Reviews by justcoolvinyl

Well, if you get one thing out of this record, it is clear that Mark Knoffler can play guitar like a motherfucker. This is the most obvious thing about this record. On both a macro level and micro level, the guitar work is notable for both its tone and the beauty of the playing. Mark’s vocals on the other hand are an acquired taste. Both because of the pitch and the vary narrow range, means that the music has to do the heavy lifting. And for the most part it does. Since everyone is likely familiar with Sultans of Swing, imagine a whole record filled with fairly similar music and a vocalist who has suck a narrow range, that the entire record becomes after a couple of songs background music because there is not enough variation to maintain listener interest. And that is what struck me. If I’d heard any of the tracks in the wild, I would likely say well that’s pleasant. Enjoyable. The thought of it being followed by another track from the record would make the first track less pleasant and less enjoyable. And that kind of sums up Dire Straits. Less pleasant and less enjoyable with repeated listening. Average at best. 3/5

This was my first time listening to the record as a whole. I was familiar with Piece of My Heart as it is an on repeat classic radio staple that pops up in bars, gyms, and grocery stores. More interesting was how remarkably consistent the songs on this recording are. Janis’ vocals are emotive as always with the expressive performance you can feel the words hitting you with their power. But it is all made possible with the equally impressive and expressive musical performances particularly the guitar work which at various times matches Janis’s vocals. This is best exemplified in Ball and Chain where the back and forth between guitar and vocal turns the tune into an epic poem set to music. At more than 9:00 minutes in length, the song flies by trapping you in the story- mesmerizing. On the whole, this is a remarkably well constructed record that still holds up after 60 years. Honestly, I can’t say that about too many records. Deserving of its place on this list. It may not be your thing - it’s not mine, but I appreciate the genius in both the musicianship, Janis and whomever produced this recording. 4/5

This, I think is the 3rd Bob record I have encountered in this list. No matter the order, it boils down to this basic rule: you either love Bob or you loathe Bob. The odds of being in the first camp i.e. Bob lovers, increase with age. If you are old as fuck you probably love Bob. This says more about you as an individual and your failure to discover a world of music that evolved from Bob more than 50 years ago. Punk Rock is 50 years old. Think about that fact for a moment. There have been numerous expansions of musical expression since Bob shocked the folk/Jazz world by plugging in. Bob’s music has certainly evolved. His nasal whine has not evolved enough to make this enjoyable. I’m sure that the songs here merit some attention. I, fall in the later camp of Bob listeners. I can’t stand Bob’s records. In fact, I can also judge all the music critics who fawned over this record. That’s not criticism- it’s fucking promotion. Trying to convince someone that something this boring is an exceptional record, is just fucking sales. Like a Rolling Stone, Tombstone Blues and Ballad of a Thin Man are passable tunes but they would all be either mid set songs - not hits. And that’s the problem with the record - even the hits are boring. So, it’s a 3/5 but because it’s Bob, deductions take this down to a 2/5.

This record is a piece of shit. There is nothing remotely good about this record. And I am being fair. Even Rod would acknowledge that this record is a steaming pile of tuneless pitchy nonsense. If he thought this was good he would have stayed the course and not felt compelled to turn into disco Rod in 1978 when the turd ripened into Do Ya Think I’m Sexy - of course fucking not. This is miserable shit. No reasonable person would want to listen to this tepid folk rock sung by a gravel voiced eunuch. Take me back to Gasoline Alley starts this off with its repetitive chorus that doesn’t make this cover more vital or interesting. The record grows tiresome quickly because the covers are not that interesting. Consequently this record grows old quickly. I used to love her but it’s all over now. Is it distinct? Sure. But so were the Faces but they were way better musically and this record is just not them because these are uninspired covers and not a stab at being creative - although I note that several Faces play on this record which is really a set of uninspired covers with a couple of Rod’s attempts buried on side 2. Is the playing competent - certainly. These guys can play. The problem is Rod. So if you like Rod’s vocals then you’ll like this. This would be great for background music at an assisted living facility. 1/5

I distinctly recall this album coming out while I was in high school in the Yukon. The local Woolworth’s had this in stock and I managed to snag a copy. Thin Lizzy’s Jailbreak record had also just come out and had made its way north. The local pool hall had Show Me The Way and The Boys Are Back In Town on constant repeat and so in my mind, this album has always been linked to that magical carefree time in my 11th grade year hanging with my friends around the pool hall and hearing this record. For a live record, it was pretty compelling as the audience support is an intangible that makes some of the weaker songs listenable when they would otherwise be frankly underwhelming without the crowd. Show Me The Way, Baby I Love Your Way and Shine On and Do YouFeel Like We Do were the best if the lot at that time. Now 50 years later, these same songs mostly hold up - a kind of progressive folk rock - but as I’ve changed, I doubt I’d revisit. They trigger some fond memories but musically, they no longer resonate and the lyrics are best forgotten. In hindsight, it was likely the combination of Frampton’s vocal ability and the guitar tone that captured my attention. Now, not so much. 2/5

Once you get past the unmistakable fact that the lyrics on this record are complete fucking nonsense- gibberish really, and that it is far too long, you have to find the nuggets amongst the rubbish. The marketing of this record, the critical fawning, and Radioheads reputation are more or less responsible for this mediocre record being included in this list. Coincidentally, Radiohead released live versions of these recordings and immediately 2 things are obvious- the live versions are lively and you can’t help but notice how sterile and lifeless the recordings made in the studio are in comparison; and the live recordings demonstrate that several of the tracks even after repeated playing throughout a tour over many years are met with a so what, meh response from the crowd. The experimental aspect of this record is actually pretty conventional an effort to blend rock and electronic music together which at this point was really trying to merge their career into a single album, something they would be more successful at realizing on their next record, In Rainbows. So, here are the only songs that actually make the cut - they are good songs, demonstrating excellent musicianship, and they play well live. That’s it. Pretty simple really and I think Radiohead knows that. The live recordings are 47 minutes. The studio version is 56. Here are the songs I enjoyed and would also enjoy seeing live: 2 + 2 =5, We Suck Young Blood, There There, Myxomatosis, Scatterbrained and A Wolf at the Door. That’s it. Should have been an EP. 3/5

I was already a Pixies fan and thoroughly enjoyed Frank’s first solo record. I purchased the CD upon release. I have listened to this a few times in the past 30 years. This time, like the prior listens, I find some new angle upon which to enjoy this record. I Wanna Live on an Abstract Plane has Frank’s terrific falsetto and a catchy chorus. Calistan could be a Pixies outtake. I can hear Kim Deal’s voice on certain parts that would be awesome to see performed by that original Pixies lineup. Headache is a classic song - Frank’s vocal is perfect in both tone and performance. Honestly, the song sounds like something Pavement would have released but with Frank’s vocals. In hindsight, this may be the best song on any of Frank’s non-Pixies work. If the record has any issues, there are a couple of mid-tempo songs that just make the record a little long. So, with that in mind, there are several very strong tunes, a few middle tier songs and a couple of skips. (Sir Rockabye immediately comes to mind) Overall a solid effort. With a little editing for length, this would be outstanding. In my opinion, Headache alone makes the album top shelf! 4/5

The Jam were easily the best band to come out of the punk rock explosion. I don’t make this statement lightly. I acknowledge The Buzzcocks, The Clash, The Cure, The Stranglers, The Damned, Stiff Little Fingers and Siouxsie and The Banshees. But the Jam were different. They looked different, they sounded different and they were all accomplished musicians. It was a shame Paul Weller is an asshole. But at this moment in time, Paul, Bruce and Rick were on their way to being the best band in the UK. Loved in Canada, ignored in America, the Jam on this record still had the rawness and the anger hinted at on This Is The Modern World. In my mind, this is the record that told the world that the Jam were the real deal. Unlike London Calling by the Clash (December 14, 1979) another exceptional record that was released just over year after All Mod Cons (November 3, 1978) - this record is a very British record with nods to the Kinks and the The Who but Weller settling into being an excellent songwriter. Even the ballad, English Rose shows a surprising tenderness amidst song regarding class struggles, racism and being British. This would be an outstanding record even without the last two tracks. I remember being mesmerized listening to “A Bomb in Wardour Street and Down in the Tube Station At Midnight. And to think they put out an even better record in Sound Affects. But this record unlocked the puzzle that was the Jam for me. Seeing them live in Vancouver BC was among the best experiences I had as a teenager (okay maybe there were several other amazing experiences) but easily the best musical experience I had during that period. I saw shows 2-3x a week from 1978-1986 and saw some amazing shows and the coolest freaking bands that seemed to be always passing through town. But The Jam were the best. Why? Because they had the songs. The Kinks cover- David Watts, The Who Cover - So Sad About Us (B-Side of the Down in the Tube Station At Midnight 7”) fit perfectly amongst the devastating Butterfly Collector (which replaced Billy Hunt on the U.S. release), To Be Someone, Mr. Clean and In The Crowd. Admittedly, there were a couple of weaker tracks - The Fly and the title track All Mods Cons (referring to All Modern Conveniences which appeared in listings for apartments) but even these somehow fit in this amazing record. It’s a shame that the lad who wrote these songs grew up and for the past 30 years has made mostly mediocre records that are feted by the critics but it is transparently obvious that after The Style Council- no one really gave a fuck because the records were boring, and soulless. I guess that passes for good now. The true test of greatness is a song you can sing along with. I can still all of these. I can’t even recall a tune from any of Weller’s solo records and even the few songs I liked don’t measure up to these. The Jam were great because it was the product of three very talented musicians. To bad Paul Weller is an asshole. I miss the Jam. 9/10

This is the best velvet underground record. All kidding aside, The Modern Lovers is what The Velvet Underground hoped to achieve and came close but not nearly as close as Jonathon Richman did with this record. I met Jonathan in 1979 and specifically asked him about this record. He instantly said he was just trying to copy Lou Reed. This should be no surprise with John Cale having produced much of the record. I listened and returned to this record many times over the last 50 years. I have also seen Jonathan live many times over this same period at different points in his career and in mine. As a musician, Jonathan is a genius. Perhaps a bit crazy, but certainly a genius. This record, was truly a bridge to punk rock. Many will listen to this record and point to Roadrunner as the definitive track, but in my opinion it’s tracks like Pablo Picasso and Hospital that are the touchstones to the genre. It is easy to see the pathway from the Modern Lovers to Television and The Ramones. Astral Plane, Girl Friend balance the three chords and child like melodies with Jonathan channeling Lou Reed at various points. Live, these songs presented differently than on the record, were direct and took on new meaning. Because of the chaos surrounding these recordings, these songs were performed live in the context of the simpler more folk rock style on the Jonathan Richman and The Modern Lovers record that came out a few months earlier than these recordings. Government Center, I’m Straight were played along side Ice Cream Man, New England and Important in Your Life. As records go, the Modern Lovers has held up so well because it really is a seminal record in rock music. All of what was called college rock or alternative rock of the 80s owes a debt to this record. Sure, the Velvet Underground gets and deserves credit but it was Jonathan who introduced that sound to people all over the East Coast from 1972-76 before heading to California to do the same. Anyone who saw Jonathan was likely mesmerized by his personality and performance and he played these songs. While his performance and muse took him in a radically unexpected direction in his solo career, these songs represent a critical point in American music and have undoubtedly influenced a number of musicians over the years. Like the Big Star records, The Modern Lovers record unlocked the possibilities for many bands that followed. The single Roadrunner was a key introduction to the band I’m sure for many. But for me it was the deeper cuts that I keep going back to. I’ve played she’s Cracked, Hospital, Astro Plane, Girl Friend, Government Center (from the 1986 reissue that added 3 songs) and the demos from the Original Modern Lovers which were the 1973 Kim Fowley sessions released in 1980) thousands of times over the years. It may have started as a Lou Reed inspired record but Jonathan turned it into music distinctly his own. 10/10

Admittedly, this record was squeezed out by a large number of much better records in 1980. This LP didn’t make my Top 100. It’s an okay record. Breaking’ The Law was a catchy pop metal single, Ragin’ which is honestly a clone of AC/DC was also catchy, but the rest of the record is, well, meh, eh? AC/DC put out Back In Black, Iron Maiden’s debut record, Dead Kennedys Fresh Fruit For Rotting Vegetables, Circle Jerks - Group Sex, Moorhead - Ace of Spades, Black Flag - Jealous Again, Def Leppard - On through The Night etc. all of these were better than British Steel. They still are. This record doesn’t stay with you even the Halford’s vocals are just fine. It’s the sameness that dooms this record. It’s average metal by an average metal band. 3/5

Not gonna lie, this one took me back. This was a record from my childhood that was ubiquitous as a teen. It was played everywhere by everyone. I can actually recall hearing it being played as dance music by several strippers in a bar in Northern Canada as a teen. Stairway To Heaven indeed as a teenager. Probably appropriate as the song is about a woman who takes everything but gives nothing back. I’m sure there is a life lesson there. Don’t get me wrong, Aerosmith was popular as well. Back in the Saddle, Dream On. Strippers had a pretty good musical sense back in the day. As for this record, Black Dog and Rock and Roll are the true standout tracks in my mind. As a Led Zeppelin album it really is a mash up of the heavy rock of II and the folk rock of III. To say that it has been mythologized as the foundational recording of heavy metal for me was a stretch. It really is an uneven record and almost experimental. There is a blues track (When The Levee Breaks), a female vocal by Sandy Denny on The Battle of Evermore which is the only female vocal in Zep’s catalog. And to be clear, any track that has Mandolin on it is a folk song. Same goes with the ballad Going to California. Heavy Rock it is not. So, why the hype? As a kid, it really was Stairway To Heaven that was the attraction with its 3 levels of instrumentation moving from acoustic to electric and Plant’s superb vocals. That track encompasses in a single song every other song on the record. It helps that it is all anchored by Bonham’s drumming allowing the others to indulge in their whims. At least that is how I saw it. In my town, no one got to side 2 of the record. No one flipped it. Ever. I was in college when someone I was dating tried to get me to play side 2. I told her we just don’t do that. Jimmy Page was a Satan worshiper and that was his way of tempting everyone to join Satan. Or perhaps that’s what I told to Jehovah witnesses who were trying to convert me to follow Jesus. It was a long time ago. Anyway, I have since listened to side 2. None of it grabs ya like side 1. Everyone should just be honest and admit that while the musicianship is outstanding, no one ever paid good money to hear any of the songs on side 2 live and more importantly, not a single fucking stripper ever took he clothes off to any of the songs on side 2. It’s a good record, but if half the record is not stripper worthy, then it shouldn’t be on this list.

I was okay with poppy psychedelic furs but the first record which is far darker and more post punk is a better record. Still, while the singles, Pretty in Pink and Dumb Waiters, sanded the rough edges off Richard Butlers gravelly vocals, they are still passably good tracks that still hold up despite the production which removes some of the dynamics from the tracks when compared with their live versions from this period. I saw them 2x - once in a small club shortly after the self titled debut where Sister Europe and India ruled college radio and a second time in a significantly larger theater shortly after this record was released. Live they were engaging and energetic and reminiscent of Siouxsie and The Banshees. There are some gems to be found on this record. Richard is at his best when the song pulses in for example Mr.Jones and Into You Like A Train. The hook in Into You Like A Train is subtle and Richard’s vocal propels the chorus to carry the motorik beat like a train to the end of the song. All of This and Nothing loses the plot a bit coming off like an INXS outtake. She is Mine is a variation of Into You Like A Train and Pretty in Pink mashed together. It’s noticeably but not obnoxiously so. So, other than that one outlier (All This and Nothing) this is a pretty strong outing. 4/5

This music was made solely for people who enjoy amplified cricket farts. I get why the word on the street was that everyone was high when they went to a dead show. Jammy noodling for extended periods of time would be extremely taxing if you had to stand and be lucid. I’m not sure that I can think of another act where the urge to lie down is so great. I’d normally Telly you about the songs, but I can’t. I’m in a fucking trance and I hear screaming near me. Oh wait. That’s the sound of my own voice. I’m screaming. Seagulls seagulls 2/5

You would have thought Steve Winwood was Canadian by how much they played this on the radio when it came out in 1980. The Muzak adjacent While You See A Chance was a monster hit mixing Phil Collins pop with a catchy disco beat. Mothers in the grocery would sing along while they morning shopped the cereal aisle with their children. Because, of course, it’s all on you. While you see a chance take it find romance. This, at least in my mind, was when I knew that we had entered the New Wave - the rough production of the 70’s had faded and white people trying to get funky-lite were being played on the radio. Arc of A Diver is more of the same. What is undeniably true about this record is that Steve has a voice that is smooth and pleasant and mist importantly earnest. The smooth jazz solo seems cliched now 46 years later but the production and songs on this record can transport you back to 1980 when I was a mere lad if 20. Id already made my music choice at thus point - punk rock had won me over - DOA, Subhumans, Pointed Sticks and Active Dog along with the more famous- but Steve had a place as music for meeting the ladies who loved to dance to pop disco and Steve Winwood was exact that. Safe, poppy and seemingly hipper than you. Second Hand Woman is more of the same and so is the rest of the record. Light safe bouncy pop music for the masses. Impressively, Steve is the only musician on the record having played all instruments. Not all of it works, Slowdown- Sundown is a bit of a dirge as is Spanish Dancer. 2nd half could have used some editing as the songs are a bit too long. Dust, the closer, being the best of this half primarily because Steve’s vocals are pretty earnest giving it some life. Not my cup of tea but not a stinker. 3/5

I was mesmerized when this album first came out. 1979 was an awesome year for music. What struck me was how similar this was to Gang of Four, particularly on songs like Rebellious Jukebox and Two Steps Back. Mark Smith’s vocals are reminiscent of Johnny Rotten and in parts this sounds like Public Image Limited. Similarities aside, the album is a post-punk marvel and the lyrics are well written covering a number of subjects. Although some believe there are better Fall records, this record remains my favorite because it mixes the punk rock into the right amount. Future and Pasts is a good example of a punk rock song converted into a post-punk anthem. Thoroughly enjoyable and no skips. 9/10

You have to be wired yourself to listen to this record straight through. I suspect that this record was included because it was a left field extension of the shoegaze scene without the haze and more ambient electronic sounds combined with the multi-layer production and effects. The difficulty for me is that it comes off as a little sterile and made for headphones. And those wearing the headphones would never leave there homes. I think the term space rock is a little generalized for this music. It’s certainly not remotely similar to Hawkwind. The lyrical experience is interesting but having them embedded in the layers also removes some of the emotional elements and results in a standoff between listener and band. Spiritualized puts the burden on the listener to connect with the music rather than the band trying to give the listener entre into the music. You have to make an effort to connect to this album. The real question then is there a rewarding payoff for that effort? Unfortunately, the answer to that question is no. 3/5

In 1978 Thin Lizzy was my favorite band. This record captured a pretty much perfect concert by a band at full power. You can hear the tone in Scott Gotham’s guitar as one that will shortly become ubiquitous in both metal and punk. The song selection first rate with exceptionally good versions of Cowboy Song and Boys Are Back in Town. I saw Thin Lizzy a year later in Vancouver BC playing a similar set but, for me, it was a huge letdown. It was a tired lifeless band going through the motions. On this recording Phil’s vocals are vibrant and energetic and the sonic palate is evident on this excellent soundboard recording that has been enhanced. What makes this recording a must listen is how the sound is crisp with a lively crowd making you believe you were there. 8/10

A gem. I bought this new in 1980 having already acquired A Can of Bees and a couple of singles. A part from Robyn’s uncanny writing ability, it is Kimberly Rew’s guitar work that Carrie’s this record. The jangle in that guitar sound was acquired by a ton of alternative acts including REM and the Replacements. Live, this record was even better. I like all the tracks but for those who are just starting out, here are my faves: I Wanna Destroy You, Kingdom of Love ( an intensely great start to a record), Insanely Jealous of You and Queen of Eyes, and Have A Heart Betty. The Beatles influence is obvious but this record, like the best copy geniuses, expand the sonic palate and make it their own. I liked this album so much upon release I bought a duplicate. It was the first time I’d intentionally bought a second copy of anything. I also have bought CD versions, and recently the remastered vinyl edition. This is a no skip record. A 9/10 in its original form.

As an artifact of a different era, this is a remarkable sounding record. Elvis is in fine voice and the songs, for the most part, are engaging. I was a child when this was released and 16 when Elvis died only 7 years after this album was released. During this period I discovered Buddy Holly and Ritchie Valens, The Stooges and the Sex Pistols. Elvis was everywhere but his discography was pretty overplayed and so like most teens I moved on. What I recognize now 55 years later, is that on albums like this one, where fit Elvis was at his peak how important Elvis’ vocals were both the center of each song and a guide for the magnificent players on this record. That is, Elvis recordings are truly distinctive- more so than any other artist perhaps because they capture Elvis’ presence in each song. You may not like the song but you can’t say you wouldn’t know that it was Elvis. My favorites are a short list: Westin’ that Loved On Look, After Loving You, True Love Travels on a Gravel Road, Any Day Now and, of course, Suspicious Minds. It’s not that the other songs are lesser. It really is how the musicians capture Elvis whose vocal performances are genius. Any Day Now is just as moving as Suspicious Minds but most people only know the latter. Perhaps it’s time to give Elvis another chance. 7/10

Not my favorite Echo & the Bunnymen record but still great. Crocodiles is by far the best record for a whole host of reasons but primarily because the edges had not been sawed off in the production. By this record the sheen of the new wave had been grafted onto the production making for a smoother less angular Echo. Ian’s voice is spectacular with the vocals slightly back in the mix which makes this a more poppy leaning record. The record still has some classic tracks and arguably their best know track - The Killing Moon which is still a great track no matter how many times you play it. And perhaps that is the sign of a true classic- no matter how overplayed it may be you still enjoy the track. There are several equally terrific tracks, that didn’t receive popular radio play but deserve to be heard along with The Killing Moon, including Ocean Rain, Silver which is a terrific opener and sets the mood for the record, Seven Seas which follows the Killing Moon, and Thorn of Crowns with it’s exotic rhythms and angular guitar work. Will Sargent is really the music engine in this band and the guitar work is spectacular accentuating each song and working in concert with Ian’s singing. I get the Jim Morrison comparisons especially on songs like Crown of Thorns, but the guitar work truly is a distinctive and so unique it is instantly recognizable. Much like Johnny Marr’s work with The Smiths. As Always, one must ask is it perfect? Unfortunately, no. Yo Yo Man is a bit of a let down - just an average track perhaps to make use of the Orchestra but it stands out as a little weaker amongst these tracks. To be honest it sounds like it was written by Julian Cope, who Ian was in the Crucial Three with Pete Wylie prior to forming Exho. Overall 9/10