Reviews by shoegaze_vulpes86

This really isn’t for me. 𝘈 𝘕𝘰𝘥’𝘴 𝘈𝘴 𝘎𝘰𝘰𝘥 𝘈𝘴 𝘢 𝘞𝘪𝘯𝘬… 𝘵𝘰 𝘢 𝘉𝘭𝘪𝘯𝘥 𝘏𝘰𝘳𝘴𝘦 has that loose, rowdy pub-rock energy, but the whole thing feels a bit too sloppy and unfocused to hold my attention. I can see the charm the band is going for, just not enough to make it work for me over a full album. And after a while, Rod Stewart’s voice starts to get on my nerves, which makes the album even harder to get into.

This is one of those albums where everything feels completely locked in. David Bowie fully disappears into the Ziggy Stardust character, but the album never comes across as just an exercise in image or theatrics. Underneath the glam rock surface are genuinely strong songs, and that’s what keeps the whole thing from feeling dated or gimmicky.

The run of tracks here is ridiculously strong. 𝗦𝘁𝗮𝗿𝗺𝗮𝗻 is the obvious highlight, but songs like 𝗠𝗼𝗼𝗻𝗮𝗴𝗲 𝗗𝗮𝘆𝗱𝗿𝗲𝗮𝗺 and 𝗥𝗼𝗰𝗸 ’𝗻’ 𝗥𝗼𝗹𝗹 𝗦𝘂𝗶𝗰𝗶𝗱𝗲 give the album its emotional weight. Bowie sounds charismatic all the way through, while the band keeps everything sharp and energetic without overplaying. Even at its most dramatic, the album still feels controlled and focused.

What really stands out is how effortless it sounds. A lot of concept albums feel heavy or overexplained, but 𝘡𝘪𝘨𝘨𝘺 𝘚𝘵𝘢𝘳𝘥𝘶𝘴𝘵 moves naturally from one moment to the next. It creates its own world without losing sight of the songs themselves. More than anything, it just feels cool in a way very few albums do.

I still don’t fully understand why 2Pac is held in such legendary status, even after hearing albums like this. 𝘔𝘦 𝘈𝘨𝘢𝘪𝘯𝘴𝘵 𝘵𝘩𝘦 𝘞𝘰𝘳𝘭𝘥 is definitely more reflective and personal than I expected, and there’s a constant sense of paranoia and pressure running through it that gives the album its identity. That atmosphere probably hits harder when you place it in the context of the growing East Coast–West Coast feud that would later turn deadly.

At the same time, the album itself doesn’t completely grab me. The production is solid and Tupac’s presence is undeniable, but across a full listen it doesn’t leave as strong an impression on me as its reputation suggests. I can appreciate the context and influence more than the music itself.

It’s easy to hear why Elvis Presley became such a massive figure. Even this early on, there’s a lot of charisma in the performances — he sounds energetic, confident, and completely comfortable blending rhythm & blues, country, and pop into something that felt new at the time. You can definitely hear why people point to this period as one of the starting points of rock music.

As an album, though, it’s more interesting historically than musically for me. A lot of the songs feel more like snapshots of Elvis’ early sound than a fully satisfying record on its own. There’s energy and charm throughout, but it can also feel uneven and a bit dated at times.

Still, Elvis himself carries a lot of it. Even when the material isn’t especially remarkable, his presence is hard to ignore. You can already hear the blueprint for the kind of rock star that would dominate popular music for decades afterward.

A very focused, almost understated album, especially compared to what came before and after. 𝘞𝘪𝘴𝘩 𝘠𝘰𝘶 𝘞𝘦𝘳𝘦 𝘏𝘦𝘳𝘦 doesn’t try to overwhelm — it builds a mood and sticks with it. The whole thing revolves around absence, distance, and disillusionment, with the presence of former frontman Syd Barrett quietly shaping everything in the background.

𝗦𝗵𝗶𝗻𝗲 𝗢𝗻 𝗬𝗼𝘂 𝗖𝗿𝗮𝘇𝘆 𝗗𝗶𝗮𝗺𝗼𝗻𝗱 (𝗣𝗮𝗿𝘁𝘀 𝗜-𝗩)
A slow, patient opening that sets the tone immediately. It takes its time, letting the atmosphere form before anything really happens. When the band finally comes in, it feels earned rather than dramatic. It’s less about progression and more about space and memory. As a tribute to Syd Barrett, it feels respectful without turning sentimental.

𝗪𝗲𝗹𝗰𝗼𝗺𝗲 𝘁𝗼 𝘁𝗵𝗲 𝗠𝗮𝗰𝗵𝗶𝗻𝗲
A sharp contrast. Cold, synthetic, and deliberately uncomfortable. The production does a lot of the work here — the mechanical sounds mirror the lyrics about being shaped and consumed by the music industry. It’s one of the most direct tracks on the album, and it cuts through the more reflective mood without breaking it.

𝗛𝗮𝘃𝗲 𝗮 𝗖𝗶𝗴𝗮𝗿
On the surface, more relaxed and groove-driven, but still pretty biting. The chorus sticks immediately, but the lyrics are all about industry cynicism. The guest vocal adds a bit of distance, which actually works in the song’s favor — it feels like you’re hearing the voice of the system itself.

𝗪𝗶𝘀𝗵 𝗬𝗼𝘂 𝗪𝗲𝗿𝗲 𝗛𝗲𝗿𝗲
The emotional core. Stripped back and direct, almost disarmingly simple after what comes before. It’s probably the most accessible track here, but it doesn’t feel like a concession. Instead, it grounds the album, bringing everything back to something personal. Again, it circles back to Syd Barrett without needing to say it outright.

𝗦𝗵𝗶𝗻𝗲 𝗢𝗻 𝗬𝗼𝘂 𝗖𝗿𝗮𝘇𝘆 𝗗𝗶𝗮𝗺𝗼𝗻𝗱 (𝗣𝗮𝗿𝘁𝘀 𝗩𝗜-𝗜𝗫)
Not just a reprise, but a quiet resolution. It doesn’t try to build to a big ending — instead, it gradually lets everything drift away. It feels more distant than the opening section, like looking back rather than reaching out. A very fitting way to close the album.

𝙊𝙫𝙚𝙧𝙖𝙡𝙡
What really stands out is how cohesive it all is. Nothing feels out of place, and nothing feels unnecessary. It’s not trying to be bigger than it needs to be — it just stays consistent, both musically and emotionally. That restraint is exactly what makes it so effective.

You can hear how tight this band already is. 𝘓𝘦𝘥 𝘡𝘦𝘱𝘱𝘦𝘭𝘪𝘯 𝘐𝘐 sounds confident and direct, built around big riffs and strong performances, but the heavy blues influence starts to feel a bit limiting after a while. It hits hard at first, then settles into a pattern that doesn’t change much.

There are clear highlights — 𝗪𝗵𝗼𝗹𝗲 𝗟𝗼𝘁𝘁𝗮 𝗟𝗼𝘃𝗲 stands out immediately, and there are stretches where everything just clicks. But in between, it leans a lot on the same ideas, which starts to feel repetitive after a while.

Nothing here is badly done — the playing is great throughout — but I don’t find myself that engaged over a full listen. It’s solid, just not something I’d come back to often.

Didn’t expect to like this as much as I did. 𝘉𝘦𝘢𝘶𝘵𝘪𝘧𝘶𝘭 𝘍𝘳𝘦𝘢𝘬 has that slightly scruffy, lo-fi feel, but it never comes across as unfocused. The songs are simple, a bit odd, sometimes even awkward, but that’s exactly what gives them their charm. There’s a mix of melancholy and quiet humor running through it that keeps things interesting. Not every track sticks, but the overall mood really works, and I’d definitely like to hear more in this vein.

Works fine as a downtempo album, but it doesn’t do much more than that for me. 𝘍𝘦𝘭𝘵 𝘔𝘰𝘶𝘯𝘵𝘢𝘪𝘯 has a moody, almost cinematic feel, and it stays consistent throughout, but it also tends to fade into the background after a while. It’s pleasant and well put together, just not something that really holds my attention from start to finish.

This just works from start to finish. 𝘈𝘣𝘣𝘦𝘺 𝘙𝘰𝘢𝘥 feels more focused than some of their earlier albums — less all over the place, more confident. Nothing feels forced. It’s just really well put together.

𝗦𝗼𝗺𝗲𝘁𝗵𝗶𝗻𝗴 is an easy highlight. It’s simple, but it hits exactly the way it should. George Harrison really comes into his own here, and it stands comfortably next to anything else on the album.

The B-side medley is what really pushes this into 5/5 territory. On paper it shouldn’t work — short pieces stitched together — but it flows surprisingly naturally. It keeps moving without feeling disjointed, and by the end it all comes together in a way that feels earned.

The cover is as iconic as it gets. Just four people crossing a street, nothing elaborate or overdesigned, and somehow it became one of the most recognizable images ever. It fits the album perfectly — confident, understated, and instantly memorable.

And that’s really the whole album. Nothing feels wasted, nothing drags. It’s not trying to prove anything — it just delivers.

Honestly, this comes across more like a rough rock ’n’ roll record than a proto-punk landmark. 𝘏𝘦𝘳𝘦 𝘈𝘳𝘦 𝘵𝘩𝘦 𝘚𝘰𝘯𝘪𝘤𝘴 has that blown-out, lo-fi sound, but to me it often feels more amateurish than deliberately raw. I get why people point to it as an influence, but it tends to wear thin over a full album. There’s energy here, just not enough to make it consistently engaging.

This really feels like something you had to be there for. You can hear flashes of Jerry Lee Lewis’s energy, especially in the piano playing, but the recording struggles to keep up with it. The sound is rough enough to get in the way after a while, which makes it hard to fully connect with what’s happening.

I’d much rather see this performance than just hear it. The reputation as one of the greatest rock ’n’ roll live albums feels overstated — there’s clearly something powerful going on, but it never quite comes through in full. You can tell it must have been incredible in the room, but on record it feels more like a document than an experience.

I’ve heard stronger albums from David Bowie than this. 𝘚𝘵𝘢𝘵𝘪𝘰𝘯 𝘵𝘰 𝘚𝘵𝘢𝘵𝘪𝘰𝘯 has a distinct atmosphere and some interesting ideas, especially in the longer tracks, but it doesn’t fully come together for me. At times it feels a bit stretched out, and not everything holds my attention. It’s a solid record, just not one I’d rank among his best.

Nothing really stands out here — it’s just Paul Simon doing what he does. The songwriting is consistently solid, but it all feels a bit too familiar to leave much of an impression. It’s an easy listen and well crafted, just not particularly memorable.

There’s a lot going on here, maybe too much. 𝘋𝘰𝘶𝘣𝘭𝘦 𝘕𝘪𝘤𝘬𝘦𝘭𝘴 𝘰𝘯 𝘵𝘩𝘦 𝘋𝘪𝘮𝘦 moves quickly from one short track to the next, but over time it starts to feel a bit overwhelming. The variety is there, but it doesn’t always translate into something memorable. It ends up feeling longer than it is, and it doesn’t really hold my attention all the way through.

Is this a lost masterpiece or just something that doesn’t quite work? I’m still undecided. 𝘋𝘰𝘯’𝘵 𝘚𝘵𝘢𝘯𝘥 𝘔𝘦 𝘋𝘰𝘸𝘯 feels very deliberate and personal, but also oddly distant. It’s clearly reaching for something bigger than a typical pop album, yet it rarely pulls me in.

It’s not hard to see why it struggled — their label didn’t really get behind it, and there’s nothing here that comes close to a follow-up to 𝗖𝗼𝗺𝗲 𝗢𝗻 𝗘𝗶𝗹𝗲𝗲𝗻. You can almost hear the gap between expectations and what the band actually wanted to make. There are moments where it nearly comes together, but as a whole it never fully clicks for me.

Pretty much the sound of the Summer of Love. 𝘚𝘶𝘳𝘳𝘦𝘢𝘭𝘪𝘴𝘵𝘪𝘤 𝘗𝘪𝘭𝘭𝘰𝘸 has that hazy, slightly dreamy psychedelic feel, but it’s still very song-focused. The melodies stick, and the back-and-forth between the vocals keeps things interesting throughout. It’s not perfect all the way through, but the best moments really stand out. Easy to see why it became such a staple of the era.

I’ve definitely heard better hip-hop albums than this. 𝘛𝘩𝘦 𝘚𝘶𝘯 𝘙𝘪𝘴𝘦𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘌𝘢𝘴𝘵 has a clear style and some solid production, but it never really grabs me. The beats feel a bit one-note over time, and while there’s a strong sense of direction, it doesn’t translate into something I’d come back to. Not bad, just not that interesting to me.

Sandy Denny’s voice really carries this for me — there’s something very natural about it that fits the songs perfectly. The fiddle helps a lot too, giving everything that traditional feel without it coming across as stiff or old-fashioned. It’s very folk-focused, but the band keeps it from getting dull. Not every track sticks, but as a whole it works really well for me.

Rough around the edges, but in a way that really works. This is where Neil Young leans into those long, loose guitar jams, and they carry a lot of the album. The songs themselves are pretty straightforward, but that gives everything room to breathe. It can feel a bit unfocused at times, but the highlights more than make up for it. When it hits, it’s great.

Honestly, I’ve heard stronger albums from that whole Laurel Canyon-adjacent scene than this. 𝘛𝘢𝘱𝘦𝘴𝘵𝘳𝘺 has a warm, intimate feel, and the songwriting is clearly there, but it doesn’t quite live up to its reputation for me. A lot of it starts to blur together over time. Carole King feels more like a songwriter stepping into the spotlight than a fully compelling performer, which gives the album a certain sincerity, but also makes it less distinctive. Still a good record, just not one I’d return to often.