same: she over-claimed credit for these songs and fell out with pretty much every member of the TNMC after the album was released. So, knowing this background colors how I view this album. However, if you ignore that backstory, it's an excellent album, deserving of all its success. Outstanding songs and excellent recording quality. Her voice perfectly matches the mood of the songs. I would give it the 5 it deserves, but I'm deducting 1 star for the way she treated her co-writers. Take that, Sheryl Crow! Favorite tracks: Pretty much all the tracks are great, not just the hits.

Björk is weird, and this one is weird for Björk, but it did reward closer listen. I'd call it a 3.5, but the "too weird" penalty is going to bring it down to a 3. Favorite tracks: Where Is The Line (cool dark sound), Vökuró, Who Is It, Desired Constellation, Sonnets / Unrealities XI (really for the lyrics - a powerful poem by e.e. cummings - but the music suits the lyrics). Really didn't like Ancestors and the jury's out on Oceania. Finally, Submarine is weird and includes Robert Wyatt. But I repeat myself?

With all the albums that could have been included in the 1001, they picked this one? There are REAL soundtracks worth hearing before you die that they didn't include. Plus, it made virtually no impact outside the UK, showing again the UK bias in the 1001. Its inclusion is just plain ridiculous. That said, it wasn't BAD, per se. It made for good background music and had a few tracks that caught my attention (Under Wraps, Sounds from the Big House, Intensive Care). I'm just flat out annoyed it was included and that absolutely colored my view of it.