Reviews by john

The fun they’re having is infectious. Either that, or Ive crossed the experimental music tolerance event horizon after 650+ albums.

It’s so crazy that I pulled The Bees record with their cover of “A Minha Menina” just a few days before this one. The original on here is a little better I’d like to think.

“Adeus Maria Fulô” & “Senhor F” were also highlights for me. But there’s no excuse to put this thing on and enjoy it in its entirety. It’s short, challenges typical song structure, and is a good time. I’m not sure if I’d enjoy it more or less if I knew what they were saying, but I don’t think that’s the point of this one. 4/5, a psychedelic album that isn’t a classic finally did it

An affront to the listeners time, with music thats so unremarkable I am left questioning how and why this album takes up a spot on the list. It is not technically an outright bad record, but it’s offensively bland and safe. There’s ways to be tastefully bland and safe, this isn’t it. I will remember nothing from this album. A low 2/5 stars with nothing of note

I have no way of knowing if I’d like “Levon” as much as I do today if it wasn’t played on the radio all the time during my most impressionable years. The song feels like a family heirloom sometimes. I’d like to think that it’s a strong testament to the playing of Elton and the writing of Taupin that the song has never worn on me in all the times it’s been played - I’d argue I like it now more than ever. While "Tiny Dancer" is rightfully pop immortality (especially the use of that slide guitar), I hopefully think "Levon" is right there too.

The bassy synth at 1:35 in the title track is incredible. It isn't even around for that long, and there's plenty of other whirling instrumentation and a great vocal going on that you can almost miss it.

"Indian Sunset" is a well-meaning song with apparently many inaccuracies, which makes it hard sit with completely. On one hand, I'm glad to hear there's a song this popular about anything related to Native Americans. I just wish it tightened up it's history.

Beyond this, little bit of brilliance are peppered throughout the last few songs. The "slow down Joe" line in "Holiday Inn" is so pretty. The choir on "All The Nasties" is so surprising it makes you double-take.

A fair 4/5 on this one. Frontloaded by two of the greatest songs of the 70's, worth it for that alone

The Dolly Parton spell is in full effect here, where her storytelling and personable delivery supersedes the country grudge so many people hold blindly against the genre.

“Traveling Man” is a borderline hilarious story, especially since it follows such a heartfelt opener.

Meanwhile, “If I Lose My Mind” is heartbreaking completely and totally, which is especially impressive given it’s short 2:30 runtime.

Parton oscillates between these endearing ballads and soul-crushing stories at will, leaning into her genre’s strengths with these to tropes for most of this short record, with “Early Morning Breeze” being a light exception to the rule towards the end of the track list. “Here I Am” provides a gentle nudge to the listener with a full bassline groove and drumbeat throughout - not that it’s needed on this short little album.

A little humor, self-awareness, and a lot of heart nudges this one into light 4/5 territory for me. Outside of the title track, no song totally floored me, but all the same there isn’t a bad track to be found

Seems the best thing going for this album is how crisp and clean it sounds for a metal album from the early 90's. The material itself? It took it's toll on me. But I'm soooo out of my depth with metal, so I can recognize how this may have been an important record in it's day. I don't have a favorite song or a least favorite song, as it all kinda blends together.

Let's go with a strong 2/5 on this one

A lot more directed than most new wave records on here, coupled with some substantial messaging and unique vocal delivery. Read the lyrics of "The Sinking Feeling" as a good example of how much there is to dig up.

After an intriguing start with "Ive Been Waiting For Tomorrow", things got really good with "This Is The Day" (I wonder if they meant for the tracklisting to read like that). I'm not sure what the better pop-leaning success is, this song or "Uncertain Smile".

What I perhaps appreciate about this album the most is how listener-aware it is. The tone switch on "Twilight Hour" into a very quiet, just as eerie intro on the title track "Soul Mining" adds a kick of variety just when needed. I'm hearing lots of Depeche Mode on this track in particular.

"Giant" is true to it's namesake - a giant track closing things out with a steady evolution of key/synth loops into percussion lines into chanted melodies to stick the landing.

Soul Mining feels like a palate cleanser for all the postpunk/new-wave bloat that's encountered on your 1001 list journey - thoughtful messaging accompanied by not a single bad instrumental. Doesn't overstay it's welcome either . 4/5

Feelings I got from previous bossa nova records also apply here. On a cold December morning at 5:30AM I’m sent to somewhere much warmer, but just as sleepy.

“A Minha Menina” is worth the praise and attention it gets. It’s got TV ad or network sitcom montage written all over it.

“Zia” felt strangely similar to “Us & Them” by Pink Floyd if it was a bit more sun-soaked. I really enjoyed “This Town” as well, that might be my pick from the album.

Not at all culturally significant therefore I am questioning its place on the list. Nonetheless, it was a very easy, enjoyable listen. 3/5

If you want Byrne and Eno firing on all cylinders, go listen to Remain In Light (though, “The Jezebel Spirit” does sound like the bones of “Born Under Pressure”). I don’t mean to imply that this album is bad, but don’t expect a meeting of the minds that intended on creating a pop opus - have some patience.

Everyone was hemming and hawing about how this was Radiohead before Radiohead and I don’t agree except for one song, which is “Mea Culpa”, and I must say it was a fantastic song. All of the Radiohead sound without the Radiohead bemoaning.

“Mountain Of Needles” was impressively futuristic in the sense that it sounds a bit like a vaporwave song before the advent of vaporwave which was of course pulling from songs during this albums time. That was a nice little timeloop.

After that, the record does just meander a lot. Any derogatory “bleeps and bloops” comments can be fairly directed at the last bit of this album.

Still, Eno is a mastermind. For every bad record that Neil Young is involved in on this list, there’s a good record Eno (post Roxy Music) is involved in. 3/5

All the cheesy calls to action and generalized observations about how society is crazy, yup this is a 90’s dance/pop crossover.

My favorite song was “Ground Level”, and the cheesiest song was “Playing With Fire”. But this little point in time for dance music never landed with me. I’d rather have something hypnotic and focused over the span of 9 minutes than have all these 3-4 minute tunes that sound the same and cover the same few topics.

Let’s say it’s a super soft 3/5. Once again, this list fails to provide a dance music album you should ACTUALLY listen to. Skip ahead a few years to the advent of trance and find something by Rank1 or early Tiesto. Or maybe “Movement In Still Life” by BT. That album is so cool and substantive

So I was pretty happy with the first two songs. I appreciate the "Landslide"esque quality of the subject matters, with the baroque strings assisting the rolling guitars. But the reviews and the popularity of the following songs had me a bit wary, and her voice certainly wasn't knocking me off my feet.

It did incline in quality a bit, but my goodness the negativity surrounding this album seems overblown. I like the minimalist, upright, slightly macabre vibe this record has going for it. The chorus of "I'll Keep It With Mine" may be my favorite part of the album, that or the first two songs in general.

It may come off a bit artificial, as i think Nico is very concerned with the aesthetics as much as she is the music, but this is not bad at all. 3/5, a few variations in arrangement coulda really took this thing to the skies, as the bones of good songs are all over this thing

The musical equivalent to having one of those hibachi chef's make you a bad-tasting steak; sure, it was quite the show, I ooh'd and ahh'd a few times. But I didn't enjoy the taste of the beef, I won't care to remember it long from now.

A 20 minute opener is cool in concept but when the synths/keys get super shrill at minute 18 and there isn't a ton of melodic themes to latch onto then it kinda just whirls right by. Just make them separate songs instead of one big song with 7 mini songs in it. The concept can still remain all the same.

For things to go from that hectic opening song to something as twee as "Jeremy Bender", then back to some frenetic but impressive instrumental work on "Bitches Crystal" is a lot for me. I don't need albums to be super cohesive, but this all too much. Then a whole bunch of proggy craziness only to be ended with a rockabilly cut? I'm tired.

I take issue with one of the more popular positive reviews this album got. It says "There is a thoroughgoing prejudice against prog in the critical community, probably because it forces critics to engage with the music instead of discussing influences, lyrics and personalities."
I disagree with this wholeheartedly. I simply don't care to listen to something that's being overtly intentional about hitting me with yet another new motif or time signature every passing minute. There is SO much to marvel at on the technical side of this project, that it glazes over conveying a sense of humanity in my opinion.

I wish to hear more songs with heart and soul, not songs of the brain and fingers. Strong 2/5

I see the vision, but I do not hear the execution. The band was aiming for these airy, evocative, prolonged instrumentals that would turn guitars into atmospheres, and voices into characters. But sparse arrangements and flat performances leave a void of nothingness for the better part of the hour plus this thing putters on for. I feel like you can point to Spiritualized as a group that executed Spacemen 3's game plan to a great deal of success.

What was a song like "Revolution" doing in the first third of this project? Unnecessarily noisy and harsh, taking me out of what little involvement I had with the albums wispy aura.

"Suicide" was nice because it committed to an idea but then it went for way too long so it kinda ruined itself. "Lord Can You Hear Me" is a fair reason to JUST keep this project floating at a 2/5 stars. But man. Not by much, especially if you can endure disc 2

I was irritable at first but some emphatic performances and solid songwriting won me over a bit. A bit of a strange pick considering this is a compilation album though.

I was moody and judgy about this record until “Untutored Youth” came on. A song equivalent to giving everyone the finger!

“Mad Man” is probably my pick of the bunch here. It’s wholly unoriginal, I’ve heard that guitar riff a million times, but nevertheless it’s a ball of energy that won’t be denied.

Torn a bit on how to view this one. Also “Luno” by Bloc Party came on auto play after this comp ended and it was just a better song than most of the stuff on here, in every way. Ultimately, this is a 3/5 stars, but I have my hang ups about it

I got into Talvin Singh’s music a year or so ago without realizing this album was on the list!

Really like the opening “Traveller”, it’s aptly named - I felt like I was being transported very intentionally into the world of this album.

But “Light” is my favorite song off this record, by a country mile. The opening new wavey piano refrain immediately induces a sense of placid relaxation for me - I listened to this song a lot when I was running at sunrise this past summer. I can’t recommend that experience enough!

Another highlight, “Disser/Point.Mento.B” felt like an homage to the hazy aesthetics of 80’s sci-fi soundtracks.

Last, the pads that come in halfway through “Soni” really elevate the song and make it memorable for me.

I’m unsure if this is a 3 or a 4. If I’m being objective, maybe a high 3. However, Ive had some personal time with this album as I mentioned with it soundtracking my morning runs in the past. It’s the perfect set and setting to elevate the album to a 4/5 for me. A nice blend of Indian music and some jungle for good measure

A few songs on here are as good as country music gets before the advent of Garth Brooks.

This guy is heartbroken and the opening “Grand Tour” set that tone right away. Then the harmonizing vocals on the chorus of “Darlin’” gave a reason to sing along in George Jones’ sadness. Really good, really simple chorus. Right after, “Pass Me By” pretty much replicates the sad singalong effect to great success.

But the highlight of this album might be the more upbeat “The Weatherman”. Excellent country songwriting and a killer execution of rolling a verse into a chorus. Super cohesive song start to finish.

The fun doesn’t end there! “Who Wil I Be Loving Now” makes its own case for the most infectious chorus of them all, it’s a proto-Eagles melody.

Last, “Our Private Life” is a strange way to end this project. Its subject matter is way ahead of its time, being a song about rejecting the platform of stardom to remind everyone that these idiot country celebrities are people too. For an odd comparison, much of Porter Robinson’s “Smile” speaks from a similar place.

Yeah this is a 4/5 for me. There’s enough emotional substance and fantastic country songwriting in here to push it over a 3

Incredibly pretty piano to open things up, paired with a super personable delivery. Everything comes together to sound a bit like one of my old favorites, Regina Spektor.

The charm of this album comes in Fiona Apples flowery imagery and super clever vocal performances. She could be seething mad and find a way to make you seething mad with her, but also make it all really catchy too! "Under The Table" comes to mind when I say that.

The beginning of "Ladies" was so engaging too. I couldn't wait for the song to unfold, no matter what it sounded like. I was hanging on to every word! Probably my pick form the album. "For Her" is a CLOSE second though.

Just really great singer/songwriter stuff that can't really be replicated by anyone else. 4/5

This has a case for being objectively bad at points. It also makes a case for being pretty uniquely memorable at other points. I’d rather have more of these so far out of left field albums than the 18th postpunk/new wave album in a row.

It’s nice to face down something this challenging after 650 albums. I’d be a bit more appalled if this was one of my first few albums. Like, the beginning of “Blue Rosebuds” was actually pretty solid. The vocals on it are laughable, but maybe that was the point? I definitely get the vibe that The Residents dont want you to take them too seriously, if they have any preference at all.

Points for the deconstructed, minimalist carnival style music on “Laughing Song” as well.

It’s a strange disposition to have such lukewarm or even mildly accepting feelings towards an album that seems to upset most people. This album is an exercise in shedding genre preferences and general preconceptions. I do desire for these guys to have dug into their arrangements a bit more, everything is very basic for being so out there. I think they could’ve had something great on their hands if they had second half’s of songs that devolved into something completely different, or did more to subvert expectations from song to song. Many of these tracks end up just being looped little motifs. Still, a fun listen.

The end of “Birthday Boy” is easily my favorite moment on this one.

Strong 2/5, but really impossible to throw a number on this one. It more feels like ✌︎🙰♍︎♒︎♍︎◆︎♎︎⬥︎ ⧫︎♒︎♓︎⬧︎□︎⬥︎■︎❒︎ 👓︎📭︎‘❒︎ 🕮︎📭︎🕮︎🗏︎✏︎◆︎🙵⬥︎■︎♏︎ ❒︎♒︎♍︎□︎□︎

Checks of all the raggae/rastafari boxes you’d hope for in an album like this. Great use of the dub bass on almost every track.

“The Invasion” is my pick from the album. The “wadada-ooooh-wadada” melody is super cool.

Not much else to say, standard 3/5

Todd Rundgren. Hmmm. Not someone I expected to be on this list 3 times, but it’s perhaps foolish of me to expect as much since Rundgren was both an art-pop AND eventually slightly psychadelic musician.

This is much, much more on the frivolous psychedelic side of things. I love it when you can tell an artist has gone through a psychedelic drug phase.

I gotta hand it to Todd on this one for how ambitious it is. “Dogfight Giggle” transitioning into “You Don’t Have To Camp Around” is really cool. A few songs later, “Flamingo” is a wonderful space odyssey type of intsrumental that keeps evolving over a short runtime.

Something I realized about midway through the track list is how this album probably stood in Rundgrens discography. While the Beatles were almost immediately heralded for their ‘experimental’ work, I’m willing to bet this put a lot of people off. Which is a shame, this album is so full of color, motifs, and crazy ideas. “Zen Archer” with its crazy sax solo is a great example.

I think the high rating I give this album ultimately comes down to Todd Rundgren conveying an unbridled sense of fun and ambition with these wild arrangements that are even occasionally catchy, like on “Sometimes I Don’t Know What To Feel”.

Is it a Pink Floyd opus? Is it a galavanting perfect prog record? Is it a perfectly accurate drug trip accompaniment? Probably no, to all those things. But it’s a very fun, very colorful record thats not ashamed of itself. 4/5

Man it is crazy how you can tell this is Eno off the first note of the first song, no singing needed. I may have a bit of loving bias to get over for this one, as this is a creative sequel to one of my favorite albums of all time, Another Green World.

I can't help but love Eno's delivery and strange vocal disposition during this era as he spiraled towards ambient greatness. He seems so observant, still, and lucid in songs like "Kurt's Rejoinder".

Something that wasn't as expected was how energetic "King's Lead Hat" was. I'm not sure if I loved it as much as some may. However, the following "Julie With" -- now that's what I'm talking about. Airy and a bit ethereal. This is all about what AGW was. This song is like taking a dreamy boat out to sea under a warm night sky. Really, every song beyond this point in the tracklisting is similar (in a good way). "Through Hollow Lands" is ambient Eno before he was fully formed. So delicate and pretty.

The sweet, soft 2nd half of this album is just a revisitation of Another Green World, so go listen to that masterpiece. This one is a strong 3/5, could be a 4/5 (and probably is on a personal level) if it didn't live in the shadow of one of the best albums ever