Reviews by gregorsmith

This album is a total high energy asasault that perfectly nails that dirty 70s rock vibe I dig. It feels like a punk precursor, super timeless and wild, especially with those killer guitar riffs and Iggy Pop's vocals. Tracks like "Search And Destroy" and "Raw Power" are just so grimy and aggressive, everything else from 1973 sounds weak.

The production is a bit of a mess, but do you like the thin Bowie mix or the muddy Iggy mix? I'm team Iggy, personally... If you like punk roots or loud, sweaty garage rock, this is a must-listen, five star experience that still slaps.

I get that the production is cool and Aimee Mann can write some catchy tunes, but this album just felt kinda meh and forgettable. It's well-made, for sure, but it's missing that special something, that real emotion or risk that other artists from the time had. Some tracks just sort of blend together, like coffee shop background music. It's decent, with some good songs here and there, but it didn't really do much for me. Compared to the raw energy of Ani DiFranco or Tori Amos or Fiona Apple, this felt a bit too safe and clean. It's a solid piece of 90s alt-pop, but it didn't stick around in my head.

So, this was an interesting listen, but didn't really blow me away. I get why it's a big deal in their discography, they toned down the crazy psychedelic jams and went for a more mellow, folk/country/bluegrass vibe. Songs like "Friend of the Devil" and "Ripple" are cool, and the production makes it easier to get into than their live stuff. It definitely has that classic Americana feel, kinda chill.

But, even though I respect it as a piece of music history, it just wasn't my vibe. Some of the songs got a bit repetitive, and the whole hippy vibe felt a little background-y. The harmonies were a bit rough around the edges at times, and I found myself zoning out during some of the tracks. It's a fine album, and I'm glad I checked it out, but I probably won't be revisiting it anytime soon.

This album was a real stinker. Super bland and generic, sounded like background noise, not something special. The title is all hype, as the music is lifeless, boring, repetitive house beat that gets annoying fast. The whole vibe is weak, and with no catchy tunes, 55 minutes felt like forever.

The worst part is how it messes with good samples. Songs like "In My Arms" and "Drop the Pressure" have cool 80s vibes, but they get lost in a boring structure. It's a bummer to hear stuff from Kim Carnes or Boy Meets Girl ruined like that. Honestly, it's an old-fashioned piece of 2000s UK electronica that doesn't belong on a "1001 Albums" list but somewhere a music journalist most likely declared this the future of music and it was forgotten inside of a week.

Went in knowing it was a prog rock big deal, and while the musicians are super talented, the genre just isn't my general thing. I dig the technical stuff and that killer bassline in "Roundabout", but the rest of the record was kinda hit or miss. All the experimental bits and those short, solo instrumentals felt more like each member showing off than a good cohesive listen.

Overall, it was whatever for me. There are some awesome moments, especially in the longer songs, but the whole pretentious, over-the-top art rock thing made it feel like a drag. It's clearly amazing for people who love that kind of complex, symphonic rock, but as someone who isn't into that whole musical wizard thing, I found it to be kinda forgettable and not something I'd listen to again.

Brilliant Corners is like a smoky jazz club, a trance-inducing, curious experience. Monk's offbeat, playful piano is pure magic 50s hard bop with a futuristic edge. The title track is amazing, complex but catchy, with Rollins and Roach making it super cool. It's a trip at first, but perfect if you let it wash over you. It demands attention as even with rough edges, the songs are brilliant. "Bemsha Swing" sealed the deal, a tough, amazing record that makes me want more jazz.

It's got that 60s psychedelic vibe mixed with 90s/2000s alt-rock, all while keeping their post-punk stuff, but made bigger and better. "The Killing Moon" is amazing, and the whole second half, from "Seven Seas" to the closing title track, is killer. Some parts are a bit weird, like "Thorn of Crowns", but that's what makes it cool.

Appreciated the short runtime of 37 minutes, but the content was a departure from what I expected. While the title track is the hard rock anthem I anticipated, it serves as a gateway to a surprisingly avant-garde and experimental journey. I was caught off guard by the sheer variety of genres, ranging from the brassy, "horn-infested" jazz of "Blue Turk" to the overt musical theater influences in "Gutter Cat vs. The Jets".

What stands out most is how the album functions as a cohesive, theatrical concept piece. The production by Bob Ezrin seamlessly blends psychedelic blues, orchestral swells, and progressive elements in tracks like "My Stars". It successfully shatters my preconceived stereotype, revealing a band with immense musical range and humor. Ending on "Grande Finale", the record left me with a much deeper appreciation for their artistry.

This is the go-to album for neo-soul. It's all about sensual minimalism, taking cues from old soul legends like Marvin Gaye and Prince, but with a chill, lo-fi hip-hop vibe. The production is super smooth and atmospheric, with smooth vocals and groovy basslines, perfect for late-night chill vibes. Tracks like "Lady" and "Brown Sugar" really show off D'Angelo's talent, creating a sound that's both timeless and intimate.

Sometimes the lyrics are a bit cheesy and predictable, and the falsetto can get a little repetitive. But overall, it's a classic debut that captures the 90s R&B vibe perfectly. It's cool and influential, even if the slow groove isn't for everyone.

"Theme From Shaft" is a legendary funk song, the rest is pretty much instrumentals that have been chopped and sliced for hip hop samples ever since, so in that sense it's a cultural touchpoint musically speaking... but it's still a movie score and there's no movie score you need to listen to before you die, not without the context of the movie, at least.

And did it really need a near 20 minute long number? Why yes, yes it did.

Loved this album! Felt like a huge, exciting end to the big band era. There's this cool "fun with doom" vibe to it. The music is super tight but also feels fresh. It's got everything from super energetic tracks to more mellow ones, total balance. And even though I'm not always into jazz, the musicians are amazing. It's a really cool, polished record that totally captures the 50s.

I’m honestly floored by how much of that classic Pixies DNA is preserved here while being pushed into weird, brilliant new directions. It feels like a fever dream of 90s indie rock, bursting with frantic energy, surf-rock guitars, and those signature off-kilter lyrics that jump from California aqueducts to classic sci-fi. While it’s a massive 22-track haul, the sheer density of ideas is what makes it special... it’s an album where even the shortest tracks like "Whatever Happened to Pong?" or the melodic heights of "Headache" feel essential.

It’s easily the high point of his solo career and a mandatory listen for anyone who wants to hear a creative genius totally unleashed.

An absolute slog that felt like being trapped at a rehearsal for a bar band that doesn't know when to quit. While some people call this "garage rock," it honestly just sounds like a group of guys who have known each other too long noodling around without any sense of restraint or editing. The songs are incredibly repetitive, with some stretching out to ten minutes of aimless guitar jams that offer zero dynamics and quickly become boring. It feels less like a professional studio album and more like a half-assed attempt to milk a raw sound that just ends up sounding sloppy and uninspired.

Muddy Waters carries such immense authority and charisma that it’s easy to see why he’s considered the grand master of Chicago Blues. From the moment the set starts, the energy is electric and raw, with the band slowly turning up the heat until the crowd is absolutely buzzing. It’s a bonafide classic that meets you exactly where you are, delivering a masterclass in Electric Blues that leaves no doubt about Muddy Waters massive, legendary footprint on music history.

Funky disco vibes are off the chart thanks to Nile Rodgers, and it's been ripped to shreds for samples, like the 1:00 intro to "He's The Greatest Dancer" gives you more than enough time to insert the opening verse of Will Smith's "Gettin' Jiggy With It" assuming those lyrics have been burned into your memory for the last near 30 years, but I digress...

The album is a celebration of pure, joyful energy, anchored by powerhouse vocal harmonies and timeless bangers like "Lost In Music" and "Thinking Of You" that prove this group is far more than just that "We Are Family" one hit wonder.

Starting with the legendary, slow burn build of "Tiny Dancer" and moving straight into the soulful narrative of "Levon", the album establishes an atmosphere that is both grand and deeply personal. The second half loses a bit of that initial momentum, particularly with "Indian Sunset" despite its gorgeous melody. However, the sheer vocal power displayed in the title track and the hauntingly simple closer, "Goodbye", more than compensate for these lulls.

It’s a rewarding listen that captures the artist perfectly.

It's pronounced spa-CHE-min...

I thought I'd like this as I loved Jason Pierce's later work with Spiritualized, but this was just too abstract for me.

Listening to The Hissing of Summer Lawns is a revelation for me, it feels less like a collection of songs and more like listening to art. Joni Mitchell has created an avant-garde masterpiece that pushes into a lush, experimental jazz-fusion landscape, using unconventional tools like the Moog synthesizer and Burundi drum samples on "The Jungle Line" to stay decades ahead of her time. The album's brilliance lies in its dense complexity, where tracks like "Harry’s House / Centerpiece" feel structurally astounding while maintaining a deep, poetic vulnerability. To me, this is Joni at the peak of her musicianship, boldly shedding her old skin to deliver her most incisive and sophisticated work.

2002 was a wild time, the garage band rock revival was in full swing and this is a very specific, high octane moment. It’s a fascinating, if inconsistent, blend of sounds... You can clearly hear the heavy Nirvana grunge influence in the screaming vocals and distorted riffs, but it’s often balanced out by a melodic, psychedelic sensibility that feels more like The Beatles or even Oasis. While some tracks like "Get Free" and "Outtathaway" are absolute garage rock bangers that justify the original hype, other parts of the album feel a bit like filler.

Reflecting on this era always brings me back to the 2002 MTV Video Music Awards, where the they basically staged a "battle of the bands" between The Vines and The Hives. It was the peak of the "The" band craze, and seeing Craig Nicholls lose his mind on stage right after The Hives' polished performance really highlighted what this album is all about: a chaotic, sometimes messy, but undeniably energetic snapshot of Australian rock. It’s a fun, loud time capsule that captures the frantic energy of the early 2000s perfectly.

Like witnessing a band fearlessly shedding its own skin. While it is technically a punk record, it feels much more like a sprawling, ambitious musical odyssey that refuses to be pigeon holed. I was struck by how effortlessly The Clash weaves together everything from the jagged energy of rockabilly and ska upstrokes to the deep, atmospheric grooves of reggae and lounge jazz. It’s a rare double album where the 19 track runtime actually feels earned, even the deeper cuts carry a specific, gritty charm that keeps the momentum from ever truly flagging.

What makes the experience so resonant for me is the balance between Joe Strummer’s raw, shouty-sung urgency and Mick Jones’ sharper melodic instincts. Whether it's the apocalyptic howl of the title track or the surprising pop warmth of "Train In Vain", the album feels both politically charged and deeply personal. It’s an iconic piece of history that still sounds incredibly fresh, capturing a moment where music felt like a genuine call to arms to the faraway towns.