Reviews by mkaddour2001

This is a tough album to review because, with all my Western-influenced music bias, I find it difficult to talk at length about what I enjoyed about this album. All I know is that I did really enjoy it. Bueno Vista Club's self-titled is a Son Cubano record which, to my understanding, originates from eastern Cuba and fuses elements of Latin dance music with African-inspired percussion.

Aside from saying that I enjoyed this album from front to back, I can comment a bit on some of the songs I enjoyed the most. "Chan Chan" immediately caught my ear with its catchy refrain. The longer "El Curato de Tula" was another highlight. It has one of my favorite vocal hooks and a highly enjoyable trumpet-laced percussive groove. I also like "Armor de Loca Juventud" with probably my favorite glistening Spanish guitar break near the middle which feels like a scorching August afternoon. I like the piano solo on the latter part of the title track, shining a light on the album's jazzier elements. The instrumental palette across a vast majority of these songs is largely similar which works to the album's benefit. The whole thing comes off as one cohesive experience, almost like a single song. A very enjoyable experience.

The Flying Burrito Brothers huh...

Heard of them but never checked them out. By looking at this cover, my first assumption was a psychedelic band from the 60s but no, they're entirely country rock.

I liked "Sin City", a lot. Something sinister about the way L.A is painted as a bottomless pit of manipulation. "Do Right Women", while I'm not a fan of the sentiment here, I enjoy the barrage of synths that come near the halfway mark. The song topics vary. "Uncle" is about getting drafted while "Hot Burrito #1" details a tragic breakup. Honestly, musically speaking I enjoy "Hot Burrito #2", primarily because of that sick organ-driven instrumental break halfway through. I will say, that despite sounding like a very typical 60s country rock release, there are marks of progressiveness and psychedelic music in many of these tracks.

I also typically enjoy the harmonies and the melodies overall. It's nothing super unique vocally speaking but the grainy, slightly low mixed vocals over the vibrant instrumentals work for me. That typical country twang to the vocals I enjoy too. The spoken word closer was a personal favorite. The theatrical nature of the poetry details the story of the close-minded protagonist finding common ground in his beliefs with a young hippie. It's a sweet and optimistic closer capturing the uncertain times and changing political tides of the '60s.

Despite being a relatively short listen, I still think the songs start to sound somewhat the same as the album progresses, despite the little interesting moments intertwined within the tracklist. That said, it never gets tiresome and remains for the most part enjoyable. It's a very solid little country rock album.

Honestly, just a lot of very solid pop-rock and new-wave-inspired tunes throughout this thing. Rather than a coherent flow between all the tracks, in both subject matter and theme, it feels more like the greatest hit collection from the band. It's certainly a product of its time (like on the song "Walk of Life) with rasped vocals delivered by Mark over a cutesy and cheesy synth lead melody. Despite it being an 80s pop-rock staple that I've heard many times before, I can safely say it still holds up. Just as cheesy is the saxophone melody that kicks off "Your Latest Trick", maybe less to its benefit though. I can't say I enjoyed the more subdued and intimate sound presented in this song.

"Why Worry?" is one of my favorite tracks on here. Something about it reminds me of a later-era VU track (probably because I see many similarities between Mark and Reed's vocals). It's a track with a comforting message but above all else, it's the incredible sounding instrumentation and the patient build-up over its 8-and-a-half-minute runtime. There's almost an ambient element to the serene latter half with the dusty drum loop, guitar plucking, and dreamy synth work.

My favourite song though has to be the title track. It's a slow-building, synth-backed song with probably my favorite lyrics by Mark here. Mark's tribute about recovering war-torn individuals or battle-ravaged lands is marked with surreal astronomic imagery relating to the difficulty of overcoming one's self. It's also sprinkled with messages calling for peace in the world by putting everyone's sense of individualism into a grand-scheme perspective. Nothing to dislike about this track, it's a gorgeous closer.

Some other favorite production moments are the strange tribal drums on "Ride Across the River" and the sudden crashing guitar chords on "The Man's Too Strong". I will say though, listening to this thing, you tend to notice all the worst tropes and staples of 80s popular music. I also feel like a lot of the songs after the first three tend to be less memorable (aside from the couple I mentioned). Aside from that though, this was still a highly enjoyable first listen.

I hadn't heard of Badly Drawn Boy before this record and of all things, the album art here definitely drew me in. In hindsight, it's a lot like the album itself, colorful, with a strange, almost tacky aura that only adds to its enjoyability, charm, and endless stream of creativity.

There's a certain punch to the instrumentals that's hard to pinpoint here. This album's unique fusion of folk, baroque, electronic, and country rock works well to showcase Damon Gough's ear for effective genre fusion. "Camping Next Week" is a perfect example of this, with a prominent bassline and bizarrely placed guitar solo layered on top of a boilerplate folk instrumental. I love the imagery here relating the typically refreshing feelings invoked by a cool morning on a camping trip juxtaposed with the feelings of loneliness and a sense of longing.

There's something almost unsettling and surreal about the way the instrumentals are layered here. It's difficult to describe but it could have to do with the plethora of string arrangements, bizarre sound effects, and slightly overblown mixes. Just check out the first half of "Stone on the Water" and the strange ambient/noise interlude on "Cause a Rockslide". I also love the synth layer driving the groove on "Once Around the Block". The instrumentation on this album is so diverse that even throughout its hour-plus runtime, it never felt tired nor like it was retreading old ideas. The lusciousness of some of these tracks cannot be understated, like the country-rock-driven "Disillusion" that breaks into a bizarre and sinister grainy piano segment. These sudden switch-ups are scattered throughout this album.

Damon's singing style is subtle. While not entirely whispery, it's soft-spoken and is ever so slightly overpowered by some of the harder instrumentation here. Nevertheless, I enjoy the slightly off-kilter delivery and he's able to complement whatever direction the instrumental goes in here. The album's themes primarily deal with loss, grief, and forgiveness, with the feelings of a nostalgia-filled day out in the loose grip of nature. The song "Magic in the Air" is utterly gorgeous in its nostalgic portrayal of a seemingly inseparable emotional bond between two lovers. I can't emphasize enough how well Damon's lyrical imagery on any given track complements the form the instrumental is taking.

I'm blown away by how much I enjoyed this album that had gone completely under my radar. Not many negatives on my end relating to this thing and, safe to say, it's been the best first listen on my 1001 journey so far.

Punchy, tight, and relentlessly catchy while managing to be unabashedly fractious, The Smith's 1986 release "The Queen is Dead" stands as one of the perfect examples of pop-rock and jangle pop aesthetics jumbled together to form a landmark release in 80s pop.

Love him or hate him (I hate him), Morrissey's admittedly a great singer with the timbre of a Victorian-era teenage poet yearning for rebellion and companionship. This record has a subtle nocturnal vibe too as if a lot of the stories told here take place under a full moon. Whether that's him going on a walk with the prince on the anti-Royal family anthem that is the title track, or the graveyard smug-fest "Cemetary Gates" where the protagonist criticizes the shallow nature of his companion's poetry.

The gorgeous, yet morbid hit off this album "There is a Light that Never Goes Out" with its incredible string-back chorus showcases the band at their most elegant and high-gloss. "I Know It's Over" is a longer ballad-type track primarily backed by gorgeous, yet skeletal acoustic strumming that builds and builds as Morrisey likens his loneliness to being buried alive. It's a slower track that builds with Morrisey's vocals near the end being some of my favorites of his. His lyrics on this track also showcase a self-aware nature with him criticizing one's over perception of their likability.

I can't ignore the other members of the band. Andy Rourke's (RIP) basslines are so full and lively on all these tracks. My favorites have to be "There is a Light that Never Goes Out" and "Cemetary Gates". There's then obviously guitarist Johnny Marr whose psychedelic tone is essential in outlining this album's entire mood. Just listen to his guitar break on "Big Mouth Strikes Again", my favorite song. It's an explosive track criticizing the protagonist's inability to bite their tongue (a sentiment that has only since become more applicable to Morrisey himself). It's also worth mentioning the way the guitars are layered by Marr on the song "The Boy with the Thorn on His Side".

You know, I had to listen to this album in the background when writing this because I feel like I have this album etched into my musical memory already and it just reminded me that I just love every song on this thing. That's all it comes down to really...every song on here is just really good (even the psychedelic and unsettling closer that usually gets a bad rep). Funnily enough, I can just as much understand why someone would find this album repulsive due to its, at times, cheesy nature.

This is quite a shift in continuity for me...I was just getting around to listening to Taylor's catalog starting from her releases in the 2000s and now this album crops up, one that was released during arguably the singer-songwriter's most successful decade yet.

My frame of reference is small here. I say it feels like a more mature, sobered-up, and melancholic take on her debut minus the more upbeat perky country tracks that that project was riddled with. "The National" member Aaron Dessner's production style is minimalistic with most of the instrumentation consisting of subtle electronic-esque drum machine, piano, and acoustic guitar. It makes for a very dreary atmosphere while still feeling like a warm blanket on a brisk morning. I particularly like "tolerate it" for that exact reason. I like the bolder instrumentation on "no body, no crime" with HAIM which has one of the sticker melodies. Generally, the music sounds great and is luscious when it needs to be. Minimalism works in this record's favor especially considering these tracks' subtle build-ups.

Lyrically speaking, a majority of this record's subject matter can be bottled down to Taylor's "romantic troubles", but that would be an unfair assessment since there's a subtle depth to the way Taylor chooses to portray her adult life relationships. For example, I like "happiness" which tackles the limits of maturing post-relationship. I also really enjoyed the duet "coney island" with The National member Matt Berninger. Lyrically it's a nostalgic look at a relationship but the highlight here is the way the two's vocals blend near the end of the song. The other duet on this album with Bon Iver works very well as a closer as well. "long story short" is Taylor's optimistic look at her future but also her satisfaction with where she is in the present.

This is a good folk-pop record but, admittedly, I do think it's too long for its good. The lyrical themes and overall concept never got dull, but the minimal nature of the production and Taylor's vocals left me worn down by the end. There's no sticky hook or pop track to be found in the mix here, which I respect, but I tend to also really enjoy those Taylor tracks. Nevertheless, I respect Taylor for sticking to her guns and fully committing herself to the intimate mood she sets out to capture with this album's sound.

Rock legend Bruce Springsteen's 1975 album "Born to Run" is a record that I, even after a relisten, still find myself to be ambivalent towards. It's primarily the production of this album. This came out in the mid-70s and by those standards, the production here is squeaky clean and admittedly luscious. There is a certain charm to the clarity of each instrument here and the way they blend to form these jovial walls of sound that are reminiscent of the best nights out. On the other hand, the artificial nature of its polish leaves me yearning for an edge that, in my opinion, would've complemented Bruce's vocals much better. I think my main problem is a lot of the jazz sections that come in that feel utterly unnatural in the mix for me. The exception to this is the sax section on the ambitious closer "Jungleland", which has my favorite closer instrumental on the album.

Bruce's vocals, when they do work, are utterly mesmerizing, emotive, and, above all else, powerful. The guttural nature of his delivery works wonders on some of these tracks. The dude can write great melodies too, none better than the opener "Thunder Road" where he seamlessly switches between the many melodies that this track's composed of. The melodies are easily the highlight of this album. I also enjoy the chorus of "Night" a song about letting loose when you clock out of your shift. After the first few songs, and say for maybe the title track, I find his voice becomes mildly grating and I'm not even sure why. I like his vocals but whenever I get to the end of the second half, I really can't enjoy his vocals anymore. It might have something to do with the repetitive nature of the subject matter that crops up throughout this album, another thing I feel this album has going against it; Bruce just loves love. Nothing wrong with writing love songs and, for what it's worth, I think Bruce is particularly skilled at that, it's just that I wish there was something more interesting here to digest. Again, the exception to this is the outro to the closer, where his soaring vocals close out the album over these gorgeous arpeggiated piano keys.

It might seem like I hate this album when I don't. "Thunder Road" is one of my favorite rock songs of all time. For the most part, I enjoy the first half of this record way more than I do the second. I enjoy this album's accessibility as well, it's very easy to slide into and is filled with melodic hooks that evoke a nostalgic sense of both melancholy but also glee. It's also just super catchy.

6/10

1965's "Highway 61 Revisited" was a landmark record in folk and Dylan's career. The once-entirely folk artist veers into the sounds of hard rock while continuing to refine the lyrical prowess that was seen in the previous "Bringing it All Back Home".

In contrast to his previous album, I find Dylan's vocal and lyrical presentation here more aggressive, while still finding a clear patch to fit in comfortable blues and ballad cuts. Said aggression is kicked off with the brilliant "Like a Rolling Stone" which is a song about an individual forced to live out on their own after being deceived by once trusted cunning characters with a chorus that almost rubs it in the protagonist's face. The protagonist is almost being scolded over this organ and harmonica-driven opener. I've always been a fan of the "rolling stone" metaphor introduced by Muddy Waters.

The aggressiveness carries over to the next track "Tombstone Blues" as Dylan recites anecdotes of conflicts instantiated by the wealthy and powerful before shifting down to the image of struggling working-class people. Like most of this album's anecdotes, they're part funny, entertaining, and at times surreal, throwing character names around without a means of introducing them and forcing the listener to immediately place themselves in the strange scene he's set. The song has a garage rock tint to it with the loud, almost overblown, drum beat alongside the incredible electric guitar interludes between each verse. I feel the same instrumentally about the title track which has one of my favorite opening verses in any folk song.

Then there's my favorite track "Ballad of a Thin Man", an eerie track thanks to the organ and piano pattern here that's slow while invoking a looming sense of dread within me. The lyrics tell a different story though; of a well-educated scholar who struggles to come to terms with the wildly eccentric room he's walked into. The song comes off as a metaphor, or a jab, at those who are unable to accept nor understand the changes and strides in the evolution of music seen in the 60s. But Dylan pities the individual he's describing here knowing accepting change can be difficult when seemingly eccentric imagery projects itself and overshadows a movement's true soul. But being able to accept that eccentricity is key to understanding a musical movement.

I've mentioned the more aggressive tracks, lyrically, but the slower ballads are very enjoyable as well. The blues-styled "It Takes a Lot to Laugh, It Takes a Train to Cry" is a warm and enjoyable track. I feel the same about "Just Like Tom Thumb's Blues" a confusing story that's still enjoyable in its own right strictly because of the sweet anecdotes it's composed of. This song also has one of the sweetest piano-driven instrumentals. It's also worth mentioning Dylan's vocals on these songs, and the album as a whole. Dylan, in typical folk fashion, sticks to a single melody and repeats it. I wholeheartedly think this album showcases his best vocals as Dylan is highly aware of his vocal range and uses his voice optimally as a result.

The album closes off with an acoustic-driven track "Desolation Row" where Dylan sings about the tragic endings to characters' stories leading them to a twisted Desolation Row. It's a long song that's a melancholic closer to this incredible record. I don't think everyone will appreciate this album as much as I do. It's long and repetitive and Dylan's vocals are not particularly ear-grabbing at first but you'd be hard-pressed to find an album so tightly packed with meaningful tracks that perfectly encapsulate the strange and confusing time in which this album was written.

10/10

After an incredible RZA-produced run in the 90s, many of the Wu-tang solo members left behind that minimal, off-key, and gritty sound that kick-started their careers for something more flashy and glossy to keep up with the changing sounds of hip-hop. When it comes to the 2000s, no Wu-tang member transitioned better than Ghostface Killah.

The first full song is nuts. The beat is loud with blaring horns in your face on a heavy beat. Ghostface's storytelling on this track is superb; his lyrical style I always found somewhat disorienting with his excessive use of pop-culture references and slang but on "Shakey Dog", it's not hard to visualize the absurd scene he's setting. Ghostface raps about a variety of things ranging from the mafioso-styled ramblings to intimate lust-driven songs. There's also "Whip You With a Strap" which has Ghost reflecting on his relationship with his mother as a child. "Momma" also tackles the topic of his mother but with a much more empathetic and emotional view; detailing her struggle and the implication that has on her dependents.

I just love Ghost's flow; It's almost non-existent. The word delivery just flows seamlessly from one bar to another. There isn't a flow like it and it's very addicting.

This album's production credits are scattered and varied so you'd think it'd turn out to be an absolute mess, and it sort of is. But the beats are just too good so I'd say it comes off more chaotic (colorful even) than incoherent. I already mentioned "Shakey Dog" but the Just Blaze produced "The Champ" is another highlight. These beats are noisy, laced with sound effects, and strange, almost out-of-place, samples (like on "Kilo" and the Dilla-produced "Whip You With a Strap"). As loud as some of these beats may be, Ghostface is just as loud on most of these tracks so this blend yields extravagant results that tend to be my favorite moments on the album. Not all the songs are explosive; other production highlights are the fuzzy electric guitar leads on "Clipse of Doom", the overblown synth chords on "Jellyfish", and the marine-themed "Underwater"

The features mostly consist of other Wu-tang members. It's been over 10 years since their conception at this point and their chemistry remains undefeated (like on the track "9 Milli Bros" featuring most of the clan over the MF beat). The standout is his partner-in-crime Raekwon who does the story-telling thing just as well as Ghost (like on "R.A.G.U" and the sinister closer). There's also Ne-Yo with his sticky chorus on the 2000s R&B classic "Back Like That". I can say the same thing about Megan Rochell on "Momma".

This album is quite long but strangely enough, on this relisten, I can't say it overstays its welcome. What Ghost and his band of producers do well, they do very well on this project. A wild hip-hop album that's sharp, tight, and, above all else, undeniably enjoyable.

9/10

I wasn't familiar with CHIC until this listen, aside from obviously being familiar with guitarist, and band co-founder, Nile Rodgers, and the song "Le Freak". I haven't listened to "Le Freak" in its entirety but after hearing it now, it's quite the elegant disco track. Pristine mixing, ear-wormy vocals, and glammy strings partnered with a killer groove, it's everything I wanted from a record like this. I guess all that applies to most of this album, there were quite a handful of highlights.

"Savoir Faire" is an outright gorgeous instrumental track that encapsulates a blissful city-night feeling in its repetitive, yet continuously enjoyable 5-minute run time. "I Want Your Love" sparks a similar feeling within me with a particularly enjoyable outro.

I also generally love the vocals on this album, mostly performed by Alfa Anderson. My favorite would be the vocal melody on "At Last I am Free" about being so free that you can't even see it in front of you. That particular melody repeats throughout the entire second half of the song before slowly fading out; it's beautiful. "Sometimes You Win" is a particularly wholesome track lyrically speaking.

Overall, the formula on all these songs is very similar; thick basslines, plucked rhythm guitar, string segments, light piano, and emotive lead vocals. I personally really enjoy this formula and it makes me wonder why Disco gets such a bad rep, perhaps it gets repetitive but in its nearly 40-minute runtime, I never really felt that way (aside from maybe the subpar closer). This is a wholesome album that's very spacious and manages to be patient while still filling out the entirety of its sonic space with gorgeous instruments. I haven't listened to much 70s disco but this feels like a gold standard for the genre. It's an album you can just lay back to and breathe for a bit.

8/10

This is my first Marianne Faithfull album, and from what I've read, her music dates back to the mid-60s, operating in the folk scene at the time. Similar to the Leonard Cohen 80s era, this is another folk artist who hopped on the new-wave train.

There's a killer bassline on the opening title track. I like Marianne's delivery here, it's slightly off-kilter. I also like "Witches' Song" but I found a lot of the lyrics in this song and this album in general to be very cryptic but I don't necessarily think that's a bad thing and par for the course for this type of music.

The instrumentation is overall very low-key on this album, not too much interesting going on. Typically not a good thing but it spotlights Marianne's vocals and lyricism which are certainly worth paying attention to. "Guilt" is a lyrical highlight, showcasing the protagonist's fear of committing potentially harmful actions, and expressing guilt for even having these thoughts. "The Ballad of Lucy Jordan" is also a very tragic track detailing the regrets of an older housewife and the instrumentation is particularly standout here.

Despite working with the new-wave instrumentation on this album, Marianne sticks to her roots in terms of songwriting (I can only assume) as there is very much still a folk nature to the way everything's delivered on many of the songs here. It's a strange dichotomy that mostly works. The album has a strong ending as well with the ominous and dystopian "Working Class Hero" followed by "Why d'Ya Do it" which shows a complete switch up in Marianne's vocal delivery and lyricism when compared to the previous tracks. The instrumental is more lively here as well, filling the space with organs, horns, and an incredible post-punk groove that twists and turns throughout the track's 6-minute runtime. A much dirtier punk-inspired track that is probably my favorite here.

I think the instrumentals of the earlier tracks leave a lot to be desired but overall, a very enjoyable listen. I'll be checking out her previous (and later) works after this.

7/10

The only other Leonard Cohen record I've heard was "Songs of Leonard Cohen" in '67 and that record was a folk, singer-songwriter record entirely. Then here we are, nearly two decades later and I hear "First We Take Manhattan" and it's entirely new wave-influenced. Flashy, glitzy synths dominate the brighter female vocal portions, while these low-end eerie-sequenced synths loom over Leonard's bleak lyrical depictions of terror. The imagery of taking Manhattan and then taking Berlin sparks something unsettling within me. It's certainly a striking start.

Once the initial shock wears off though, there isn't much of note in this album. "Ain't No Cure For Love" is enjoyable but doesn't try to provoke imagery that's as compelling as the opening track. I understand it's not supposed to, it's a love song, and for that, I think it does a fine job but it sounds generic and reeks of the cliches of the era it came out in.

"Everybody Knows" string-synth-backed instrumentation spliced with (what sounds like) Spanish guitar is quite pleasant and another highlight. It's another darker track lyrically, painting a dreary and pessimistic view of the world. The baroque-inspired "Take this Waltz" is another highlight, primarily because I feel like it's a much-needed switch-up in sound, with gorgeous string-backed instrumentation and charming vocal passages that very much evoke the gleeful emotions one would feel when in a ballroom waltz. I also like the lowkey closer "Tower of Song" though admittedly, I can't pinpoint what this song is about, maybe an old man reminiscing over the songs he's written over his career and his everlasting appreciation for the art form.

I think Cohen's deeper delivery alongside the longer, unsettling tracks filled with varied synth tones and solos are the drawing factors here. I'm certainly intrigued and appreciate an artist switching up their sound this drastically (especially when it comes to hopping on new trends), but I can't say I am personally a fan of this one.

6/10

Mudhoney's 1988 EP might have loud and varied riffs for days but overall, I can't say I'm a fan of the vocals on this album. There is something muted about about the way they're delivered which doesn't blend well with the louder, distorted instrumentation. The song "No One Has" has an incredibly hypnotic loop, drenched in distortion which is enjoyable when it's at the forefront, but I can't get with Mark's vocals personally here. The exception to this is the song "If I Think" where he rides the slower and louder parts of the song very well and the song closes out with one of my favorite parts of the EP.

I like the slower, trudging, hypnotic nature of the guitars in the opening part of "Mudride" with the almost tribal drum pattern that drives it forward. The guitar passage near the middle is cacophonous, and another one of the highlights of this EP. Probably my favorite song here.

Overall, the instrumentation here is the highlight, the guitar riffs are generally hypnotic and paint a dreary atmosphere that's parts macabre but also stimulating. I also really like the drum work. Overall though, I can't say I found anything special in this EP but it's a solid piece of grunge rock nonetheless.

*I haven't had my deep dive into grunge rock nor its history but assuming this record came out in '88, I can only imagine its fusions of punk ethos with slower, growly vocals influenced many of the 90s grunge bands that I am familiar with. Maybe I'll grow to appreciate this album more for what it is as I continue this journey.

6/10

The opening to "Roundabout" is one of the most visceral starts to any prog album I've heard. The listener is lulled into a false sense of serenity before being spiraled into that crunchy, distorted bass groove that drives the entire first half of the track. In typical Yes fashion, this song is chock full of organ, crunchy bass, and occasional ambient passages.

I love the whimsical and calming keyboard and electronic tones on "Cans and Brahms" that are followed by the softer vocal layers over the gentle acoustic strumming of "We Have Heaven".

The following "South Side of the Sky", when compared to the previous tracks, I don't enjoy as much. I enjoy Jon's lead melody and the little ambient passage and following build-up near the halfway point, but the groove itself is relatively tame and uninteresting.

I feel similarly about the following shorter tracks but the song "The Fish" has a psychedelic, groovy, and cavernous nature and is one of the standout tracks on this album. The following "Mood for a Day" is a nice, but oddly placed, little acoustic piece acting as a breather in this album (that honestly didn't need one).

Similar to "The Fish", there's something ethereal about the layered synths grouped with that typical Yes groove that kicks "Heart of the Sunrise" off. Honestly, I think the first three minutes of this track take the cake for having the best groove on the entire record. Jon's sentimental vocals grow to a cathartic peak before being snuffed out by the returning groove near the halfway mark. The vocals complement the piano-driven groove during the final couple of minutes, making for a strong finisher.

Overall, a very solid Prog record; maybe not as cloudy, colorfully varied, and ambitious as "Close to the Edge". In its own right though, there's a lot to find enjoyment in here, and in Yes' formula and style overall.

7/10

This is my first Offspring record; their 1994 release Smash. It sort of fuses a metal/alt-rock vocalist style with instrumentals that are more punk rock-oriented. The vocals are much clearer, more structured, and more melodic than your typical hardcore vocalist but it's not quite the pop punk I know. Just listen to Dexter's lead vocal passages on "Bad Habit" and the brief harmonizations just before the bridge on "Gotta Get Away" which sound like something out of an Iron Maiden album.

If I had to compare them to anything I "know" it would be Descendants who I haven't listened to in a while. I seldom listen to pop punk but I do think, overall, this album is too long and repetitive; there are a few exceptions though.

I enjoy the guitar tone and passage between each verse on "Come Out and Play" and I think this song, overall, flows particularly well. The song takes a look at the loop of violence in the youth while masking itself as an angry "let it out" song. "Self-Esteem" is also another pop-punk classic and one of those teenage girl-trouble angst anthems I'm sure I would've enjoyed if I heard it when I was younger.

The following series of shorter tracks, while generally enjoyable and benign, are overall uneventful and one-note. The deeper cuts here I'm sure could grow on me after re-listens but on initial listen, I wouldn't call them highlights.

I do like the playful and catchy nature of "What Happened to You?" alongside its shorter, peppier guitar solo. The protagonist asks his friend, who fell off the deep end, what happened to him while reminiscing on what he used to be in the first verse contrasting the more upbeat nature of the track.

The final "Smash" picks up the pace, being catchier and punchier than most of the previous tracks within its first few minutes. The message about being true to yourself despite the direction of trends is genuinely good, especially for the younger audience they may have. I enjoy the reprise instrumental passages that close off the song as well (although there's an oddly placed chunk of silence??).

I'm quite ambivalent about this record. Can't say I enjoyed every track but there were some fun enjoyable ones here. Enjoying this album depends on whether you're looking to satisfy a catchy pop-punk itch while still getting a taste of the slightly noisier punk and alt-rock genres.

6/10

Queen has always been *that* band, whose songs I've been enjoying for as long as I can remember (since I was 6 or 7). Their bigger songs "Somebody to Love", "Under Pressure", and "Don't Stop Me Now" were absolute staples for me as a child and some of my earliest memories of music enjoyment as a whole. So, when I saw this album had none of the many songs I've recognized from Queen, I was a bit wary but made sure I still went in with an open mind.

It's admittedly a very early release in their discography, released in 1974 far before any of their big singles (like Killer Queen on their follow-up). I love the booming guitar portion on Father to Son, courtesy of Brian May and the closing vocals by Mercury were incredible.

Generally, the songs have varied instrumentation and theatrical aspects not unlike progressive rock songs at the time mixed with hard rock and ballad passages. By looking at the song titles alone, I knew I was in for something fantastical, whimsical, and grand.

The highlight though, as I had expected, was Freddie Mercury. His melodies, vocal passages, and large vocal range make or break the songs here. His outro on White Queen for example is enchanting and gorgeous. The backing harmonization is another Queen staple and despite being milder than I remember, I find them very enjoyable when they do crop up.

My enjoyment unfortunately dwindles whenever the band strays from the progressive sounds on this album or their traditional glam rock and ballad style. The "Hard Rock" inspired "The Loser at the End" despite it showing off Mercury's range, is very dull and one-note for me. There's a big chunk of songs near the middle of this album that I'm quite ambivalent towards.

The album regains its footing on the short piano ballad "Nevermore" as it leads into the incredible "The March of the Black Queen". I hadn't heard this song before this album but my god, is it a perfect Queen song. The band plays to their strengths highlighting everything that made the band so enjoyable for me so many years back with a dizzying number of switches and phases. Freddie's lyrics are cryptic but the imagery he paints alone more than makes up for it. The fact that he's able to switch between all these new melodies so rapidly, is astonishing. All the instruments on this track blend beautifully; the mastering is superb. The medley-like nature of this closing part of the album followed by "Seven Seas of Rhye" works very well in closing off this overall enjoyable Queen album.

7/10

Jurassic 5's 2002 album title tells you everything you have to know about this record. Despite not having more members than your usual hip-hop group, the posse elements of this group are amplified as the album is filled with the members building off the momentum established by the previous members. For the first few tracks, you never hear a single member's verse for too long before the baton is passed to the next MC.

The group stands out in the bling-era hip-hop that was starting to make waves around this time, sticking to the roots of hip-hop production. Beats are bassy, funky, and filled with DJ scratching courtesy of producers/DJs DJ Nu-Mark and Cut Chemist. The instrumentals are varied generally, but all stick to a similar cohesive theme. It's not rare to find a song that has a sample filled, or beat switched outro (Like "I am Somebody").

A Day At the Races has one of the smoothest beats, with a crunchy bassline and psychedelic guitar licks. All the verses are super smooth and it feels like a chill summer evening. Daddy Kane's feature doesn't disappoint.

Lyrically speaking, braggadocious and punch-line-based verses are dominant here. This style never generally gets tiresome because of the aforementioned relaying style of the group. All members have immense talent for flow on these smooth beats. My favorite has to be Chali 2na who has a deep, booming voice that is the most memorable whenever he comes in.

"Remember His Name" switches it up with Akil telling the story of an individual growing a rough life. In typical hip-hop storytelling fashion, the twist at the end implies he was talking about death itself giving his verse a different twisted meaning. I enjoy how they flip their established posse style of rapping in the phone call segment. The group tackles the subjects of their fame and sticking to their roots on the incredibly smooth and catchy "What's Golden", another favorite for me.

The hooks generally work very well, I especially like Nelly on "Thin Line". Also, High Fidelity has a generally enjoyable hook.

Ultimately though, the highlights of this album are when the guys are exchanging verses rapidly over these insanely stripped-back, bassy, and funk-laced beats. I feel the album is a tad too long but I don't consider that much of a downside since it's generally enjoyable when the group is doing their thing. But near the end, it gets mildly repetitive (aside from the interesting instrumental closer). Still, a very enjoyable, laid-back posse hip-hop LP that harkens back to the origins of the genre and stands out in its era. If you love posse cuts, you'll enjoy most of what's offered here.

8/10

In 2007, Radiohead released, from what I've seen, the most highly praised album in their discography. Fusing electronic elements with ambient and twinkling guitar passages lying in the backgrounds of these tracks, Radiohead rests under a warm blanket for this influential release.

Above all else though, I assume this album gets all the praise because of its comforting atmosphere. It's soft and light, and Yorke's crooning over most of these songs paints a melancholic image of a man longing for something more, in a relationship, affection, or life in general.

As beautiful and enjoyable as this album is, I do find myself wanting a more punchier track at times, akin to some of Radiohead's older releases. The first two tracks certainly satisfy that desire to a certain extent (the opening "15 Step" is my favorite song on the album alongside the penultimate "Jigsaw Falling into Place"). But many of the songs feel like they're building up to something orchestric, grandiose, and cathartic, but end before reaching any such point. Also, Yorke's crooning on certain songs (like "House of Cards") is flat-out uninteresting and too similar to vocal passages I've heard on other Radiohead songs and the instrumentation isn't interesting enough to carry the entire song. Maybe that's why I like "15 Steps" so much, it's the vocals and the way Thom delivers them with such punch, vigor, and an almost restrained anger that makes the song stick out on this album.

But I don't believe this album wants to build up its tracks, and that's fair; not every track needs to have a crescendo. Instead, this album is comfortable in the warm, pillowy, and spacey cacoon it built for itself and your enjoyment of this album rests on how much you're willing to let yourself float along to that. There are many gorgeous moments. When the strings come in at the end of "Reckoner", the vocal choir passages at the end of "Nude", and the entirety of the piano-driven "Videotape". Also the acoustic guitars and bass all over this album are great.

"Jigsaw Falling into Place" is probably the most whole song on the album, a gorgeous art rock track with lush instrumentation and one of my favorite Yorke performances ever as he draws inspiration from the hazy environment he's in while being inebriated in a college-era night. The sense of nostalgia that drives this track's lyrical themes makes it so enjoyably melancholic.

8/10

Talking Head's 1980 Brian Eno-produced record stands as one of the funkiest displays of post-punk attitudes and ethos. Digitally spliced with tight licks of guitar, bass, and horn enterlaced through each track, this album remains one of the most mind-bending listens of the 80s.

The unrelenting punch of the polyrhythmic, afro-inspired percussion and the slap bass hits are woven throughout the first track as Byrne rambles about his mortality under a controlling government. "Fire cannot hurt a man". I love the group vocals that close this track off, alongside the cacophonous nature of its guitar solo.

There's a moment in the song "The Great Curve" right after the strung-out and noisy guitar solo where the drums, bass, and horns form an insatiable groove that I consider to be one of those "How does music get this good" moments.

"Once in a Lifetime" has Byrne's best ramblings. It feels like a burst of panic runs through him as he comes to terms with all his regrets, as well as with what's to come. A great psychedelic synth loop arpeggiates throughout this track with one of the catchiest choruses in their entire catalog.

I love the downward and dark spiral this album takes, both sonically and thematically. "Seen and Not Seen" is subtle instrumentally and Byrne talks about his desire to morph his face into an ideally attractive magazine-ready image. "Listening Wind" leans towards the New Wave sounds of this album; dark and gothic laced with lyrics about a rebel's journey for liberation. "The Overload" is the darkest and most ambient track, allegedly based on a Joy Division sound.

All the tracks on this record are so distinct and enjoyable. The album starts fast, punchy, and visceral and slowly spirals down into something gloomy, gothic, and dark, all the while remaining one of the cleanest and futuristic-sounding albums of all time.

10/10

London Calling is widely considered one of the greatest punk records ever. To me though, it transcends what is typically considered punk. Oddly enough I'm surprised it's not more "post-punk" if anything.

The opening title track is incredible. An ominous bassline drives the song eliciting a sense of dread with its prominent flood imagery. The flood of course being the rise of fascism and police brutality in England. It's one of the greatest opening tracks to a record period.

I'd say it sets the tone of the album well...but it doesn't. From this point onwards, the Clash went through a large range of sounds and genres, thus my "post-punk" sentiment. For how "punk" it yearns it be, this album is oddly accessible and catchy.

I love the catchier songs here like "Rudie Can't Fail" and "Lost in the Supermarket"; the latter of which has such a nostalgic feel about it as Strummer sings about loathing his consumerism-driven personality. "Koka Kola" also has an anti-consumerism attitude, sounding a lot like a commercial jingle.

Strummer is a great vocalist; he has a sort of lax, lazy, and slurred delivery when it comes to most of the songs. Most of this album, whether reggae-leaning or traditional punk rock-leaning, is laced with incredibly catchy choruses and a colorful pallet of instruments.

Aside from Strummer, bassist Paul Simmonon is on the mic for the song "Guns in Brixot", easily the most rebellious track on the album. Calling for arms against any oppressive forces. It's a slower, trudging punk song that's one of the more standout moments on this album.

I also absolutely adore the closer, "Train in Vain", catchy, sweet, and nostalgic. This again shows the Clash's more pop sensibility.

Looking at this album as a whole is tough. I enjoy many of the individual songs. Be it the sweet piano and jazz-driven tracks (The love centric - "The Card Cheat"), or reggae passages, or the darker and catchier bassline-driven tracks, the Clash always has something new and unique to offer with each new sound. It's quite "all over the place" but the songs stand their ground and if you're able to enjoy this as more of a compilation of many different, inspired ideas, you'll be able to enjoy this album as a whole.

9/10