Rated 6/10
Not much wheel reinvention going on here, but it's still pretty solid overall. Ely's got a nice voice and there are some interesting sonic textures that definitely elevate it a bit. The only major misstep, in my opinion, is the "Honky Tonkin'" cover, so it ends on a slightly awkward note in my book. But I could easily return to this.
3.5/5
I wanted to like this, because ELP is one of the few prog bands I generally dig. Hell, their other 1971 album that’s also in this book (Tarkus) is pretty damn good in my opinion. Greg Lake is a great vocalist, and between his sick bass tone and Emerson’s killer organ work, they usually just sound like a great hard rock band to me. Additionally, I am nowhere *near* a classical music expert, let alone a Mussorgsky completist, but I know I really like “Night on Bald Mountain”. As I suspected, though, this doesn’t really work for me. I tend to have a disconnect with this style of prog that’s *very* classically influenced; I reeeeeally don’t want to use the “p” word (pretentious) because a) I like hundreds of artists that could be described as such, b) I don’t want to denigrate the effort these musicians have put forth, and c) I don’t think that word necessarily needs to have a negative connotation. So instead, I’ll just say it sounds…a bit hammy? Stilted? It’s most likely a product of me wanting different things out of classical music and rock music, both of which I enjoy on their own. There are moments on here I dig, but I won’t be itching to return to it.
2.5/5
Rated 4/10
Unfortunately, I’m still not convinced of her songwriting genius.
2.5/5
Rated 6/10
I much prefer side A of this record, especially the title track and "Run Away Child, Running Wild". The psychedelic soul leanings are a lot more interesting to me than a lot of the overblown string-heavy arrangements that dominate side B. I definitely like it more overall than All Directions, though, even if The Temptations (and 99% of artists in this genre) will likely always be a "songs" group for me in general.
3.5/5
Rated 6/10
Once again, the guitar tones and layering are enough to make me appreciate and enjoy this band to some degree. Once again, I don't know how much there is for me here past that.
3/5
Rated 4/10
Very undeserving of its album title.
2/5
Rated 8/10
I think the beginning of this album is fantastic; I really dig pretty much everything up to and including "Monster". After that, it's a bit shakier for me, and I certainly start to feel the length. I suppose my only hot take is that, while I love the outro of "Runaway", I'm not a huge fan otherwise. I respect some of the sincerity of the verses, but the chorus totally takes me out of it. I certainly don't see myself rushing to listen to it again any time soon, but in time, I think it could potentially rise in my estimations.
3.5/5
Rated 6/10
After two listens, I feel like this is a 4-4.5 star album on the strength of the songs and a 1-1.5 star album on the strength of the production and arrangements. Settling on a high 3 stars for now; I hope it continues to raise in my estimations if I get past my own sonic issues.
3/5
Rated 4/10
It's really not that bad, but it's quite problematic that Dimery's boner for The Divine Comedy is large enough to warrant this album's inclusion in this book.
2.5/5
Rated 10/10
Although I slightly prefer the follow-up, this one is still absolutely perfect. Magical, even. Many groups tried to copy this record, but it's impossible to duplicate.
5/5
Shoot Out the Lights will always be my favorite of Richard & Linda's, but it's hard to argue with this one.
4/5
Rated 8/10
I struggle with Jon Anderson over the course of an entire album, but mostly dig what's happening musically even if it's not always stylistically my bag. As cliché as it is, though, "I've Seen All Good People" is such a fucking banger.
3.5/5
Rated 10/10
I don’t care if it makes me basic - I think it’s their best, and it deserves all the praise it gets.
5/5
Rated 8/10
Definitely my favorite of the four Echo records I've heard. McCulloch's vocals and lyrics are top-notch throughout, and overall, the band crafts a relatively unique sound. It's grander than their previous albums, undoubtedly aided by the orchestra, but it rarely (if ever) veers into any comically big 80's production. It's still quite accessible and somewhat intimate. I really dig that the orchestra doesn't just exist to provide ~sweeping textures~, instead offering some pretty interesting and weird dynamics. Overall, it's a decently diverse affair that would most certainly make my top 10 albums of this year.
4/5
Wanted to like this a lot more than I did. I usually dig this style/era, and I definitely didn't *dislike* this, but it felt like a lesser version of much better bands and records. Smith's writing is pretty strong - "Bombsite Boy" and "Great British Mistake" were lyrical highlights - but I think his vocals are a bit lacking, and there was little from a melodic or instrumental standpoint that stood out to me. I'll revisit it eventually, but on first listen, I'm not sure it holds up to Buzzcocks, The Undertones, or a slew of other groups from this scene, let alone the Clash or Sex Pistols.
3/5
Rated 6/10
Probably my favorite or second favorite album by a band I just can't bring myself to care about.
3/5
Rated 6/10
Parts of it are fine, but I'm still waiting to hear the album that everyone else seems to be hearing.
3/5
Rated 8/10
Probably my third or fourth favorite Joni record. "The Jungle Line", in all its experimental beauty, is one of my absolute favorite songs of hers; the title track, "Don't Interrupt the Sorrow", "Shadows and Light", and "In France They Kiss on Main Street" are other big highlights for me as well. Skunk Baxter's guitar work on the latter is damn cool, and as always, Joni's lyrics are stunningly perfect.
4.5/5
Rated 8/10
Having relistened to them all somewhat recently now, I think this is definitely my third favorite Sabbath. I like Ozzy’s “underdeveloped” vocals, if you will, and dig the overall atmosphere. For all the props they get as individual performers, their ability and seeming willingness to leave a lot of space is extremely impressive and crucial.
R.I.P. Ozzy, you were a legend.
4/5
Rated 6/10
Too much of Joan's voice can grate on my nerves, but this is a relatively solid early 60's folk offering.
3.5/5
