Reviews by john

There’s just no way. No way that yesterday’s album was the Byrds previous album, which wasn’t my favorite. There’s just no way. The ONLY benefit to these albums being back to back is that I still have the Notorious Byrds stuck in my head, which I would’ve otherwise forgotten in a few days time. So, comparatively, this album is a little better. Going from psychedelic rock into country probably turned some heads and turned away some fans.
“I Am A Pilgrim” has gotta be a blatant rip-off of “Will The Circle Be Unbroken”, no? Like, clear as day.
My highlight of the album is probably “Nothing Was Delivered”, which was a memorable tune on an otherwise forgettable back end of the record. A Bon Dylan cover, which I appreciate, as it shows that they weren’t trying to hide their inspiration for this new artistic direction. Soft 3

Technical boundaries were pushed, but u fortunately, so was my patience

It’s a bittersweet end to The Smith’s run of albums, as they were just starting to piece together ways to not be so whidbey and one-note all of the time. “I Started Something I Couldn’t Finish” highlights a strong few opening tracks on this album. “Stop Me If You Think You Heard This One Before” has a super catchy “I never, I never” refrain.
Another bit of relief is Morrisey not taking himself as seriously, signaled by points on the record where he gets very weird with his vocal intonation / delivery.
If this is the last Smiths album on this list, I won’t be mad about it. But I’m thankful and happy to say I’ve dropped my blind bias against them, thanks to this daily list

For better or worse, nothing offers more street cred than surviving being shot multiple times. With that as a leading narrative (emphasized as early as “What Up Gangsta”), 50 comes into the booth with a fire under his ass and a recognizable, 1-of-1 delivery. The beats on this record are sinister, bouncy, and state-of-the-art for their time. “Many Men” has basically become synonymous with surviving a situation you shouldn’t have, whether it’s as big as a shooting or as small as a car cutting you off in rush hour traffic.
50’s team knew what they had going, following up with “In Da Club”, an iconic single that enshrined him in the cultural lexicon thanks to a simple set of steel-drum hits syncopated to some crunchy club drums.
What’s beyond this is more leaning into drive-by’s, pimped-out cars exhibitions of grit, and some signature 50 Cent hooks, proving that rappers can at least pass as singers every once in a while.
Dr. Dre leads a team of producers in a memorable effort - all of these instrumentals are aged, but almost none of them aged *badly*.
Shoutout to the VERY east-coast “Back Down” for its creeping, evil, repetitive beat.
If you waved the flag for new school gangsta rap back in the day, you could point to “PIMP” to make a strong case for the shifting subgenre.
This isn’t perfect front to back, “Poor Lil Rich” is a bit nasaly and repetitive.
That repetition gets a pleasant break on “21 Questions” which is about as earnest and romantic as this record gets.
50 rides the album out from there, constantly aiming for crossover success, toeing the line between accessible radio cuts (even keeping the slurs and dated language to a relative minimum for it’s time) and ill-willed posturing for his G Unit. Tight flows wrap the bow on Curtis Jackson’s presentation of 50 Cent to the world.

This is also the fourth 4 stars I’ll give in a row! That has to be a record for this list. Making up for the 1 star record from just before that.

Just a spectacular hook to open up with on “So Many Sides Of You”!! A groove thats super in-the-pocket, a really memorable phrase and energy thats hard not to latch onto. “Lay Your Lovin’ On Me” takes a little longer to get to the point, but the pay off is there in the chorus all the same - that chorus of vocalists are majestic, floating over the bouncy funk arrangement until it fades out.
“Secrets” follows next and is a bit less impactful, doing mostly what’s the first two songs do with a bit less oomph. A special shout-out to the bendy circus keyboard effect on “Just My Imagination”, which pairs so well with the contemplative, chuckling nature of Womack on this one. What comes after are a few songs which are a pleasant but quick mix of dance floor heaters and romantic jams.

Then comes “If You Think You’re Lonely Now” which very well may be the best funk song past the 70’s, if not if all time. This song is perfection and the world is better for this song existing in it.

A longer closing track concludes an offering from Bobby Womack that is so fun and thorough on all fronts. Really loved this one

This album is “So” 80’s. It’s so 80’s that it has an Africana inspired art pop duet with Kate Bush that sounds a bit like their version of “Bridge Over Troubled Water”. What was it in the 80’s? Paul Simon was also on this africana-inspired pop wave. Anyways, huge highlight here is “Mercy Street” for the stellar double vocals it’s got going on, the dual-octave effect makes it sound otherworldly and leans into the dreaming effect the lyrics go on about. Really really great song.
“Big Time” sounds like it should be a modern day Djo song, with its tongue-in-cheek lyrics painting a goofy narrator.
Another fantastic song is “We Do What We’re Told” which once again is very airy, dreamy, and strays away from the pop side of things. No offense to the Sledgehammers of this album (banger song), but the coolest passages on here are the more experimental bits. I suppose this is a great litmus test for diving into Peter Gabriels work - if the stranger stuff on this record interests you, then get into his stuff - I know I will!
I’m feeling the lightest 4 stars here, mostly for the memorable, unique songs.
While there are some flops peppered in here, Peter makes a strong case for his ability to perform thorough pop music. Especially when he ends the album “So” strongly.

I’ll see myself out.

A really good way for Bon Scott to go out. You can tell that this band had been doing this for a while, and that there are two brothers in the band. Everyone’s very in sync, not that this is super complex rock or anything like that. As per usual, AC/DC knows what their hits are worth, and open yet another album with a classic. “Highway to Hell” is so anthemic and indicative of the bands whole brand up to that point. “Touch Too Much” is another memorable rocker for its repeatable chorus. “If You Want Blood” is basically the same sort of song too. Which is a fair criticism levied against the band, for this album and in general. They don’t really stray from the formula at all. Which is a shame because some of their most memorable songs have those artistic liberties (with Bon Scott or Brian Johnson) like the “oy oy oy” chorus on TNT or the canons on For Those About To Rock.
This record lulls into scuzzy rock monotony at points, but otherwise is a fantastic, wired-up crescendo to Bon Scott’s career and life. Soft 4/5

I don’t want to have to come down on this album hard. I have a high tolerance for country-rock, I was raised in a home where a lot of it was played. Even if I don’t like it, I can see the appeal in its best offerings. But this is not the genre’s best offering. In fact, the genre isn’t even the big problem here. The problem, unfortunately, is Neil Young’s voice.
Neil is HURTING to hit those higher notes. It’s not lovably aged like the later Johnny Cash recordings. It’s not charmingly personable like Leonard Cohen or Yung Lean. It’s just screechy and rough. Neil Young is an incredible musician, but nothing here warrants him attempting to sing his way out of things.
From “Over and Over” up through “Love and Only Love”, it is a slog to sift through the singing, only to find some very safe, typical country-rock guitars and drums. It’s not all horrible though! The conviction on “White Line” is fairly compelling and memorable. “Mother Earth (Natural Anthem)” is almost like this cruel teaser at the end of the album, showing that Neil and the band are capable of unique song arrangements and quality performances. But the rest of this album, from tracks 3-9…a slog. I’d go listen to earlier, more iconic Neil Young, if that’s what you’re searching for. And if you want good country rock from the 90’s, just do Garth Brooks. Nothing to see or hear on Ragged Glory here.

An unfortunate indictment of this albums lack of impact is the songs that Spotify played in the queue after the album ended. All of those songs were similar, but packed more of a punch than most of what can be heard here. Now, Hour of Bewilderbeast isn’t bad! Just…too hazy. I’d be more prone to enjoy this album outside the context of 1000 albums I should listen to.
A few good moments on here are the opening track, “Once Around the Block”, and my pick from the whole record, “Blistered Heart”, which is full of vulnerable moments and a nice guitar melody.
I don’t fault this album for anything, and could hear it accompanying a Gilmore girls style show, but I am left wishing for more substance and impact. Strong 2 stars.

Much like Bill Clinton, Cat Stevens’ appeal comes in the form of his ‘folksy charm’. Stevens is direct and simplistic in his lyrical approach. Don’t expect him to even raise his voice very often. A lot of these songs seem to be about finding oneself and contemplating ones place in the modern society or universe at large. “Miles From Nowhere” holds a message about the idea of self being something beyond just the physical body. It makes me wonder if Cat Stevens was a nice comedown artists for the hippies that were coming down from some heavier trips in the 60’s. “Longer Boats” might be my sleeper pick on the album for its infectious harmonized chorus - it’s a fantastic hook that knows its power, which is why it gets repeated plenty of times over the course of 3ish minutes. “On The Road To Find Out” is probably the only noticeable moment where Stevens ramps up the intensity a bit.
Then there’s the very famous “Father And Son”, which is just so arresting in the best way possible.
All of these wonderful moments out of the way, I am left wishing for more “Father and Son”, and less of everything else. A bit more commitment to a song or idea, and a bit less meandering. But meandering is a big focal point of this record. Cat Stevens has a very recognizable style and voice, which is also worth a lot in the pop world. Soft 3/5 for me.

A few years ago I would’ve been potentially territorial about non-Americans being so critical of America, but at this point it’s totally fair and warranted. Not that this album is strictly critical, it is at times scathing, and at times painting a caricature of people here. And that’s understood! The highlight here is the insanely named “ IFWHITEAMERICATOLDTHETIUTHFORONEDAYIT'SWORLDWOULDFALLAPART” for obvious reasons. There’s a handful of good hooks here that are indicators of a pop-punky (NOT pop punk, pop-punky) formula that would be commonplace years later. My criticism of this record comes in the form of how it stays at the same level of energy and noise until “This Is Yesterday” which gets a little bit more quiet, then the rest of the album resumes that same level of noise once more. Some variation would be nice.
Solid social-awareness/protest album

I am a sucker for two types of album openers. The first of which, I like to call the EDM Headliner Opener, where there’s a long drawn out buildup starting from practical silence and slowly easing you into some epic opening melody. The second method, after listening to this album, will from here on out be known as the “Skunk” method. 0.00 seconds wasted, your attention has been commanded by way of screaming. You don’t get much of a break until “Wail”, where noise rock meets some Elvis jiving. We continue our dive into the odd trip with the psychedelic “Fuck Shit Up” where you realize that the only rules this album follows is that there are no rules! I think this album retains its fun factor until “Love All Of Me”. Something about the more twee intro of the song made me want something more.
The blueprint is set from this point on. Rocknroll tangents, baritone crooning that jumps to distorted yelling. High-energy in-your-face performances. I appreciate this album for how uncompromising it is, and how I haven’t heard much else like it on this list so far.

I’m beginning to learn that the tried & true Sabbath formula was some galavanting guitar licks paired with the most agonizing cry for help lyrics you can think of.
“Changes” got its flowers with how it’s been covered over the years and I’m glad it did, the song is worth the attention. “FX” might be the musical marker for when the drugs started to kick in for Ozzy. The more this record progresses, the stranger it gets! “Supernaut” has such an interesting little percussion passage midway through. Then there’s “Laguna Sunrise” which just mellows everything out with am acousting guitar and some accompanying soaring strings. Then BOOM it’s back to some dudes rock guitar licks on “st. Vitus Dance”. It’s all a little flip-floppy and hectic, one of the more irritating instances of song sequencing/ track listing.
Even with its peculiar moments or fun production choices, this album doesn’t really warrant a spot on here IMO, especially considering there’s at least one other Sabbath record on the list.

I always look like this >:( when I see Jack White/most any rock on this list past 2010. So much had been going on that was so far outside the realm of anything guitar-based. Luckily for me, this isn’t as ‘rock’ as it seemed at fave value. Furthermore, almost anytime I’ve listened to a Jack White record, I’ve come away thinking “this guy really has a lot of fun performing”, and I once again feel the same way with Blunderbuss!
It did take a little while to settle into, though. Then “Love Interruption” played and I started really enjoying things - it’s probably my highlight of the album. The title track is pretty cool as well, especially if you’re into Zeppelin-sounding songs. The most pure fun you can have with this record is easily with the song “I’m Shakin” which is kinda like if the Black Keys actually made something with actual character that wasn’t incredibly derivative, he sells the hell outta this song. Fun, thorough rock that isn’t afraid to explore a new idea or sound for a bit.

I have so much to say! Guys it happened! I finally liked an album mainly for its lyrics! For LYRICS! This never happens!
Also, have The Beach Boys GONE WOKE?!?!??? WOKE BEACH BOYS???

In all seriousness, I loved this albums messaging. It’s so strange to hear self-awareness in such an old album. I’m reminded of one of my favorite albums, “Plastic Beach” by the Gorillaz - much like Surf’s Up, it’s vibrant, colorful, and ear-wormy, with lyrics about a failing environment and other ethical issues.
“Long Promised Road” has such a nice sentiment about positive determinism in the face of a great challenge - more music needs to be like that (like Nurture by Porter Robinson).
“Take a Load Off Your Feet” spoke to me specifically as I am feeling more and more physical ailments after each work day/workout.
Lastly, “Student Demonstration Time” is awesome for how blunt it is, just listen and learn.
Loved everything I heard and learned, loved the messaging a lot here!
Thats 4 BOOMS from me

My hopes were high for this one after reading its description, but I’m afraid it didn’t live up to those hopes. I just had a hard time finding many musical ideas or hooks to hang onto here. There are some exceptions, the ending of “Everybody Knows (Except You)” with those ‘ba-ba-baaaa’ backing vocals was really fun. The album was so short that I listened to the disc 2 remaster, and enjoyed “Bath - live” a good bit too. But outside of that, I don’t think I’ll remember much from this one, nothing made a lasting impact on me. Not bad, just not exceptional.

I think I’ve come out of this record still a bigger fan of the Shaft score. But also with an appreciation for the conviction Issac Hayes brought to each song here. “Walk On By” builds upon itself really well up to the 7 minute mark - it’s probably my highlight. “By The Time I Get To Phoenix” actually did a really good job of keeping my attention, despite it being 18 minutes. Great 3rd person narration. Not my absolute favorite, but a good listen with a unique album format

Alright why has the world conspired to keep "Valley of the Dolls" hidden from me. In fact, why has the world conspired to keep this whole album from me? You all know I cant resist sample-based music thats made more colorful by the use of a phaser/flanger. That blissful Daft Punk phaser texture hits the dopamine receptors just right. I didnt realize it, but "Drop the Pressure is responsible for a very often-used vocal sample in house music! This song specifically has that early Calvin Harris vibe, you can hear the beginnings of blog house sprouting up. But my highlight on here (and it isnt even close) is the blissed-out "In My Arms". This one is special. I know that there will be very few times that this list produces a song that so perfectly aligns with my exact hopes for what any song can be, while also doing so utilizing my very favorite production methods. A house tempo song with a super happy, super fuzzy, phased vocal loop in a major key. A repetitive, simple bassline. A nice little bridge/chopped up middle section that ramps back up to an even more outright happy and shiny second half, with just a little extra glittery synth at the end to bring it home. I replayed it twice before I could move on through the album! The only comp I have for this song is Pete Heller's Big Love, which wouldnt surprise me to hear it was a reference track for "In My Arms". Genuinely, this song couldve been surrounded by ten layers of shit, and this album wouldve still been worth it for that euphoric little nugget. Luckily, this album isnt layers of shit at all! Now, it's no opus of dance music. But it's good! A tasteful (i hate using that adjective) amount of sampling and chopping, like on "Rikki". Some more easy listening cuts that venture into almost trip-hop territory like "Sunworshipper" or "Need You Tonight". I'm gonna guess the common gripe about this album is that theres not much substance to grab and hang onto, not much in the way of hooks or sticky musical motifs - and that's fair. To that, I'd say that maybe those things aren't always needed. Maybe this album could find its place while doing chores on a lazy sunday or on a nice walk, or just for laying around in the sun. A nice, happy, hazy little musical companion. Soft 4/5.

A bit unsure how to feel about the opener - good storytelling, but the topic is certainly interesting. After a few more songs of feeling this way, I went to the full Wikipedia article to see if Tim Buckley was just playing a wretched character or if these songs were more biographical. Lo and behold, this is Jeff Buckley’s dad. Something clicked then, having already heard Jeff’s “Grace” album & gotten familiar with the story of his life. Father and son both lived careers of vices, doubt, and inner-turmoil. Both troubadours to some extent, using their music as a means of processing the lives they lived, both dying before their full audience could be realized.
I think “Nighthawkin” is a fair microcosm of this whole record. Engaging story, a performance clearly empowered by cocaine, and then *boom* a couple of words you wish he didn’t use/ideas he didn’t convey. A record encapsulated in its time and place. It’s like you listen to this album unfold and wish for Tim to use his powers for good instead of evil. You can’t deny his vocal chops and heart for performing…but then you hear song after song about a vice, misfortune, or misbehavior.
Perhaps the final song “Make It Right” is even more representative of the album as a whole, more than “Nighthawkin.” It’s a ‘mask off’ moment where Tim doubles down on the instrumental composition and production to elevate the energy to something really groovy and exciting. Then proceeds to dream and plead for a sex worker (?) to do all these things to him to “make it right” again. He takes the ending of the song to a pretty impressive peak where he goes on a crazy vocal run. It’s as if he’s accepting how lost he is in his vices.
Will I go back to this album? No. Did I learn something? Sure - maybe Steely Dan & Van Morrison had a good thing going, in comparison to the more evil sides of this record.

As soon as that easy organ/wurlitzer? keyboard hit on the opener "Stardust" I knew I was in for a soft, sweet treat. Willie has that Leonard Cohen ease to his delivery, it's so simplistic and surehanded. Like a nice warm hug.
I got a lot out of "All of Me" for the square-dance-meets-lounge-music combination. Probably my highlight of the record.
I was ready to turn my nose up at a pretty simple cover of "Unchained Melody" and there is fair reason for that - I dont think Willie's voice is cut out for those few high notes he reaches for. But man, all the same, the soft beating heart finds it's way to shine through in Willie's gentle delivery. An earnest cover. It's at this point in which all listener's have realized that they've been lulled a first half full of pleasant love songs.
Another moment worth holding on for is when Willie adds a little muscle to his voice when counting of the months on "September", to then have it followed by a romantic plucky acoustic guitar solo.
A true sign of a generational musical talent is an artist who can make the transition from their breakout sound to something more poppy, while still preserving what made them identifiable in the first place. Willie Nelson puts on a masterclass on how to do just that. We are lucky to hear it done with such ease on Stardust. Good Sunday listening that will put a smile on your face and help you breath a little easier. I was gonna go with a strong 4/5 stars, but this is undeniable - a total pleasure from beginning to end.