Reviews by kenny-mike

Peter Gabriel 3 is, in fact, the third and final album I’ve received by PG from 1001. Tried as I could, I was not able to fully embrace the others (especially the synth-heavy “So”). I knew “3” would come one day and I wondered if the third time would be a charm.

Well, charming is an odd way to describe an album that seems to move from the individually neurotic and alienated (first half) to the larger, even global, impact of this alienation from each other (second half). But there it is. From the opening of this album I could buy in. Those first three (full) songs are fantastic. And for me the album as a whole improves on the second listen.

Has this album ever been compared to Talking Heads’ “Remain in Light”? That is an interesting Venn Diagram. Both released 1980. What that album has that this one doesn’t, however, are eruptions of sheer joy—which is another way of saying it has Chris Franz and Tina Weymouth and Jerry Harrison. What this one has is more darkness than light, and marimbas.

Unexpected 4.5/5 to me, rounding up to 5. Doesn’t make me want to revisit Gabriel but it makes me want to keep this one at hand.

I’m not exactly sure why I love this album so much. I’ve listened for years, having been introduced to it as a teen. (Do teenagers like music like this?) Whenever I listen to it, including right now, it just pulls me right in. Into its atmosphere, its emotion, its groove. It’s authentic, it’s personal, and it’s…great music.

This is my favorite album by Neil Young and apparently always will be.

I have generally held to the view that there is only ONE Boston song. You roll it out on the tray, cut it into different shapes, and there’s an album: but ultimately it’s all the same stuff.

But as much as I’d like to downgrade the album, I have to admit it’s a pretty enjoyable listen. I mean, it’s hard not to do at least a LITTLE air guitar or drumming. And I’m thinking to myself, this album came out in 1976 and nearly every single song has been played on rock stations for 50 years straight. Pretty remarkable.

By the way, I grew up in the 70s which could be influencing me here. As much as I prefer punk, new wave, and alternative, it might be that there’s a “disowned” classic rocker inside me that needs to get out once in a while.

So I’m going with 4/5. Even that could be considered a downgrade for the 5/5ers out there but for me that’s higher than I planned to go for something so crisp, shiny, and harmless.

The opening track was so catchy and so promising, but for some reason I quickly lost interest and couldn’t regain it. It has a good sound that checks my boxes but I’m not compelled to dive deeper.

My history informs me that I gave their earlier album 4/5, so that was either a better album or I was in a better space. Today, this merits a respectable 3/5… a disappointment though.

What say you?

The B-52’s could be easily reduced to a fun party band. Because they are clearly having a lot of fun, and generating a lot of fun, and you can tell these songs were meant to be performed live in small, crazy venues.

But they are something more, too. They are combining so many sounds and styles and sometimes they are really saying something. (“52 Girls” seems to be a reflection on passing beauty.)

Within my musical wheelhouse, they sit alongside early Talking Heads and Was (Not Was). They also influenced Sleater-Kinney, a strong Riot Grrrl band at its peak two decades (!) after the B-52’s hit the scene.

Favorite songs for now are “Planet Claire,” “52 Girls,” and their quirky cover of “Downtown.” Enjoy!

Musically this album was more than expected. I expected something crisp and talented, but also pretty low key. Instead there was a wider range of sounds here, folk, rock, indie, and (handle with care) a bit of country. But because the emphasis changes from song to song, you move from (more) indie to (more) rock to (more) folk. It is nicely varied in sound and tempo, and fits together well.

It also seems lyrically interesting, though I typically don’t catch as much on my first go round. Seemed like it might have dipped near the end of this long album. They apparently had something to prove, and proved it, and proved it long before they extended this into a double album.

This is a good soundtrack to play on Election Day this year.

Better yet, a soundtrack to examine one’s actions in an age where we are too easily satisfied to just be outraged at “those people.” But,

“Who really cares?
Who's willing to try?
To save the world
That’s destined to die?”

Good questions. I wish Marvin Gaye’s questions, offered when I was an infant, brought me back to a different time. Instead, they speak to today. What’s going on?

Amazingly, Jethro Tull can sound both really old and truly timeless at the same time. They reach far back, and down deep, for inspiration; then they offer something progressive, varied, and energetic.

Listen to “Up To Me”: what a fantastic combination of flute, acoustic and electric guitar, percussion, and of course Ian Anderson’s gritty vocal presentation. Or you could just listen - again - to “Aqualung,” “Locomotive Breath,” “Cross-Eyed Mary,” or any other song on this stellar album.

Occasionally you’ll hear the influences of contemporaries. This short song may sound a little bit like Cat Stevens, half of another song might fit on a Black Sabbath album, but most of it can only be Jethro Tull. There’s just nothing quite like this.

It’s an album that still sounds great over a half century after its release.

Words that come to mind are:

Ethereal. Personal. Pretty. Smart. Vulnerable. Evocative.

I can't help but respect the artist and the art. I want to spend more time with this one.

This is a listenable album, and it exhibits more musical versatility than expected, but nearly every song leaves me wishing Paul Simon would go deeper. I'm not sure he really wants to, truthfully.

The exception for me is "Run That Body Down." While this is a simple song, I think it works on multiple levels. It's a parable.

I'm writing this review as I'm listening to one of my next albums, "Aqualung" by Jethro Tull. Man, what a study in contrasts.

This is like a garage band, but the garage was filled with all of dad’s discarded electronics and production equipment. I loved the eclectic sound at first but eventually found it was overwhelming the experience of actually hearing SONGS. I like this album best when it is less distracted and is at its most direct: “Lord Only Knows” is the best example, and the song from which the album grabs its name.

The sound and production is great but I steadily lost my enthusiasm. What can I say. A strong 3/5 at least.

In 1979, John and Paul were broken in half and neither was complete without the other. Meanwhile, George was becoming whole, and he was surrounded by new friends and collaborators.

Yet George had plenty to process concerning the breakup of the fab four’s friendship as well…

“Wah-Wah”: “You made me such a big star / being there at the right time / cheaper than a dime…”

“Isn’t it a Pity”: “Not too many people / see we’re all the same / and because of all the tears / our eyes can’t hope to see / the beauty that surrounds us … isn’t it a pity?”

“Run of the Mill”: “As the years stand up on end / you’ve got me wondering how I lost your friendship.”

“All Things Must Pass”: “It’s not always going to be this grey.”

This is a great album or two. It’s long and meandering and I wouldn’t want to be without it.

Never heard this apparently-acclaimed album before. Great sound, strong musicianship. Each song is fun in a different way, so it keeps me curious. Sonically, rarely disappointed. Lyrically it doesn’t grab me in a personal or profound way, and maybe that’s a context thing - but not bad…as President Obama once said, “You’re likable enough.”

For musicianship, sound, and song craftery, 4/5

This list is teaching me that I have to be in the mood for a full reggae album, which only makes sense as its vibe is so distinct. And in the mood I've been for the last two albums I've received, namely "Natty Dread" and now "Catch a Fire" by Bob Marley & The Wailers. Apparently they were originally just plain Wailers at this point. Peter Tosh is lead vocalist on 2nd and 3rd tracks (inlcuding the quasi-famous "Stop That Train.")

I'm giving this a 4, just as I did with "Natty Dread" which came out a year later than this. "Natty" is probably just a tad stronger. But more knowledgable fans of the genre can be the judge.

Suggestion: Listen on a laid back Saturday.

Pleasantly surprised.

A lot of reviews mention that reggae just doesn't have much sonic variety, and that is what I felt when I was assigned "Exodus" by Bob Marley. Is Bob Marley just a "greatest hits" artist for many of us, I thought? (NOTE: I've enjoyed my share of classic reggae in my day but rarely in full-album form.)

But as I said, I was pleasantly surprised. I felt like this album had more range than expected, and I really enjoyed it. Plus it is lyrically interesting, as it includes some songs that yearn for freedom and songs that lament lost love. It opens with four strong tracks in a row, you are likely familiar with at least 2 of them.

Relax and enjoy. I did.

There's a good chance this deserves 5/5 from those who understand the genre better but I'll go with a strong 4/5 for me personally.

Each song terminates in grungy energetic fun. That’s what I’ll remember most about this album, but Mudhoney deserves their place on this list for sure. Nirvana probably owes them royalties.

I love that PIL was saying something not only with this album or that album, this song or that song, but with their entire career. Led by the frontman of a band created in a lab, Public Image Ltd was repeatedly questioning the relationship between performers and those performed upon, posers and consumers, and pushing down all the props on the stage. (Last couple albums, maybe not as much, but I blame the 80s for that.)

This album is really, really good, and it’s like nothing else in their catalog. It flips the musical script in so many ways. It’s post-punk but also post-post-punk and probably anti-punk. It sounds like an ancestor of trip hop, with its hypnotic, atmospheric grooves. It’s intriguing and innovative, and it sounds great.

It was originally a double album but clocking in at just one hour, it’s quite manageable. Only the last track tested my patience. Otherwise, I’m all in… and have been for a long time.

What’s not to like? I’m over halfway through this 1001 list so I’m no longer taking the “must hear before you die” part seriously. If I can just get an enjoyable album that’s a good day.

So… enjoy!

(And don’t miss the latter tracks that have a great groove to them… “Get On It”!)

I don’t buy into John Lennon’s narrative about God, about the Beatles, or even about himself. In 1970, he was a broken man trying to find healing - but also out to deconstruct everything. Too much of this is performative: he was ever committed to adopting the role of the wise teacher, the sage, the guru (You hear this often in the lyrics of this album.)

And so there is much to criticize about John’s posturing in the immediate aftermath of Beatles. But, this remains an important album the same way one’s first counseling session is important. The mask hasn’t been removed, the true breaking point hasn’t come. But man, what a session.

They say it was influential, ahead of its time, Cobain.

I say it has its moments, more disjointed than cool and eclectic, ehh.