Reviews by meemesker

One of the lowest rated albums on the list and I can definitely see why. It's not so much the music style that bothers me so much as it's the singer's constant gutteral singing/shouting that turns me off. Though I must say, their choice of samples doesn't help matters much. An incredibly melodramatic sound. Hasn't really aged well - especially the way the drums are recorded. I made it 8 tracks in before having a genuine urge to stop listening. Kept going despite my better judgement and wasn't rewarded for my patience with any pleasant surprises. I will say they are very consistent in what they do.

Common leaves me feeling underwhelmed. He's trying out alot of different things here, and he's assembled quite a production team, but it never quite coalesces.

I know this is a big one, but I've never spent the time with it until now. It's pleasant enough I guess. I don't really understand all the hype that surrounds it, but I can certainly see how it paved the way for Britpop.

There is something about this album that makes me want to get drunk. Would be a fine album to put on during a good drinking session with friends. Has an easygoing earthy soulfulness to it that feels very natural and genuine.

Super fun. Like a punkier and less mature Squeeze. Thoroughly enjoyed it. Has to be one of the daftest album covers of all time, but I can't help but like that too.

Though my favorite Wailers album is probably "African Herbsman," this and "Burnin'" are really well recorded and have such a rich and spacious sound. An incredibly talented group. I only wish they could've lasted longer together. The Beatles of Reggae.

As I wrote in my Minor Threat review, I really respect Ian Mackaye alot. And I do like Minor Threat a good deal, but Fugazi is so much richer and more rewarding. It's astonishing how ahead of their time they were. Probably only held back from a wider influence by not being on a major label - but that's an important part of their story and their credibility. Indie in the truest sense, before it became a nearly meaningless term. Although I do like the two singer approach for its dynamics and contrast, whenever Ian MacKaye starts singing, I half wish he was the only singer in the group.

I can go for this. He's like the Mancini of Bollywood. I genuinely enjoy these types of 60s and 70s soundtracks. Super entertaining. Love the blending of so many genres.

This album hit the spot like a slice of New York pizza. I'm a Beastie Boys fan from beginning to end, but I think this and "Hello Nasty" are their absolute creative peak. They have matured a bit here, and are slightly more reflective in places, but they haven't lost their playful spirit. They bring so many styles together - even going back to their punk roots for perhaps the best example of a rap-rock hybrid ever with "Sabotage." One might argue that the instrumental numbers slow it down, but I think that it showcases their versatility as musicians and I appreciate the change of pace. This album is kind of all over the place but it just keeps moving. Played this alot during the summer of the boombox in the backseat.

Definitely my preferred Joy Division album of the two. I like that they split the sound between guitar based songs and synth based songs. It all blends together quite smoothly since it is so tonally consistent. Certainly a dark and heavy album. I've always appreciated this sort of thing, but as I get older, I find myself much more attracted to this sound and feel a fairly strong "kinship" with it. I don't know what that says about me. It might just be the natural perspective of aging, or it might just be the dumpster fire of the past couple of years in the pandemic, who knows? I loved reading about their process of jamming and rehearsals to build the songs. Especially the bit about how they would "talk about banal subjects until they couldn't talk about banal subjects any longer" and at that point pick up their instruments and play. Interesting psychological state to put yourself in just before a creative exploration. I find Ian Curtis' vocal delivery to be hypnotizing and very "honest." I mean, he's not putting on an act here, it's not an affectation. He lived this.

Pounding down a couple cans of lager while listening to this feels more than a little wrong, but perhaps calling this an album while clocking in at under 22 minutes is wrong too? It's been a busy weekend so I'm not going to complain about the brevity today. It does raise a good question about what constitutes an album and what separates it from an EP though. Number of tracks? Running time? Some kind of combination of the two? All that aside, I'm generally a fan of hardcore punk, and I have nothing but respect for Ian Mckaye. He might just be the most authentic punk that ever lived. Guess it depends on your definition of punk. To me it's more about idealism than nihilism though, so I'd vote for Ian Mckaye over Sid Vicious any day.

Here's my track by track analysis:
1) Definitely doesn't start off how I would have expected, but ultimately "Battery" ends up sounding like a bizarre Duracell commercial.
2) The weird time signature on "Master of Puppets" feels awkward and now I'm agitated. Perhaps that was the intended effect.
3) Did he really just say "death may die" on "The thing that should not be"? Sounds like the soundtrack to a mountain dew fueled dungeons and dragons session.
4) "Welcome Home" kinda sounds like proto grunge during the first half of the song (before they get into the thrashing and soloing). I'm sure the guys in Alice in Chains were listening to this.
5) "Disposable Heroes" is perhaps my favorite track. More straightforward but intense and kind of fun in a way that the other tracks aren't. Almost has a punk energy to it. Kinda reminds me of The Misfits.
6) I think "Leper Messiah" is the blandest track on the album. That double kick pedal really massages the eardrums though.
7) Instrumental metal can work really well! You can showcase more interesting musical structures and techniques without the distraction of the often over-the-top lyrics and/or grating vocal styles common to the genre. Not to say Metallica are guilty of those things, but it's a nice sort of intermission. "Orion" is definitely kinda proggy, but that's not a mark against it in my book.
8) I like the intro to "Damage, Inc." Kinda wish this track was swapped with "Battery" and this track would open the album and "Battery" would close it. This song would be such an intense way to open the album and you could drop F bombs on everyone right off the bat.

I feel like Curtis Mayfield had THE definitive soul sound of the 70s. His aesthetic was infectious and caught on like wildfire. Listening to this, you can tell Marvin and Curtis were listening to/influencing each other. This one just got better and better with repeated listens.

Elvis Costello nearly always works for me. I've never actually listened to this one before though, as I don't usually go past the 80's with him. This sounds like a nice return to form. His best work is always with The Attractions.

Listened to Orbital back in the day. This is like comfort food to me. A headphone ride to say the least. It all flows quite smoothly except "Quality Seconds." The way the vocal samples are used is a quaint reminder of the time period in which this came out, but I think they add to the rhythm and body of the songs.

Loose, hypnotic, and rich with atmosphere. Goes down smooth. The group's approach of sidestepping media interaction and live performances is intriguing.

I want to like this more than I do but it really does sound like a group on their 11th album; struggling to redefine and update their sound. My favorite thing on the album is the guitar work, especially that fuzzy phaser tone.

My favorite Hendrix album and quite possibly the greatest debut in rock history. Absolutely bursting with creative energy. Brought a potent heaviness and deep soulfulness to the Summer of Love. I only wish he would have lived longer so he could have continued to bend genres until the lines disappeared. Forever in awe of the way he rewrote the book on electric guitar. He plays so brilliantly but never comes across as overly technical or flashy because his playing was always in complete service to the songs. And you couldn't have asked for a better rhythm section! Such a muscular sound with just the right amount of psychedelic flourish in the production. Plays like a greatest hits. Five stars and a chef's kiss.

Listening to this is like eating cereal for dinner.

Competent Rolling Stones worship. Not really adding a whole lot to the conversation.