Reviews by john

A band that had all the best intentions, but failed to deliver anything remotely impactful.

The music is pretty upright and dull, which sucks because the band clearly has a heart and a good message to get across.

John Prine’s song “Your Flag Decal Won’t Get You Into Heaven” came on this list a few days ago, and it’s a great example of something with more of a nuanced, interesting delivery. All the songs on Penthouse and Pavement read more like observations of current events with mild calls to action, and that’s all.

“The Height Of Fighting” is my pick from this album. I wish for more, 2/5

Tragically it was far too experimental for American ears in the way it takes some pop sounds of it’s time and twirls them all up into a fantastical, transcendental world.

Stranger Things really got it right in spotlighting the opener on this record.

“Cloudbusting” kinda double dips on that drum pattern from the first song too but I’m not complaining.

“Under Ice” has some crazy vocoder work for its time and place.

“Waking the Witch” may be my favorite for its insane musical theater work.

This album feels deeply effeminate, so instead of grandstanding about it I feel like I wanna offer something more unique - my modern comp to the sound Kate Bush pioneered. Oklou’s Choke Enough had a similar airy, ethereal, often drumless quality to it.
4/5

Calling this a masterclass in lyricism would be a little inaccurate, as I’m not sure anyone can absorb and then accurately recreate John Prine’s authenticity. What a captivating listen. I’m a hard sell on lyric-based music too!

The opening song had me hopeful but I didn’t want to get my hopes up TOO high - these things often fall in quality after the first song. But the next “Spanish Pipedream” reassured me that I’d be clinging to every clever, personable line on this record. Outside of singing a little bit too much like Bob Dylan (a comp I make at least every other week at this point), I couldn’t possibly see a problem with this self-titled effort. The chorus on the aforementioned “Spanish Pipedream” is so money.

“Hello In There” while still clever, is a much more sobering picture of domestic aging and the casual hardships people face as the years go by.

“Sam Stone” basically lays out the blueprint for Born In The USA lyrically; a protest song in the form of a story about a vet coming home - except WAY more tragic and vivid.

I will say, “Pretty Good” left me scratching my head a bit. Maybe this one is more Dylanesque than the rest, as I’m not too sure what the point was, or what went into some of the strange lyrical choices. But that’s ok, because “Your Flag Won’t Get You Into Heaven” picks things right back up. While it’s a Vietnam protest song, I found this one to have an evergreen message that could be handed down to many Americans in present day. I definitely had a facetious little smile on my face by the time this one ended.

“Angel From Montgomery” is much like every other song of general hardship, but somehow again Prine has a thoughtful little lyrical spin on the whole thing.

“Quiet Man” really seemed to be the only song without a real direction of any sort - maybe that was the whole point.

An actual note on something that isn’t the lyricism, I LOVE the way “Donald and Lydia” was played out with that shiney guitar melody. A bright way to end a bright song.

I think I have to give this album a 5/5. I was hooked from the start and wasn’t let down even through some of the more stereotypical songs. Prine is just self-aware enough to ensure the listener won’t be let down by repetition or cliche, while still remaining wildly personable and authentic in his storytelling. Really well-built project — I beg you to listen to at least the first half of it. Earned it’s way into the rarified air of 5 star albums I previously never knew anything about

It’s so hard to listen to this album with unbiased ears when you’ve been learning how deep of a subconscious impact growing up with ps1/ps2 games impacted your music taste. I’ve been digging into all things downtempo, dub, psy & early acid techno for most of this year, so this album is right up my alley.

At its best, this album illuminates how well some of its genres can oscillate from dense moments drama to minutes of total catharsis, all in the span of a song or two.

At its cheesiest, this album is basically a soundtrack to a late 90’s Miami crime thriller (said lovingly).

At its lowest, this album plays it very safe for far too long and doesn’t set out to achieve much for frames of 10+ minutes, in bunches.

“Water From A Vine Leaf” is a pretty, ethereal opener with a fantastic arpeggiator, serene piano, and good vocal samples floating over a typical 90’s breakbeat.

“Harry Flowers” slows things down and finds itself in downtempo/dub territory with that sub bass anchoring the track.

I’d grown a little irritable about how the record was seeming to get more & more complacent until the beginning of “Gringatcho Demento”, which is a big turning point in the track list to me. Super intriguing intro on this one, with a bit more teeth to it. Finally something a little suspenseful.

The following “A Hazy Shade Of Random” is unabashedly new age bliss with a bit of ambient-era-Eno for good measure.

The last leg of the album delves into sounds that are harder and harder to grasp onto - not in a bad way, just that it all focuses more on ambient noises than grooves and melody. “The Monkey King” is a good example of these choices.

Hard to give this one a fair score. Yesterday, I punched my ticket on the “you all don’t understand” train, where I really wasn’t happy with the albums general warm reception. Today, I complete the round trip on that train, coming back today to say that I think this album (and other albums like it) get knocked around too much for being a product of it’s time. Too dinky, too gimmicky, an album only good for background listening at its best. Maybe those things are true at points, but I’d like to say that on the whole Strange Cargo 3 achieves its escapist, ethereal ambitions. The lightest, admittedly slightly biased 4/5 stars from me.

Just a total nothingburger of an album. You shouldn’t listen to this album, this shouldn’t be on the list. The singing isn’t above average, the instrumentals could be lent to any other singer/songwriter to do a better job with, and nothing sticks. I will not remember one thing from this record.

“Close Behind” is my pick, if I had to give one to listen to.

I’m astounded by the number of rave reviews this thing has. The blending of genres isn’t impactful, it’s hazy and dull. It doesn’t do any one thing well, it tries to do many things and they all turn out meh at best. Just way too bland.
Soft 2/5

Marianne’s ability to come back and make a solid album after years of crazy life experiences is impressive, but only carries the music so far. There’s a few gems in this otherwise meh album though!

“The Ballad Of Lucy Jordan” is a fun story with an instrumental that very much sounds like it’s out of the New Order playbook. Like, this is very “Your Silent Face”.

“Working Class Hero” has a scathing view on class struggle and societal structures/stereotypes.

The closing “Why’d Ya Do It” is just crazy especially given it’s time, just listen to it is all I can say.

Everything else was very fugue and forgettable. Not bad, but not notable to my ears. I feel like it’s been a while since I’ve had a universal slam dunk album, or much lately thats beyond the year 2000.

Firm 2/5 on this one. Just wish there was more substance to latch on to

As mentioned in my first Yes album review, it’s hard to imagine the band said ‘no’ to any idea for a song, not just for their namesake, but because they seem to follow any musical whim that came to mind. But here we are, with an album of some ideas that had apparently been put on hold previously. So how does it work out?

Yeah this still isn’t totally hitting for me. Much like the last Yes album, there are moments. But only moments.

The 13 minute mark of “Close To The Edge” is nice (crazy thing to say), when things get softer and more atmospheric.

The “America” cover is interesting, but nothing more than just interesting. My pick from this album is probably “And You And I” for its most memorable motifs and lyrics.

Strong 2/5, I can be done with Yes.

First two songs (the first song in particular) had me so hopeful and captivated. But what followed was a slow dive into easy-listening monotony. Wasn’t horrible, but there wasn’t much going on otherwise.

“Please Forgive Me” is a proto-postal service beat thats serene and idyllic. The song is so sweet and loving! Such a nice opener.

“Babylon” was a song I didn’t realize I knew. It got played soooo much on the radio when I was little.

Also, the voice sounded a little too much like Bob Dylan at points, like on “Say Hello, Wave Goodbye”.

3/5, soft - like the music

I got NOTHING out of this, and I really wish i had more to say. Just lots of experimental rock, but nothing to latch onto. Lots of interesting noises sprinkled in, but nothing to tickle my brain. A lot seems to be said about how this album reaches into spaces beyond just direct lyrical expression of discontent or protest, and I suppose I could see it, but I’m not stricken with awe by its avant-garde methods.

Sounds a bit like a foundation for Protomartyr. 2/5

His acclaimed stage presence does not transfer over to the recording booth if you ask me.

A song like "Sweet Sixteen" shouldnt be permissible on this list. This album is good for one song and it's the obvious "The Passenger". The masses got it right in uplifting this song to frequent radio play.

I'm pretty sure I heard Bowie's backing vocals on "Tonight" as well - I was hoping for more from this album knowing he was involved.

Just had a Stooges album shortly before this and from what I've heard so far, Iggy Pop and his projects just don't do it for me

LOVED this.

Incredibly captivating opening song. Moody, dramatic instrumental. I didn’t totally fall for Hawley’s voice as a perfect fit for the song, but he makes it work.

“Just Like The Rain” swayed me though. His delivery gets more effortless over this very catchy road-trip type song.

The first half of “The Ocean” didn’t go over as well, but this became an exception to the rule for the quality of Cole’s Corner.

The chorus of “Born Under A Bad Sign” is great work. So simple, so catchy, and a pre-chorus attached to it that makes you want it even more!

“Last Orders” is a heavenly closer. Seriously a great use of that chamber sounding piano.

Cynicists will tell you this album is just full of wedding and heartbreak songs, but my ears hear more than that. Hawley puts a great album together thats entrenched in the various facets of love, adoration, or desperation. But he does so with such a measured, pleasant delivery. Kinda like an alternate, not-experimental Nick Cave.

The heights of this album made me feel like it was a genuine 5 stars, and someday I might feel that way. For now, a very earnest 4/5. Enjoyed this all the way around.

More like Everybody Knows This Album Goes Nowhere.

What is the deal with this much Neil Young on this list? There are so many other American singer/songwriters that did what he did but without sounding so whiney and one-note. So little varies from album to album with this guy.

The “la la la la” singing about 35 seconds into the title track is particularly laughable. Seriously, it’s not charmingly human, it’s grating my ears.

At least “Round & Round” follows that song up, which reaches redeemable levels of listenability.

We gotta remove most of these NY albums PLEASE. Soft 2/5 dont make me give this man another 1/5

A pretty fun listen. Liz Phair has a very engaging ability to tell a story or just let her emotions out. Apparently this is a song-for-song response to a Rolling Stones album?? Anyways

I’m not sure what I like more, the very heartfelt ballads or the more humorous, edgy songs. You can kinda split them evenly into the two buckets.

I think “Canary” is my favorite of the more serious songs, especially for its piano instrumental.
“Flower” is my favorite of the more boisterous songs, I think Liz is leaning into the male fantasy projected onto her and singing these lyrics with some level of cynicism.

Most of all, this whole project sounds like it was made in the early 2020’s and could land on any number of Spotify indie alt girl playlists. That’s the really impressive part! 3/5

Im no expert, im actually the opposite of an expert, but this is probably on the better sided of blue-eyed-soul. That being said, I'm about to contradict myself with my song recommendations for this project.

"Son of a Preacher Man" is fine but I don't think it stands out THAT much to me.

"Breakfast In Bed" was much more memorable purely for how fun of a listen it was.

Now, "The Windmills Of Your Mind", THAT'S a track. So dramatic and vivid. That song, and "In The Land Of Make Believe" with its bossanova switchup, are standouts to my ears. Everything else gets a bit predictable.

Soft 3/5 those standout tracks saved it

While this album has a very raw, punkish ethos that's undoubtedly infectious, I can't say I got much more out of it than noticing those things.

Unfortunately a non-starter for me, listened to it all the way through, and still feel the same. Not horrible, but with having access to music that iterated on this in a much more appealing way, I won’t remember much from this one.

The fact that these are covers of country songs is insane!!!

“You Dont Know Me” is the first standout song on here, the soaring strings and backing vocal accompaniment are so charming. Add these to Charles’ heartfelt crooning, and it all comes together to make a really special, wondrous but still sad song.

The one that really got my attention was “Careless Love” when he hums the ‘well if I could hmmmm’ part. So much soul comes through in little choices like that. It’s hard to even call it a choice, these sentiments seem to be destined to spill through Ray Charles artistry. He’s at his best on this album with songs like these, when everything sounds super floaty, when Ray is hopefully pining for someone.

I knew that “Hey Good Lookin” was too good to be an original by Jimmy Buffet/Clint Black (no disrespect to Jimmy I love him).

Speaking of covers, “You Are My Sunshine” is a neat lift of a classic so different that it was hard to recognize.

“Leave Me Alone” was a nice change of pace; it speeds things up in contrast to what can be my only criticism of this record, that a few too many songs are functionally the same. In my perfect world, Charles picks the best dozen of the bunch and tinkers with them or lets them run for a while.

But that’s a nitpick at best! Ray Charles was in his bag. Such a rich voice. 4/5 all day on this one

This album made me feel like a hypocrite because here i've been, banging my fist to the desk for more diversity! Less rock/pop! And then this shows up and it just doesnt land. So happy it's something that isn't American or British, and she certainly has a STELLAR voice - but it's a bit too showtunesy and theatrical for me. A lot of the instrumentation, while diverse and impressive, sometimes sounds a bit thin? Maybe part of that is that it's an album from 1988 compressed into a youtube upload, but yeah.

My pick is "The Ballad of the Sackslingers" for it's constant tempo changes and vivd storytelling.

Just not my jam at all. It's not at all bad! Just not for me

All my points go to how this record holds some very unique takes on the sounds of roots in dub/raggae and blends it with all sorts of sounds in a nuanced way!

“It’s Great When We’re Together” is a wonderful song with a soulful, more expansive lifting of the typical dub/raggae sound into something more soulful and mass-appealing. Excellent chorus on this one. And for some reason I can’t quite put my finger on, this sounds like a drum less Jamiroquai song?? Does anyone else hear that or am I going insane after 520ish albums.

The next song “Sunday Shining” starts out much more rough and I admittedly didn’t like the beginning of it, but it actually develops into a nice big band rocker towards the end.

“Ride On And Turn The People On” is incredible and a blend of genres right up my alley. Still using that dub/raggae foundation, but this time taking on some new age and even jungle production aesthetics! And also a stream of consciousness/personal slice of life subject matter I think? This song is so cool and I’ve never heard another song like it, which is impressive because dub/jungle/raggae/breakbeats/new age we’re all getting their moments in the sun around the turn of the century.

“Supreme I Preme” is another interesting sound, it kinda throws in some early trip hop into the mix. I really like how fuzzy it all sounds.

On this list I often hear albums that dip drastically in quality on their second leg; that isn’t necessarily true for Maverick A Strike, but it does get decidedly more mellow. Not a complaint, just more of a listener beware.

Firm 3/5, Ive been wishing for a 10 star system again lately because this probably sits more at a light 7/10 on a good day for me

*HIDDEN GEM ALERT*

The new wave genre classification was a bit misleading and led me to be pleasantly surprised by this album! Front to back, the band seemed like they were having lots of fun in their performances.

“Love Plus One” is a JAM! I knew by this song I’d be smiling while listening to this project. There’s so many little 10 second motifs and musical ideas that are all so catchy just on this song alone.

“Lemon Firebrigade” was like adding a little spice into the track list. The strutty guitars, the bongos, that bassline groove!!! Oooh!

“King size” gave me many of the same lively, energetic feelings. I just really like the way this song plays out with that horn section.

“Snow Girl” almost has a bit more of a classic rock construction with that E. Street Band horn hook and the cowbell going off in the chorus. A nice little mixup.

“Surprise Me Again” is kinda like this albums “Here Comes The Sun” it’s super bright and cheery and lovey, I found it endearing.

Man this album was just good. Front to back. Really impressed. Falls just short of a 5, just missing a little something special, not quite my idea of perfect. But really, really fun. Huge 4 stars

This album is carried by its aesthetics and stylistic choices, even down to the album cover. What I often forget is how existential and dreadful some of the lyrics are!

“A Means To An End” might be the most memorable and accessible of the songs for that simple looped guitar/bass melody.

But “The Eternal” is my favorite off this record for just how ethereal and ghastly it sounds. Surely this album gets the Halloween boost every autumn.

So very forward thinking drum patterns and tiny composition choices, but also forgettable at points. Soft 3/5