Reviews by heavymetal

I enjoyed this album a lot more than Pornography, but I'm still basically going to echo my review of Pornography as the whole gothic, full of misery and despair feeling kind of gets tiresome by the end. It is kind of funny that they wanted to make something less accessible with Disintegration, but this definitely feels much more accessible to me. Overall, I appreciate their artistry and their influence, but it turns out the Cure in general are just not a band I really want to listen to unless I'm feeling particularly bummed about something.

Was there a small baby boom in New York City about 9 months after this show because I’m pretty sure at least half the audience ended up pregnant before the end of this show?

I’m no mathematician, but the reviews on this album were a bit depressing. Specifically, the review stating that they always thought of Common as a rap Dementor who was there to suck the joy out of a song by balancing the bragging and naughtiness and that worst of all he was open and empathetic towards people who aren’t the same as him. I’m starting to get a better sense about why I don’t like a lot of modern hip hop; seriously, how are empathy and humbleness seen as bad things?

That said, even with Common’s “dad like” empathy and humbleness, I still didn’t overly enjoy this album. It was fine, but not something I have any desire to hear again.

I really need to get myself a copy of the book so that I can see what kind of bullshit justification they give for including this album in the book. This is just soul music filtered through the lens of a mediocre at best hip-hop artist. I have genuinely always considered Cee-Lo as a one-hit wonder, and that hit isn’t even on this album.

What an album! This was a much darker and much more interesting listen compared to Songs of Leonard Cohen. There's more grit to it, it doesn’t feel as clean or polished, and it’s all the better for it. Songs of Love and Hate feels so much more alive and Diamonds in the Mine in particular sounds downright deranged.

Also, From Her to Eternity is one of my all time favourite Nick Cave & the Bad Seeds albums, so I've heard their cover of Avalanche countless times, but never sought out the original. I wasn't expecting to hear so many similarities between an iconic Canadian folk musician and an aggressive and noisy post-punk band from Australia, but here we are.

I'm basically just going to repeat my You've Come A Long Way Baby Review. While I wasn't as familiar with Better Living Through Chemistry or any of the songs on it, I still enjoyed this more than I expected, but the repetitiveness started to wear on me by the end. There were a few good songs and it's deserving to be on this list, but I just don't love electronica.

I was surprised when From Elvis in Memphis was generated because I was expecting a much more dated and somewhat corny rock and roll sound, but actually found some amazing production and grand performances that I really enjoyed.

Elvis is Back falls much more in line with what I was expecting from an Elvis record. There's still amazing production here, but it just feels a lot more dated and the pop ballads are absolutely some of the corniest tracks I've heard. That said, there were some really cool tracks that stood out to me like Fever and Reconsider Baby.

Overall, I appreciate his influence on rock and roll and I am happy to have heard this album, but I'm not going to be returning to it.

Arrival is saccharine, danceable 70s disco music and the Visitor is darker, more complex 80s dance music. I enjoyed both more than I expected, but I still don’t think I’ll be returning to either of them.

An absolutely ferocious cornerstone of hardcore punk music. What’s not to like here?

Also, to the reviewer who writes: “I guess this is what neo nazis listen to or something”, please read up on hardcore punk’s history with nazis. Black Flag are anti-fascist to their core and are staunch supporters of punching nazis in the face; a sentiment that needs a bit of a resurgence unfortunately.

I have spent literally no time seriously listening to salsa music, so this was almost an entirely new experience for me and I really enjoyed it. I have spent a bit of time with music influenced by salsa, specifically Geordie Greep's the New Sound, and I really appreciate the insight into some of the influences that lead to his Latin infused jazz rock. Honestly, this album is only a step or two away from being the New Sound; it just needs Geordie singing about some of the most depraved and desperate men he can imagine and a couple ripping guitar solos.

I wasn’t really sure what to expect going into this album as I’d never heard of Paul Weller before. Turns out he’s the guitarist and vocalist in the Jam, which is another band that has been introduced to me through this list.

Overall, I enjoyed this album. Solid guitar playing, good singing, great production. But, did we really need to have some Paul Weller solo work on a list of albums to hear before you die? Honestly, we probably would have been alright just sticking to the Jam’s albums.

I know Tom Waits isn't everyone's cup of tea because it tastes a bit off (I'm getting metallic, musty, and smoky notes) and you feel a little funny after you drink it (someone definitely spiked this with whiskey and/or mezcal), but I'll sell a kidney to see him live if he ever tours again.

I feel like I saw Lenny Kravitz everywhere when I was growing up in the 90s, but I had never heard any of his music beyond American Woman, so going into this album I didn't really have any strong feelings for or against him.

He definitely wears his influences on his sleeve, but his musicianship is quite strong throughout and he does put a somewhat grungy spin on things that I did enjoy. His songwriting on the other hand is quite repetitive and lazy in the sense that Kravitz just sings the title of the song with different inflections continuously throughout many of these songs and the more I listened, the more I realized that the subject matter for the most part was vapid and shallow. Overall, he plays well, but writes poorly. I didn't hate it, but I didn't exactly like it either.

Also, I've got to be real with you Lenny, if you're a rapist who needs a release, you'll forever be-be-be-be-be-be-be a rapist.

This is hilariously dated and the drum machine and synths are a bit one-note, and yet, I prefer this to so much of the modern hip-hop on this list that absolutely relies on the influence of this album.

I feel like I should like Echo & the Bunnymen as post-punk is probably one of my most listened to genres, but this just doesn't do it for me and I don't know why. I felt the same way when Porcupine was generated a few weeks ago. It's not bad and I did enjoy it, I just don't think I'll be returning to them.

This feels like a mix of Nick Cave’s gothic post-punk, the Velvet Underground’s psychedelic rock, and David Bowie’s glam rock. It’s a bit long and there’s a lot going on, but I dig it.

I've heard Bert Jansch's name mentioned as an influence by many artists, but I've never stopped to listen to any of his music. This album is incredibly intimate with its very minimal arrangement. I love simple fingerpicked guitar playing and would love to learn some of these songs. Overall, this was a very pleasant listen.

I’ve always heard that while Anthrax were one of the big 4 of thrash metal along with Metallica, Slayer, and Megadeth, they were the odd ones out. I guess that may be true as far as popularity goes because Anthrax is easily the least well known of the 4, but this album still goes as hard as any of the other big 4 I’ve heard. The guitars are fast, heavy, and precise and the rhythm section is driving. My only complaint is that I don’t love the over dramatic vocalizations in a few of the songs.

It's impressive that Willie Nelson can record several covers with a few of his own compositions thrown in and it comes out as a cohesive concept album that is entirely his own. I love the sparse instrumentation and arrangement of the album. I wish all country music was this good.

I’ve said it before, but I’m really not a fan when a singer goes overboard with vocalizations and this album is like 90% vocalizations. Not for me.