Reviews by mkaddour2001

Holy shit it's the guy who did 'You've Got a Friend in Me". I friggin love this guy! Going off of Spotify streams, it seems most of Randy Newman's most popular songs are Pixar scores - but before all that, there was this album: 'Good Old Boys'.

Some moments here remind me a lot of Tom Waits' early works but less bar-fly and more pop. It's a cheery-sounding album a lot of the time but the lyrics on many of these songs tell a different story - like on the songs 'Mr. President (...)' and especially the opener 'Rednecks' which is one of the most striking criticisms of southern (and northern) racism I've heard from this time. There are also a few songs here dedicated to his hometown of Louisiana like the aptly titled 'Louisiana 1927' and 'Kingfish'. Lyrically speaking, it's as American as can get - albeit in an undeniably sarcastic and tongue-in-cheek way.

It's a great album lyrically with quite a lot to chew on and the production and instrumentation here are lush and diverse all throughout its generous runtime. It's easy listening. But ultimately, it's Newman's singing flow and vocal style that gripped me the most here. It's such a loveable voice that works marvels in every context here, be it the slower songs, or the more upbeat ones.

Such a great album and a tremendously enjoyable listen.

An album that was as important to my formative years as it was to the formative years of 21st-century alt-rock. While I've gradually fallen out of love with this particular album (I'd much rather turn on OK Computer), listening to it now after a decent bit of time, I have this newfound appreciation for its more electronic-centric elements.

Like 'In Rainbows', this album's cozy and comforting, drawing from the worlds of alternative electronic music from the time (I refuse to call it IDM) to form these serene soundscapes. The title track may be my favorite track here from an instrumental standpoint, I love the strange vocal effects, the odd glitchy noises that pop up periodically, and the ambient interlude that comes in after the halfway mark. It's the song that I'd say feels like this surreal album cover the most - like you're staring at a wall of snowy mountains backdropped by hellish blazes in the dead of night. 'How to Disappear Completely' is another obvious highlight, as a whole, it's the best song here. Lyrically for me, it's always painted this image of someone in the thick of life yearning to disappear - maybe after some life-shatteringly tragic incident. It sorta ties to the opener where Yorke is visualizing a simpler and prettier world. I'll be the first to say I'm not a fan of Yorke's slurred, crooning, moaned, and tired vocal delivery at times, but the way he subtly builds up with the instrumentation here is what *makes* this song. 'Treefingers' is another great ambient cut here, though the following 'Optimistic' I've never really enjoyed, I just hate that melody on the chorus. 'Idioteque' however is another incredible cut, I love that static-y melody driving the sound and, again, it's one of Thom's better vocal performances. The panic in his voice here when he says "This is really happening" hammers home the song's core themes relating to certain impending doom - a fate that can no longer be postponed. 'MPC' is another highlight with those operatic vocals, and those fluttering keys. It's probably been said a million times but it does feel really cinematic and it's a great closer to this album.

Listening to this again, I find that the things I disliked back then, like most of the alternative-rock-driven cuts, I dislike even more now. That sound just feels tired to me. But the songs I liked, I love even more now. I think more than anything I've come to realize how unique of an album 'Kid A' is. After listening to a lot more music since I first listened to this - I find that there still is nothing quite like it.

I find it difficult to talk about an album like this - it's so ordinary in this lane of '60s country music. That's not to say it was unenjoyable - it was quite peaceful and quick 30 minutes. I've listened to Loretta Lynn's music before with her 'Coal Miner's Daughter' album, primarily because I like Dolly Parton, another Nashville Sound artist. There's something almost too traditional about this album - musically it's quite static and doesn't bother exploring any new avenues.

Loretta's vocals are the real highlight here, she's perfect in this lane, especially on a song like 'The Devil Gets His Due'. Aside from that nothing stuck out - it was chill though.

What RATM must sound like to people who (really really) hate RATM. Except, Kid Rock has none of the backbone and none of the finesse needed to pull a genre like this off. I mean I'll give it to him, RATM aside, not many groups have been able to successfully pull the rap-rock genre off. The RHCPs barely scraped by, probably thanks to Flea and their restraint when it comes to spoon-feeding their listeners this specific sound. Limp Bizkit is...well Limp Bizkit but at least Limp Bizkit is somewhat fun to listen to. I won't comment on a group like Linkin Park given I haven't heard a full record by them - but Chester and his singing were always the stars of that group.

Anyways fuck this album, and fuck this appropriating hick wannabe rapper who made me sit through this shit for 70 minutes. The production has some redeeming qualities and whenever Misty Love comes in, it's like an ear-cleanser - but what's the point when the choruses are this painful, everything is so overblown in the mix, and the verses are so boilerplate to the point of parody? Like I'm confused why is this on this list? Perfectly good Saturday morning stained by this shit.

For the longest time, this was my favorite Beatles album, though it (not so recently) got dethroned by their seminal 'Abbey Road'. But I'll admit the opening three tracks might be the best opening track run on a Beatles album - you've got the viscera of the live (sounding) title track, the peppy and sweet Ringo-driven cut that is 'With A Little Help From My Friends', and the impeccably catchy, and psychedelic 'Lucy In The Sky With Diamonds'. And everything after is just some solid Beatles at their peak - you know the harmonies, basslines, catchy choruses, colorful production, and occasionally experimental passages...all that. And this album really emphasizes the 'colorful' aspect of it all - sorta like this wacky pop-culture-reference-filled album cover.

It's no secret that Brian Wilson and the Beach Boys' 'Pet Sounds' (a response to 'Rubber Soul') was one of the main inspirations for this record. That's most evident in songs like 'Getting Better' and 'Fixing A Hole'', though these songs are undoubtedly bluesier and more steeped in their contemporary Rock N' Roll influences. 'She's Leaving Home' on the other hand is ruthless in its Pet Soundsisms, especially with those harmonized chorus vocals and string arrangements.

While I do think the Beach Boys did this 60s pop sound better, what 'Abbey Road' has over the Beach Boy's records is just how out there it can, and is willing, to be. Be it the gorgeously dissonant instrumental interludes on 'Being For The Benefit Of Mr. Kite!' or the entirety of the Eastern-influenced Harrison track 'Within You Without You'. I feel like these are the key moments that gave Sgt. Pepper's its undeniable reputation. But then there's also one of the greatest songs of all time on here - the orchestral (wall-of-noise-esque) 'A Day In The Life'. It's incredible, though I admittedly always get a chuckle out of the funny juxtaposition between Paul and Lennon's parts - with Lennon highlighting the gruesome scene at a green light and Paul panting through his cluttered morning routine.

But how well has all of this aged? Well, it manages to be boundary-pushing in pop all while still sounding disgustingly '60s without a doubt. Though a song like 'Within You Without You' is still pretty trippy today and I'll mention again those wild-ass interludes on Mr Kite. Nevertheless, there's a reason this record is revered to the degree it is today - it's, above all else, a near-flawless album.

I've always found the 'Intro' news report clips and the following 'If I Die 2Nite' super eerie knowing how 2Pac's life would tragically end so shortly after this album's release and just a few years after the 1994 Quad Studio shooting this album alludes to so heavily.

2Pac is an incredibly smooth rapper who values flow, delivery, and charisma over speed and excessive wordplay. He's an iconic voice in the genre if there ever was one - no one quite sounds like him. But I've always found this album to be particularly bloated, despite it being significantly shorter than his double-album follow-up 'All Eyez On Me', which, in my opinion, has all his bangers, and is one of my favorite West Coast hip-hop albums of all time. This album though holds some of Shakur's more intimate and contemplative tracks, given his semi-paranoid state after the shooting. Where his follow-up feels like a never-ending party, this album feels meditative - like a gloomy day spent alone. 'Me Against The World', the title track, has an incredible set of Dramacydal member features, but it's 2Pac's final verse here that sort of hammers the ideas of this album home. 'Lord Knows' and especially 'Death Around The Corner' also heavily showcase Pac's paranoid "die anytime" mentality paired with an almost apathetic attitude towards his death. Pac's uncertainty about his future and the existential loops he puts himself through on this record are just very sad to listen to. 2Pac also heavily criticizes the gangster lifestyle that got him to where he was at the time of this album's release, in an almost teaching moment for the upcoming youth. I obviously can't talk about this album without mentioning 'Dear Mama', one of the greatest rap songs of all time, and one that rarely fails to bring me to tears. In this song, 2Pac regrets his mistreatment of his mother when he was younger, while still appreciating her unconditional love towards him. "And there's no way I can pay you back, but my plan is to show you that I understand" ... perfectly said. It's not all serious though, I do enjoy the lightheartedness of the nostalgic 'Old School' quite a bit as well as the parts romantic and parts empathetic ode to Left Eye that is 'Can U Get Away'.

I'd say this album's biggest pitfall is its, occasionally, barebones production, something that the follow-up improves upon tremendously. It's not bad at all, just very mundane, bassy, and beige at times. Certain hooks, like on 'Temptations' don't really do it for me either. I suppose it still fits the music well - and there are still some great moments like the funky 'Young N' or the melodic bass-backed and west-coast-whistle-driven 'It Ain't Easy'.

This album sits so perfectly among the many varied sounds of '90s hip-hop. It's smooth and easily accessible on the surface all while never compromising its many overarching themes. It's an in-depth look into the psyche and struggles of one of hip-hop's messiahs - and without a doubt, an essential listen.

An album drawing a lot from the worlds of instrumental hip hop, not unlike the music of DJ Shadow, and big beat groups like 'The Chemical Brothers". I love those two artists so it was a shame that I left the thing with less-than-stellar impressions. Despite it acting perfectly in the context, I don't want to sum it up as background music, but it certainly doesn't have that engaging grip and diversity to keep me focused for its nearly one-hour runtime. The samples just aren't that creative - though I did like those little interlude snippets.

It still sounds great all things considered but, again, in a more let your mind wander sort of way.

This was honestly really good and right up my alley. I *think* I've heard of CHVRCHES before, but I don't know if I've actively listened to them (though after a bit of frustration and digging, 'We Sink' was totally from FIFA 14). There's certainly an early-2010s tinge to the production here - but it comes off more nostalgic to me as opposed to antiquated. Still, that's not its entire identity - the group definitely takes leads from early synthpop groups like 'Depeche Mode'. My favorite bit of production is on the heavy 'Science/Visions'. As for the songs themselves, there are quite a handful of highlights like 'The Mother We Share', 'We Sink', 'Gun', 'Recover', and 'Lungs'. The lead vocalist, Lauren Mayberry, is such a perfect fit for the music here. She's gifted when it comes to writing these earwormy and sarcastic choruses, my favorite being on 'We Sink'. I wasn't as much of a fan of the male vocals that cropped up occasionally, though they were fine as backers for 'Lungs'.

Damn near flawless contemporary synthpop and an album that I'm sure will continue growing on me.

Coldplay's fun. And enjoying their music is infinitely more fun than hating on it - though I know many would disagree. They soundtracked my middle-school years so I'm more than a bit biased on the topic...but anyways.

As an album, this one's pretty damn good though I generally prefer 'Viva La Vida...'. Songs like 'Politik', 'In My Place', 'Green Eyes', and especially the title track are damn near flawless mellow pop-rock songs. 'The Scientist', however, is a godly song to me. It soundtracked little (11 yr old) me worrying about having to study for a science test or some shit and I related to those scientific metaphors about the confused aftermath of a torn relationship literally. It's dumb as all hell but it doesn't change the fact that it brings a tear to my eyes whenever I hear the song back and start reminiscing. I have many cringe memories when it comes to my relationship with certain songs as a child, but I refuse to make that particular memory one of those.

I get it - they're a streamlined 'Radiohead' and slower 'U2', and listening back to this, I agree, but also I just sorta don't care at all. If this blissfully calm, catchy, and melodically sharp album was the zeitgeist of the 2000s mainstream pop-rock scene, then I'd say the 2000s were a damn good decade for the genre.

For as much as I think records like this shouldn't be on a list of this caliber, I wasn't entirely displeased with this thing by the time I was done. It's some good psychedelia and all those ambient droning intros and interludes admittedly sound great like with that 3-and-a-half-minute intro to 'Opener'. Vocally, the guy reminds me of the vocalists of groups like Animal Collective - it's melodically sound and leans into its pop-sensibilities. I also really enjoyed the duet, 'Each Time We Pass,' with those female guest vocals. I also thought the closing track was pretty neat.

Yeah not too mad about this one - it's an interesting fusion of genres and super light on the ears. Can't say I was blown away though, by 2018 the sonic ideas presented here had already been exhausted in prior years.

I don't know what this album reminds me of, it reminds me of many things, almost all of which are good (Almost like a fusion of PF and Queen). It's certainly progressive, but there are songs like 'School' and 'Dreamer' that lean into a more glam rocky sound. Each song feels like it has a distinctive concept lyrically, concepts that are easy to follow and that are executed quite well. 'School' is direct in the sense that it's vigorously against the schooling system's obsession with crushing student spirits. 'Asylum' is an interesting depiction of insanity while 'Rudy' follows a protagonist living a crushingly directionless life. I love the sinister open-endedness and uncertainty surrounding the lyrics of the closing title track - it's easily my favorite song here and a perfect way to send this record off.

Musically, it's all very theatric and musically rich. It's not the most standoutish album when it comes to forming a unique sonic identity - but still, it was enjoyable all the way through.

There are few albums out there that are as ubiquitously loved as 'Disintegration' by The Cure - be it critically or commercially, and spanning across many generations. At times it feels like the band itself is cheating just 'cause of how effectively the members draw up these ear-candy melodies and vibrant soundscapes. It's ecstasy. I think the best way to describe this record is "aggressively beautiful" - as the band uses every trick in the book to ensure your ears are constantly enveloped in these barrages of textured bliss. The idea of drowning in warm paint sounds painful, but if it wasn't, this is what it must feel like. It's really those '80s synths that make me feel this way, they're so thick but still spacious enough to house the underlying guitar that pierces through the mix with its complementary melodies. 'Closedown' perfectly exemplifies this natural balance. On the other hand, a song like 'Plainsong' exerts its beauty through the sole strength of those synth waves that are almost suffocating Robert's whispered vocals. 'Pictures of You' is primarily guitar-driven, while I'd argue the impeccably melodic bassline of 'Lovesong' drives that particular song. No song, however, strikes a better balance between all these elements than 'Lullaby', which plays out like a choreographed dance between the instruments, frequently switching out the sound at center stage. It's a harmonious song that feels like a bunch of colorful little characters dancing in a universe that exists solely within the confines of this one instrumental.

My two favorite songs have to be 'Fascination Street' and 'Disintegration'. For the former, the guitars coming back with that newly established layer of keys after the first breakdown is one of those "how can it be this good" moments in music. The song builds alongside Robert's vocals in the verses, with a subtle dance groove established with that aggressively picked and distorted Simon Gallup bassline. It's a song that captures just how many layers these instrumentals can have without ever coming close to cluttering the mix. Then there's 'Disintegration'. I've neglected to mention Robert's lyrics on this album because I just get so excited about the music here, but at times, they're just as perfect as the music. Be it the nostalgic tragedy of a song like 'Pictures of You', the hopelessness of 'Prayers for Rain', the disturbing fever dream imagery of 'Lullaby', or the simplistic yet effective love-ode to his wife 'Lovesong', Robert's always coming through with words that are so tightly interwoven with the sonic themes that they so heavily build upon. The title track though, really feels like a tragedy unfolding before your eyes (ears?) over its 8-minute runtime - a falling-out between two lovers that's littered with lies, deceit, betrayal, and regret. It's another one of those moments where Robert's lyrics build with the music itself in a climactic fashion. It's one of the most poignantly written songs ever - and a testament to Robert Smiths' lyricism.

There are some other great moments, like when the drums kick in and how that violin hovers over that sorrowful driving melody on 'Homesick' or how the album sends itself off with those haunting horn-sounding synth leads. It's an album, that even in the modern era of music production and composition, still sounds like nothing else out there. It feels like wandering around a large, vacant castle under a full moon. It's a comfort album if there ever was one, a nocturnal masterpiece, and one of my favorite albums of all time.

This is one of the more contemporary bossa nova albums I've listened to. And that aspect of it certainly makes itself known, with it drawing from the sounds of R&B and trip-hop that were everywhere at the time. I'd say Bebel's reverb vocals play into that R&B vibe, while a song like 'Lonely' really lets those psychedelic down-tempo elements shine. With that said, it's very delicate with its genre fusions and the samba aspects are still at the forefront for the entire record. So what you end up getting is something part intimate, but also very cheery and relaxed as you'd expect out of bossa nova records. I love that melancholic horn that peeps every once in a while on the opener 'Samba Da Bencao' and the funk fusions of 'Bananeira' further demonstrate this album's cross-genre sensibilities. It's also the catchiest song here.

A super chill listen and all the crisp, tight, and eclectic production makes this easily the best Bossa Nova album I've heard from this list as of yet. Great stuff.

I was familiar with Coldcut from the 80s hip-hop world going into this, with their superb (and better than the OG) remix of Eric B and Rakim's 'Paid In Full'. The standout element of that remix has to be just how many samples they decided to throw in there, all without interrupting the song's flow. Plus I noticed while listening to this, that some of those samples are also used on the song 'Theme from "Reportage"'.

I wasn't quite expecting this to go in a house-y direction, though it was pleasant for the most part. I loved 'People Hold On,' and Mark E. Smith's appearance on '(I'm) In Deep' was interesting (it kind of sounded like proto-LCD-S). 'Stop this Crazy Thing' I liked quite a bit just 'cause of how out there it is, especially with those horns driving the main melody.

I mean it's fine, but far more enjoyable when you're not forcing yourself to pay attention to it. There's admittedly a certain charm to how cluttered and all over the place it can be.

When it comes to the 'slacker' subgenre of alternative rock in the 90s, I've always had a greater affinity for bands like 'Built to Spill' and, especially, 'Modest Mouse'. But I've always appreciated Pavement's commitment to this subgenre's defining aspects more than anything, with the clumsy, off-kilter vocals showcasing just how far this laid-back sound can be pushed. That's to say, Stephen Malkmus sounds like Lou Reed's (even more) awkward son. It's quite ahead of its time in certain respects, like how that rap-talk portion on 'Conduit For Sale!' predicted the sound of like every 2020s post-punk revival group. Lyrically speaking, this album's themes are nowhere near as clear-cut compared to those other groups in this genre - though the focus seems to be on tragically strained relationships. The best song, by a mile, is 'Zurich is Stained', a gorgeous culmination of all of Pavement's best attributes. Just wish the song was longer. 'Loretta's Scars' is another highlight, with it showcasing those fuzzy walls of guitars the band loves o-so much, and the lyrics are charmingly quirky, yet undeniably unsettling and even hopeless. 'Here' was another song that I feel flawlessly captures everything that made this subgenre so great in the 90s.

I do love Pavement's sound, and I think I enjoyed this record a fair bit more than their follow-up 'Crooked Rain, Crooked Rain', which I was already familiar with going into this (though Gold Soundz off that album is still my favorite Pavement song). I think more than anything, Pavement's sound stands out in the sense that it's very easy to make out just how influential their aesthetic was (I'm looking at you CSH) - and that alone is worthy of praise.

It's hard to describe a record like this or describe what I enjoy about it. Bill Evans is one of modal and cool jazz's legendary pianists, with his most recognizable work likely being on Miles Davis' 'Kind of Blue'. I find the song 'Blue in Green' to be his standout performance on that album. I love how intimate, rich, and pristine he sounds on those opening piano notes - they're not quite sad but they do give off this uneasy sense of dissatisfaction in a comfortably coddling way. I'm not reviewing that album or song though, I'm reviewing this live record but I mention that particular song off of 'Kind of Blue' because Bill Evans' musical synthesis, more times than not, feels exactly like those opening notes on 'Blue in Green'. I mean 'Solar' here's a bit more upbeat, and you're getting occasional bass solos and drum fills, but at the end of the day, everything still feels very rich, tight, and cool. 'Alice in Wonderland' is probably my favorite song here - it just strikes this great balance between subtle ambitious ferocity and rainy-day gloom.

I'll say the live setting doesn't play much of a role in this listening experience - I'm not familiar with the studio versions of the songs played here but I wouldn't imagine they'd sound much different. I'll say it again, there's very little in terms of specific moments that I liked here, it all blends together but also still manages to partition itself into different moods. Ultimately with this listening experience, you're getting 40 minutes of cool jazz bliss - and who can hate on that?

Cool futuristic-leaning production though not quite as industrial or cold as other groups in this same vein of abstract hip-hop and illbent that were coming out around this time. I think groups like Cannibal Ox, Company Flow, and Techno Animal had twists on this side of hip-hop that I generally prefer but Mike Ladd still brings a unique sound to the mix nevertheless. While I kinda just wanted to listen to those guys instead (+ plus Deltron 3030) when this album started, as the album went on, I grew more appreciative of what was being attempted here.

The sound is jazzier and more ambient leaning than other similar-sounding records of this time, with some standout trip-hop and electronic elements. The rapping almost takes a backseat throughout this album but when Mike does rap, he's doing the unconventional, no-bar-line style you'd expect out of this era with lines that are generally witty and enjoyable, his best performance being on the political ramblings of 'The Animist'. I also really liked the posse cut 'Bladerunners' with Company Flow who I think bring out the best rapping in Mike Ladd.

The beats are dark and fat here, I love it when those grainy string samples come in on beats like 'No. 1 St.' and 'Airwave Hysteria'. Overall though, 'To the Moon's Contractor' has to be my favorite song here. Despite the somewhat cluttered opening and minimal rapping, its ambitious length works in its favor as the ambient overlay coasts and rides on this driving bassline and drum pattern for the better part of its runtime. It's a truly fantastic beat.

While its closing songs were nothing to cry home about, the better part of this album is composed of some great abstract hip-hop that any fan of the style can find something they like in. It manages to stand out quite a bit as well with its subtle ambient genre fusions. While I still prefer many of his contemporaries, I did end up enjoying this record far more than I thought I would when it started.

Carole King's 'Tapestry' is one of those odd albums where I've seen the album cover and name everywhere, yet I seldom hear anyone actually rave about it today (especially younger music enthusiasts). I assume she's more renowned for her songwriting chops as it takes very little research to find out that she was writing many songs for her contemporaries.

Overall, the album's pretty damn good if a bit unadventurous at times. Still, you got a song like 'It's Too Late' that's a damn near flawless pop tune. The song 'Beautiful' is a perfect example of a motivational little happy-tune - its messaging puts a smile on my face. I feel similarly about 'Where You Lead' which might have my favorite production on here. Vocally, Carole primarily draws from the worlds of soul and RnB and it works relatively well, especially on the closing cover of 'You Make Me Feel'.

Solid, easy-listening stuff that definitely holds up after all these years. I'd even argue that some musical aspects of this record were well ahead of their time.

I've never heard any of Johnny Cash's studio albums before this, only his live record 'At Folsom Prison' an album that I like quite a bit. And there's no better place to start than the artist's renowned cover-filled swan song 'American IV: The Man Comes Around' - an album released just before his passing in 2003. What stands out immediately is how decrepit everything here sounds, from the vocals to the playing. It's all so mournful and bleak that even a cover of the song 'Personal Jesus' by Depeche Mode, a song known for being so visceral and punchy, comes off as unabashedly macabre in the mix here. Johnny's song 'The Man Comes Around', one of the few songs he wrote on this album, is an incredible religious-imagery-filled opener and a very solid tone-setter. The standout song on this album is Cash's rendition of Reznor's 'Hurt', a song that never fails to give me goosebumps as the song builds to its closing seconds and Cash's raspy vocals violently push up against the mix. It's a powerful song made even more impactful by a man who deeply identified with its lyrics and themes. 'Tear Stained Letter', another Cash original, is a punchy little piano-rock song that sounds quite jovial, though its lyrics tell a different story.

There are a few guest vocalists here like Fiona Apple on 'Bridge over Troubled Water', and she adds quite a lot to this classic S&G tune. I was excited to hear Cash cover my favorite Eagles song 'Desperado' and he does good enough, though I wish Henley wasn't there in the second half. He's the original writer, yeah, but his contributions are so minimal and they sort of end up souring the song.

Such a powerful covers album, with songs chosen with so much purpose and delivered with so much heart and emotion. I mean just listen to the two closing songs 'Streets of Laredo' and especially 'We'll Meet Again' which is very much a direct farewell to Cash's audience. What a beautiful album by such a beautiful artist that, I still, know very little about.

I think my problems with Clapton's 'Derek and the Dominos' apply to 'The Bluesbreakers' threefold. While Clapton is most certainly a talented and "fast" blues-rock-styled guitarist - I struggle to find any distinctive personality in his recordings (barring a few songs, like the incredible 'Layla' on 'Layla...') or playing. A good chunk of the tracks here are covers of blues and RnB greats like Ray Charles and Freddie King, and the Mayall-written songs aren't anything to cry home about. He's a decent vocalist in this area though.

Good playing only gets you so far on records like this that have so little in terms of substance or, especially, variety. There's no definition here, it just sort of trudges along...soullessly. John Mayall & The Bluesbreakers (and Clapton) are undeniably good at what they do, but what they do is just kinda bland.