Reviews by meemesker

I love nearly everything did or even touched in the 70s and 80s. He is one of my biggest heroes. I love nearly everything about him, especially his stance between being a musician and artist (and simply a creative thinker) and how it's all one fluid thing to him. His ability to think beyond boundaries and his use of the studio as an instrument is so incredibly inspiring. He is up there with The Beatles, Lee Scratch Perry, Brian Wilson, Phil Spector, and Conny Plank in that regard. He is connected to much of the music I hold most dearly: Bowie's berlin trilogy, talking heads, john cales solo albums, roxy musics first album, and of course krautrock in his tenure with cluster/Harmonia - which shows up here on this album. Suffice to say it's hard for me to pick a favorite album by him but this one is certainly a major contender. I feel like it is a very balanced album and it does contain perhaps my favorite track of his: by this river, played with and about his time with cluster. The album has a great range of moods and I like how he intersperses the instrumentals throughout. I wish he continued more with this balance of rock/lyric based songs and instrumentals but hereafter he went onto a long jag with his ambient/instrumental direction. I like his ambient work as well but I also love his lyrics and find his voice so oddly compelling. The lineup of musicians on this album is incredible and part of it was recorded with the great krautrock producer Conny Plank. Somebody described Eno's more rock oriented albums as art pop and I think that when it comes down to it that might be my favorite genre and where I feel the most kinship with my own ideas and feelings about musical expression.

Before Nirvana exploded in 91 and what came in their wake pretty much took over my musical world, I was more into hip hop -mostly via music videos. Public Enemy really stuck out to me then and was perhaps my favorite group from this era. I am much more partial to their politically centered music than the gangster rap that came to dominate the genre shortly thereafter. Their previous album "It takes a nation of millions..." usually gets the highest praise as it was their breakthrough (and I love it too) but I think this is their best album and easily one of the best hip hop albums of all time. I love chuck ds voice and his contrast with flavor flav is wild but I think it really works to temper the tone of the album so that it isn't overbearing. This album is relentless in so many ways, from the sheer power of chuck ds voice, to the weight of his message, to the dense layering of the music, to the pacing and BPMs... I feel like this one flows nearly perfectly as an album, interludes and all.

This is where I came in with them. Saw them on this tour in St Louis. An integral part of the soundtrack to my life and one of those relatively rare instances where the mainstream sucks an indie act into the stratosphere and got it right. Something akin to Nirvana injecting raw energy back into mainstream rock music a decade before.

A very 3 album for me. I kept waiting for some unexpected element to surprise me and draw me in but it never really came. I like most of the arrangements/atmosphere (808s!) but nothing I can really sink my teeth into. Just makes me want to listen to Marvin Gaye.

Don't think I've heard a whole ABBA album before, only heard the singles. The first track is very different from what I'm used to from them and I really like it. Almost like a Gary Numan feel to it at points. Second track kinda breaks the mood and is closer to what I'd expect. The slight Swedish accent is kinda endearing. Very clean and spacious sounding. As this is goes on, nothing is living up to the promise of the first track and it kinda goes downhill for me. "Two for the price of one" is a runner up though. Listening to the deluxe edition and I definitely like some of the b-side bonus tracks more than most of the album tracks, especially "I am the city" and "you owe me one" - way more fun and infectious.

Not completely robots yet. This is a real sweet spot in their catalogue. Last one produced by Conny Plank, which I think is a shame in a way that their creative partership ended here. A real sonic journey. The Beatles of electronic music.

Don't really have alot to say on this one. It's right in the middle of 3 for me. Nothing that really bothers me per se but nothing that really excites me too much either except maybe the use of the dijeridoo. It just makes me want to listen to Stevie Wonder instead.

I appreciate Sonic Youth but am more familiar with them from Daydream Nation onward. I like their experimentation and the use of multiple vocalists throughout the record. This earlier stuff is a bit rougher than what I'm used to with them and I find it to be a bit taxing as the record goes on. Sonic Youth is great but perhaps better in smaller doses like a track here and there on a mix/playlist. Looking forward to getting to their later albums on here.

Similarly to what I've said about other artists, I feel that David Byrne is being very true to himself in his music. I don't know if he could do any differently. And that is a great benefit to us all because he is such a unique thinker and performer. We're so lucky that Talking Heads came into existence alongside/inside the punk scene in NYC where there was a great shift happening in music. Almost like a new opening being torn that they were able slide through among the chaos. They don't fit the stereotypes of a punk band but they were defiantly themselves and I think that's the bravest and most difficult thing you can do as an artist and you have to respect that. To me Talking Heads is one of the finest examples of a band that is able to walk a line between pop music and experimentation with grace and style. I identify with the music of Talking Heads/David Byrne more deeply than I do with most music. He chooses subject matter and emotions and ways of expressing them that are staring us in the face all the time but somehow we don't recognize them as something that would be able to constitute a song. One of his many incredible gifts. He had the perfect band to support him and the perfect producer at the controls in Eno here.

Rush tends to be pretty polarizing for people. I think alot of it centers around how you respond to Geddy Lee's voice. The other thing people tend to have strong opinions on is the prog thing. I have absolutely no qualms with prog whatsoever. As far as Geddy Lee's voice I don't love it but I don't think it's necessarily like fingernails on a chalkboard either. I feel like Rush is one of those bands people want you to love or hate and there's not much in-between, but that's where I stand. I'd love to do a "my one track mind" episode with someone who's a big Rush fan. Maybe Paul Rudd or Jason Segal? The more I listen to this, I have to admit it's growing on me. I think they had fun making this and I think it comes through in the recording.

Man this is a tough one for me. I mean if you put it on I wouldn't necessarily protest but there are things about it that irk me throughout. For example the singing, which is often the make or break it factor, I find right on the edge of tolerable. But the music has just enough inventiveness and interesting touches to bring it back up a notch again somehow. It is such downer of a record though, I know I would never intentionally choose to play it.

I am generally pretty wary of folk music but I think that mostly applies to American folk music with it's tendency towards an often forced twang. This, however, works for me. I don't know if it's just being that much closer to the source or if it is that it actually rocks pretty damn hard when it wants to. I think alot weighs on the power of Sandy Denny's voice and Richard Thompson's guitar playing.

One of the most exquisitely beautiful albums you could ever hope to hear. Also a very brave and heartfelt album, leaping head first into uncharted territory beyond genres. Nothing else sounds like this. In my ideal alternate universe this would have caught on more commercially and the Beach Boys would have continued more in this vein. I absolutely adore Brian Wilson and The Beach Boys. This was one of the first CDs I ever owned. I drove down to Iowa to see him perform the album in it's entirety in 2017 and hearing God Only Knows in person was one of the most powerful musical experiences of my life. I always come back to this one and I always will. Transcendent. Hors categorie.

I have a pretty great 2 disc Nina Simone anthology that I listened to alot for awhile but I've never really listened to one of her albums in it's entirety. It's hard to choose with such a long and prolific career (and I'd say she was pretty consistently great through it all). This album has some great tracks for sure. It's fairly spare in it's arrangements on most tracks and she has an amazing ability to use space/silence to build drama. Powerful voice, incredible piano playing. I can't even imagine seeing this live. It would be so intense. I had to check and see if spotify had changed to a new album when I heard the last track "Either way I lose" come on.

I was going to do a my one track mind episode with a woman originally from england about this album. Wish I had gotten to that one before I threw in the towel. I would have loved to hear her more firsthand account of this album's significance. Having an interest in punk music inevitably leads you to it's intertwining with reggae/ska/rocksteady. Jamaican music was sort of the equivalent of HipHop to a certain segment of British youth at the time. I'd also say reggae/dub is the most significant precursor to hiphop in many ways but that's a whole nother conversation. Anyway, The Specials are pretty much THE archetypal British ska/two tone band that set the pattern for so many others to follow in their wake. It might sound formulaic now, but at that time they were creating that formula. Anyway, I like this album but don't love it. I find it very enjoyable and it would probably have been a great live show back in the day. It's fun and has the right amount of punk attitude in flashes so as to not spoil the party.

Just what I needed to hear right now. Sounds like they are really having fun in the studio with this one. Love how Blur can be kind of all over the place soundwise and yet it still feels like a cohesive album. Like it could be a soundtrack to a movie, having to cover this whole broad range of moods/emotions/tones for different scenes. Something to aspire to in my opinion. To me, in the 90s (and only in the 90s), Blur is the silver to Radiohead's gold in the arena of British rock music. And while I do think Radiohead is ultimately the greater band on many levels, I feel Blur is somewhat more versatile and that counts for something. Listened to special edition with bonus tracks.

Not heard this before. Because it's an older stereo recording you get things pushed real hard left and right and I don't love that on headphones. Also being older the recording is a touch on the raw side but it suits the sound I think. I'll listen again on speakers and will probably like it more that way. In a weird way this reminds me of krautrock in it's trance like repetition and jamming. I like the textured/layered rhythm and the tendency towards chanting. It actually sounds very experimental to me yet rooted in something that feels ancient and raw. The birth of the groove. Man, can you imagine seeing this being performed live in a jazz club back in the day?

This was a favorite when I was growing up and is a family favorite now. It's great on road trips, especially with children. Has a positively enchanting atmosphere that is so beautifully pristine and rich. Love everything about this album. From the wonderful guitar, bass, percussion, and vocal work, to the superb production with just the right mix of reverb and delay in all the right places. But what I think is the album's most outstanding feature is probably the lyrics. Absolute poetry with just the right amount of idiosyncratic conversational flashes to keep it down to earth. Not to mention perhaps the most culturally significant aspect of the album in the incorporation of the African musicians and blending of styles that was absolutely revolutionary at the time. Only David Byrne/Talking Heads and maybe Peter Gabriel had really ventured into that type of fusion on the US pop charts at that point.

Still about the same for me with Motorhead. Being a live album doesn't really improve things for me. I do like the wider range of material they're drawing from though, especially the earlier stuff from the first album. Favorite track is "motorhead." Like the plane sounds and air raid sirens at the end of that one. Lemmy certainly does have an oddly compelling voice and he really has incredible stamina with it too, sounding like he's pushing it to the max through the whole set.

I got into Depeche Mode after doing an episode of "my one track mind" and I really enjoy most of their material. This album is no exception. They sound like a link between Kraftwerk and Nine Inch Nails at times. Sucks that some of the track transitions seem to get flubbed by awkward pauses in-between songs on spotify (or maybe it's just my settings)? I love the 3 song run at the beginning of the album best. Listened to the 2006 remaster w/ bonus tracks.