Reviews by gregorsmith

I get why people call this a classic Madchester record, you can basically hear the late 80s rave culture in every track. It’s got that messy, funky, psychedelic vibe that definitely defined a specific moment in time.

But honestly? It just doesn’t do it for me. Without the nostalgia, it mostly sounds like a drug fueled mess with shaky vocals and annoying synths. It feels way more like a band just throwing random stuff at the wall than an actual album. If their later stuff is the peak, this just feels disjointed and pretty boring.

I honestly can’t tell if this is some kind of avant-garde masterpiece or if the band was just having a laugh by recording random chatter and noise. Listening to it is absolute insanity, it’s a total sensory overload of high-pitched voices, weird time changes, and chaotic sound effects that feels like a massive prank on the whole 60s scene.

Back in the 70s, Sony's vice president, Norio Ohga, requested that a CD be large enough to hold the entirety of Beethoven's Ninth Symphony on a single disc. The benchmark was set using the longest known recording of the symphony, which clocked in at 74 minutes, some go to 78 minutes, and ever since then artists have strived to fill *every* second of that time, and sometimes it's been against their better judgment. Stripped is exactly one of those albums. There is a remarkably solid 35-to-40-minute pop record buried in here, but it's surrounded by way too much filler. As much as I respect her ambition to break free from her squeaky clean Disney image to deliver a bold, hyper-sexualized, and fiercely feminist statement, dragging the concept out with pointless interludes and a staggering 77 minute runtime makes the overall experience feel exhausting and disjointed.

That said, you can't ignore the woman's voice. When she actually nails it on tracks like "Beautiful" or "Fighter", she’s incredible. Yeah, she goes a little overboard with the vocal gymnastics, and some of the "edgy" stuff feels kind of forced, but if you look past the bloat, it’s still a pretty impressive showcase of talent that defined a whole era of pop.

I was right there in the thick of the Glasgow music scene in the mid 90s, grabbing pints at the 13th Note and watching this whole indie pop explosion happen firsthand, so listening to If You're Feeling Sinister is like catching a ghost in a bottle for me. It perfectly captures that specific, hyper-local era. It's a masterclass in intimate, indie pop, built on Stuart Murdoch's conversational, Nick Drake-esque vocals, lush chamber arrangements, think delicate pianos, violins, and even a stylophone, and incredibly clever storytelling. For those of us who were actually there, these brilliant melodies felt like our secret, wistful world was being pressed straight onto vinyl.

First off, you really have to respect the sheer balls it took for George Michael to follow up the massive, image driven success of Faith with an album cover that doesn't even feature his face. It was a huge, defiant statement to ignore the pop idol persona and take him seriously as a songwriter. But as for the music itself, it ends up feeling like a bit of a mixed bag. It heavily relies on one undeniably hot track, "Freedom! '90", surrounded by a lot of slow, somber filler. Granted, some of that "filler" is actually quite beautiful, and the acoustic, mature vibe really works when you're in the right mood. But as a complete, front-to-back listen, it gets a bit too bogged down in its own serious intensity to be an absolute classic.

This is a massive, 80 minute prog rock opera, and yeah, it goes pretty hard. It’s a super ambitious, theatrical project that really nails the feeling of isolation and losing your mind. The storytelling is top tier, and the way the music weaves together is brilliant, especially the guitar work on "Comfortably Numb", which is easily some of the best stuff ever recorded. When the band is in the zone, it’s a killer cinematic trip that totally earns its spot in rock history.

That said, it’s also pretty self-indulgent. For every great moment, there’s a stretch of filler that feels less like a solid album and more like Roger Waters just venting his own ego. Overall, The Wall is a messy but fascinating triumph, it’s a huge conceptual swing that you’ve gotta hear all the way through, even if it does drag you down into the gloom every now and then.

This record basically plays like a greatest hits album, since tracks like "Fire And Rain", "Country Road", and the title track are such huge staples of folk-rock. Listening to it is super comforting and wistful, like wrapping yourself in a cozy blanket or catching up with an old friend. His guitar work is gorgeous, and his smooth voice nails that classic singer-songwriter vibe, making it the ultimate chill acoustic album. "Fire And Rain" in particular is just an incredible, heartbreaking masterpiece.

That said, listening to the whole thing front to back makes it easy to see why some people might find it a bit much. If you aren't in the mood for something super sweet and gentle, it can feel a little plain or soft. Whenever he tries to sound tough, especially on the clunky track "Steamroller", it comes off kind of silly, like a suburban guy trying way too hard to act like a tough guy. All in all, it’s a beautifully put together, if polite collection... perfect for when you need to relax, though it might feel a bit too slow if you're looking for something with a bit more grit to go along with the sadder tunes.

Time Out by The Dave Brubeck Quartet is honestly the perfect way to get into jazz. It uses these really cool, experimental time signatures, like 5/4 and 9/8, but it’s still super smooth and easy to listen to. Whether I’m just having it on in the background while I’m hanging out or actually focusing on Paul Desmond’s incredible sax and Brubeck’s piano, it never gets old.

The best part is how iconic the whole thing feels, even if you’re not a jazz person. You’ve got "Take Five", which everyone knows but never knew the name of, and "Blue Rondo a la Turk", which is just a blast to tap along to. It’s a straight up masterpiece that manages to be legendary without ever feeling stuffy or boring.

I totally get why E.V.O.L. is such a polarizing record. If I'm not in the right mood, it just feels like a wall of off key guitars and weird feedback. But when I actually settle into it, it’s honestly brilliant. You can really hear this band finding their footing, moving away from their noisy, experimental roots toward that classic indie sound they perfected later on. Another solid Sonic Youth album that was way ahead of its time.

I didn't know much about Laura Nyro before this, but man, I was totally blown away. This 1968 album sounds way ahead of its time, mixing soul, jazz, gospel, and pop into its own unique vibe. You can really hear how she paved the way for legends like Carole King, Joni Mitchell, and Kate Bush. The song structures are wild and unpredictable, but instead of feeling messy, it’s just a super fun, creative rush.

Her voice is unreal, so powerful and full of raw emotion. Whether she's going all in on the theatrical, frantic parts of "Eli's Comin'" or chilling out with the groove on "Stoned Soul Picnic", she’s in total control. I can see why her big, Broadway style energy might be a lot for some people, but I loved it. It’s an absolute hidden gem and a total blast to listen to.

Revisiting this album, it's crazy how spot on and important the hardcore political stuff still feels. Tim Commerford's killer bass and Tom Morello's guitar are insane, making a huge sound that goes perfect with Zack's ferocious, passionate vocals. It is an absolute powerhouse of a debut that immediately hooks you and gets your blood pumping, serving as the ultimate high-energy soundtrack whether you are trying to get psyched up for a heavy workout or feeling righteously angry at systemic injustice.

At the same time, listening to it with modern eyes brings a deep sense of cynicism and irony that is hard to ignore. There is an undeniable contradiction in a fiercely anti-capitalist, anti-establishment message being produced and heavily profited from by a massive corporate entity like Sony. While the raw, unfiltered anger and aggressive protest songs completely rock on a visceral level, the lack of an actual plan for change makes the revolution feel a bit like a commodified societal release valve. It is a masterpiece of focused rage that completely stands the test of time musically, even if it leaves you realizing that most of us, including the band members living comfortably overlooking the machine, are ultimately just hypocrites navigating the very system we are yelling at.

Listening to Make Yourself completely transports me back to the late 90s, triggering a massive wave of nostalgia. It sits in a strange, polarizing sweet spot of the era, not quite as aggressively angry as Korn or Limp Bizkit, but distinctively polished with its alternative rock melodies and prominent turntable scratching. While some tracks definitely feel like dated, formulaic fillers that lean a bit too heavily on angsty, millennial cliches, the vibes underneath is undeniably tight, offering a spacey and melodic atmosphere that grounds the record.

Sometimes you just want a safer version of nu metal with its growling guitars, and "Drive" is the absolute highlight for me. It is a brilliant, timeless track that completely anchors the album alongside other standout singles like "Pardon Me" and "Stellar". Even though the album stumbles through a few dull stretches and some questionable hip hop experiments, it remains a comforting, quasi-easy listening relic of its time that balances aggressive distortion with genuine pop sensibilities.

Close To You really gets to me. I'm totally conflicted. On one side, it's undeniably amazing pop, and Karen Carpenter's voice? Seriously beautiful, haunting, and warm. The harmonies and melodies are just so soothing, especially on the hits. And there are even some cool moments where they try something different, like "Mr. Guder" or "Another Song," which are pretty cool.

But then, it's also *so* sugary and overdone. It's like elevator muzak on repeat, too safe and bland. The music just suffocates any edge, especially their "Help!" cover, which is a disaster. So yeah, it's a frustrating listen, a testament to a great voice trapped in some seriously boring 70s arrangements.

Also, while I'm here, Karen Carpenter was a killer drummer, top 5 of all time, but here she's been caged and forced to sing... Damn shame

I wasn't sure what I was looking for here, but this ended up being a long, kinda boring trip through 70s super soft rock. The musicianship is great, and Rundgren knows how to write a catchy tune. Songs like "I Saw The Light" and "Hello It's Me" are almost like a super polished Carole King. The production is cool and has a ok-to-good vibe. But, at 25 songs and 90 minutes, it's a fucking drag. For every good track, there are a bunch of lame jams, outtakes, and filler that kill it. I get the DIY thing, but there was no quality control. It didn't need to be a double album, a shorter version would have been a classic, not a chore to get through.

Atomizer is a complete assault on the senses, and, honestly, I couldn't get enough of it. I expected some standard, shouty '80s punk, but Steve Albini and his crew delivered a pitch black, mechanical nightmare... A sonic collision of punk, noise rock, and industrial. The dual guitar attack is absolute violence, scraping and screeching, locked into a relentless, inhuman groove driven by a cold drum machine. Underneath it all, Dave Riley's heavy bass keeps you glued to the floor. It's a unique, masterfully engineered record that still sounds fresh and urgent.

Lyrically, it's not an easy listen. Albini dives into the darkest corners of the American underbelly, tackling taboo themes without any comforting moralization. At times, the lyrical stance borders on provocative, but it's an emotionally exhausting, fiercely confrontational listen that offers zero catharsis. It certainly won't be for everyone. But if you can look past the bleakness and embrace the filth, it's an undeniable landmark of extreme music.

So, judging a book by its cover, you'd think this would be a chill country record, right? Nope! It's a total trip, a full on, acid fueled, San Fran psychedelic rock explosion from the late 60s. Recorded live, the whole first side is a 25 minute jam session based on a Bo Diddley song. They go all in, exploring every single detail, asking "Who", "When", "Where", "How", and "Which"... but never "Why"? It's amazing guitar work with awesome feedback and a super tight beat.

Whether you dig extended instrumentals or not will determine if you love it or hate it. The second side has a mellow "Mona" cover, but then it kicks back in with heavy tracks like "Maiden Of The Cancer Moon" and the awesome "Calvary". It's a wild, experimental ride that's a cool piece of history, even if the last song is kind of a bust.

Okay, so I'm not usually a huge folk guy, but there's this seriously beautiful, intimate vibe to the recording, they made it in a kitchen on old reel-to-reel tape, so no fancy, overproduced stuff. It's just raw, analog, and feels like you're at an unpolished, handmade gig in your living room. Perfect for chilling on a lazy Sunday.

Jansch's voice is a bit of an acquired taste, a bit raspy, but characterful, and it works great with the serious, dark lyrics. But honestly, the guitar playing? That's the real show. The fingerpicking on tracks like "Smokey River", "Casbah", and his "Angie" cover is insane, mixing blues and jazz. After hearing "Needle of Death" I get why Nick Drake and Neil Young looked up to him. It's a simple, hypnotic record that packs a ton of emotion... just a man and his guitar.

So putting three of the biggest female vocalists from the 20th century together is seriously magical. With Dolly, Linda, and Emmylou its easy because their styles blend so well, it's a beautiful take on traditional country folk harmonies. Their voices are just perfect, no one's trying to outshine each other, it's all about the music. It's easy to listen to, cozy, and really pleasing, pure, timeless country at its finest.

This album was a real chore to get through. I get that she's trying to be all artsy and stuff, but it just comes across as super self-indulgent. The songs are way too long, five tracks shouldn't take an hour! They keep going and going, just adding on extra minutes of boring filler. It's like an endurance test, not a listening experience.

And the vocals? They're really not for me. They're super high-pitched and grating, like some kind of squeaky caricature. It reminds me of a Renaissance Faire or a cheap Björk/Regina Spektor knock-off.

The classic Nick Cave predicament/conundrum: the man is undeniably a lyrical genius, but the execution here feels like a "flawed masterpiece" at best. There’s an incredible, theatrical energy in tracks like "Papa Won’t Leave You, Henry" and "Jack The Ripper", where his gothic, country emo storytelling really shines. But, the production? It's a bit of a mess, sounds kinda cramped and muddy, probably because Cave and the producer didn't get along.

The band is good, and I dig the sea shanty vibe they're going for, but the album's all over the place. It goes from super intense to just plain boring. It feels more like a stepping stone for the Bad Seeds rather than their best work. I like the ballads like "Straight To You" and the stories in "John Finn’s Wife", but it doesn't all come together. It's frustrating, you know? The sound gets in the way.