Reviews by sloppysteak

Better than I was expecting. Has its moments (Somebody to Love, White Rabbit), and probably a good album for 1967.

I’m not sure what to make of this album. Sometimes there are cool parts, nice beats, guitar lines, etc. And then, not infrequently, the male singer uses a very high register and it’s very distracting if not unpleasant. Also, a lot of the record sounds like it was produced in the 80s. I’m not sure if that’s a good or bad thing.

Wow, I really disliked this. Every track has this extremely annoying “instrument” sound that I don’t know how to describe—an attempt at a signature sound? Anyway, it’s silly and relentless. Rubber Soul and Revolver came out the same year as this “psychedelic” album. That’s all I have to say.

Some fun bass lines and funky rhythm guitar. Unfortunately, this is a disco album and it sounds like one. If you’re into that, you might like this album.

I went through a Dylan phase. I listened to most of his catalog. I’m no longer in a Dylan phase. This record and others on which Dylan adopted his “Dylan voice” are fairly unpleasant listening experiences now. This album, like most of his albums, if for people that think his lyrics are profound poetry. It seems more like he makes words and phrases fit based on rhymes instead of really saying anything. And does every damn song need 11 verses? It’s just not my thing.

I’m not a country fan, so the music on this album was not to my liking. However, Lang’s voice is fantastic—her precise control of her voice stands far above the music. For that alone, this album deserves a 3.

When the album began, I was like, “Hell yeah, some more post punk new wave whatever!” But I grew bored with the album quickly. It’s not bad, just too samey for me. It’s a little better than a 2.

Honestly, the only thing wrong with this album is Courtney Love’s grating, relentless voice. Otherwise, some decent late 90s grunge-pop.

Pretty good album with fantastic sounds, creative beats, and interesting songs. I found the vocal style to be a bit repetitive, but that’s not a big deal. I enjoyed this album much more than I thought I would. Will definitely listen again.

This genre falls into what I call disposable music: some of it is nice, but most of it is too repetitive. This isn’t music that was meant to be enjoyed with careful listening, although there are certainly some cool beats going on here and there. I just kept losing focus because of sameness of each track. Pad washes, bits of gnarly drums, some girl singing about nothing, rinse, repeat.

The odd numbered tracks often have interesting production bits and are okay; the even numbered tracks all sound like outtakes from a Strokes album. It’s pretty harmless, if a little self-indulgent.

So I imagine what happened here is that the band accidentally destroyed their original master for this record and tried to rerecord it on day three of a heroin binge. But then, after the heroin wore off and they could shit again, the whole band took a giant shit on their second master. They all thought it was genius and handed it in to the record company, who in turn pressed the record, shit and all, giving us this insufferable rock cognate filled with double entendres more ridiculous than Spinal Tap.

This is not an album I would normally listen to voluntarily. It’s not bad, and it’s not great either. I appreciate the attempt at a concept album with the segues. I like a lot of the drum programming. And at times there were catchy songs and hooks. I sort of enjoyed a Janet Jackson album.

Some guy that plays piano very well noodles around on a piano for over an hour, and when he’s done, the whole audience is so relieved that they applaud and cheer for like 5 minutes.

The third and final record Eno produced for the Talking Heads is also my favorite Talking Heads album. There is so much going on on this record: interesting world instruments and rhythms; great backing vocals; amazing guitar work by Adrian Belew. I’ve been listening to this record for over 20 years and I still hear new things on it. After this record, TH took a break then recorded Speaking in Tongues, which included the hit single Burning Down the House. But that record suffers from slick overproduction and a spotty track list. Remain in Light was the last truly exceptional Talking Heads album, and, I believe, their very best work.

This was a nice surprise. This is a well produced album with lots of interesting drum programming, catchy hooks, and great vocals. This isn’t exactly in my musical wheelhouse, but, all things being equal, it’s a pretty good record.

I’ve never liked Elton John’s music. Cheesy, campy, annoying. Just a wasteland of silly shit. But then I heard this album . . . and it merely confirmed my opinion. This is a double album that should have been a single without a b-side. And the single would be by another artist. That would have earned this absolute phallus of an album a half star. As this site is, I can’t vote lower than one star.

Another album from Stevie’s “Golden Period.” There are plenty of excellent songs here, but this album does quite have the magic of Talking Book or SITKOL. However, few men have achieved the funkiness of the first 30 seconds of “You Haven’t Done Nothin’,” so for that alone it’s an easy 3.5. Shit, I’ll round it up to 4 for Stevie.

Another boring album by a manufactured artist.

A pleasant surprise. I never been into the Flaming Lips. Last year I tried listening to Soft Bullet and just didn’t get it. This album made a lot more sense to me. Interesting sounds with a lot of creative production techniques. Overall, a solid concept record. Makes me want to give Soft Bullet another chance.