Reviews by mkaddour2001

Damn good English punk rock, and a good bit more melodic than many of their contemporaries. While they do fall into a more traditional "punk rock" field, they're certainly more experimental and diverse than early hitters like the Pistols
and the Ramones. Closer to groups like 'The Clash' and 'The Saints'. And when they get a bit more experimental, like with those blaring synths on 'I Just Can't Be Happy Today' or the echoey guitars on the closer 'Smash It Up', I get a bit of an art-punk vibe from them, like something Wire would release. The opener 'Love Song' might still be my favorite, though; it's just insanely catchy. I love how 'These Hands' is pretty much just a The Doors song. And the epic 'Plan 9 Channel 7' was another highlight with a pretty interesting story behind it after reading up on it - inspired by the tragic love story surrounding two real-life Hollywood lovers.

Good stuff. I will say that it did get a little repetitive nearing the end, but it still maintained its initial appeal throughout.

Going into this album, I was a bit intimidated - I was told it was one of the greatest live soul records of all time, and it was guaranteed to put a smile on your face no matter what. But I'd almost accepted the fact that that wouldn't happen since I "had" to listen to this after a shit day at work - and it felt like nothing could turn my mood around. But no, this was gorgeous, and I'm happier now just knowing this exists and I'll get to keep listening to it for the days to come. Won't dwell on the "Live" aspect of this much, but know it sounds great, the crowd just sounds so happy, Cooke himself sounds happy, and the bass pops out and is infectiously playful in so many of these songs. I love how fuzzy the crowd singing along sounds, it's almost intangible, but you can just barely make out the melodies, especially on 'For Sentimental Reasons', where the crowd participation is damn near magical. The Cooke songs I was most familiar with beforehand, 'Wonderful World' and 'A Change is Gonna Come', aren't on here, but I didn't mind because I was introduced to a batch of songs that I love even more than those. 'Chain Gang' and 'Cupid' had such incredible renditions here, especially 'Chain Gang' with all its interjections, subtle yet effective backing vocals, and a more expressive take on the chorus. I love the slow build of 'Bring It on Home to Me', especially the line "This is the operator, I don't want the operator", and how the crowd roars with every dramatic drumroll - another masterpiece of a live performance.

Despite Cooke being at the core of the formation of Soul as a genre, there is something so undeniably poppy and accessible about the backing music here (mainly seen in the basslines), but Cooke himself has an undeniable soul touch to him. He's just such a perfect live vocalist, so much talent beaming from him, and he knows how to spice up the melodies, breaking them up with these "One More Time!" or "Oh Yeah!" interjections without ever disrupting the pace of the song. And he sounds even better live than in the studio, which is always such a feat.

So yeah, I'm really happy now, every song here was performed with so much care and passion. But I guess most of all it makes me happy to know that there'll always be music out there that I have yet to hear and that is destined to have such an impact on me - this was one of those albums.

Certainly has some of that '90s drum and bass cheese, but honestly, this was a pretty cool record. I was immediately drawn in by the eastern-influenced ambient coasting of 'Traveller'. I also really loved the title track; something about those group vocals was just so outlandish that I couldn't help but enjoy it - especially during the dreamy mid-way interlude. Could've gone without some of the spoken word pieces here, but I generally enjoyed this thing.

Solid background music with some great vocal guests here and there. But pretty much exactly what I expected out of an album like this - it certainly sets a pleasant mood. I'll say I like this album cover and the song 'Holdin' On' quite a bit.

Can't lie, Van Halen threw me for a loop here. Given the synth-y, semi-futuristic intro and iconic banger 'Jump', I was expecting this to be more of a new-wavey album, one that embraces all the genre's clichés. However, aside from 'I'll Wait' later on in the album, this thing moreso just plays into the standard hard rock and glam metal sounds of the '80s. But I think I still really liked it? I mean, 'Panama' is a straight-up banger, and I can't hate 'Hot for Teacher' given just how ridiculous the premise is paired with some genuinely incredible guitar work. Speaking of great guitar work, 'Girl Gone Bad' has this very reverby tone on the lead guitar which, when the song dips into its little atmospheric interlude, sounds almost gothic. Eddie kills it on this album. I get the praise he gets now. 'House of Pain' has maybe the most outwardly punk-metal sound on here, and is another incredible cut. And I'll mention 'Jump' again, a black sheep in the tracklisting, but such a fun and uplifting song.

So yeah, oddly enough, really liked this, just really enjoyable start to finish, and it doesn't overstay its welcome.

Solid. I mean this is about 30 minutes of bittersweet lovesick pop music from the early '60s, and that's all it is honestly. Some good songs, but many that didn't really standout. The songs tend to blend into one another generally, little variation here (I mean just listen to the cliche rock and roll guitar progressions on 'So How Come' and 'Baby What You Want Me to Do' - they're practically identical) but it's short enough so it never really gets to the point where it's grating. My favorite songs by the end were 'Made To Love', 'Stick with Me Baby', 'Love Hurts', 'Donna Donna', and 'Cathy's Clown'

Fell in love with this album as soon as the first song started, 'cause you're really just thrown right into the madness here. This is easily the best Samba record on this list so far. It's all so lively, so catchy, so groovy, and so infectious. And I really want to emphasize the "lively" part, because there is so much life, so many little planets and musical organisms existing within this record - it's like the musical Amazon. Be it the various bluesier elements, the funky and jazzy musical interludes, the addictive use of the cuica (a usually very hit-or-miss instrument for me), the way the backing vocals are just as essential as Jorge's lead vocals, or those infectious as-all-hell lead melodies. 'A Historia De Jorge' is perhaps one song that perfectly captures all I love about this album; it just goes in so many directions that it's honestly ridiculous - with so many instruments, yet it's never overwhelming. Something this album does really well is knowing exactly when to pull away the vocals to let those delicious conga-drum-based grooves ride out, if only for a little bit, before bringing everything back - it happens several times on this album, and it's always super effective. And don't get me started on 'Taj Mahal', maybe the best song I've heard recently, I'm in love with it (especially a live performance I found of it on YouTube).

There isn't a dull moment on this album, just the best 40-minute party you could imagine - gotta get around to checking out more Jorge Ben ASAP.

Probably my favorite of the Eno-Bowie albums. But more so when looking at the album as a whole, in all its colours, strange directions, and interesting segways. When it comes to standalone songs, there are few that I actually return to - 'Sound and Vision' being the obvious one. It's one of Bowie's best songs, that super fun bass, playful lead guitar line, wave of synths that come in during that intro, and Bowie's very lowkey vocals make for one hell of a pop-rock song that feels like a party in a little, well-lit apartment room in the middle of the night (the 'night' being the rest of the album, cause it gets DARK). I also really like 'Be My Wife', it's just super catchy and has some of the best guitar playing here. But when I say the album as a whole, I do mean that Eno-touched production, where every instrument feels like a living creature, something he did very well on his solo albums 'Before and After Science' and especially 'Another Green World'. The guitar and bass are paramount in the mix, but you have some other odd, standout moments, like that panning SAW in 'Breaking Glass' or that harmonica on 'A New Career in a New Town'. This one song, and a good chunk of this album's vibe, reminds me of the DKC2 soundtrack (lol). And in typical Eno fashion, this thing goes full ambient and instrumental in its closing tracks with songs like 'Weeping Wall' and 'Subterraneans' sounding like they're from two decades in the future with those breathtaking pads and chord progressions.

I think I mentioned Eno here more than Bowie (even though Eno isn't even the main producer on this album, it's Tony Visconti), because I'd say it's his influence that's the most clear in the music here, it doesn't sound like many Bowie albums that came before this. It is Eno and Tony's album as much as it is Bowie's at the end of the day.

Get a lot of Yes vibes from this band, especially with that instrumental opener, which was unfortunately where the album peaked for me. In terms of early '70s prog rock, this album fell on the less interesting side of the genre. You're getting the typical occasional jazz fusions, and some acoustic slow-burn ballads, with the titular track, but the execution leaves a lot to be desired - especially when the album reaches its final moments.

I mean it's certainly solid mood-setting music, something that can just hang in the background and set a pleasant atmosphere. But it's honestly a bit too one-note and, at times, skeletal, for me to really be able to get anything else out of it. For me, the vocals save it from being completely boring, they fit well into the mix here.

Not really album related (or maybe it is), but I really enjoyed the stereo mixing of the 50th anniversary edition of this. That aside, though, this is just another really solid, varied, and well-performed Stones record. Opener is an obvious banger, but 'No Expectations' is one of the better mellow country-rock songs I've heard from them. I mean, generally, this album's pretty mellow, not as dirty as I'd maybe like, but songs like 'Street Fighter Man', 'Parachute Woman', and especially 'Stray Cat Blues' still pack that bluesy grit that I generally enjoy out of these guys. The basslines here standout generally, more than other stones records, I especially loved the one on 'Jigsaw Puzzle', works as a nice constant as the song builds throughout its 6-minute duration. Can't put my finger on exactly what this song's about, but the imagery and the slew of different, colourful characters gives it an almost Bob Dylan-esque feel - I liked it.

Honestly, I really like 'Sticky Fingers', but this is certainly a contender for my favorite Rolling Stones album now. It's just consistently enjoyable, and a very satisfying listen.

I fell in love with 'Astral Weeks' after hearing it for the first time a few months ago - it has genuinely become one of my favorite albums. And despite telling myself, constantly, that I'd listen to more Morrison, I never actually did (shocker). But hey, that's what this list is for. And 'Moondance' is honestly very different than 'Astral Weeks'. It has a lesser focus on subtlety, atmosphere, seamless progressions, and odd song structures. It's more in-your-face, poppy, and honestly very soul-inspired on a few of these songs (just listen to 'Crazy Love'). Also, the music sounds less hazy and fuzzy; every instrument here just pops in the mix. I still really loved it, though. The first two songs are incredible, especially the very jazzy title track, which has a killer chorus. 'Caravan' and 'These Dreams of You' are just as catchy, and 'Into the Mystic' is another great Morrison love song, albeit a bit dated.

Really enjoyed this. I mean, there was no high here as high as 'Sweet Thing' or 'The Way Young Lovers Do', but I didn't expect that. Instead, what I got with the incredibly iconic writing of Morrison over these catchy, easy-going instrumentals. That's all this album was, and that's all it needed to be.

An edgy piece of shit who makes edgy piece of shit music. I didn't think there was anything to this guy aside from his shock factor, and I was sort of right. I mean, this thing is far too long, for one, and lyrically it clearly draws from troubled ideas of guys like NIN, but with absolutely no nuance or finesse, and it's all presented through a 4th-grader-edge filter. Vocally, this guy's boring at best, and annoying at worst. 'Wormboy' is genuinely awful, and the fucking mess that is 'Cryptorchid' should not exist and cease to exist. 'Angel With The Scabbed Wings' presents itself as this noisy head-banger, but its appeal runs so thin it's not even funny.

Credit where credit is due, you do get the occasional catchy little riff or drumming sequence here and there, but they feel like little hits of enjoyment that wane faster than they appeared. And that's only in the first few songs; by the time the second half hits, there are absolutely no redeeming qualities left to salvage this mess - it becomes grating. To me, this is music that tries its absolute best to take the sounds of much better artists, blends them together, and then adds this very ugly filter and aesthetic that is "Manson the performer" on top of it. I was so tempted to turn this shit off halfway through. I hate what this music is.

Never really been sure how I feel about these guys. I've always found that, on the musical side at least, they lacked distinct personality, despite their undeniable influence. I do ike Michael Stipe's vocals and lyrics here; they're melodic, diverse, and quite impressive on songs like 'The Sidewinder Sleeps Tonite'. While lyrically enigmatic at times, a song like 'Ignoreland' has a deep, cutting message. The only song on this album that I'd been previously familiar with was 'Everybody Hurts', and, sorry, it's all too simplistic, one-note, and overplayed for me to like here. Though again, Stipe's the undeniable highlight of the song. 'Man on the Moon', on the other hand, is an absolute banger, the best song on here in almost every way. The following 'Nightswimming' was also nice, feeling like a chill boat ride under a full moon with this quaint, and sort of hypnotic, piano driving the whole thing.

So yeah, I was pretty lukewarm on this whole thing. The songs I find just way too long, and the production too clean and samey. But I'm sure there's something I missed, so I'll put a pin in this one for now.

As the title suggests, this album consists of a series of quippy love songs. The album is, in fact, short, but the songs are not. And this really wasn't as intimate and warm as I would've guessed; every song here sounds grandiose and theatrical. There's just so much happening with the music here at all times, and it grows very tired very quickly. I'd say the only song I truly enjoyed was 'Everybody Knows (Except You)', a solid standalone song. The creeping and swelling strings of 'Timewatching' were nice, but this ended up being one of the more forgettable songs here; it's too slow and uneventful. The vocals and lyrics on the album, while fitting, are just as painstakingly melodramatic as the music. So yeah, didn't like this album. I did like the line "If you were a man, I'd still love you" though.

I've always been very reluctant to check out Morrissey's solo stuff. Because, one, I don't like the guy at all. And, two, at least with 'The Smiths', you had Rourke's basslines and Marr's iconic guitar work to offset Morrissey's Morrisseyness. And look, I'd be lying if I said Morrissey's earwormy vocals and witty (and whiney) lyrical styles weren't a part of what makes The Smiths so special to me (especially on The Queen is Dead), but this album is just way too much Morrissey, and only Morrissey. The lyrics here are just as in-your-face and blunt as I'd expected. Which I'm fine with to a certain extent, I don't even disagree with Morrissey in a lot of political commentary here, especially with songs like 'America Is Not the World', 'Irish Blood, English Heart', and 'The World is Full of Crashing Bones'. But it's all just too much, and knowing how Morrissey is now, I can't help but see through the disingenuous nature of it all, given the guy's new ugly right-leaning politics. And you can pull that "Separate the art from the artist" stuff all you want, but when you pour this much of your personality into your music, it makes it kind of difficult to do that. And I'm sorry, but the guy was too old at this time to write a song as petty as 'I'm Not Sorry'.

Either way, due to a multitude of factors (including over-produced and forgettable backing music), I didn't end up enjoying this melodramatic mess as much as I could've. Some enjoyable songs here, that I mentioned before ('I Like You' was also maybe the best song here), but as an album, it's not something I'd revisit, like ever.

I've always associated Randy Newman with wholesomeness, joy, and hope - probably because of all those Pixar songs that soundtracked my childhood. But the guy is much more keen than he may initially let on - underneath those sweeping string sections, playful piano leads, and welcoming raspy vocals are lyrics that are parts poignant, evocative, funny, and quite dark at times. There's a sarcasm underlying many of the songs here, starting from the very first song but more hilariously on 'Political Science', maybe my favorite song here. But I was familiar with his political side having already listened to 'Good Old Boys' - it's really the existentially morbid topics of 'God's Song' and 'Old Man' that stuck with my this time around. And there are a couple just really tongue-in-cheek songs here too - specifically 'You Can Leave Your Hat On' and 'Memo To My Son' which has a ridiculously fun and playful instrumental. More than anything though, this album's just super easy to listen to, all the instruments just pop, are ever-evolving, and Randy's vocals are a pleasure to behold on every song. Great stuff.

Alright this kicks ass, and I really wasn't a fan of 'Eliminator'. I wonder whether that was a "bad headspace" thing, or if this album is just executed better. Probably a bit of both - in general this album feels less eagerly bombastic and a lot more slick, sort of spacious and psychedelic as well, especially with a song like 'Jesus Just Left Chicago', all while still packing all the punch that I was hoping for out of a ZZ Top record. I mean this oversaturated white blues-rocker music was everywhere in the early '70, but the execution here is something to behold and it makes the record stand out in a way. Not every song hits, but in general the riffs are immaculate - just listen to 'Master of Sparks' and that almost bluesy take on an Iron Maiden-esque interlude on 'Precious and Grace'. 'La Grange' is THE ZZ Top song, with iconic albeit exaggerated vocals kicking it off and this squealing guitar sending it off, and the entire song is backed by this simple yet addictive riff. I mean if punchy was a song it'd be this one. Never really thought I could enjoy ZZ Top as much as I just did, but goddamnit this scratched an itch I didn't even know I had.

I'm a pretty big fan of a lot of The Knife's earlier works, especially 'Deep Cuts', just a great balance of experimentalism and accessibility in contemporary electropop. I feel similarly about this record for the most part, it certainly feels slower and darker than a lot of those the Knife records, with these heavily effect-drenched vocal layerings paired with these spacey, futuristic, and atmospheric synths that feel intangible on a lot of these tracks. It's really enjoyable, because while the music here feels much simpler in the grander scale of electronic music, it still manages to feel just as evocative. I personally really liked 'I'm Not Done'. Karin's vocals are an acquired taste, they're high-pitched and melodically unpredictable, her lyrics dream-like, but it shouldn't take more than a couple songs to "get" how well they complement the much slower, and hypnotic music backing them. Lyrically she's great, I really loved 'When I Grow Up' and 'Keep The Streets Empty For Me', maybe my favorite song on the album which has Karin dialing it back a bit with the vocals. A very airy and dreamy record that's still very easy to slide into, one of the greats in modern electro/synth pop.

More of the hipster avengers, before Young would join the crew, I assume. But I think I enjoyed this more than the 1970 Young featuring record. The simpler nature of the harmonies, playing, and writing made everything feel more personal and tranquil, like you're camping out in a small cabin with these three guys you found in the woods. You'll still get a groovy psychedelic cut here and there, like with 'Long Time Gone' and 'Wooden Ships', but from the very opening 'Suite: Judy Blue Eyes', the band makes sure to establish this very warm and cozy shell to encapsulate the listener in, and it works really well. Nothing here is abrasive; nothing strays too far from this pattern - it all just cruises by nicely and painlessly. Great listen.