Reviews by nevele

The Dust Brothers really gave Beck the platform to properly express some of the ideas he had in his head.
I've had this album in my collection since it came out and have always enjoyed it. Now relistening to it, I find the fun that this album exhumes very catchy. It makes me happy. Not all songs are amazing, and it might not be a masterpiece in music history, but it sure as hell is a great album for any collection.

A pretty good psychedelic record with the beautiful evergreen"Eight Miles High". Besides that, "5D" as well as "I See You" are standout tracks.

Everything else is of a pretty decent level. The covers on this album have in my humble opinion, been performed and outclassed by other artists.

The Byrds did have their own sound. They mixed the style of The Beatles with that of Bob Dylan, with the typical sound of the 12-string Rickenbacker guitar and the harmony in David Crosby's voice.

I really don't mind The Byrds or this album, but it's not something to listen to for very long.
That's why this album of barely half an hour is perfect.

A really good hiphop album.

First (and 2nd, 3rd, 4th and 5th) listen. And what a discovery this has been. What a classic, and an album that has stood the test of time.

It already starts with the jumpy "Love Song" after being completely overwhelmed by the title track. And then one after another a rare amount of quality tracks come past. Sometimes incredibly catchy, sometimes with the feel to pogo your heart out and even when they take some speed back the songs are superb.

This is my introduction to the Damned and are now going to dive into their discography.

Once I got past the interesting voice and strange saxophone, it became a quite pleasant punk album

This album does very little by someone so clearly talented

I love when someone does something refreshing with country music, even if it was already over 50 years ago.
Wondering why so many have returned to the basic old style if this is where it could've headed

I'm thoroughly enjoying the bouncy energy that album just breathes.
I'm a big fan of their lyrical flirtation with the mystical and sci-fi.
Musically it reminds me of a lot of bands I really like, from TV On The Radio to Arctic Monkeys and from Infidels to Franz Ferdinand.

So why is this album not clicking with me? It's got all the ingredients to be an evergreen on my playlists.

But 4 listens over the last 24 hours, in my living room to dance, on my headphones to listen, and again while driving, it never got further than a little headnodding and appreciating the lyrics.

Can't explain it, can't put my finger on it. This album just doesn't do it for me.

This might indeed be the darker side of Echo & the Bunnymen and what really stuck out to me is how this psychedelic post-punk album really is shoegaze avant la lettre.

The album is filled with oriental influences by the collaboration with Shankar (not Ravi, a different one) and quite uptempo and aggressive rhythmic material throughout the album. Songs like The Cutter, Back Of Love and Heads Will Roll are prime examples.

But besides these there are also the steps sideways, like in My White Devil and Higher Hell, where the experiments with sounds and buildup work incredible.

The more experimental Porcupine and Gods Will Be Gods might take an extra listen but when you do it's fully worth it and they turned out my favourites of this album.

4,5*

It's quality, it's proggy, but it's just too showtuney for me

Brian Hinton once wrote, and I paraphrase:
"Perhaps 'Time Out Of Mind' is Dylan's equivalent of the great modernist poem The Waste Land [by T.S. Eliot from 1922]: contemporary despair evoked through a cauldron of images and echoes"

Now, maybe not all songs are among the best, there are certainly a few mediocre ones to be found on this album, and even though Highlands has these amazing lyrics, 16 minutes feels a bit too long.

But when you have songs like 'Love Sick,' 'Standing In The Doorway,' 'Iron Bounds,' and the absolute magnificently beautiful 'Not Dark Yet' on an album you can afford a few barely decent ones.

A great album.

How can someone so talented be so boring?

If this was made into 1 album instead of a double album it would've been Genesis' best.
But to me, it just falls short to albums like Selling England By The Pound where some of the filler has disappeared.

Still, this is absolutely brilliant music.

Even though this album sounds a lot more dated than many of its contemporaries, there are some great pointy pop songs to be found on this album. You can hear, especially in the lyrics, that Mr. Cope used a fair amount of acid in these days, but wrote some catchy new wave.

But where with a lot of bands in this era and style I really get caught by either the emotion (The Sound, The Cure) or the reflection (XTC, Smiths) this album brings more danceable songs and poppy hooks.
An uptempo and short "Bouncing Babies" as prime example.
Too bad of the horn section though.

3,5*

This album might've just jumped from zero into my top 10 favourite albums of all time. What a surprise. Why has it taken me so many decades to realise how awesome Fugazi are. They have always just flown under or besides my radar it seems.

There is not a bad song on this album, only highlights. Songs with a dramatic tension, a great rhythm section, immense riffs, basslines and furious vocals.

This was already the 3rd album on this list with a rendition of "The Girl From Ipanema."

I can hear Sinatra had a blast with this album, but the croon interpretation of the Bossa Nova on this album combined with the quite stereotypical orchestrations of Ogerman makes it a musical dud in my book.

I had to listen to this album a few more times after being highly intrigued at first listen. The surrealist but dark jazzy atmosphere of this 70's prog album really kept drawing me back in. Some of the soundscapes reminded me of Gabriel-era Genesis.
I can understand this isn't for everyone, but I've really grown very fond of this album.

With the first notes of this album I thought that this was a curious opener to an album. Slow processed guitar and a typical 80's ballad with some cheesy lyrics.
Then the synth like violins started swelling up in the background and it all turned to kitsch.
Unfortunately the album went downhill after that.
What an atrocity.

It's hard to describe the insanity in overdrive that this album is.
I never made the click with The Mars Volta due their annoying fans back in the early 2000's.
But by Zeus, this is awesome!

A really interesting Miles Davis compilation album; quite different from the albums that came later, like Kind Of Blue. Much shorter compositions on this album with a lot less solos than on Miles Davis' later work. And it makes it a really interesting timepiece, but it can't hold my attention as long as as the jazz that came later.

Looking into it, the compositions are so short because the music was recorded in 1949 when everything was released on 78 rpm records with little space on it. Almost all jazz from that time consists of shorter songs and you only got real albums from 1950, so that's why. You have to see this jazz in its time, of course, a lot would change in jazz in the next 15 years.

So it remains a bit of background music for me. Nevertheless: beautiful arrangements, good compositions, excellent players, good album. And the key role of these recordings in the development of post-war jazz can hardly be denied, of course.