Reviews by callimar

This is my third attempt connect to the music of the Talking Heads, and this time I've somehow managed to do so. It's still pretty cheesy, and I still don't particularly like it, but I can now appreciate their innovative potential and influence on subsequent artists.

At the beginning of Marianne Faithfull's album “Broken English,” the song of the same name sets the tone: sequencer bass, synthesizer, guitar with lots of reverb, and, of course, the monotonous drums typical of new wave, where you're never quite sure if it's not a drum machine playing—and, of course, Marianne's distinctive voice. Unfortunately, this formula remains unchanged throughout the other seven songs, and the mood stays pretty much the same throughout. It's a shame, but in the end, what remains is mainly boredom.

“Scum” by Napalm Death is THE benchmark for grindcore and the tipping point from crust punk to grindcore. So, if you're interested in extreme metal in any way, this is a must-have. However, as my interest has been rather sporadic so far, I didn't really know the album yet.
It's obvious that this kind of music is difficult to assess using classic evaluation criteria, but I can at least say that “Scum” is surprisingly accessible. It's definitely worth listening to - if only out of interest in music history!

Of course, I already knew Dusty Springfield, but not her debut album “A Girl Called Dusty.” But even here, she already offers what she is still known for today, namely the classic swinging 60s sound, which can be placed somewhere between Broadway, Motown, soul, and European pop and folk music, with interpretations that are characterized by her unmistakable voice. In addition to “Mama Said” and “Don't You Know,” I like “Nothing” — Dusty's only (!) original composition on this album. Not bad!

How did this album make it onto this list? I ask myself this question especially when it's by a band that didn't exactly invent rock ‘n’ roll and that I know has recorded at least two significantly better albums. “Aha Shake Heartbreak” sounds as if someone had deleted Angus Young's tracks from AC/DC's Powerage. I mean, I like it when the guitars leave enough space for the bass, but here the sound sometimes falls apart. That really shouldn't be the case with a 21st-century production. It sounds like a talented high school band with an above-average singer—which isn't too far from the truth, and you can't blame Kings of Leon for that. But I'd really like to know what was going through the editor's mind.

The Cars' debut album of the same name is a wild mix of classic rock guitars, new wave vocals, art rock keyboards and synthesizers, psychedelic drums, distinctive but minimal bass, wild experimental sounds, and 70s cheesiness. Remarkably, this balancing act is largely successful, which I believe is largely due to the simple but compelling compositions, the coherent production, and the truly strong vocal harmonies. Under the conditions described, less is often more, so the more straightforward songs like “Just What I Needed” and “Don't Cha Stop” work best. Of the more opulent songs, I can recommend “You're All I've Got Tonight” and “All Mixed Up.”

I have now rated just over 50 albums and, as an interim conclusion, I can definitely say that there is too much new wave/80s synth pop on the list. Nevertheless, when looking back at pop history with a comprehensive approach (and a list of over 1000 albums must of course have that), there's no getting around a-ha's “Hunting High And Low.” In my opinion, “Take On Me” is as 80s as it gets and probably one of the most influential songs of that decade. I actually still had the title track in my ear, even though I don't think it's that great. To be fair, I have to admit that “Hunting High And Low” is a piece of music history with considerable earworm potential. But my new wave quota for this year is now used up.

For me, Dylan is one of the best songwriters of all time and, as a result, one of the most covered artists. So I was all the more delighted to listen to “Bringing it all back home” in its entirety. From the information available online, I gather that this album received mixed reviews due to the partly electric instrumentation on side A. However, I believe that the bluesy, rockier sound suits each of Dylan's seven songs perfectly—it's no coincidence that most of the covers mentioned sound this way. Side B features more classic folk songs, which are just as strong—but a little more predictable for my taste.

Describing Madonna as a singer doesn't really do her justice for several reasons—I see her more as a style icon who is deeply rooted in the 80s. This makes her change in style and image, which she achieved in the late 90s and which is evident in “Ray of Light,” all the more admirable. However, I don't particularly like the rather dark electro style of the songs, and I don't think it suits Madonna's voice, which is unmistakable but not overly distinctive. It's worth a listen, but it's not much better than I remembered.

In my opinion, “Dirt” by Alice in Chains is the most important single album of the nineties because Jerry Cantrell & Co. succeeded in creating the connection and link between the groundbreaking releases of the “Class of '91” (i.e. “Nevermind” by Nirvana, "Ten" by Pearl Jam, “Badmotorfinger” by Soundgarden, “Blood, Sugar, Sex, Magik” by Red Hot Chili Peppers, “Use Your Illusion I/II” by Guns'n'Roses, “Metallica” by Metallica). Every harder band that followed ultimately built on this foundation—with today's ears, you can already hear the source of inspiration for such diverse bands as Korn, Creed, Avenged Sevenfold, and Disturbed on “Dirt.” A milestone in rock history!

An important lesson for every aspiring songwriter is that music without any recurring elements is very tiring to listen to. On this album (and presumably on every other recording), Fatboy Slim shows that the opposite is also almost unbearable. From a capitalist point of view, this approach is of course absolutely admirable: with ideas that are normally only enough for one song, he fills an entire LP, from which several successful singles could even be released. This is of course not fraud, but market economy.

“Born in the USA” is Bruce Springsteen's most famous song and also the title of his most famous album. While I was already quite familiar with the title track, I had only heard the rest of the album once or twice. And I have to say that now that I've listened to it more closely, I'm pleasantly surprised. Of course, not every song is as catchy as “Born...,” and this album is anything but complex, but Springsteen's voice still sounds pleasant even after ten songs, and I personally like the powerful yet transparent 80s sound (yes, I like a serious snare drum ;).

I'm not sure if Abbey Road needs another positive review. But here it is: Abbey Road shows the Beatles at their best, with great songs (“Come Together,” “Octopus's Garden,” “Here Comes the Sun”) and their distinctive humor (“Polythene Pam,” “She Came in Through the Bathroom Window”). Undoubtedly a must-have.

Already being one of my all-time favorites, it was a pleasure to listen to “Electric Ladyland” again. “All Along The Watchtower” and “Voodoo Chile” are among the most important Jimi Hendrix references, but The Jimi Hendrix Experience line-up was so strong and well-rehearsed in 1968 that every song becomes a very special experience in its very own right. As said before - always a pleasure.

Although I was never a big fan of Metallica, “Master of Puppets” is undoubtedly the pinnacle of thrash metal. Since it is one of the few "all killer - no filler" albums, I find it difficult to single out individual tracks. Nevertheless, “Master of Puppets” (every serious guitarist has learned this song—including Eddie Muson, of course ;) and “Orion” (every serious bassist... you know) still stand out! It doesn't get any more legendary than this!

R.E.M.'s Michael Stipes calls Grant Lee Buffalo's “Fuzzy” the best rock album of 1993. Apart from the fact that he obviously doesn't have exactly the same taste in music as I do, this shows two things: 1. 1993 was a rather disappointing year in terms of newly released music albums, and 2. “Fuzzy” is clearly not as bad as I honestly expected it to be, based on the band's name and the cover. Unlike other largely acoustic alt-rock albums from the early nineties, it is actually quite varied, and Grant's distinctive voice gives the songs (apart from a few uncertainties at the beginning of “The Shining Hour”) a nice individual flavor. Not bad!