Reviews by nevele

Good debut album; it sounds fierce, and enthusiastic. The fact that it consists mainly of covers does not spoil the fun for me.

Seen as the best Randy Newman has to offer, but for me this one is the lesser brother of the amazing Sail Away

This is the album that marks the transition from Morrissey in The Smiths to Morrissey solo. And it holds a bit of strange space in his repertoire.
Morrissey is still a master lyricist. Even after the breakup of the Smiths, he is still incredibly witty and bordering on nihilistic.
Musically, this is a bit more atmospheric and introspective than the later rockier sound. And it's a sound I really appreciate.
A great album.

Many people here are not fond of this production, and I completely agree.

This production is a true child from the 1980s, which certainly contributed to its success at the time and helped Tina Turner make a well-deserved comeback.

Unfortunately, the overall feel and sound are very artificial and plastic. The heavy use of overly polished synthesizers, drum machines, and gated reverb on drums gives parts of the album a cold sound that strips the songs of any emotion. The exceptions are the two tracks produced by John Carter: "Private Dancer" and "Steel Claw." Carter's work on these songs shows much more rawness and emotional depth, which stands in stark contrast to the synthetic 1980s pop production found elsewhere on the album. This really allows Tina's voice to shine through.

Interestingly, this is one of the first times an 'Anniversary Edition' truly adds value. In this case, it includes a substantial number of bonus tracks produced by Carter that have a much more organic and soulful feel. I would recommend everyone check out the 30th Anniversary Edition.

I know it's all supposed to be legendary stuff, but I've just never heard why.

Pet Shop Boys can be quite hit or miss for me, even on what is arguably their best album. While there are a few songs that stand out as both lyrically and musically impressive—such as "The Theater," "Liberation," and "Can You Forgive Her?"—there are also several tracks that feel flat and overproduced, lacking the clever or cheeky lyrics that I can so appreciate from the Pet Shop Boys.

I really thought I would like this more than I did.

One of the bleakest, harrowing and beautiful albums I know. It's never an easy listen, even if the music is great and played with all the feeling that heroin and depression can give.

"Bigots," "The lyrics didn't age well" "Troublesome mysogynistic"

Dear me, it really seems people find it hard to recognize the playful irony and satire present in most of the songs on this album. Converations lifted straight from the gutters and pubs and put on record for all to hear.

Absolutely abrasive and pushing the boundaries of what was acceptable—that was the point!

The remainder of the album includes all the essential elements: tracks that explore mundane lives, disillusionment, feelings of isolation, and the collapse of political and social systems, all infused with sharp observations on these themes, which was characteristic of the period. It also incorporates influences from earlier psychedelic rock, echoing the sound of The Doors, featuring a Manzarek-style organ that plays its tunes in a slightly hazy fashion.

The strength of *Rattus Norvegicus* is its capacity to both challenge and satisfy. The band’s take on the rise of the punk movement would also define their unique style in later albums, distinguishing them from the formulaic one-dimensional groups that were emerging during that time.

4,5 *

I know this is almost blasphemy, but this was just the first album where the Beatles hinted at what they would achieve the following year. However, this album, touted as favourite by many, jIt just wasn't there yet, and too much variation in quality across the board made it difficult to see it as a coherent strong album.

Sometimes I have nothing more to say that this just really isn't my cup of tea and that I just can't hear or understand the quality in this record.

This is one of the best funky disco records ever made. "C'est Chic" by Bernard Edwards, Nile Rodgers, and their band truly swings and is filled with great songs and classics. My favourites include the club classic "Le Freak" and the brilliant "I Want Your Love." Still, the opener "Chic Cheer," the quieter instrumental "Savoir Faire," and the incredibly funky "Happy Man" are also worth mentioning.

Edwards' characteristic bass and Rodgers' distinctive guitar sound ensure you can't sit still. The Chic Strings and horns are real, adding to the overall energy.

Chic didn't just create "flat entertainment" disco; they produced what I'd describe as "sophisticated dance music." While I’m less fond of their ballads, the uptempo disco-funk absolutely still swings like crazy.

This is the most exhausting album I've every heard

After seeing them live again a couple of months ago, I realized how well these songs have stood the test of time, especially when compared to the rest of their repertoire. There's a bit more depth, energy, and tension in these songs than in everything that came after. Additionally, all of their songs tend to be longer and more stretched out than their earlier work, particularly those featuring Kurt Vile. It's not a five-star album because of the slog in the middle.

I appreciate this album for celebrating Black culture rather than relying on aggression and rage; however, the overall consistency of the album is lacking. "Bow" and "Wildfires" stand out as the best tracks.

This is Peter Gabriel at his best, particularly rhythmically, and the entire album has a somewhat darker atmosphere compared to some of his other work.

Absolute classic and one of my favourite albums of all time.

"Yeah no, but please hear me out! With a 16-track recorder, Mike Oldfield couldn't record all the instruments at once like a band would in a typical studio session. Instead, he had to meticulously build the album layer by layer, instrument by instrument.
So likely he started with some foundational elements, maybe a piano or acoustic guitar part, laying those down on a few tracks, for the whole 26 minutes of Side A in one go. Then, he'd go back and record another instrument on a different track while listening to the existing recording. You know, he almost invented overdubbing! Then he'd repeat this process again and again, filling up the 16 tracks with different instruments and parts.
To add even more layers, he would have to "bounce" or combine several recorded tracks onto a single track, freeing up space for more overdubs. So, Oldfield had to overcome technical limitations and potential sound quality issues to achieve his musical vision.
This recording process is a big part of what makes Tubular Bells so unique and impressive. It's a fascinating example of how artists can push the boundaries of technology and creativity to produce groundbreaking music!"

"Sure, but is it any good?"

"Meh, it's ok"

It's the White Stripes at their most mediocre

You don't listen to Randy Newman for his voice; you listen to him for the atmosphere and the incredible satirical messages he conveys in his short songs. I know this album well, and even though it's over 50 years old, I now truly appreciate how timeless his message is.

I wrote for luck
They sent me you
I sent for juice
You gave me poison
I order a line
You form a queue