Reviews by kenny-mike

I heard several different bands on this album, and one of them won the contest
to become Tom Petty and the Heartbreakers.

What gave Chicago the courage to release a somewhat meandering double album as their FIRST? My theory is that they were inspired the White Album. And perhaps this album should be viewed in that light, although in many ways it's more like George Harrison's "All Things Must Pass," with its more consistent song style combined with some long jam sessions.

This album surprised me. It wasn't the soft rock that I expected, and it also didn't stay anchored to the jazz pop/rock sound that started the album. You have to get past the first few (long) songs to hear the variety, and it was around the song "Listen" that I began to actually WANT to listen. Now I'll have to listen again.

So surprised. Which is the best experience you can have when listening to these 1001 albums.

I don’t have much patience for the opening and closing tracks. But: Sandwiched between these two tedious 10 minutes tracks are 5 five songs that evoke the spirit and sounds of the city, that make an excellent EP.

Meanwhile, I really hate the cover of this album. If they wanted to disturb me, they did. I’ll be glad when it’s not showing up all over my phone.

Brilliant opening song (and a big hit).

Then… it’s fine. It’s consistent. But it keeps me at arm’s length, not sure why. I don’t want to fight too hard to get closer, and move on.

Eclectic 90s alternative music BUT with a Britpop sensibility that makes it more fun. Oh, and apparently the fun is age appropriate play - I found out these bandmates were YOUNG when this album landed.

I hear many influences here, from the Beatles to Glam Rock to just about everything else. Lots of variety, lots of talent, and some great sounds.

I want to say to the Pixies, “It’s not you, it’s me.”

I appreciated your profile on the 1001 dating app, I feel like we have a lot in common, but something feels off.

But really. It’s not you. It’s me.

Pavement checks all my style and influence boxes. I've learned that sometimes the "box checking" bands can disappoint however, when the style is there without the substance. But in this case, I heard something on the first listen that made me want to go back again. On second listen, I enjoyed it even more than the first time through. Specifically, from "Cut My Hair" (the big hit in its day) through the end. I'm going to keep some of these songs in the rotation.

RANDOM STUFF: If you ever wanted to know what could have been, had Neil Young joined up with the Velvet Underground, you can find out by listening to "Range Life." And what's up with "5-4=Unity" borrowing from the Beatles' "I Want You (She's So Heavy)"? So curious, but enjoyed that little interlude....

I think a friend said it best.

“Four tracks clocking it an 45 minutes. Pure soul music and musically complex and groovy at the same time. I have nothing but respect for this album. From the twelve minute re-imagining of Burt Bacharach's "Walk On By" to the anecdotal "By the Time I Get to Phoenix," this album feels like comfort food without being filling. While I enjoyed the listen, I didn't want to get up afterwards. I was happy to continue lying there, wondering if I would ever feel like moving again. I guess that is contemplative.“

This album sounds so much like early Public Image Ltd, it’s hard to believe there wasn’t a very direct influence. Musically, Bauhaus rivals that edgy, post-punk, somewhat experimental sound of PIL and others (like, say, Gang of Four). Which is to say, it’s a good sound. But I couldn’t get into any particular song, which I think is more of an issue with the lead vocalist and the general arrogance these songs exude.

I didn’t listen to later CD and bonus tracks, just the original track list, and give it 3/5.

Man, this album gets a lot of love. But the 80s synthesized production turns me off to each track immediately. When the album ended, Spotify moved me over to a nice Peter Gabriel song from 1977 (“Solsbury Hill”). THAT song, and THAT sound, grabbed me. The contrast made clear to me that So, despite Gabriel’s excellent vocals, just feels inauthentic and plastic with the synthesized, mechanistic backdrop.

3/5 rounding up and well aware that I may be missing something here!

This album came out in 2020, when Americans came out of denial for a quick moment about racism. I'm writing this review in 2025, lamenting how quickly that moment dissipated. One of the propped up negative reviews on this site gave a low rating to this album, complaining that America loves black people too much. Well, I don't think that reviewer needs to worry... we have elected and propped up just the people who can take care of that (alleged) problem.

Anyway, back to this album. It's good. It's a sensitive, restrained testament to Black experiences of all kinds: the challenges, the fears, the pride, the power, and the longing. Favorite song was "Monsters," and also "Wildfires" which others have noted. If it's not your style, at least listen. Like..."listen."

I was envisioning my 5 star rating as I listened with delight to the joyful rebellion of side one. The only downer was “Deny,” which was promptly rescued by “London Calling.”

It turns out “Deny” was a bit of a harbinger as side two waned a bit. A little less joy here, a little less rebellion there. And interestingly enough, for the US version released a full TWO years later, “Deny” and other weaker songs were replaced with songs like “Clash City Rockers” and “I Fought the Law.” A stronger album…but not the original.

Ironically, the US version is less “boring.” But still 4 stars for the UK and for a great band whose talent would expand in the years that followed.

Bob Mould deserves credit for being grunge before grunge was grunge. That was Husker Du. His next band, Sugar, this one, was grunge during grunge.

I realize that my problem is that I’m just not much of a fan of grunge. I actually liked this album best when it lightened up, on songs like “Hoover Dam” and “…If I Can’t Change Your Mind.” That latter song sounds like it could’ve been a hit, and oh, I guess maybe it was? It sounds quite a bit like Hootie and the Blowfish, or rather, Hootie sounds like Sugar. But again, I never resonated much with Hootie and the Blowfish either.

I guess all of this amounts to a 3/5 for an album that isn’t bad, isn’t great, but is respectable enough. If grunge can be described as “respectable”?

Anyway… moving right along….

How did this even happen? There were huge changes taking place in in music at this time (case studies: Beatles, Dylan) but Hendrix’s first album still seems so unexpected, sounds so good, and feels so impactful. The other two members of the Experience support Jimi well; I love the drum work, which has the relentless Keith Moon sound. And the (few) deep cuts never disappoint.

You don’t need this list to tell you to hear this before you die, but it’s always good to hear albums like this again. And again.

This is a well-produced album with a promising sound. In its best moments, there is vocal and acoustic guitar over a rhythmic and groovy electronic layer underneath.

But... the promise is never quite fulfilled. I think it's because I don't find the lyrics compelling. That's mainly a statement of content, but perhaps delivery as well. It's not that the lyrics aren't creative; they're not overly simplistic. There's just nothing to lay hold of. Nothing that moves this from style to substance, for me at least.

So, I can see why someone might love this, but for me it didn’t quite satisfy.

It seems that Buffalo Springfield knew 1967 was a consequential year for music. Determined to do their part, they came off the bench in November with their second album and made sure it was GOOD.

Neil Young, Stephen Stills, and Richie Furay share songwriting honors; Young and/or Stills produce seven of the songs. It is varied in strength and style but fits together. My favorite songs have a sound that’s familiar from Stills/Young’s later collaboration as CSN&Y on Deja Vu. The closing song, “Broken Arrow,” sounds like it was inspired by (dare I say) Sgt Pepper - translated into counter culture Americana.

Great band, strong album.

The first half of 1967 saw the release of the first album by the Doors, the Velvet Underground, and Jimi Hendrix. It saw the revolutionary releases of the Beatles' "Strawberry Fields/Penny Lane" and Sgt Pepper. Love and Traffic made their debuts in '67, and there were also sophomore releases by Frank Zappa and the Mothers of Invention and Cream.

1967 was the greatest year in rock 'n' roll history.

Surrealistic Pillow by Jefferson Airplane appeared in February of '67, showing what a deep bench this year boasted. And while it didn't charm me as much as I'd hoped, the primary Grace Slick contributions were remarkable. "Somebody to Love" and "White Rabbit" do not grow old, and carry such power. They also represent their times well. The only other song that really grabbed me was "Plastic Fantastic Lover" (a song about TV, add it to a playlist with "Trouble Every Day" and "I'm the Slime" from the Mothers.)

This is only a 3/5 for me, but it's a strong 3 with some 5/5 moments in a 5/5 year.

After complaining about the number of Bowie albums on the list, I stayed up late to get my next album and was punished with this. I will henceforth be less outspoken with my concerns. That doesn’t mean this is a bad album, just that it’s jazz from 1987 and who can evaluate that? Not me, and I’m skeptical that the editors of 1001 can either. Even the guys on the album cover look confused.

The moral of my story is, don’t complain about too much David Bowie (the artist with the most! albums on the list, nine??!!). And if you already complained, well, I guess that’s why got this album too.

Somebody, please make it stop.

It’s just too much Bowie.

There are NINE David Bowie albums on this list, more than any other artist, but good news! You can trade out FIVE of them for albums of your choice. Think of it like taking a mental health day at school, or a personal day at work. Enjoy some of your favorite music today - whatever you choose - since this is not among the four Bowie albums you actually need to hear before you die. It has a couple hits, and “Young Americans” is a good one, but this is not an essential album.

No, it is not.

This is EXACTLY what you would expect if Captain Beefheart formed a magic punk band. Captain Beefheart had some pretty interesting music. You might want to go listen to it instead.

I can only imagine this is on the list solely for those who are going straight to hell when they die. I don't know how it prepares you for any other afterlife. Which reminds me: please skip over the song about murdering the girl, and also the other songs, except maybe "Several Sins” which helps boost this album to 1.3 stars.