Reviews by kenny-mike

The Eagles should find a church, get on their knees, and offer solemn thanks to God for sending them Joe Walsh. On the way there they may run into David Crosby, Stephen Stills, and Graham Nash arriving to give thanks for Neil Young.

These are some great demos. I definitely think Matador Records should sign these guys and work this into an album.

Consider this along the lines of 1960’s Mothers of Invention, but less humor. It’s experimental, culturally conscious, experimental again, and psychedelic.

If your platform contains all the bonus tracks, listen to the alternate version of “I Won’t Leave My Wooden Wife for You, Sugar.” That is worth the foray into this material. Also enjoyed “You Can Never Come Down.”

Anyway, 4/5 because there’s plenty of room left in my heart for more experimental, psychedelic 60s rock.

This was actually pretty good. It has the familiar Steely Dan sound: intelligent, modern, tight, soulful, groovy, jazz, pop.

I could picture some of these songs sounding REALLY nice live. "New Frontiers" for example, which is my initial favorite. "Green Flower Street" would be another. Both songs have a nice groove, with percussion I'd love to see set free from the machine.

I honestly thought this was going to be a 3/5 for me but the more I sit with it, the more deserving it feels... and sounds... so I'm edging it up to 4/5, and interested to hear more. (Some 1993 tracks the Algorithm sent my way sounded great.)

Sit with it and see what you think!

I read what seemed to be an offhand comment in another review: “Bob Dylan basically invented lyrics.”

Yes, an exaggeration. But it seems to me this is the key idea. Dylan’s influence was enormous — the Beatles, Byrds, Simon & Garfunkel, even Hendrix for goodness sake, so many others — yet it wasn’t because artists imitated his music or style. Some did. But mainly it was the inspiration of lyrics that told stories, protested, painted pictures, revealed, concealed, and were always ABOUT something. An entire generation followed his lead.

This album contains classic tracks alongside lighter fare, which is also alongside heavier fare. It’s transitional for Dylan, who was often in transition. But it’s all wonderful and part of a classic, hugely influential arc.

The song “We Are Family” definitely brings back memories! I have no ill will toward Sister Sledge or even toward disco… but I think as a genre it is too polished for me and, truthfully, I simply cannot dance. It’s good to be exposed to the best of each genre through this list but since I won’t return to this it’s a respectful 3/5 for me.

This album begins with a provocative song about Southern racism and Northern hypocrisy, and then completes its 30 minutes or so with short songs that are fine, just fine snippets of Southern characters and history. Not an uninteresting theme necessarily. But this kind of parlor music just leaves me wondering: who would buy this record in 1974 and play it more than once? Which was all that was asked of me, I guess, and now I’m good.

This album has a lot to offer. It also interrupts is offerings to scream at me on occasion.

Three songwriters and different stylings create, for me, an uneven album. I happily settle into the lo-fi groove but then get pulled out of that groove by some juvenile outbursts that remind me of, say, the Suicidal Tendencies.

Nevertheless, I really like this album most of the time. I want to listen again for sure, and that means 4/5.

First song: “Clearly this band was a major influence on Slester-Kinney” (one of my favorite more contemporary bands, start with “Dig Me Out”).

Second song: Plus, the similarities to the first album by Talking Heads which arrived the same year (1977). Man, I love what was going on in this time frame.

And from there, a solid album that might be termed “post-Glam.”

There’s a certain 80s vocal style that aims to sound aloof, yet authoritative.

I guess I have a problem with authority.

I’d be lying if I said I listened to the whole album. Sorry!

Passing along the Bandcamp link to hear the album (may not be on other platforms):

https://americanmusicclub1.bandcamp.com/album/california-digi-only-release

I was greeted warmly by the opening track (“Firefly”), a pleasant surprise of a song. Ended up enjoying the album overall; just a few weaker tracks on first listen. For 1988, quite good…

The two hits from this album are quite different from each other: “One Way Or Another” is energetic pop punk…pretty much the definition of new wave now that I think about it. “Heart Of Glass” is dreamy disco, a stylistic stand out on the album.

There is plenty of variety here but Debbie Harry holds it all together. She, and the music as a whole, is somehow charming and edgy all at once. And the band seems to be having fun.

Definitely a must-listen from one of the most representative new wave bands that dominated the radio in the late 79s and early 80s. Good times!

This is some well produced, smooth soul. My 3/5 is quite subjective. If I were feeling lovelorn I just might resonate stronger and would be rate this album higher.

Can someone help me out here, I’m not sure what he is singing about. And is that lady going to be ok?

Gentle, but vibrant. Colorful, quiet, groovy.

So good.

First listen favorites:
Another Pearl, Cause a Rockslide

To my friends who love this album, whether due to nostalgia, emotional resonance, or a love for all things 80s —

Forgive me.

I really tried to like it. And at the second track, I had SO much hope. But the drum machines, synthesizers, and melodrama were too much to overcome.

Can we still be friends?

This is one of the best Bob Dylan albums of the 90s, and it's by a man named David Gray. The songs proceed simply yet carry a depth of emotion. Perhaps that slow burn is why it was a "sleeper" hit in its day, almost overlooked and then ended up on some charts for years to come. Not sure if it will do the same or not for me, but I admire its quiet strength.

Judging by the cover (yeah, I know) I expected something a little more gritty, maybe along the lines of a Dexy’s Midnight Runners. I didn’t expect jazz and soul, reminiscent at times of Sade. It gave me some 80s nostalgia but not my favorite sounds. And with this being the second album in a week that covered a song from Talking Heads’ “Fear of Music” (both artists did not make any improvements), I know my assignment.

RIP Brian Wilson (1942-2025).

The story of this album is tied up with the 60's rivalry felt between the Beach Boys and the Beatles. The Beach Boys' "Pet Sounds" pushed in a new direction that inspired the Beatles' "Sgt. Pepper." At which point, Brian Wilson threw in the towel and apparently sunk into a depression.

It's too bad Brian Wilson broke down and didn't keep those good vibrations a-happenin' because he apparently had more to offer. As for how this album sounds, re-produced a few decades later, it sounds...OK.

It’s not often I’m in a mood for a low key album like this. I thought today might be that day, but it wasn’t. No questioning Gillian Welch’s talent or heart but, like her, I wish she would “sing that Rock and Roll.”