Reviews by justcoolvinyl

While I had heard of Jane over the past 20 years, I had not actually heard any of her music. This genre, psychedelic folk, is not in my wheelhouse. Normally, I found this type of music not that interesting. Jane, however, switches things up on this record. I also mentally prepared for listening to this record. Driving to my office on a quiet holiday Monday, I was intrigued by H>A>K which kicked this record off. Gentle motorik groove with a great vocal. Modern Kosmology has a Kim Gordon feel and was a great driving song as the music filled the car. Other highlight were Slow Motion and The Architect. Overall a pretty Interesting and engaging album. Quite unexpected. 4/5

Once in a while you go down a rabbit hole. While I had certainly heard of Joan, it was no where near my interest musically growing up and even today, holds little interest. What I was truly amazed to discover is how very accomplished Joan is as a musician, philanthropist and genuinely good person. A fascinating detour as I listened to the album. Amazing vocals and diverse arrangements keep the album moving but for me there were few songs that I’d say were compelling such that you could recognize the tune. This would definitely be appealing as a live performance. Emotional songs performed live in a theater setting would make for a fine evening even for me! Love and Affection and Down to Zero are the best tracks by a good margin. No negativity implied just not a wow experience and certainly not in the Top 1001. 3/5

I’m sure at the time this was a pretty unique record. I thought Steve Marriott’s vocals were pretty solid and having first heard this record in my late teens after I had discovered the Jam, Buzzcocks, Damned, Sex Pistols and Stranglers and the nascent punk rock underground this type of sound was quickly left behind. Punk rock was a contact sport and this was not. I’d always considered Small Faces as being the lite version of The Who without the personality and Keith Moon. The playing on this record is precise and competent but the songs are rather lifeless. Afterglow is a good track and stands out from the very diverse but uneven side one. Side 2 is a novel idea but again Who lite. 3/5

I have never understood the appeal of the Grateful Dead. Perhaps it because I have not smoked ripe since I was a child. Perhaps the appeal of sitting outside with a bunch of other drug addled denizens smoking dope and listening to what amounts to electrified folk rock with harmonies is not that appealing to a kid from the Yukon. Perhaps wild animals would be attracted if this record was played in a forest. Likely not. Anyway, a good effort but still dull as fuck.

Okay. Haven’t had one of these in a while. A record that perfectly encapsulates a band at their most interesting and creative peak and every song fully realized. A record that stands as an exemplar of everything that came after. A record that actually belongs on this list of 1001 albums I should listen to in my lifetime. When this record came out following Ian’s death, I like the rest of the world that had discovered this unique band that stood out amongst the rest of the post-punk explosion as it created a complete austere and yet strangely beautiful world that was completely immersive. “Isolation” aptly sums up the environment and the record perfectly encapsulates the Joy Division experience. The fact that “Love Will Tear Us Apart” is not on the album is appropriate as it truly deserves to be the capstone to Joy Division as a band. For those who only play the hits this is the very rare album that should be experienced as a whole and on vinyl. You need a break to life the needle at the end of A Means To An End in order to prepare for the beginning of side 2 and Heart and Soul. Side 2 is such a perfect song order with Decades as a remarkable closer. I do want to note that New Order was a bunch of shit and except for Blue Monday, unlistenable whiny crap. Closer is true genius in music and lyrics and the back story with Ian makes for compelling listening after more than 45 years. 5/5

This may be blasphemy now, but the record while good, is far from perfect. The key tracks remain good after all the years that have elapsed, but the rest of the record is thin. When this came out the hits - Suffragette City, Starman , Ziggy Stardust and Rock n Roll Suicide were immediately attractive. What caused the most difficulty was asking why is there a fucking Elton John track on the record? I know if you are reading this you’re saying WTF is he talking about? There’s no Elton track on this record. But once I point out the track, you will never be able to listen to that track again and not say “WTF, that’s an Elton John track!” So, now listen to the record again and then when you get to “Lady Stardust” tell me I’m not right. Go ahead - do it now. Apart from that disturbing distraction the 1st two tracks are a bit slow and in my view, not on par with the rest. So there you have it. After the Record has been hyped enough to be of cultural significance it simply is just a good record, perhaps really good even, but far less than WOW this is fucking awesome! It’s just not that. 4/5

Whatever your personal views of Bruce may be and there are many “takes” on Bruce both as an artist and as a man, it is hard to deny the place that this record holds in American culture. The archetype of midwestern rock n roll and the hardest working band in music with legendary 3+ hour sets, this New Jersey native and working class champion defined the genre on this record. The songs are catchy, meaningful and for large slice of Americans indecipherable as the title track’s inappropriate use in many America first events belies knowledge of the songs true meaning. For me, the record doesn’t really resonate but I recognize the incredible musicianship and the heart behind the songs. My favorites are not the hits. Working On The Highway which reminds me of Rank and File and their cowpunk sound, Downbound Train where I can almost believe that Bruce was working at a car wash, and My Hometown are in my opinion the best songs on the record. Perhaps it’s because the others are overplayed. Glory Days, Dancing in the Dark, I’m on Fire and Born in the USA are undeniably great songs. There is likely little dispute that there are no bad songs on the record. Sure, time has made some of them sound cringey at times but that is probably because the dressing hung on this record because of the complicated relationship people have with Bruce more so then with this record. 5/5

Well as my original review was wiped out and apparently offended my own web browser which mass deleted the entire thing, here is the abridged version. Solid debut by PJ who used Patti Smith as her muse and built upon that history of unique female writers such as Laurie Anderson to create her own rock oriented niche that has stood the test of time. This debut is solid, the 2 singles catchy and lyrical wry and interesting and you can see this as the jumping off point for a successful career because the writing is meticulous and PJ has something to say. Not her best record but a solid beginning. 3.5/5

This was an odd listen as this was one of the albums that got me into music and collecting records as a young teen. I remember my mom bringing this back from a trip to Vancouver to our home in y the Yukon along with Kiss Dressed to Kill and Aerosmith Dream On. I loved these early Queen records and played them constantly until I discovered punk rock and Queen had evolved by that time into a sappy pop band. After that I never listened to those records again and certainly not a full playing of II since 1977. Perhaps its nostalgia, but some of the tracks very much have aged well even though the mix is a bit challenging with some muddy sections. This was the Queen recording I most enjoyed as it was heavier more art Rock and less pop oriented although it has the beginning explorations of what would be their signature sound with multi-layered vocals and instrumentation. My favorites in no particular order remain Father To Son, White Queen, Ogre Battle, Nevermore, March of the Black Queen and Seven Seas of Rhye. Solid record and for the most part as good as I remember it. 4/5

I was very familiar with Barry’s brilliant work with Magazine and Visage, but not so much with his solo work. As a demo this is pretty amazing sonically, with the bits of dialogue interspersed throughout the story. But it is a demo for a guy who wanted to do soundtracks. It obviously worked because he did get a job doing movie soundtracks. But does it belong on this list? Not a chance. It’s basically a good instrumental record but not really that innovative or interesting and that is a fact. It’s the conventionality of the whole thing that is the shock given Adamson’s much more popular and interesting work with Magazine. 2/5

While this is a solid effort by Bowie, there are two levels of analysis that must take place. The first, is how does this record, Bowie’s 25th, measure up against his own recorded output and then second, how does The Next Day measure up against the millions of other artists and recorded output? Arguably, this is Bowie’s 10th best record (It’s a rabbit hole so I’m not going to list them, but I will say that it is not nearly as good as his next, and last, record Blackstar) and I have no idea where this stands in the pantheon of other records I enjoy more than this but I’m pretty clear it not in my top 1001. That said, there are some good things about this record- the musicianship is outstanding, the recording is beautiful sounding. Bowie’s vocals are solid but I’d argue on several tracks they come off as tired and on at least one track (Boss of Me) it didn’t sound like it was Bowie singing. The songs are a bit samey even with the effort to change tempos. And I’d agree that the album is a bit too long. I think the lyric choices and the bummer quality of several of the themes make the album seem like it drags. I listened on a full pass through and lost interest by Valentine’s Day (school shooter song) as the rest of the record faded into the background. I went back a couple of times later in the day starting where I’d left off and those latter passes were helpful in engaging with the rest of the record. How Does The Grass Grow and You Feel So Lonely You Could Die were interesting lyrically, unfortunately the music supporting those words is not worthy of the task. I know this is unpopular opinion but given the breadth and depth of Bowie’s work, this feels like a tentative return after a lengthy gap following his heart attack in 2004. Perhaps this album was an important step towards his final album which achieves a level near Bowie’s best only 2 years later. 2.5/5

Don’t you think I know? If you had heard Flower before hearing Eels debut record, you might have thought that the album was a bit morose. Well it fucking is. Don’t you think I know. Beautiful Freak sums up the record - it is definitely a beautiful sounding electro-pop record but also freakishly shaded with sorrow. The guitar work and tone on Guest List is another highlight. Even if you have become a little disenchanted with the hit Novacaine For The Soul which had massive airplay, the rest of the album is filled with gems. Along with the above tracks, the back half is truly great. Mental and Your Lucky Day in Hell are easily as catchy as Novacaine. It is the guitar tones on this record as well as E’s vocal approach that make this record pretty special. E’s vocals are simple and expressive and the phrasing makes the hooks on tracks like those on Susan’s House both pleasing and emotional. There are no hints at all as to what will come next in this record and that is what makes it a record you should spend time listening to rather than playing in the background. Not a perfect record but a great one. Don’t listen though if you are already feeling a bit blue. You’ve been warned. 4/5

When Brimful of Asha first came out, I found it to be an interesting take on Roadrunner by the Modern Lovers. As for the rest of the album, it’s a good indie pop record filled with references to Indian music, Bollywood (with Asha being Bollywood legend Asha Bhosle) and the anti-racist lyrics make for an interesting dichotomy. It’s hard to reconcile the electronic dance vibes on several tracks with the politics of racism. Aside from the so so cover of Norwegian Wood, this is a solid listen and the Indian elements inform the record in a way that they seem essential and not distracting. I get the sense that this is a record by people who were living their own reality, smoking a bunch of weed and banging out tunes mirroring their own experience. 3/5

Nope. Not gonna be a hater. This is for people who are over the age of 70 and never left the 60s. It’s not for me. Hippie shit. You know it. Songs they now ubiquitously include in movies to evoke nostalgia for a simpler time. All fiction. The 60s were full of protests, Vietnam War, and a whole parade of sins. But Suite: Judy Blue Eyes, Marrakesh Express and the rest of the mix of country, folk and very soft rock are the product of California’s weed culture as psychedelic flourishes inhabit many of the tracks. As this was released at the end of 1969 it is definitely the product of its time as it tries to be an uplifting effort to end a decade of turmoil. Can you imagine telling young people to board a literal train? Best track for me is Long Time Gone which has that desert blues vibe that could be great for a late night drive along the highway. The guitar tone is spectacular and adds to the tension as the song builds to the chorus and release. Pretty genius. Not enough to save the record but a standout track. 3/5

One of the perverse flaws of this system is that sometimes you write a full review of a record and it disappears as the page reloads. Alas, such is the case here. So, here is my abbreviated version. I never listened to this record all the way through prior today. Relax and Two Tribes were ubiquitous new wave disco hits and admittedly catchy, is not my groove. I didn’t enjoy the original disco era and the new wave disco era coming hard on the heels of the New Romantics was even more cringe. And to be fair, while most of this is cringey, there are a few nuggets. The cover of War was an effort to be interesting and for the most part succeeds. The other covers and specifically, Born To Run, fall in the cringe abyss. The real gem however is buried near the end. The Power of Love is a good synth pop ballad. Perhaps a little overwrought and the whole vampire thing hokey, but the vocal performance carries the day. So, does it belong on this list - absolutely fucking not. But that’s not the point. If this is your vibe, then you’ll love this record. If not, then like me you’ll turn off the radio when Relax or Two Tribes comes on because they overplayed the shit out of this two songs when the came out originally. You’ll keep listening when the Power of Love is played, enjoy it, and then switch to something that is actually good. 3/5

Interesting record for what it actually is - a hodgepodge of multiple genre experiments often in the same song. Jazz, folk,samba, etc fusing to form what we know call tropicalia. Also, Milton’s vocals resemble Sting (formerly a curmudgeon member of the Police, now just a curmudgeon who puts out insanely boring shit under his own name). The vocal similarities threw me off as my dislike for Sting intensified after it came out that his ego was bigger than the highly competent bandmates in the Police and that he continues to dwell in his own ego more than 30 years later. But I digress. Milton’s vocals aside the record would have been an outlier in 1972 with its amalgam of genres and psychedelic leanings beautifully sung. Obviously, there is no way I can opine on the lyrics not having a clue about what is actually being sung and only knowing in passing Portuguese swear words none of which appear on this record. So, rather than try to identify and then write out my favorites, which include Um Gusto del Sol, Paisagem Da Jenella, Saidas E Bandeiras No 1 and Nada Sara Como Antes, I would close with this is a chill vibe record with beautiful playing incorporating western elements into Spanish/Portuguese music creating something interesting and novel. It’s a late Sunday afternoon record for listening with a drink in your hand and the sun about to set. Forget the Sting reference and enjoy yourself. 3.5/5

As debut records go, this was pretty awesome. As a 14 year old when this came out and a 9th grader, this album was part of the soundtrack for that year. What I could not understand at the was how Paul Rodgers vocals were the glue that transformed pretty conventional music into something that was catchy memorable and ultimately, more than 50 years later, into a record that is still listenable. My taste changed rapidly with my discovery of the Buzzcocks and the British punk invasion a few years later but this album’s impact is undeniable. It along with Thin Lizzy’s Jailbreak record and a couple of others bring back memories of pool halls, parties and girls in a much simpler time. Bad Company, Ready For Love, Movin On, Can’t Get Enough are still easily recognizable and sing-a-long with songs. There are a couple of average songs, Seagull and The Way I Choose, that don’t hit the same way as the rest. I guess it truly is all relative. But I’m probably not alone in the thought. 4/5

Having seen Siouxsie & The Banshees live on this tour in Vancouver BC on October 8, 1981 there was a bit of a shock hearing these songs live in a smallish venue. The band is interesting and compelling live and the songs played live Arabian Knights, Spellbound, and Night Shift I recall fit perfectly into established songs from Join Hands and Kaleidoscope- particularly with Happy House and Christine. This album is a little patterned as Siouxsie makes use of repeated lyrics to accentuate the mood and drive the post punk songs forward. I’ve listened to this record repeatedly and for the most part this is still a great record that still holds up. Sure the repetition such as on Sin of My Heart gets a little weary but there is also a certain charm to the whole affair. It also evinces the bands desire to be more commercial in their approach recognizing that this particular combination of guitar sounds, motorik drums and Siouxsie’s screams are pretty enjoyable and engaging. Head Cut is a weaklyrical effort but the music is sharp and excellent with some weird noises and yips from Siouxsie. Voodoo Dolly is a bit of an outlier at over 7 minutes. In hindsight it’s a great way to finish the record. Very cabaret style. Solid affair overall. 4/5

I’m not sure this actually belongs on this list. Is it a good album? Certainly. But what type of record is it really? A bunch of cover songs with a few Nirvana originals performed acoustically. I’m not denying that those originals are transformed in this setting, particularly About A Girl and Pennyroyal Tea which benefit from the odd but inspired choice to play an acoustic guitar through an amplifier with effects pedals. This results in a semi-electric experience that created the tone impacting a number of the songs. The lack of hit songs and attention to lesser known tracks was also inspired because it highlighted how well written those songs actually were - the setting highlights the quality of the lyrics particularly on songs like Something in the Way and Polly. The Meat Puppets guest roles are, for me, genius as Kurt’s vocals with the Kirkwoods playing gives those tunes a vibrancy not found on Meat Oupoets II from which they were all derived. Overall a very good album with some interesting choices. 3.5/5

This is one of only 2 U2 records that belong on this list with Boy being the other. U2 found their sound and this was maximum U2 with Bono figuring out how to be both a great singer and compelling songwriter. Having seen U2 in a small club touring Boy and then again on this tour in an arena the growth was obvious. There are a few misses on this record for me, but the hits are obvious. I’m not picking the misses because it would be nitpicking and for those who live U2 there are no misses. For the U2 haters nothing was good. I’m not a hater but neither am I a fanatic. What is unmistakable is that this is an above average rock record with a distinct sound and message and withstands and deserves repeated listening. 4.5/5