Reviews by giddy

This is so close to being something I like more, but the country influences and the lack of any real oomph in most of the songs makes it where it is on my rating system. However, I don't understand the super low score; just seems like those of the generator don't like this style of music most of the time.

This is not really what I expected, but I dig it. The rapping parts remind me a bit of the verses in West End Girls by Pet Shop Boys, although sometimes it does start to feel a bit more like Inner City Preasure by Flight of the Conchords at points instead. Otherwise, though pretty good. I like the beats very consistently and the use of older songs never feels like a cop out. Just a very solid album, I can see the appeal.

There is stuff here that is certainly good, I especially love when they let the piano shine, but it is still an overly long, somewhat repetitive jazz album. Still, better than most.

I said one more listen and I would "get it", and that time has come. This album is breathtaking, its amazing, it would be ahead of its time no matter when it released, but even within the confines of its contemporaries, no, its own fellow Radiohead albums, it blows them out of the water. Every note is meticulously crafted to deliver an experience that is cold, distant, and disturbing, whilst also being comforting and even heavenly. Those moments of solitude oozing from these songs is matched by very little out there, and when the album does decide to pick up speed, it doesn't feel like its leaving you behind, rather it is aware it can push your limits to take you to jazzy soundscapes, ambient quarters, and droning infernos. You'll want to dance at the most simplistic beats, you'll want to lay there in wonder at the most groovy, and when the album comes to close you'll be more than ready to experience it all again, especially with an emotional gut punch like Motion Picture Soundtrack. I understand why I only thought this album was good on a first listen, but if you are in the same boat of not seeing the "big deal" I implore you to re-discover this album and infuse yourself with its twists and turns, its beeps and boops, and its colorful cascades of texture, and also see it deserves all the praise it gets.

She really does have an excellent voice, and there is some melancholic sounds here I enjoy quite a bit as well. I don't understand this "Son of A Preacher Man" praise, though, it was probably my least favorite song on the album. Heresy, I realize, but the album is very good nonetheless.

Better than the other Marley album I've got, as the variation near the end of this one helped it quite a bit, but it still doesn't do enough for me to think anything too crazy about this one, and the titular song, which seems to be considered one of the highlights of the album, is considerably boring. It was alright, just don't think too much past that. Reggae just isn't my thing, I suppose.

I actually enjoyed this album a bit, but it was pretty repetitive and the topics of the songs started to repeat enough it got kind of old. Still, pretty good. There's a style to this that's generic but still it's own flair to make it different.

This was pretty alright, but not too much past that. I think it's pretty obvious to tell this was ahead of the curve in a lot of ways, but that does mean a lot of sounds were done better by others later on. It's still good, don't get me wrong, but it left a lot to be desired at points.

What a "nothing" album. I think this album pissed me off at first, but then it just kept going and started not caring more than anything. The singer's voice is obnoxious, but it's often so drowned out in the mix that it's hard to, once again, care. Why is this album so long? Why is this artist so popular? Why do people think this and the Beatles are nearly equals?! Jesus, what a mess. At least it didn't have Wonderwall.

There were parts of this album I enjoyed in small doses, and it helps that it is short, but this really feels like Bob Dylan-lite more than anything. There are parts of this album that feel like they could develop to be more, but the country influences hold it back from achieving something truly unique.

This album has nice, relaxing instruments in the background, but I cannot get past that singing. It makes me wish it was just the backing track most of the time. That and way shorter. Didn't like this, but I can't say I hate it.

The only album I've heard on this generator that has gotten definitively WORSE the longer I sit with it. Richard Hawley ain't saving this bore fest.

Choppy beats and flow, corny lyrics, and lacking substance are being merely held back by snippets of enjoyable music and inspirations surely brought forward by this album keeping it barely afloat. There are certainly other "items" to bring this album down more, but as it is not directly tied to the album itself, the album stays at that low two rating. Thank God hip-hop got much more interesting by the end of the 80s.

Not a bad album, but pretty boring. A good chunk of the songs had a decent hook they did nothing with, and I believe had this album released in the era the Super Furry Animals are trying to emulate, it would've been a release that just blends in with the rest of the timeframe. Voice wasn't as annoying as most other Britpop, though, so that is a plus, I guess.

Perhaps the lightest three I've given on this generator. It generally is just generic pop music, with moments that help it stand out. That production feels like every other song in the era, though, which really does not help it. The best thing when it comes to this album is the art, which I cannot deny is gorgeous. Just wish it was attached to something a bit more interesting.

This album starts pretty stereotypical, but after one-and-half Beatles covers and an amazing song in (They Long To Be) Close To You, the album shifts to this anywhere from melancholic to straight up dark sounding sound that really sounds great paired with the sometimes pretty, sometimes haunting vocals. Sure, it's nothing crazy, especially for the time of release, but there is more here than just Marge and Homer Simpson's song and other songs tacked on.

The first song is definitely iconic, but there's a reason its more famous counterpart is far shorter. The rest of the album is the music that you listen to in the background. Not quite elevator/phone music like some reviews say, but certainly nothing special.

This is embarrassing to listen to. Lyrics that the kid failing school because he didn't try but blamed the school relates to and record scratches that puts Jet Set Radio to shame, there is nothing here that I enjoy. The fact that System of a Down is lumped in with this whiney rap-rock bullshit because the era of nu-metal just happened to be going on is awful. Everything here just sounds the same, and the best part here is that it is relatively short compared to most other albums on here.

I feel bad giving this album this score, as there were plenty of parts of somgs I liked, but it always felt like it didn't go far enough into what I would enjoy, and would slip away from me being interested in the song by the end of each song, and that either happened with every song, or the song didn't catch me in the first place. I can completely see why this is something worth listening to, and I'm glad I did, but this is either not for me, or at the very least I am not in the mood at the moment, and probably won't be most moments of my life.

One of my favorite psychedelic rock albums ever, and beat The Who to the punch in the rock opera field , so in my opinion this should only be more praised. Not to mention the varying genres that blow my mind for 1968. I mean, these dudes sounded like Black Sabbath for one track two years before Sabbath had an album out, and no one seems to care. Why?