Reviews by kenny-mike

This was a really enjoyable album that I will fail to be able to describe. I kept thinking about side two of Abbey Road, with all of its musical variety, mood changes, playfulness, and moments of dreaminess. It’s kind of like that, but from another planet.

Maybe it’s more helpful to compare the sound to Coldplay, it is probably on that spectrum — but this is more eccentric and curious and fun.

Favorite songs on first listen: “The Spark That Bled.” On second listen, I add “What is the Light” and “Waiting for Superman” and all the other songs.

Best unfamiliar album I’ve received in a while, and it’s growing stronger as I sit with it. Either a very solid 4/5 or a 5/5, so I’m choosing the latter.

I grew up in a dystopian society where “Maggie Mae” was played on my classic rock station until it turned you into a lifelong enemy of Rod Stewart. I’m not sure what they had against Rod Stewart, but it worked. I can’t tolerate Faces, and I can’t fully enjoy this album despite some obvious merits.

On this album, Stewart is joined by Ronnie Wood (Rolling Stones) and a host of other apparently really talented musicians. Who is that drummer? The album leans heavily into blues rock and gritty folk. Could have been a Stones album from this period or, better yet, a Janis Joplin record.

But, it’s a Rod Stewart album, and as I said at the beginning I’ve been permanently scarred.

I used to know The Beach Boys as “that nostalgia band over THERE,” which had no connection to the real arc of great music. But I’ve come to respect them as innovators who couldn’t keep up with the Beatles, but dang it they tried, before throwing in the towel.

This album is both post-towel and post-Beatles. The fight is over, no more competition. And like the solo albums by Paul and John around this time, there’s an unevenness and occasionally something cringe (“Student Demonstration Time”—no). But also like John and Paul at this time, and the very last few Beatles albums, there’s a “throw everything at the wall” approach to songwriting and style that I appreciate.

Interesting that they keep up the ocean theme, but this time to lament the pollution and—in “Til I Die” and “Surf’s Up”—as a metaphor for personal lostness. Brian Wilson was struggling.

When the album ended on Spotify, it took me over to early 70s George Harrison: “All Things Must Pass.” I didn’t mention George earlier because unlike Paul, John, and Brian Wilson he was in his stride at this time. Yet there is still a similarity between where all of these songwriters landed after music’s most innovative decade. Interesting times.

If you love R&B, soul, and jazz there is a lot for you here. This didn’t quite hit my tiny bullseye for these genres but I recognize the talent and performance quality here.

They say that few people bought Velvet Underground records when they were first released (1967-70) but everyone who did buy one started a band.

I think this is one of those bands. Nearly every song is traceable to the VU influence.

Not bad, but mostly makes me want to listen to White Light/White Heat. (In fact, I just did that…splendid.)

I’m told by Spotify that this was critically acclaimed when it was released. But… did anyone listen to it since?

Wikipedia tells me it’s a cult classic that paved the way for Eno and Byrne’s “My Life in the Bush of Ghosts.” Okay… as a huge Talking Heads fan and pretty fond of Brian Eno, that’s another album I’ve never bothered with. (Has anyone else?)

I guess the takeaway here is that you have to have an uncommon appreciation for some very obscure music to appreciate this. That sounds like a rare individual but apparently he ended up as an editor of 1001 Albums to Hear Before You Die.

I need to get a message to teenage me, to get hold of a few Hüsker Dü records. Like most smart teens I was busy with R.E.M. and PiL. From the vantage point of Now, it may seem like H.D. didn’t add much to the mix. But I think they did… this was a punkier, grungier band that clearly influenced many breakout bands of the 90s.

But as for Now, I’d say the album still sounds good and is worth some time. Emphasis on “some” because it’s too long (a common complaint for double albums). But there were enough songs I want to hear again to rate it 4/5, such as:

“Back From Somewhere”
“Too Much Spice”
“She Floated Away” (retro yet not)
“Tell You Why Tomorrow” (a top pick)
“You’re a Soldier” (admittedly *so* R.E.M.)

Glam rockers doing glam rockery things. I could listen to T. Rex all day, and some Bowie here and there, but this doesn't add value for me. It feels packaged, which comes with the genre perhaps. There was one song that seemed interesting, turned out they were drawing heavily from Dylan—which proved both interesting and awkward (you'll know it when you hear it). The Cadillac song was a lyrical low point.

It's not horrible. Hey, you may even like it. And while I won't be returning to it, I'll round up (hesitantly) to 3 stars for being a reasonably produced artifact the early 70s and for NOT containing "All the Young Dudes."

It was pretty clear from the beginning that I could die a happy man without hearing this album.

Dying happy sounded good to me, so I acted accordingly.

Nein.

If you ever thought, “I wish every song on Sgt. Pepper was like ‘When I’m 64,’” this album is for you.

It arises from the counter culture but in an old timey facade. You wonder if he’s serious or sarcastic or cynical, and it’s probably all three.

Just don’t expect a transition over to “Lovely Rita,” because it isn’t coming.

The album deserves 5/5 for its place in rock history, for Keith Moon bursting onto the scene, for “My Generation,” and for “The Ox.” That’s the last song of the original side two, and if you are wondering what to rate the album, it quickly relieves the doubts.

In the history of music Jenga set, you cannot remove this one without collapsing the whole.
Therefore: 5/5

Note: that Jenga set has fewer than 1001 pieces, as we are all learning the hard way. Still, this is top 25 as far as pivotal music moments go.

Note Too: Compare “Bodies” with Public Image Ltd’s “The Body.” Within Johnny Rotten Lydon’s Ltd. worldview, abortion was shocking, dehumanizing, and dystopian. Interesting.

There was something cool, original, and funky about ZZ Top… in 1973.

But in 1983? As popular as these songs were, and I remember them well, they are packaged, shiny, and soulless.

Give me back the Tres Hombres!

Funk, soul, pop. I like the funk.

I can believe deserves more than 3 stars but it’s all I have right now.

The album is musically masterful. The title track is a classic, there are several hits, and such a funky variety that you don’t get bored (musically at least) over the double length album. Also - this 1982 album makes electronic music sound GOOD, not dated or foolish.

Yet I’m not a fan of Prince’s hedonism, with my least favorite lyric being: “Work your body like a whore.” Prince has the occasional spiritual reference, but is most often amoral and occasionally just manipulative in his notorious sensuality.

Favorite songs: “1999,” “All the Critics Love U in New York.”

Other notes: “Delirious” anticipates “Let’s Go Crazy” from Purple Rain and is pretty fun. “Free” is a pleasant break as the album begins its descent.

⭐️ ⭐️ ⭐️ ⭐️

Don’t judge an album by its cover, I guess. Expected hardcore and got something more alternative, witty, political, and engaging. You sense the influences of the best post-punk and new wave here, and you can hear the talent.

Short, engaging album.

Favorite songs: In My Mind, What Gets Heard, Understanding, and all the others.

Harder than usual to rate this album. I don’t care for Clapton’s pursuit of his friend’s wife, which is the emotional backdrop for this album. Plenty of good music, but I’m never really…surprised. Never fully hooked.

I feel guilty giving this three stars but I also feel honest.

It’s like, before Keith Richards was in The Rolling Stones and created riffs like “Satisfaction,” he was in a different early 60s band called… The Rolling Stones.

And before Mick Jagger was made famous for songs like “Get Off of My Cloud” or “19th Nervous Breakdown” he got his start in a cover band also called… The Rolling Stones.

It’s just so interesting that THIS is The Rolling Stones and THAT is also The Rolling Stones.

Note: there is just one song by Jagger/Richards on this album, “Tell Me (You’re Coming Back).” The listener can decide if it’s by THIS Rolling Stones or THAT Rolling Stones.

I like the mix of folk and jazz, with melancholy vocals down the middle enlivened by playful piano, bass, and guitar. But the album remains mostly pensive, like walking through an empty city on a rainy night.

I suspect this would reward the listener on multiple, patient listens (which would explain why Drake’s albums appear to be sleeper classics). Going to round up to 4 stars for this evident quality. Favorite songs on first listen were “Time Has Told Me” and especially “Man in a Shed.” I was excited about a third song but it turned the Spotify algorithm had sent me into a different Nick Drake album.