Reviews by nofaithmed11

Delightfully weird, diverse, and ahead of its time.

4/5

This was quite the pleasant surprise! I know my dad owned this CD growing up, but I've never much been a fan of "Lovefool", so I never thought to give it a shot. I imagine it'll be quite a hot take to say it's easily my least favorite song on the album, but I really dig everything else. Their arrangements are extremely interesting, and although the production is somewhat slick overall, it's still very dynamic, and maintains a relatively consistent thread of tasteful weirdness. I'm excited to spend more time with this one.

4/5

My favorite of theirs for the time being. They're still more of a songs band for me, but this one is damn consistent.

4/5

I get the feeling I’m not supposed to like this based on other peoples’ reactions, but oh well!

4/5

A few re-recordings in particular stood out as not comparing to the originals, but in general, I had a pretty damn good time with this. Post-Pet Sounds is my favorite BB era, but I've taken precious little time to fully immerse myself into the full lore of Smile; between Brian's passing and enjoying this quite a bit, that may change soon. I'm grateful they rigged the generator in his honor. Rest in peace, Brian.

4/5

Slightly more interesting than a lot of other music in this genre from this era.

2.5/5

Shocking that a group consisting of musicians from Blur/Gorillaz, Fela Kuti, and The Clash could make such a dull record.

3/5

There are many factors I could discuss in justifying Highway 61 Revisited as my favorite Dylan record. Most notably, I could talk about how it expanded upon and perfected the electric soundscapes that were introduced on Bringing It All Back Home, creating an atmosphere that is singular not just to Bob’s discography, but to all of rock and roll. This ramshackle blend of Chicago blues, jangle pop, and British beat music is unique enough by itself; when you add Dylan’s distinct, pointed vocals into the mix and consider the breakneck vibe of the band’s performances, it’s simply unlike anything else in the history of popular music. It’s almost there on the previous record, but not exactly; there are similarities on Blonde on Blonde, but the change in backing band and Bob’s hazier vocal delivery lends to a noticeable shift in vibe; by the time The Basement Tapes are recorded and John Wesley Harding is released, he’s adapted a more stripped-down approach, and not only does he never return to the mid-60’s sound, it’s unlikely he could have even if he wanted to. This is not a condemnation of these records’ soundscapes; it simply illustrates how exclusive the sound of Highway 61 is, a sound that I enjoy and cherish like no other.

Regardless of this or any other aspect I could comment on, all that needs to be said as to why it’s my favorite Dylan record is: you know. You know exactly why, even if it’s not yours. I don’t say this to be lazy or funny; it’s the same argument that could be made for Blonde on Blonde or Blood on the Tracks. Just look at the track listing: Highway 61 Revisited kicks off with a song with as strong a case as any for the greatest in rock and roll history and, until the second it ends, rarely strays from that caliber of grandeur. It certainly doesn’t hurt that it closes out with the most enchantingly sprawling of all Dylan epics; “Desolation Row” remains, for my money, the most impressive ten-plus-minute ballad in his catalog. A slew of historical figures and fictional characters are congregated in Bob’s extravagant landscape, each one subjected to a mysterious or unexpected fate at the mercy of his transcendent writing and focused vocals. It’s the only track that doesn’t subscribe to the rest of the album’s aforementioned sound, but Bob’s harmonica playing and Charlie McCoy’s lead acoustic work lend to a memorable listening experience just the same. It’s absolutely tremendous.

Bob had already begun revolutionizing the art of songwriting with his massive compositions on Freewheelin’, but much like The Beatles continued to reach new peaks with their contributions to popular music throughout the ‘60’s, Dylan finds himself squarely in the middle of one of his most major, influential primes on Highway 61 Revisited. His frustration with his own celebrity and its consequences is never more palpable than on “Ballad of a Thin Man”. Its ominous descending chord progression perfectly mirrors the acidity and darkness of the lyrics (I’ve always been partial to the sword swallower’s declaration of, “Here is your throat back, thanks for the loan”). As good as the upbeat blues numbers are on Bringing It All Back Home, Bob and the studio band take it up an extra notch for “Tombstone Blues” and this album’s title track, both of which feature some of his most unforgivably playful and exciting lyrics and energetic backdrops. The more tempered, melodic blues of “It Takes a Lot to Laugh, It Takes a Train to Cry” is handled just as well, and on a record filled with great harmonica performances, this one potentially features the best.

All of these tracks are among my favorite Dylan songs, most of them in my top 50. Two songs, however, are permanently entrenched in my top five. “Just Like Tom Thumb’s Blues”, in particular, holds such a special place in my heart. Everything about it is simply terrific: the fluid melody, Bob’s emotive vocal and harmonica playing, the unbelievable piano and guitar interplay…and those lyrics! The sweet Melinda verse in particular always gets me; “And she takes your voice and leaves you howling at the moon.” When I saw him perform this song for the first time, those words shook me to my core, and I've never heard it the same way again. It knocks me off my feet every time; a flawless recording of a flawless song.

This albums is very much in a #1a/#1b situation with Blood on the Tracks, which I consider Bob’s finest artistic statement from a thematic standpoint. The only common thread between these two wildly different records is their overwhelming magnificence, but Highway 61 Revisited is just that: magnificent. It may not be as conceptually sound as Blood on the Tracks, but I don’t believe it’s any less coherent. It’s the master at the height of his cosmic powers, flexing every muscle he has and employing every weapon in his arsenal. No other songwriter in 1965 was this sardonic, confident, expressive, virtuosic, and groundbreaking at the same time, and no one has been since. For Bob to harness all of these traits and compose such a consistent set of songs, complete with top-notch melodies, soaring vocals, and wildly individual soundscapes, is almost unfathomable. He was the best, he is the best, and in my extremely humble opinion, Highway 61 Revisited is his very best.

Least favorite track: “From a Buick 6”. What an aggressive, kickass rocker, complete with blaring organs, fiery vocals, and killer lyrics. I think it’s fantastic, and easily the “worst” song of the bunch. God, I love this album.

Favorite track: “Like a Rolling Stone”. My personal attachment to “Just Like Tom Thumb’s Blues” doesn’t make this the easiest of choices. “Ballad of a Thin Man” and “It Takes a Lot to Laugh” are constantly bubbling around my top 10-15 Dylan tracks as well. But I can’t escape “Like a Rolling Stone”, and I never want to. I think there’s a natural inclination for fans of any given artist to gravitate away from their most popular or celebrated song; with a catalog as vast as Dylan’s, there’s no reason to risk overexposure to any track if you don’t have to. In the case of “Like a Rolling Stone”, it has the persistent “greatest song of all-time” argument hanging above its head that can be enough to encourage time away from it. Whenever I return after some distance, though, it usually only takes one listen to confirm the validity of its reputation. Bobby Gregg’s opening snare crack, Frank Owens’ steady piano playing, Dylan’s unrelenting rhythm guitar, Mike Bloomfield’s blistering electric lead, and Al Kooper’s iconic organ work create a sound that is beyond compare. There’s not a single word out of place in Bob’s unforgiving set of lyrics, and as much as I love the “Royal Albert Hall” performance, the studio recording will forever be my favorite vocal take. His cadence is immaculate, and though he mostly sticks to the (superb) melody, his intensity boils over in all the perfect spots. Entire books could be written about this song’s greatness - perhaps they already have? - and I certainly can’t do it justice in one paragraph. “Visions of Johanna” has emerged as my favorite Dylan song in recent years, but “Like a Rolling Stone” is still right there, regardless of how cliché or boring it may seem. What a sensational accomplishment.

5+/5

I may be the only person on the planet who has an opinion on this, but I actually prefer their follow-up, 2004's Winning Days. Still, a pretty damn solid album from a very important time in my life.

3.5/5

On first listen, I dig this a lot. I’ve long ignored this band for no particular reason at all; chalk it up to “so much music, so little time”. I know they’re well respected as one of the “first punk bands”, and while I put that term in quotes because I don’t think it’s quite accurate, I understand the general thought process. They’ve still got a few toes in the power pop/glam waters, but they execute those elements in a slightly grungier, more subversive manner that appeals to me. They’re clearly excellent musicians - some of the guitar and bass work in particular is quite stellar - but their performances are far more visceral than they are over-calculated.

I can see why songs like “Back to Africa” and “Master Race Rock” might come across the wrong way, but I think that even if elements of their lyrics haven’t aged well if you apply them to today’s standards, they’re a bit more nuanced and clever than they appear on first listen. In general, I think a lot of their lyrics are quite funny without being overly stupid. I’ll definitely be coming back to this one and seeing how/if my opinions evolve.

4/5

Although I don't technically understand what Khan is singing, I sense through his incredible vocal performances that his passion and *ahem* devotion are strong and sincere. From a melodic standpoint, I found this album to be a lot "hookier" (it feels strange applying that word to this style of music) than some of the other non-Western albums I've received for this project, and despite some of the song lengths, not nearly as repetitious. Overall, I quite enjoyed this, and think it could grow on me if I took the time to familiarize myself more with qawwali.

3.5/5

Not my favorite band from this era/scene, but still solid. The big hits all still hold up, and quite a few of the deep cuts (particularly "Fade Away and Radiate") are excellent as well.

4/5

I think this album is much more interesting than a lot of people are giving it credit for. The opening one-two punch of "Yes" and "Ifwhiteamericatoldthetruthforonedayit'sworldwouldfallapart" makes for a total lyrical powerhouse, and both songs feature some pretty solid shifting arrangements and melodies. Perhaps my biggest gripe is that I don't think any of the following songs quite reach that same level, but I don't think any of them are remotely weak. "She Is Suffering", "Revol", and "Die in the Summertime" are additional highlights in my book, and again, far more lyrically fascinating than a lot of MSP's contemporaries. I didn't know Richey Edwards' story until halfway through the record, when I began to really sense the pain in these songs and read a bit more into them, and that context heightened my appreciation for it even more. I think this one could very well rise for me with repeated listens.

4/5

As a continued Stevie agnostic, a double album is a bit much for me to take. Still, some undoubtedly great stuff here.

3.5/5

Sure, it's a bit too long, and yes, some of the material maybe hasn't aged the best. I could certainly do without the doctor's office skit in particular. But man, this album sounds so good. Awesome production by Dre, and quite a few extremely memorable songs. "Rat-Tat-Tat-Tat" is probably going to be on repeat for me this week.

4/5

Light 3.5 for this one, 3 for purposes of the website. The title track and "Season of the Witch" are all-timers, and there are other assorted elements I dig, but it also ventures a bit too far into this sort of medieval folkiness that I don't love.

3.5/5

Few people make the 80’s sound as good as Dire Straits.

4/5

Extremely cool record that expertly blends "standard" melodic indie rock with electronic flourishes and trippy songwriting.

4.5/5

I find most everything about this unbearable. It earns a single star in my book because I can acknowledge some moments of genuinely solid lyricism, but other than that, this production and overall style of music is so far removed from anything I find remotely enjoyable. Additionally, although I'm sure that Neil Tennant is a very nice, good man, his vocals have to be among my least favorite ever committed to tape. I did not need to hear this before I died, and I most certainly did not want to hear this before I died.

1/5

The singer sounds like the love child of Peter Gabriel and Chris Martin that decided to make music that was ever so slightly cooler than both of his dads'.

4/5