Reviews by john

I’d like to know the bands ethos and intent with making this album. Because I think it’s great background indie music, meant to sit out of focus or accompany another activity. Nothing offensive, few moments where they break into a sound thats more loud or focused. Those moments are my highlights!
“Two Weeks” is an Arcade-Fire-style classic.
The last minute of “I Live With You” gets exciting.
And “Foreground” is very aptly named, as it’s more captivating of the listeners attention than most songs on here.

Put this on as you go for a long PNW drive / 5

Not a lot of heart, soul, or variation to be found here - and I don’t think they intended for that in a cool way. You know it’s tough when the singles that I remember from my childhood dont really invoke a sense of nostalgia. “Save A Prayer” is a slight stand out, but it, as well as “The Chauffer” show up too little too late. Maybe there was a visual component I’m missing out on since this was around MTV times, but other artists dug so much more out of this sound and took it in so many more interesting directions.

Just skip this album / 5

What a fascinating ‘passage of time’ skit to open an album. Telling a story without rapping about what’s happening.
Then “Things Done Changed” drops with one of the coolest, snazziest instrumentals under Biggies iconic flow and it’s just chills! The string section coming in and out on loop, it’s all so lavish.
Track after track here, it’s all about hitting licks, kicking back, and living in the afterglow of everything BIG did to come upon these riches.
I’m so impressed with the sweet spot these beats find - full of character and texture, but never getting in the way of the rapping. Around “The What”, things start to get a little one-note, which is what makes “Juicy” even more refreshing. What a purely happy song.
My problem with this album is just that it’s a little bloated, in a vacuum. Add to the context that biggie never got to put much more out after this, and I can give some lenience, but only some.
Still, in so many ways this album is chalk-full of iconography. It forged an immediate legacy, I respect it for that

This might be quintessential music made to conjure a mosh pit. Malicious messaging, volatile vocal performances, violent instrumentals. It’s done well! For what it is. The drumloop weaving in and out of “Eyeless” then going back to the ‘can’t see California’ vocal line was really cool. I didn’t expect any song from this album to be as sticky and memorable as that one. For sure my highlight of the project.
“Surfacing” might be a nice little summation of this record - within the wild defiance and chaos lies a still-beating heart thats one bad day away from dropping the scary facade to give way to tears and all the trauma head on.
Call this numetal or anything else you wanna call it, it’s not galavanting and it’s not typically machismo like some metal is (though “Tattered & Torn” would like you to think otherwise). I found a lot more nuance and substance here than I expected to. I think it just took a lot of trauma and a lot of artistic vision to realize the trauma in the way this album sounds.
It’s crazy to read that they took their sound in a ‘darker’ direction after this. Seems hard to do!

I wouldn’t listen to this again but am surprised by how much I got out of it / 5

Moby might be one of THE toughest challenges facing both my actual music preferences, and my admitted biases. When I was younger, I didn’t understand Aphex Twin. I thought it was just bleepy noise, that dubstep and electro house was where it’s at.
Not too long ago, this list even broke through my preconceptions about how whiny the smiths were (to an extent, at least). But Moby…Moby was and has been a tough nut for me to crack. All I ever heard was wallpaper music that sat in the boring middle ground between music for ambience and actually palpable electronic music you could move to. ‘Electronica’ has been a tough moniker in general for me that I’m only really getting over my dispositions for in the past year or so.
All of this to say, I have been waiting for this one, for better or for worse. Did Moby deserve the success this album brought on? Have I aged enough to ‘understand’ Moby? Does age = broader taste? Is it a ‘me’ problem?
Well, it's complicated. The music on here is very fundamental. I wouldn't be mad at you if you just called them beats. And the beats take a downturn once "Southside" hits in the tracklisting. The classic 90's slowed breakbeat doesnt change, but the singing on this track isnt it. I liked the new age, surreal moments on "Porcelain" and "Why Does My Heart Feel So Bad?" well enough, but this just wasnt it. A song like "Machete" is a good example of what I feel this album lacks: impact. There's just no punch in most of these songs. They're more vibes than songs, or somewhere stranded in the middle between a vibe and a song.
"Down Slow" works better as an interlude, becuase it's jsut that - an interlude. A short, hazy beat that knows when to leave after a minute and a half. I think DJ Shadow's Endtroducing... does everything this record fails to do. Endtroducing is additive and wandering, sometimes randomly frenetic, always engaging and/or mysterious. Play is just a bit too wallpaperish, too frequently. Maybe good for a kickback, that's about all.

I can't say my opinions totally changed on this album, and on Moby so far. While I understand the appeal a tiny bit more, and recognize this music has its place, I still dont know that we all lifted the right guy to such great heights during his peak. Nothing sticks.

The first 45 seconds I’m like ahhh what a nice instrumental this will be fun then BOOM AHHHHH HE SOUNDS LIKE MORRISEY AHHHHHH!!! I’m only partially kidding.
I don’t wanna say I had high hopes for this album, but anytime I see something post-2000 I’m hopefully for a breath of fresh air. I didn’t necessarily get that here. I heard a bit of what was contemporary for this albums time, but nothing that Arctic Monkeys didn’t do better at a similar/slightly later time.
“What Katie Did” was a fun little stroll of a song.
“Road To Ruin” had a very The Clash sort of marching vibe to it.
As the album begins, so it ends with a Morrisey/Smiths style song in “What Became of the Likely Lads”.
I think this album is good for its aesthetics, isn’t a bad listen by any means, but doesn’t leave a lasting impression or differentiate itself from the crown of British rock at the time.

Some vibes but nothing more / 5.

I know I just got done listening to the new Panda Bear album, but wow does he sound like a new version of the title track on here. So thats saying I enjoyed the start of this album. It’s all got a pleasant, trying to be utopia feel about it.
“Do You Remember Walter” sounds a lot like the blueprint for Mr Bluesky too!
Unfortunately, around “Johnny Thunder”, this album succumbs to a bit of the tired sounds of it’s time, I feel myself resisting the urge to think comparatively about the Beatles, etc.
“Starstruck” is a standout for me for the “babababa” chorus.
“All My Friends Were There” is so goofy and circus-ish that I replayed it a couple times.
This is overall a respectable effort, I’m guessing this was a diversion from some of the earlier mid-60’s stuff The Kinks and others were doing.

Easy on the ears / 5.

If you can stomach some of the craziness and make it through the occasional song that gets a bit lost in its story, you’re in for a narrative treat on this one.
“Stagger Lee” is a shocking, wildly vivid story that makes you wish it wasn’t true.
“Lovely Creature” is good for its haunting sonic atmosphere with those airy backing female vocals and that constant snare roll.
“The Curse Of Millhaven” is an outstanding song, story, and my highlight on this record. Not only does it captivate you with its narrative, but the “la la la la” melody it keeps reciprocating just adds even more to the tension. Nick Cave sells out with the energy he gives this performance!
“O’Malleys Bar” probably has the best character portrait of all the murderers on here (crazy sentence to say, I know).
Last, “Death Is Not The End” puts a unique bow on the whole thing, but its message is fitting considering the albums concept of innocent people being killed.
This album is a rarity to me in that it gets better as you get further into the track list. You sink into these vivid, terrifying stories with ease thanks to thoughtful vocal performances and some helpful backing tracks.

This is a massive success full of measured vocal performances layered on top of exquisite instrumental jams.
Right off the bat, “You Ain’t The Problem” is an ear worm that sets a great tone for the album. “I’ve Been Dazed” is another great song just a few tracks later that goes on a nice little psychedelic exploration.
The jams continue on “Piano Joint” which has this suspense-laden, Bond movie string section with a fantastic vocal performance. What follows is one of my favorite things in a good album, the use of relative silence to heighten the atmosphere. It’s at this point that I knew I was in for something special!
I think that use of silence and creation of ‘space’ is what I’d most like to highlight about this album. It seems like Michael Kiwanuka is always hitting the right spot in terms of energy and emphasis - everything comes off so effortless.
What sealed the deal for me was the transition between “Interlude” and “Solid Ground”. WOW. Just perfect.
I’m treating this album as a gift for having gotten through my 3rd Byrds album in a few weeks.
A STRONG 4/5 stars!

There is no FUCKING WAY this is the third Byrds album I pull in two weeks. Unacceptable!!! To the maker of this list, I hope you suffer the listening of 1001 bloated, nothing-burger pop albums this year. What’s worse is this comes on my Sunday run day. This is not music to run to!!!!
“5D” is a respectable opener that is both placid and transcendental, which momentarily quelled my rage for having to listen to this album. Aa I make my way through this track list, I’m realizing this is the easiest on the ears of the three Byrds albums I’ve had so far.
No matter the performance or message, like the anti-war “I Come and Stand at Every Door”, I’m having a hard time reckoning with this. “Eight Miles High” doesn’t have the star power needed to justify anything either.
No, no “Hey Joe” variation will do oy for me either.
No, the endearing “John Riley” won’t stop me from being mad.
The Byrds are not among the handful of artists that deserve 3, let alone 2, spots on this list.

If you asked Scott Walker what to do when life gives you lemons, I’d bet he’d answer something along the lines of “make the most elaborate, decadent, flavorful, bright, sugary lemon cake.”
There’s so much character and rapid fire imagery here within the first minute of the first song that you kinda gotta meet the album where it’s at. I’d love to ask him to slow down but that’s apart of the fun of it all.
“Jackie” sets the tone for the whole record, and depending on how you receive it, you could be in for a great, vivid trip, or a tiresome, theatrical display.
You know who I’d like to draw a modern comparison to? Orville Peck. Especially on the song “Black Sheep Boy”. Everything is so galavanting and turned up to 11, even on the softer cuts.
“Next” is both incredible and kinda harrowing/sad. It’s so specific that I wonder if this was a lived experience.
“The Girls From The Streets” continues some fantastic story-telling, but locks you in your listening seat and doesn’t let you move.
This album on the whole is full of songs that seem just a beat off from achieving massive pop success. The colorful instrumental arrangements are there (“Wait Until Dark” was one of my favorites), the even more colorful vocal performances are there. It’s just that Scott never turned it down a notch. I really respect it, I think he has a great intuition for songwriting and showmanship. It’s just a lot to take in. Still, I had a lot of active listening moments throughout Scott 2, and for that, I appreciate this album a lot!

After an off-putting opener, U2 settles into their sound nicely on “Even Better Than The Real Thing”.
“One” is a very simple, timeless hit that can still be appreciated to this day.
“Mysterious Ways”, on the other hand, to me is largely overrated and shes not as well.
Everything in between is kinda just ho-hum. This whole album is a blueprint for bands like Radiohead to take and experiment with / iterate on.

Almost positive the opening sound effect on this album is a Star Wars tie fighter. Could that be related to the album title? The year Star Wars came out??
Is there a lot of substance to this album? Not really, honestly. But I need to check myself, because I feel like the me of 8-10 years ago would’ve been more into this one. Lots of angst and raw energy, lots of songs about girls and the highs and lows of being young.
My highlight on here is easily “Kung Fu”, as it’s the most pure fun on the record.
Still, I am left questioning if this deserves a spot on a list of 1001 albums you need to listen to.

Despite hating fast cars, the opening track is kinda the energetic equivalent of driving a really fast car. The drum patterns and fills specifically are really impressive for punk music, whoever the drummer is, he’s shredding!
“Get On Our Own” has a really funny vocal holler on the chorus that was a highlight for me.
The lyrics of “Sixteen” give me an uneasy feeling, which sucks because the composition is so cool and unique.
There’s a handful of moments peppered throughout the record that make sure you’re paying attention.
Worth your time / 5.

Ok is this among the best that Clapton has to offer for his solo stuff? I genuinely am unfamiliar. Because if so…meh. Not only am I left underwhelmed, but I feel like there’s a lot of lifting from black culture/music here. “Willie and the Hand Jive” is an eyebrow raiser, but the cover of “I Shot The Sheriff” is Drake levels of lingual and cultural appropriation. This is how not to it, whereas an album like Paul Simon’s “Graceland” is a much better example of honoring black culture and highlighting black voices without just ripping it off.

I wish more songs were like “Please Be With Me” or “Let It Grow”. You can see the soft beating heart poking through, no gimmicks, no code-switching.

I don’t know if I’ll remember many songs from this record, but I will remember how great it sounded and how well it was produced for 1995 (remaster aside).
“Only Happy When It Rains” is probably my highlight for its anthemic chorus.
“As Heaven Is Wide” has a nice mellow breakbeat and chunky guitar loop/bassline.
“Stupid Girl” has a really sticky little piano refrain on loop that stuck with me through the album.
“Milk” is a personal pick for me for its downtempo breaks, synth strings, and general dramatic rock-meets-electronica mood.
Is this rock? Is this electronica? Who’s to say, but it’s worth a listen.

Actually solid / 5.

Music brings people together, and sometimes people bring music together. I’ve learned that many times over, and this album is no exception to that rule. With that in mind, I’m so thankful for my lovely wife Emma and her strong conviction to bringing my ears to women-led hands like this, and to the catharsis Siouxse and the Banshees provided her and so many others. Not only is there a great deal of catharsis to be experienced in the topics this record covers, but it’s performed so well - especially for the late 70’s.
The last minute or so of “Carcass” has a super catchy clap rhythm section that must’ve been especially fun to hear in concert.
Immediately after is one of the coolest covers of all time, “Helter Skelter” with an eerie, silence-ridden intro. It’s a cover that has so many cool tricks and production elements in it, I don’t want to spoil any more by further talking about it.
The high-pitcher vocal intonations towards the end of “Metal Postcard” and the beginning of “Nicotine Stain” give everything all the more character.
Please forgive my ignorance, but whatever that now famous punk/postpunk drum pattern is that’s done on “Switch” here is maybe the best example of it ever performed.

The only crime here is not one to do with the music or the band, but on American audiences not giving this album aa much widespread love aa it deserves.

Sometimes it’s about set and setting. While it’s the first day of March, it’s been really nice out this weekend. It’s 60 degrees, we’ve been sitting out in the sun. I get to listen to this album on a lazy Saturday. It’s been perfect. “August Day Song” has hit its mark while I work on my gamecube controller maintenance in the sun. A huge contributor to this albums vibe it’s the really pretty blend of bossa nova with a bit of electronica production elements sprinkled in. A nod to the producer Suba, who apparently died saving this album from a studio fire. Another favorite of mine is “Algueno” for its slowed breakbeat-style rhythm, it sounds like it’s come out of a Miami sunrise circa 2000. If you wanna cut to the bossanova chase, listen to “So Nice (Summer Samba)”.
The last few tracks of the album pick up the energy a bit if the pace of this album isn’t for you. But, especially in the context of this list, I don’t know how you can’t appreciate this album. Something as unique as a Brazilian bossa album helps create a listening experience, not just an album to get through. Loved this!

Yesterday I was listening to System Of A Down, thinking to myself how one-in-a-million their sound is. I wondered what other musicians I could bring to mind that were known for such a unique, instantly-recognizable sound. Simon & Garfunkel’s harmonies came to mind. “Scarborough Fair / Canticle” took all of 20 seconds to open up this album and confirm that exact thought I had. While simple harmonies over some folksy instrumentals were commonplace in the mid/late 60’s, a song like “Cloudy” is a good example of how S&G just did it with so much more character and spunk. I think “Homeward Bound” is the popular song from this record, but honestly it fits right into the track listing, it doesn’t stick out like a sore thumb.
“59th Street Bridge Song” might be the most pleasant Sunday morning go for a walk song ever - it’s very homely and peaceful. Then comes “The Dangling Conversation” which is one of the most arresting and pretty songs I’ve heard in a long time. I cannot believe that these two were operating on such a perfect level even in the 60’s, that song is incredible. There’s a bit of Bob Dylan influence on here, as is the case for most 60’s white dudes, I’m learning. “A Simply Desultory Philippic” however, isn’t just a little artistic influence, it’s an outright parody of Bobby. Does it take me out of the immersion of the record? Maybe a little, but it’s still strikingly accurate. “A Poem On The Underground Wall” is a forceful, colorful rambler that continues to keep the quality of the record super high. The closing “7 O’clock News/Silent Night” was a strangely calming experience for me. It helped me realize that the craziness we are experiencing in the country today gave a similar feeling of unease that is conveyed in the news monologue on this song. Really cool way to end the album.

One of my biggest takeaways from this entire list so far (about 370 album in) is that Simon & Garfunkel are worth all the hype and more. I thought about how this list could get annoying to someone who doesn’t have a taste for S&G, but then I thought how that could even be possible! The duo is undeniable. My only giant ding on this album is that some of the songs were so good I wish they went longer and had more time to evolve and develop. Strong 4/5 stars

Ok my knee-jerk reaction to the first few seconds of the first song was to think that he sounds a bit like Jimmy Fallons impression of Barry Gibb LOL.
Looking beyond that, there’s some substance here. Lots, actually. “Down Where The Drunkards Roll” paints a really vivid picture, and is probably my highlight of the record. “Has He Got A Friend For Me” is one of a few examples of this album having some actually unique things to say, some songs about stuff you probably didn’t hear much about at the time. The closing live track, “The Calvary Cross” is a pretty exceptional live jam.
I think this one just comes down to personal preference, I won’t be going back to it. There’s a lot of substance here like I said, maybe just not a lot of impact or memorable delivery of it all. And that’s ok, I can see there being a time and place for this album!