Reviews by nevele

A typical Verve album with ups and downs, where you start skipping several songs on the album, but really listen to the few marvels on here (like History)

It's one of those really good debut albums where you can hear what on later albums will become amazing. But this one is just too disjointed.

I kinda only knew Joni Mitchell from that one hit (Taxi) and the Prince cover, but I'm very glad I finally fully listened to some more of her music. The album is an amazing combination of folk and jazz.

This is the album to introduce people to Frank Zappa with. Especially when you're a rocker and a bit into jazz this is where you start before you dive into the man's immense back catalogue.
If you're into instrumental solo's, whether guitar, clarinet, bass, violin, drums, this is the album for you.
This album got it all and is likely one of the best Zappa has released.

Music is emotion. And there's a lot of that on this album. Of the darker kind.
The album isn't perfect, but almost there. 4.5*

A tale of two sides. Side A and Side B.
Side A of this album is probably the weakest The Police have released in their career. Synchronicity I and II are both nicely rocking songs and save this side a bit. Especially II.
The songs "Mother" and "Miss Gradenko" take away at least one star from the album. So incredibly bad.

Then comes part B, starting with the overplayed "Every Breath You Take," followed by everything The Police became admired for in "The King Of Pain."
"Wrapped Around Your Finger" and "Tea In The Sahara" belong to the best that the Police have ever done and the jazzy "Murder By Numbers," which was, iirc, a b side to Every Breath finished this side strong.

2* for the first half of the album, 5* to the second half.

It's very decent pop/rock album and Alanis sure can sing.

But it never rises above that sublime single "You Oughta Know" with its Chili Pepper basslines and guitar.
The rest of the album never gets bad anywhere, but it's all very radio-friendly produced pop music. I would've loved for this album to just be that bit more Flea and Navarro and a little less Glen Ballard.

It's an album I wouldn't turn off when it's playing, but also not one I'd put on myself

This kind of album really is not my thing normally, but I'll gladly make an exception for this one from here on out. This might be one of the best folk albums ever written.
What a stunning and heartfelt album.

Re-listening after years I have to be honest that it has lost quite a bit of its appeal. Now this came out when I was discovering punk and even in those days was not my favourite.
Some songs still stand up fiercely over time, like Genocide, Come Out and Play and the title track, but the other half have lost something over time, like It'll Be a Long Time, Self Esteem and Killboy Powerhead.
3,5*

Simple music done extremely well, with a voice for the ages.
I'm digging it.

This is a sleazy unremarkable glamrock album which grabs their influences from Alice Cooper to the New York Dolls.
The songs are very stock-standard, 13-in-a-dozen. Never bad, but never achieving anything more than mediocrity.

Thus far, 50 albums in, I have the feeling that the creators of the list of 1001 albums you must hear before you die never really enjoyed hard rock much because the inclusion of the albums are terrible, even though there's so much greatness to be found in the genre.

This really does nothing for me, and I like my hard-rock. It's stock-standard music with lyrical that are utter piffle and are so below par it's painful.
I know KISS from their Alive Albums, and am aware they're a great live band. But musically, lyrically and production wise, this is empty for me.

Probably the most raw Smiths albums, both lyrically as musically. It's a bit harder and a bit more serious than other albums (even though there's still enough humour to be found)
The speedy funky basslines on this album in combination with Marr's incredible guitar-work really get a lot more swing going than on other albums.

And Morrissey has things to say about hitting children ("Barbarism Begins At Home"), eating meat ("Meat Is Murder"), Depression ("That Joke Isn't Funny Anymore") Homosexuality and also unrequited love in the absolutely beautiful "Well I Wonder".

"Gasping - dying - but somehow still alive
this is the final stand of all I am
Please keep me in mind"

An absolute 5* amazing album, front to finish. Even the lesser songs are top.

I'm listening to a brilliant songwriter who didn't give two cents about commercialism and that's abundantly clear.
It's getting better with every listen. On the 4th listen I still hear more amazing transitions.
It's a very curious album that is walking a thin line between unbridled creative genius and rambly outtakes that could've stayed that way. I'm putting it on 4 stars but wouldn't be surprised if I find myself coming back to this album in a few years and giving it the full 5

The album starts off amazing, but isn't consistent throughout in my opinion.
The first 6 tracks are the best of what the French funky techno scene had/has to offer. But after Phantom Pt II the album collapses, and songs like DVNO and Tthhee Ppaarrttyy are just annoying. It goes up a little again with Waters, but not enough. 3,5*

Really one of the best Bowie has released. After the soulful era came this Thin White Duke. 4.5*

Listened to the album 3 times. It's a good album, with sound collages, incredible harmonies and clever music.

It just doesn't do anything for me, doesn't elicit any emotion. In the end I just zone out with this music.

A strange pick for an Alice Cooper album because this is not even close to his best. Relistening this, I also put on Killer, Billion Dollar Babies and Love It To Death, in my opinion all 3 better albums than this one.
The opener, that everyone know, is brilliant. School's Out really is a classic. But the rest of the album is not up to standard of the opening song and plays on 2 minds between rock and musical, and it's just not doing it for me.

After 3 listens I put on some of his other work and have been rocking out at my desk this workday

A She-bob album by an artist that showed she was 'out there' and that's indeed how the music sounds. There's really nothing wrong with her voice and the songs jump up and down. It's a very happy 80's pop album.

I've seen her in concert in the 2010's and later on in life she has gone in a somewhat different direction, with a bit better songs but also a lot less success. Time After Time might be the only song that really holds up after all this time (after time).

And the score might've been a bit higher if the album finished after the first 6 songs. Reasonable debut by a talented artist, but not one of the best albums in the world, not even one of the best by Cyndi Lauper.

This was my introduction to Common and it was really quite a pleasure. In the barrage of crap rap and hiphop this was a breath of fresh air. Great lyrics, great music and no need to shout.