Reviews by gregorsmith

This album feels like the moment R.E.M. truly came into their own, successfully transitioning from underground college rock darlings to a powerful mainstream force without losing their identity. The production by Scott Litt brings Michael Stipe’s vocals front and center, making the lyrics more audible, though no less cryptic, while the band adopts a harder, more muscular rock sound. It strikes a perfect balance between their earlier jangly aesthetic and a new sense of urgency and confidence.

The record is incredibly cohesive, anchored by undeniable hits like "The One I Love" and "It's The End Of The World As We Know It (And I Feel Fine)", yet the deep cuts are just as rewarding. From the driving opening of "Finest Worksong" to the haunting, atmospheric "King Of Birds", the musicianship is top-notch, featuring Mike Mills' signature backing vocals and Peter Buck's distinctive guitar work. It’s a tense, politically charged, and energetic masterpiece that remains one of the band's most essential and enduring works.

This album is pure, unadulterated Blues and Rock N Roll. Every track is a winner, and you can totally see why Elvis and the Beatles looked up to Fats. It's that classic, feel-good rock and roll and New Orleans blues that's both super important and just plain fun to listen to. "Blueberry Hill" and "Blue Monday" are amazing, showcasing his vocals and piano perfectly.

The only downside was trying to actually listen to it. Finding the 1957 album was a pain, the Spotify version was missing most of the album. I had to piece it together myself, but the music is so good, it was worth it. It's a happy, easy listening vibe and a reminder that Fats is the real deal.

Lost Souls is a cool debut, but it feels more like atmospheric sound stuff than a bunch of tight songs. It totally nails that post midnight Manchester vibe, moody, melodic, and all dreamy textures, perfect for zoning out. Tracks like "Catch The Sun" give it a needed boost, and "The Cedar Room" is a real emotional winner, but some parts get a bit lost or just blend into the background.

I dig the band's change from Sub Sub and the whole cinematic vibe, but it's a bit uneven. Solid 3 to 4 stars on any given day, a good intro to their sound, but not as strong as their next one, The Last Broadcast. It's chill and sometimes a bit boring, best listened to when you're in the mood for some rainy day vibes.

This album's a seriously cool, rough mix of punk and reggae, nothing like anything else from back then. It's super obvious that young, experimental musicians made this, and they're not afraid to sound a bit rough around the edges for the sake of real creativity. The guitar and bass work together so well, creating this unique, catchy tension that gets better every time you listen. It's easy to see why it's such a big deal for feminists, it's raw, fearless, and doesn't give a damn about what's "normal" in music.

I dug the overall vibe and production, but the singer's voice is definitely an acquired taste. Her style is all over the place, a mix of playground chants and weird avant-garde screams, her delivery and moaning can be a bit much, but it fits the album's whole DIY, kinda crazy vibe. Even with those vocals, tracks like "Typical Girls" and that weird "I Heard It Through The Grapevine" cover are essential, even if it's a bit challenging to get into.

Listening to Closer is a seriously haunting experience, it's an epic piece of art that feels more like a personal confession than just a record. The production makes this huge, cold space where everything sounds heavy with that post punk clinical darkness. Peter Hook's bass is totally menacing all the time, driving the songs with this edgy, relentless feel, which is perfect for grounding the more dreamy, synth heavy tracks like "Isolation" and "Decades".

Even though it's super influential, you can't ignore how bummed out it makes you feel. Knowing what Ian Curtis went through makes his voice sound so raw, like a real cry for help. It's a solid album, but it's so heavy that I can only listen to it in small chunks...

I've been jamming with this massive album for almost two hours, I'm completely blown away by Stevie Wonder's genius. It's this huge, ambitious thing that feels like the key to understanding life, mixing funk, soul, and jazz perfectly. Releasing 21 tracks this good as your 18th album? Crazy! I was really impressed by how musical it all is. from "Sir Duke" to "Village Ghetto Land", every song counts and tells this cool story about love and and life.

You can feel the impact of this record everywhere, it's wild how many modern songs are based on it. Hearing "Pastime Paradise" or "I Wish" makes it obvious why so many rappers and R&B artists sample it. Yeah, it's long, but it doesn't feel boring, it just feels like he had so much to say. From "Isn't She Lovely" to "As", this album is super important and still inspires me. Five stars, no doubt, it totally lives up to its reputation.

It's a super long double live album of Prog Rock, and it's relentless... The basslines are super driving and hypnotic, but the synths are a total mess, creating a repetitive groove that's mind-numbing torture. There are these totally pretentious faux-Shakespearean monologues about "Sonic Attacks" and "Orgone Accumulators". By the time the 14-minute guitar solo was over, I'd forgotten every song before it, it's exhausting and never fucking ends.

Weighing in at a mere 28 minutes, this album is short and sweet, a classic example of old-school country. I dig Jones' voice, but the album can get a little repetitive. It's all heartbreak and honky-tonks, perfect for a sad drive or coffee, but it doesn't really break the mold.

It was alright, but it sounded super cliche to me. The pedal steel and the sad lyrics about divorce make it feel a bit dated. "The Grand Tour" and "Once You've Had The Best" are good, but the rest kinda blend together. It's a cool little piece of country history, but it could have used some more variety.

To paraphrase my biting review of Rufus' "Want Two"

Want One? Get Two...

You're not that bad Rufus, but you still suck...

I found this album to be a really tough and sometimes hard to listen to. I know it’s said to be a "groundbreaking" or "influential" step before punk and noise rock, but that didn’t make it any easier to enjoy. It felt like my ears were being attacked, with rough distortion, unclear sounds, and a clear disregard for regular melodies. From the startling, panned words in “The Gift” to the intense 17-minute instrumental cacophony of “Sister Ray”, it felt like the whole album was just trying to push boundaries.

In the end, all the noise and confusion were too much, I found the harshness to be physically tiring and the lack of connection confusing. It’s an interesting piece of history, but as music, it’s something I don’t want to listen to again.

I loved this one! It's a total blues rock jam, and The Doors sound super confident and tight. They ditch the psychedelic stuff and go for that smoky, dive bar vibe, and Jim Morrison's voice is amazing, just the right amount of whiskey soaked and perfect for this sound. From the killer "L.A. Woman" to "Riders On The Storm," it feels like a journey.

The band is amazing, Ray Manzarek's organ is awesome, it cuts through the darker guitars. Some songs are a bit experimental, but they just add to the cool, somber vibe. It's a bittersweet but perfect end to the band, a soulful album that's meant to be blasted with a drink.

So, revisiting this album, it's wild how much it screams 90s. It's this crazy mix of Britpop, indie rock, and Indian music, a total time capsule. I remember thinking it was kinda boring back then, but the biggest mark against this album is that it doesn't have the Fatboy Slim remix of "Brimful Of Asha." They just have a slower version, which is ok, I guess, but nowhere near as good as the single banger. Overall, it feels like a bit of a weird, psychedelic journey with funky sitar riffs, hip hop beats, and even a Punjabi "Norwegian Wood." It's rich, but definitely a bit strange to listen to.

I'm still kinda on the fence. I get the cultural fusion and the band's background now, but some parts still feel like filler or just plain boring. It's all over the place, from Ginsberg readings to country tunes. But the lack of a good bassline and that remix? Yeah, that makes it hard to like for me...

So listening to "A Love Supreme" is like being on a seriously powerful spiritual trip through music. Even though I'm not a jazz person usually, I was totally blown away by the quartet of Coltrane, Tyner, Garrison, and Jones, their playing was super immersive. From the first gong to the last note of "Psalm", it feels like one big, thoughtful piece that really demands your attention.

Yeah, it can be a bit intense at times, even a little challenging, but it's also incredibly powerful and moving. Coltrane's sax just rips your soul, you know? It's a complex, beautiful thing that I can keep going back to and still find new stuff in. I really dug it.

This one was tough for me. Yeah, I get the technical skill and why some people think it's the peak of prog rock, but those 18 minute long tracks like "Facelift" felt more like a test of my sanity than actual songs. Like, four songs spanning an hour and a quarter? Come on! It often just felt self indulgent, getting lost in boring drones and repeats that make you zone out before the side's even over.

But, it wasn't a total bust. After the weird intro, there were some cool moments in "Slightly All The Time" and "Moon In June" where the jazz fusion stuff actually worked. It's an adventurous, mind-bending trip if you're patient enough, but for me, the good stuff was buried under too much boring stuff.

Okay, so this album is kind of a mixed bag. On the one hand, it's a cool, sunny indie pop (some might say landfill indie) record from the early 2000s, capturing that California vibe perfectly, even though it's Irish guys doing it. The melodies are nice, the music is chill, and songs like "Santa Cruz" and "Big Sur" are definitely catchy as hell. It's a bit nostalgic and almost too sickly sweet.

But, it hasn't held up super well. It feels more than a little generic, they were definitely one of the weaker "The" bands that came out around this time. The singer's voice can be a bit much, and all the place names get a bit tiresome. It's alright for a lazy day, but not a must listen level classic, you know?

This album is just pure 80s, mixing soulful jazz with a smooth sophisti-pop sound that still sounds great. Sade's voice is amazing for those slow, late-night jams. The band is killer, from "Smooth Operator" to "Hang On To Your Love". Some might say it's boring, but it's actually super sexy and chill, perfect for a night out or just relaxing at home. It's a classic!

Banger? I hardly know her...

Much like the other Traffic album I've rated on here, it was kind of bland, a bit too MOR for me, and Steve Winwood seemed to really love the spotlight. Some of the long jams felt like 70s background music, a bit cheesy even. At first, it just seemed like a meh, transitional album, missing the catchy tunes of their earlier stuff.

But, once I gave it a chance, the vibes were, dare I say, was surprisingly cool. They mixed Jazz, Folk, and Rock in a unique way, especially with the flute and organ. Some songs got a little repetitive, but "John Barleycorn" was amazing, a beautiful take on folklore. It's not going to blow anyone's mind, but it's a chill, solid listen if you just let the band's jamming wash over you.

I truly believe Paul’s Boutique is the Beastie Boys absolute crowning achievement. It's a huge step up from their first album, ditching the party all the time vibe for a super cool, trippy, and complex sound, like the Sgt. Pepper of hip-hop. The three of them, Mike D, Ad-Rock, and MCA, are at their best here, heir quick rhymes and energy are amazing. Some people might not like their New York shouting, but for me, it makes the album super fun and energetic.

The production by the Dust Brothers is nothing short of a miracle, a masterclass in sampling that simply could not be repeated in today’s litigious music industry. With over 100 samples ranging from the Beatles and Led Zeppelin to Johnny Cash, the album is a sonic collage that feels fresh every time I listen. Whether it’s the funky groove of "Shake Your Rump" or the ambitious suite of "B-Boy Bouillabaisse", every track is packed with easter eggs and witty references. It is a one of a kind landmark that perfectly embodies the anything goes if you have 2 turntables and a microphone spirit of late '80s hip-hop.

Imagine stepping into a time machine that feels impossibly modern, it is hard to believe this raw, aggressive sound actually debuted in 1969. I really enjoyed this, particularly the standout track "I Wanna Be Your Dog" with its iconic fuzz and primal energy. And getting two Stooges albums in the last three days definitely feels like I’m doing something right, it’s the kind of high octane, proto punk that makes you truly appreciate the lineage of alternative rock.

The album is a fascinating bridge between psychedelic rock and the punk movement that wouldn't fully arrive for another decade. While the ten-minute drone of "We Will Fall" is a meditative departure that tests your patience, the rest of the record is a masterclass in garage rock power. Iggy Pop’s snarling, disinterested delivery paired with the distorted guitar riffs creates a god-tier vibe that remains influential to this day.

After Ray Of Light, this one felt like a real letdown, pretty much marking the beginning of the Madonna career slide. That last album was so cohesive, but Music just feels like a weird mix of stuff that doesn't always work. The production sounds a bit too sterile at times, and the autotune is annoying, especially on "Nobody's Perfect". It's missing the heart you usually get from her, and it feels like a bunch of generic club tracks and silly gimmicks that haven't aged well.

That said, it's not a total bust. The title track "Music" is still a killer pop song, and "Don't Tell Me" is awesome, mixing acoustic guitar with some cool production. Those singles showed she was still ahead of the curve, but as an album, it's a bit weak compared to her best stuff. It's a brave try at something new, but it just feels a bit...dated.