Reviews by kenny-mike

This album was later removed from the 1001 List, which should make you ask yourself — what the hell?

Do I have to listen to these albums before I die or not?

This one, I don’t think so.

So far, this is the album that most reminds me of Spinal Tap.

Almost (ALMOST) every strong starts out strong. The musicianship is there. But as soon as the vocals kick in... it sounds like a parody. How did this get an average rating over 3.5?? Maybe because people like me will have a soft spot for that drummer and guitarist (who are doing some good work).

Also, the cover art. I don't think it ages well. Just plain black - none more black - might have served them better.

The exception to my various complaints might be the closing track "Hallowed Be Thy Name." Another reason to round up instead of down, I suppose, so I'll give this 2.51 and it will get logged as 3...

This list has been trying to get Björk into me like some terrible tasting medicine and I’ve resisted at every turn. Finally, THIS worked - take Björk with Sugar Cubes. A great groove, a sense of humor, some sarcasm.

I wish that more 80s music sounded like this.

Original track list is just the first 11 tracks FWIW.

“The Hardest Button to Button” is one of my all-time favorite White Stripes songs. “Seven Nation Army” is one of their most memorable riffs.

But other than the occasional stand-out favorite, to be honest I have trouble telling their albums apart. I just know that when I listen through an entire album I’m continually surprised and impressed.

Five stars to the White Stripes catalog, and yes, to Elephant in particular.

Led Zeppelin is a band to outgrow. They have amazing riffs, and "catchy" songs which is admittedly quite an achievement for a hard rock/metal band. Meanwhile, the lyrics stimulate the teenage brain.

But as Hayley Williams (Paramore) sang:
"Some of us have to grow up sometimes
If so, if I have to, I'm gonna leave you behind"

And that's what I did when I came of age.

Nice 90s album.

Which is both a compliment and a warning.

Going in I thought: It would be great to experience another great album from the 60’s that I somehow missed!

Afterward: On second thought, I think my 60s collection is fine just as it is.

What just happened?

I had every intention of NOT respecting this album. AF’s others on this list felt to me like they, umm, tried too hard. I described one of them as “U2 without the Edge,” pun intended.

But this. This album was so enjoyable. Loved the sound. Enjoyed it all the way through. Every single song.

Dang it.

5/5

In August of 65 the Beatles released “Help!” A great album by the (early) Beatles, full of hits such as its title track, “Yesterday,” and “Ticket to Ride.”

As you listen to Highway 61, think about how it must have sounded in August 65, even when held up against the greatest of Dylan’s contemporaries. Its songs are sprawling, textured, and provocative. The musicianship is tight, delightful, and improvisational: everyone is in THEIR zone and THE zone. Every song, EVERY song has depths to explore. Even a full 60 years later.

Easily one of the greatest albums of all time.

As if Tom Waits and Jack White formed a supergroup, and found out they were booked for a Sunday morning church service.

That was my thought, at first.

Then I read other reviews:

“Frank Zappa and Tom Waits.”

“David Bowie and Tom Waits.” (That one is pretty spot on, I must admit.)

Anyway, it’s an enjoyable album that is one part Tom Waits and one part Someone Else. Maybe David Bowie, maybe Julian Cope, maybe Bruce Springsteen. Maybe even…Nick Cave?

Forgive me, I got carried away. Good music - 4/5 and on first listen I enjoyed the first disk better.

Tight. Jazz. Rock.

…which I prefer over country rock.

Plus, a shout out to Virginia’s own William & Mary University, in “My Old School.” 👍🏻

Received this album and checked out Wikipedia.

OK… seemed to leave a pretty small footprint on the world. I wasn’t very hopeful at this point. (1001 and I don’t always agree on deep cuts.)

However…. I really enjoyed the sound and the groove of this album. It was a pleasant surprise.

Not sure what else to say.

For the early 80s, a pretty interesting, intriguing sound. Better than expected. But I think this is an album you need to grow up with, or it needs time to grow on you. I don’t doubt its value but my 3/5 is where it sits for me for the foreseeable future.

Sheryl Crow's introduction to the world showcased her ability to craft party songs, ballads, bluesy and folk rock, and even some jazz. That this eclectic range somehow works together is quintessential 90s.

In retrospect you can see how promising this album was. At the time, there were skeptics. She answered them powerfully with her second, purposely self-titled album. And of course she's now had a strong, successful, respectable career.

Favorite deep cuts from first listen: "Can't Cry Anymore" (actually a minor hit in the US), "We Do What We Can," and "I Shall Believe." Add to that "No One Said It Would Be Easy." These songs keep growing on me...

Simon & Garfunkel were the high brow counter culture of the 60s. Even as they engage the folk rock vibe with songs like “Big Bright Green Pleasure Machine,” they exhibit their discomfort with it as they satirize Bob Dylan (then in his prime) in “A Simple Desultory Philippic.” Most of the album, however, is classic Simon & Garfunkel: gentle, poetic, telling stories and developing characters. Always worthwhile, even if not always stunning.

I was kinda busy in 1993, and missed this. But I do remember the wave of new female artists in the 90s, with an edge in their voice, taking over airwaves and CD sales. Liz Phair was at the front of this pack.

It's a great album. If you were to hear just one song, perhaps a hit such as "Never Again," it sounds GOOD. But the real strength is in how her lo-fi-yet-energetic sound is carried over an entire album with a variety of moods. The sum is greater than the parts.

There are enough songs to make it a bit uneven. Whether by sound or subject matter, I can't buy into everything. But having missed this 30 some years ago, songs like "Never Said," "Explain it To Me," "Mesmerizing," and many more are worth the return. "F** and Run," with its provocative (and even misdirecting) title, is really a heartfelt song lamenting the "state of affairs" in her life. Songs like "Johnny Sunshine" and "Gunshy" are experimental and hypnotic, pulled off well, as the album closes.

The dawn of heavy metal, and it is indeed heavy. This isn't the shiny hairband metal of the 80s but the deep, dark, and *somewhat* bluesy metal of the late 60s (released early 1970). The songs provide riffs that invite you right into the darkness, the original Hotel California trap.

There is remarkable musicianship all around. As someone who thought he outgrew heavy metal, I have to give credit where it's due: there's enduring quality here. And they invented a whole new genre while they were at it. A lot more respect than I expected to feel.

Solid album. Begins strong, takes a dip for a couple songs on the flip side, but comes to a nice close.

For those complaining about the British albums, - do you realize over half the great bands played on your classic rock stations are British? Do you realize there are some really terrible American bands? Very strange complaint.

Enjoy this!

If Sheryl Crow is rock/country, this is country/rock. With country being one of the genres that disappoints me most profoundly, I will say that at first this album was a delightful surprise. However, I eventually grew weary of it, and I wasn’t sure whether my mood or the music had changed. I went back to the earlier part of the album, and it had lost its shine. Not that it isn’t a fine enough album, but I just can’t buy into it fully. And I really don’t need the ever present references to other country artist and Southern towns, as if she really really wants you to know that she is a country artist, seriously. Feels Too polished and self-conscious.

Instead of rounding up to 4, I have to round down to 3.

I don’t get the godlike status given to Eric Clapton. I have always been bored to tears by the hits. That includes Cocaine, his version of I Shot the Sheriff, Tears in Heaven (though I sympathize), and even Layla. Cream is a different story. Aaaand, ok, I can appreciate Bell Bottom Blues.

This album only confirms to me that this is an artist who has great talent to service a band well, yet does not have a personal message or vision that moves me whatsoever.

Some day someone will have to explain what I’m missing. Or not. I just don’t care… which is the whole problem I guess.

3/5 - neither objectionable nor captivating