Reviews by kenny-mike

I love what they’re trying to do. Trying, in my opinion, a little too hard. The production seems to wash away the real heart within these songs. Nevertheless, there are a few standouts: “Cult of Personality” and “Which Way to America,” both of which remain relevant this long after the Reagan Years.

Their cover of Talking Heads’ “Memories Can’t Wait” made me want the original back. Same with their cover of the Clash’s “Should I Stay or Should I Go,” although I believe that is a bonus track.

It only goes to show that Fishbone’s “Truth & Soul” is a monumental achievement. That funk/rock/soul fusion is untouchable…. Check it out next and see if you can’t help but agree.

Not a bad album but reminds me of some

With only two band members and a few instruments between them, The White Stripes make minimalism look easy and sound amazing.

On this third album, their major breakthrough as the story is told, you get such a range of style, sound, and energy. "Dead Leaves and the Dirty Ground" engages right away, and I love the lyric "Every breath that is in your lungs is a tiny little gift to me."

After some other romping songs you get to the delicate "We're Going to be Friends." This song once made me weep.

If this were a 10 song album it would be an easy 5 stars. But the last 6 songs sound more like bonus tracks, not quite as engaging. But once I did the math I still put the album at 4.65 stars so I'm pleased that I can round up and give this great band another 5/5.

When I think of the Byrds I think of psychedelic rock, but “rock” is a misnomer as they are so much more rooted in folk and blues. Clear Dylan influence as the album kicks off, which reminds me that his fingerprints are all over my favorite music from the decade.

Overall, a good album with flashes of greatness. But kind of like Karl Malone who kept facing Michael Jordan in the playoffs—the Byrds have to take their place in the 60s pantheon alongside giants like Bobby, John, and Paul, and can’t quite rise that high.

A 1979 new wave backdrop with a singer/songwriter overlay that largely succeeds.

“Guilt” and “The Ballad of Lucy Jordan” were the strongest songs. Opening song (title track) was dull and the angry closing track was vile, leaving a total of 4 other songs that largely succeed.

A pleasant surprise. I’m rounding up to 4.

Forget 1001 Albums, this is in the Top 3 Albums You Must Hear Before You Die. It is probably THE top album.

First: We wouldn’t have a list of “albums” apart from the Beatles. One of the myriad of ways they shaped music was to produce albums versus singles, and to make them monumental.

Second: The Beatles were light years ahead of their contemporaries musically, conceptually, philosophically, experimentally, and technically.

Third: Perhaps burying the lead here, this album just sounds GREAT through and through. And it still sounds great and has tremendous impact almost 60 years later.

There are likely those who want to be contrarian and dismiss the Beatles. They do so to their own diminishment.

By the way: Three songs by George on this album (versus the typical one or two). All fantastic. Taxman, Love You To, and I Want to Tell You.

5/5 doesn’t tell the whole story…

Folk music with Celtic overtones. There is a pleasant spirit and a pleasant energy throughout. Only “Tam Lin” draws on a late 60s rock vibe; it stands out, but it fits.

I enjoy this more on each listen.

One of my favorite discoveries yet from this 1001 process. The Kinks are probably best known for being underrated and this album may be Exhibit A: a musically delightful album from top to bottom.

It’s a concept album looking at life in post-war Britain, with big picture themes considered through the lens of everyday people. The opening song title fittingly refers to the empire (Queen Victoria) whereas the last song title is one man, our everyday hero, Arthur.

If you listen to this back to back with Sgt Pepper it would not feel derivative, but rather like a wonderful progression. And if you listen to it back to back with itself…you will enjoy it more each time. At least that’s my experience.

The Mamas & the Papas are a pleasant part of the 60s landscape. They were groovy and countercultural, combining folk, pop, and (some) soul into a delightful mix.

Rounding to 5 despite a couple songs (not written by a Mama or a Papa) that interrupt the groove.

Music so dark that even the love songs are disturbing. I suspect the album color was originally canary yellow but the darkness bled through.

You must hear “First We Take Manhattan” and “Everybody Knows” before you die. But don’t listen too close to your final breath or you’ll end with very little hope in humanity. But hmm, maybe that hope was misplaced anyway.

This is a classic album from a classic era, with flashes of brilliance and flashes of "aww, that's a nice song." It's a testimony to the 60s, and to the talents of these three guys, that the counterculture could lie down so peacefully with more traditional sounds and sentiments. Still, as great as these guys are together I can't help but wonder what it would be like if Stephen drafted his former bandmate Neil Young to join the group. I think Neil would add just the edge needed to put them over the top.

***

For brilliance, see: "Suite: Judy Blue Eyes" and "Wooden Ships." For nice, check out "Helplessly Hoping." For a head-scratching "huh?" check out "Marrakesh Express" - why was this a single, exactly?

Also, for purists OR those in a hurry... Note that the original track listing ended after 10 songs. The remaining 4 are bonus tracks.

Sometimes you get an album on this list with the explanation, "No one thought much of it at the time [in this case not even the artist himself], but later there were some people who liked it and, well, now you must hear it before you die."

I've learned that's not a good sign.

Nevertheless, this album is... well, it's OK. But to get to 3/5 I have to round up and be in a pretty good mood. And today was a good day.

Moving on...

Hey Hey + My My. Acoustic and electric. The acoustic side carries you along by the strength of its lyrics and imagery. Really well done. The electric side...well, it electrifies the way Neil Young and Crazy Horse tend to do. Great stuff but hampered by "Welfare Mothers," which may be ironic but I'm not in on the joke yet.

As much as I expected the opposite, I'd say the acoustic side may actually be stronger, but you really don't have to decide. Just listen all the way through, enjoy, and then listen again to try to make sense of it all.

You have heard "Killer Queen," but the deep cuts on this album to enjoy include "Tenement Funster" and "Now I'm Here."

Although Freddie Mercury is a standout vocalist and was a huge personality, Queen is more than Freddie. There is a healthy range of songwriting credits and contributions. Roger Taylor (drummer) who would later write "I'm In Love With My Car" contributes "Tenement Funster" to this album which I think is actually the highlight. John Deacon who would later contribute notable songs such as "You're My Best Friend" and "Another One Bites the Dust" contributes "Misfire" (unfortunately, that song is indeed a misfire in my opinion...just silly).

Now. I'd rather have a deep cut album by Queen than a host of other possibilities but I'm a bit confused about this album's placement on this list. Their previous album Queen II is a tour de force, as is their following album - the classic A Night At The Opera. Both those are on the list too, so that's good. But this album is weaker than either of those (though it's still good) and seems transitional. Meanwhile, consulting an online guide, it seems that News of the World and The Game are NOT on the list? That seems unconscionable. And just plain weird. Hope it's not true.

Class of ‘67 - Voted “Mostly Likely to Grow Up and Make ‘Dark Side of the Moon.’”

Or maybe not! This is an interesting specimen from the Summer of Love, released on the heels of Sgt Pepper and surrounded by so many giant releases from that year. It has a familiar psychedelic sound but also its own brand of whimsy. Plenty to enjoy, if not always thoroughly captivating for me

I pride myself on my musical opinions and reviews, but not on this one. I *have* to give this pop metal album a 4/5 as much as I want to dismiss it.

I loved this SO much as a 13 year old. The scope you see on the cover of the album actually had me in its sights: the “target” audience. I bought the album, the concert tickets, and the shirt. By the time Hysteria came out my musical tastes had changed considerably — but these songs still sound SO good to me.

So for what it’s worth here is my very nostalgic, non-objective 4 Star rating.

Minimalist Country that weaves a story together about a cheatin’ wife, a gun, a horse, a bar, and a vengeful husband. It’s not bad but someone please help me understand what the fuss is about. I’m grading it 3/5 with hopes that someone can tell me why it deserves that rating, or a higher one.

Pleasantly, this is less Country and more like “modern folk” and ocassionally something like…pop? The opening tracks are strong: “The Pearl” and “Michaelangelo.” The third track leans heavily into modern production—sounds good if maybe a little much. Title track “Red Dirt Girl” is another strong one.

One critical review said the album is gimmicky - maybe, but it shines in many places and works for me. For good songwriting and giving me something that is not just plain Country (thank you!) I am rounding up to 4.

Nothing against Country fans but how many of them are trying to hear these 1001 albums before they die? Just curious!

Anyway, sentimental Country just isn’t my thing. It’s not George Jones’ fault that he’s not Johnny Cash but I can’t find anything much here to move me.

Interest level: 2/5
Rating: 3/5, just to be fair

Note to self: check back in five years to see if this album is still on the list.

Seventies Rock / Modern Jazz fusion may not be my “go to” genre, but it’s hard not to enjoy this: good songs, and great musicianship. They find the zone in each song. Favorite deep cuts are “Kings” and “Change of the Guard.”