Reviews by gregorsmith

Okay, first things first, Scott 4 is one of those albums that splits people. The production is super lush orchestral stuff, especially the bass on "The Old Man's Back Again", it's got a cool vibe. There's a real sense of trying to tell a story, like "The Seventh Seal" is this high concept art thing.

But, as someone who isn't into this kind of dramatic crooning, it's a bit of a struggle to get through. I get that some people think his voice is majestic, but it just sounds kind of... blah to me. And the slow pace? Yeah, it feels a bit like nap time. It's cool that he influenced people like Nick Cave and Bowie, but this whole vibe isn't really my thing.

Come On Eileen?

But where on Eileen?

It's a rough, messy record about grief, recorded in a drunken haze as a memorial for Danny Whitten and Bruce Berry. It's not the best or easiest Neil Young album, sometimes sounding like bad demos with off key vocals and sloppy arrangements, but there's this raw, authentic sound that's haunting. You either dig the total nihilistic grief and those first take jams as genius, or you think it's a drunken mess that should have stayed buried.

Even with the intentional mess, the musicianship shines through. Gotta give major props to Nils Lofgren. His guitar solos, especially on "Speakin' Out", are a lifesaver for Neil's fragile state. Along with Ben Keith's heartbreaking pedal steel, Lofgren grounds the whole funeral party vibe, turning what could've been a disaster into a kind of cult classic.

I've been listening to Big Star's first album, and while it's a good record and totally sounds like the 70s, it feels a bit samey. It's like they're trying to be America or any combination of Crosby, Stills & Nash, but also a little Steely Dan or Jefferson Airplane, you know? The harmonies are awesome, super clean, but even though the songs and production are good, it doesn't really stick in my head. It's chill background music, but it's missing that "it" factor to make it something special.

It sounds a lot like their influences, especially the guitars and tunes that were all over the radio back then. The second half gets a bit slow with all the ballads, they all sound kinda similar. It's not bad, songs like "Thirteen" and "The Ballad of El Goodo" are serviceable, but it feels like it's copying other stuff. It's solid, but it needs that extra something to be amazing.

This album is a total breath of fresh air, especially for someone who loves that classic, jazzy boom bap sound shared by groups like Naughty by Nature, K7, and Fu-Schnickens. It’s gloriously absurd and playful, trading in the heavy machismo of 90s gangsta rap for a lighthearted, "Daisy Age" vibe that feels like a West Coast answer to A Tribe Called Quest or De La Soul. The production from J-Swift is immaculate, filled with slick jazz samples, warm basslines, and live-sounding drums that make the whole record feel like one big, energetic house party. From the hilarious storytelling on "Oh Shit" to the iconic, dreamy atmosphere of "Passin' Me By," the chemistry between the four MCs is undeniable.

However, the album embraces its immature side, which may be off putting to some. While the "yo mama" jokes and puerile humor contribute to its charm, some of the lyrical content, especially the dated jokes and sexual innuendo, can feel a bit awkward to modern ears.

This album is like a really interesting, but maybe a bit divisive, link between Neil Young's old folk stuff and the grunge sound that came later. The first half, which is super polished, mostly live and has this cool, intimate feel. Tracks like "Thrasher" and "Pocahontas" really show off his songwriting, even if it's not for everyone. Then, BAM! Side B goes all in with Crazy Horse, super loud and distorted. It's cool how it changes from sad and thoughtfu but the whole thing feels a bit rough around the edges. You get these amazing moments, then some stuff that's, let's just say, dad rock.

I get what they were going for with the whole design, but I think repeating the same song at the beginning and end is a bit much. "My My, Hey Hey" and "Hey Hey, My My" are cool, I guess, but hearing the same thing twice in 40 minutes feels a bit much. It's definitely an important album, and it makes a good point about rock 'n' roll, but sometimes it's more interesting as a concept than it is to actually listen to.

This debut album is the blueprint for Southern rock, a super confident three guitar army attack that's a total masterclass in grit and soul. It's insane that bangers like "Tuesday's Gone", "Simple Man", and "Gimme Three Steps" are all on the same first record. The music's got that killer blend of bluesy riffs, honky tonk piano, and Ronnie Van Zant's awesome, gravelly voice. And of course you got "Free Bird"! It's the highlight. Even if you've heard it a million times or think it's a bit of a joke, it's the perfect closer on this album. That four-minute guitar solo is pure, over-the-top awesome and it totally works, taking you to Southern rock nirvana that sums up the whole era. It's a nine minute masterpiece that's one of the best endings ever, finishing off an album that's still a super energetic cornerstone of American rock.

This album is like stepping into a movie, intense and captivating! Piazzolla's bandoneon and Burton's vibraphone blend so coolly, it's both classic and super modern. Some parts are seriously beautiful and emotional, but it's definitely not for everyone. It takes some focus and can be a bit much if you're not in the mood. It's amazing, but not your typical easy listening.

I was really bummed because I wanted to dig this album, especially with how tight and cool their instruments were. The band totally knows how to write catchy tunes, mixing punk energy with jazz and psychedelic rock, it's awesome. Songs like "Another Girl, Another Planet" are straight-up bangers, and it's clear they're super talented and influenced other bands like the Violent Femmes and The Replacements. The production is good, and the guitar playing is often amazing, so it's like a hidden gem.

But, I just can't get over the vocals. It's a shame because the music is so good, but the whiny, thin, and often off-key singing kills it for me. Some might say it's cool, but to me, it's just an annoying whine that ruins the songs.

This album was a very dull overall. It tried to be all edgy 90s rock, but ended up feeling kind of generic and, honestly, a bit uncomfortable. While the guitars and drums were good sometimes, it just felt like bad alt rock or some lame grunge copy. The songs weren't catchy, and 50 minutes felt like forever.

But the real problem? The lyrics and Greg Dulli's vocals are awful. He goes from screaming to whining, and the lyrics are just toxic and immature. They feel like some entitled, misogynist talking about relationships, making the main character super unlikeable. "My Curse" was cool, and the last song was alright, but the rest? Sounds like someone uncomfortably yelling at their girl in public.

So this album tries to be all sorts of things, like a mix of old school beach vibes and super-techy electronic beats, kind of in that folktronica space. The production is super clean, and they try some cool genre stuff, but it gets a bit much. The singing is a bit off, and even though some tracks have good energy, it gets repetitive after a while.

It's alright to have on in the background, but it's not super memorable or emotional. It definitely sounds like an indie-pop record from 2012, but it feels more like a bunch of ideas put together than actual songs. It's catchy for a bit, but listening to the whole thing? Pretty boring and doesn't really live up any kind of hype.

There's a point in the bridge of "Gimmie Shelter" where Merry Clayton is absolutely cooking and her voice cracks and you hear Mick let out a "whoo" in the background like you know he's just locked in to the intensity. One of the great moments in rock history... Seriously, listen to it isolated (https://www.youtube.com/watch?v=ChONufP0FEs).

The rest is still high quality, but doesnt meet that absolute high, and I say this with the timeless "You Can't Always Get What You Want" being on this album too.

Starts with the banging "Take On Me" which is probably the peak of the album and, as I've noted before, I struggle with albums who blow their creative load right off the bat.

Much like Jerry Lee Lewis, Elvis Presley, early Rolling Stones, solo Eric Clapton, and the Bluesbreakers work, the cloud of "white man popularising the black man's music" hangs heavy here. Classic old skool hip hop, albeit stolen and distilled.

This album is like pure 80s nostalgia. The monster hits I remembered ("Wishing Well", "Sign Your Name", "If You Let Me Stay") are still amazing pop/soul jams. The rest of the record settles into a soulful, smooth groove that really showcases his incredible vocal range, which often feels like a fusion of Michael Jackson's energy and Prince's funkier edges.

The production is a bit of a mixed bag though. It's got that classic 80s sound that can sound a bit dated, but he's super talented. Tracks like "As Yet Untitled" show he didn't need all the effects to be awesome. It's a little cool, a little funky, and a little over the top debut that's a great listen.

It’s clear that this record is a definitive landmark of post-hardcore that perfectly bridges the gap between 80s punk and the impending grunge explosion.The musicians are super tight, especially the bass and drums with those crazy guitar riffs. Yeah, the vocals might be a bit much for some, but that raw energy and anti-everything attitude? It's super authentic. It's like a real experience, you know? Organized mess, for sure.

It's smart *and* aggressive, which is awesome. Tracks like "Merchandise" and "Repeater" are just anthems. They nail groove and grit. Even if some songs sound a bit similar, the instruments are so cool and they're doing it their own way, so it's a must listen. It's the perfect example of a band breaking all the rules and making way for the awesome alternative rock era.

Listening to Exit Planet Dust is like a throwback to the mid-to-late 90s Big Beat era, it's a really cool starting point for where electronic music was going. For a first album, it's amazing how well it all fits together and the songs flow like a DJ set, going from the fast-paced beats in the first half to a chill vibe at the end. It's great for working or driving, with those repetitive, hypnotic synths and bass that get you into it without being annoying.

Yeah, some of the sounds are a bit old school now, and some tracks can blend together so you're never sure where it begins of ends, but you can tell it's well made. It's got that balance between clean pop production and a gritty rave feel. From the solid kick off of "Leave Home" and "In Dust We Trust" to "Alive Alone", it's both a trip down memory lane and a solid groove that still gets me moving, even after all these years.

This album is an absolute masterpiece of 70s soul and funk that somehow manages to be both smooth and incredibly gritty at the same time. It's like a journey through the streets, with lush music and deep basslines. Curtis Mayfield's voice and the socially conscious lyrics hit hard. Tracks like "Pusherman" and "Freddie's Dead" are amazing, blending psychedelic soul with a dark side. It's perfect for a party and tells a powerful story all at once. Every instrument, from guitar to harp, sounds amazing!

I used to only know Skunk Anansie from their mid-90s stuff ("Weak" anyone?), so I wasn't expecting this... "Charlie Big Potato" is a bit of a shock at first, but once the it gets going, the whole album improves. They mix heavy riffs with these really cool, movie soundtrack style ballads. It has that 90s alt rock vibe, but it's super polished and sounds fresh.

Skin is just incredible. Her voice goes from super powerful and edgy to super soft and vulnerable. Songs like "Secretly" and "Tracy's Flaw" are amazing. They've moved away from their punkier sound and into this more cinematic hard rock, but it works really well. It might take a listen to get used to the beginning, but by the end, you can tell they're at the top of their game.

After the super high, mega hit of Different Class, This Is Hardcore is kinda like the hangover, it's raw and a bit bleak. Forget the party vibes, this one dives into the dark side, anxiety, feeling alone, the whole deal. Jarvis Cocker ditches the catchy tunes for something more moody and introspective, all self reflection. It's got these cool, orchestral sounds, but it still feels kinda cold, like the end of a long run for fame.

It's got this nihilistic vibe, with some Bowie-esque glam and art rock thrown in, and they don't care about being on the radio. It's not always easy to listen to. It's ambitious, a bit much at times, and it definitely makes you think. But that's what makes it such a great post-Britpop album. Tracks like "The Fear" and the title track are super intense, showing a band dealing with loss, and it's honest even if it's not always comfy. It's Pulp at their most grown-up and real about getting older and feeling let down.