Reviews by kenny-mike

I was trying to figure out why this “okay” album is on the list, and finally realized that it is EXACTLY mediocre. You need to hear it before you die because it isn’t good enough for heaven or bad enough for hell.

Exactly 3/5 but not a smidge more!

My approach to this album was, “You are going to have to give me something in the first three songs to make me listen to 40 more.”

They did. And so down the road I went…

Next thought: wouldn’t the 80s have been cool if more music was like THIS? I once heard that said about Was (Not Was), and in a way this band is similar - combining so many eclectic elements into one funky album.

Still further down the road: Not only does this sound great, these guys are saying something (instead of nothing). “Maybe Partying Will Help” is a short, great commentary on avoiding real questions. “Themselves” is one example, a great one, of the social consciousness that laces the album. And who doesn't love a song about a band's musical influences and development with call outs to Bob Dylan and Joe Strummer ("History Lesson, Part 2")?

Rounding up to 5 on this one because: 1) in an alternate history, teenage 80s me has this on repeat. 2) The cover. I really dig that cover and its subtle messaging. The story behind it is interesting and the meaning is basically: "You have to choose your battles. Choose better ones." But most important, 3) Interesting, varied music that doesn’t get boring. Really enjoyed this!

This album is no doubt greater than my ability to appreciate it.

I didn't discover T. Rex until I was dating the girl who became my wife. On one of our earliest dates we saw Billy Elliott, which opens with "Cosmic Dancer" and includes other T.Rex cuts (deep?) such as "Ride the White Swan" and "Children of the Revolution."

This album just sounds "cool" - laid back, smooth, effortlessly groovy rock. Distinct. In the U.S. "Get It On" makes them seem like a one hit wonder, and maybe they are, but wonder is key word here. [Sidebar: I hear the later Beatles embedded here, in the guitar work/production, in the playfulness, in some of the background vocal style - I'll take it!]

No choice for me… the music is too good, the memories are too good… 5/5.

The original 1970 album is unavailable on Spotify. Ugh. I had to build a playlist to recreate the original track list. Why, why, why? And does anyone else care about these things??

Anyway, I gladly give The Who Live at Leeds (1970) 4/5 as an energetic live album featuring the never boring, ever engaging, timeless Keith Moon on drums… plus some other guys. This is also a great lead up to Who’s Next with classic, late 60s blues rock undertones. The only reason it’s not 5/5 for me is that it takes a lot to get me to return to a live album unless it’s called Stop Making Sense.

1967 was quite a year for music, and this album was released in February 1967 directly between The Doors (January) and the Velvet Underground (March). A week after this album was released a 45 hit the shelves: Strawberry Fields / Penny Lane. Sgt Pepper arrived soon. Jimi Hendrix too.

So in the midst of the greatest revolution of all times comes this fourth album by the Byrds. And it sounds…so 1966. It’s the Byrds’ signature psychedelic folk rock sound, with maybe a splash of Pet Sounds and Revolver influence.

But it’s good stuff because, hey, 1966 was a good year for music too.

OK, so I gave this album a little extra attention because of its notoriety. My questions: Is Radiohead overrated? Is this album overrated? Am I missing something?

So after that extra attention, I’m rounding up to 5. Here’s why.

It landed as a 4/5 right away because it was musically interesting and engaging. But I wasn’t sure what was the narrative, and was left a bit empty as a result.

So with that extra time, I explored the themes and lyrics: societal alienation, the emotional toll of modern life, the toxicity of fear, approached from different angles. I found the lyrics more relevant now, dare I say, than they might have been in 1997. “No Surprises” could have been written from my living room TODAY.

I’m not at 5/5 yet because I need more time to live with this album, but I’m heading there.

The song to really pay attention to is “Jealous Guy,” written originally in 1968. It is a statement of John Lennon’s deep challenges with relationships and fears of inadequacy. Probably written with Paul (not Yoko) in view.

On the other hand, “How Do You Sleep at Night” is a rebuke to Paul and a response to Paul’s song “Too Many People.” (Which is, I think, the better song. But it’s all such a sad breakup / breakdown.)

The title track is John at his Johniest, claiming to have found The Answer and to be The Teacher. He didn’t push so hard in this direction until after the Beatles.

And then there’s “Gimme Some Truth,” another holdover from the last days of the Beatles…

An uneven album filled with psychology, history, and one man trying to find himself anew.

“Mr Fantasy” was Traffic’s first album, and is a classic psychedelic pop/rock album that really belongs on this list. It’s totally unfair that people are entering eternity without hearing it, apparently due to some sort of Traffic quota.

But this, their self-titled second album, is equally deserving. By just their second album, the band had expanded their sound — I hear rock, soul, blues, and maybe-even-jazz fusion here. It sounds like a certain strand of 70s rock, but full of life and heart and oh so good.

Stevie Winwood made great music with several bands in this era. But it’s clear he’s not the only talent; the whole band contributes wonderfully. This is an excellent artifact from a great year in music, 1968. Enjoy!

The reviews that deemed this as proto-punk threw me off. To me, this has a straight ahead rock vibe. The most punk thing about it is its sense of humor, an unwillingness to be taken seriously — by themselves or anyone else. Also…is the closing track a parody of The Beach Boys?? I actually hope so.

4/5 for a fun rock album, even though I will not remember this band’s name and by year’s end will forget this entire album exists.

The 50s might not have known it, but they were the waiting room for the 60s.

“Respect” is among the greatest cover songs of all time. These words written by Otis Redding mean something new and revolutionary when sung by a woman, but not just any woman….

The theme is revisited more quietly but no less forcefully late in the album: “They say it’s a man’s world, but you can’t prove that by me / and as long as we’re together baby, show some respect for me.”

I prefer the more energetic songs such as Respect, Good Times, and Save Me, but she IS the Queen of Soul and each song proves it.

You can't judge a book by its cover. I would have thought this was a 1 Star album that was completely unlistenable. But actually, it's a 1.5 Star album that is ALMOST completely unlistenable. There is actually some impressive speed metal skill, if only you could remove the vocals — garbled mutterings intended to be heavy or dark but are actually just silly and gimmicky. Still, I can’t bring myself to round up to 2. So maybe you really CAN judge a book by its cover…

I never heard Fiona Apple’s music before, though I knew the name, so I came into this record with no preconceived notions. What I heard was, like, lots of metal percussion, pop and jazz combined I think, and some interesting storytelling. I somewhat enjoyed it for a while, but didn’t find it highly relatable, so I am not sure I’ll return to it. So that’s a 3, but a strong 3.

At heavens gate.

Saint Peter: Just one more item to check on, Mr. Ken. Did you hear all 1001 Albums before you died?

Ken: I’ll be honest. No.

Peter: Really? Well, how about Marilyn Manson? That was on the list. Did you listen?

Ken: Heavens no.

Peter: That’s the correct answer!

Ken: Oh… great.

Peter: Let’s just spot check a few others. How about Trio?

Ken’s brow furrows, thinking.

Ken: I… I don’t recall.

Peter: It’s a country album. Was Country one of your chosen genres?

Ken: Not at first, but then I got into a group and it reset all the preferences. Look, I honestly just don’t remember. Could you tell me the artist?

Peter: I’m afraid not. Policy. Try to remember.

Ken: Country… Country… Like Johnny Cash?

Peter’s head goes back as he gives a big belly laugh.

Peter: Ha ha ha!! No, no, it’s nothing like Johnny Cash.

Ken: I’m sure I heard it but… I mean, SHOULD I remember it?

Peter: Honestly…no. But it’s policy that we spot check your completion of the list. How about this — why don’t you sit over there and try to recall the album?

Ken: Where? Over with all these… sad looking people?

Peter: We call it Limbo. NEXT!

Pretty impressed with the talented grooviness of this album, especially as I place it in its 1991 context. (Release year in the UK.)

Not quite my type but you don’t choose all your friends. Sometimes they choose you. Sometimes, they rescue you from the algorithm’s other cruel offerings - like that scene in the movie where the hand reaches down to pull our hero out of certain doom.

Ok, that got melodramatic. Which is exactly what this album isn’t. It’s nice. Enjoy.

MASTERFUL. That's the word that best describes this album, and in fact, the stretch of albums leading up to this climactic double LP.

"I Wish" is my favorite song on the album, it's an energetic, emotional, riveting remembrance of childhood in which joy is baked into every good and bad moment. That represents the album as a whole: the "wonder" is how Stevie can extend goodness, and extract goodness, from all of life's experiences. The most positive, and even the more painful experiences.

You will have favorite tracks, but if you just let the music in...something beautiful comes through on each track.

An album you TRULY must hear before you die.

There are 9 albums by David Bowie on this (extended) 1001 list, tracking his career from dawn till dusk. That is about six too many, and the editor(s) really should be forced to choose which THREE really deserve to be here..

Bowie has style. My challenge is that below the styles, I’m never compelled by the substance. He has good stuff, I just wouldn’t return to much of it apart from this list… a list which works overtime to insure that I return to Bowie again and again and again and again and…

Well anyway. All that said, I enjoyed this one more than a some of his other, later releases. It is a solid follow-up to Rise and Fall of Ziggy Stardust. I enjoy the energy and musicianship enough to recommend it for the Bowie Three.

Here’s looking at you, Mr. Dimeron. 3 Stars.

Full disclosure: there is no reason you should care about my opinion concerning this album!

So, like a kid who grew up eating Cap’n Crunch and now has trouble eating his veggies…. I have tried to understand and enjoy jazz, but it doesn’t come easy. This album comes close for me… but… it will take more time to develop appreciation for even the best that Jazz has to offer me.

If you read this far… first, why? And second, thanks for bearing with me.

There were rumours this album was “experimental” so I expected something…well, experimental. But I now realize what they really mean is “experimental by Fleetwood Mac standards.”

So, what does experimental by Fleetwood Mac standards mean? In this case, it means it’s a departure from Rumours, mostly, and also…kinda drab. I think the problem is more of a lyrical and content issue, not so much a musical one. Sometimes the music is joyful and playful, and it’s almost promising at least. But in the end, the songs as a whole don’t compel me to return.

If you are going to follow up a massive success with a massive double album, make it the White Album. Make it “The Wall.” Make it “Songs in the Key of Life.” They may have tried to do that, but unfortunately didn’t hit the mark (not for me at least).