Reviews by tjehl

Fred Durst is lucky that he has such great musicians behind him. The drums are tight, the bass playful and Borland’s guitar playing is quite creative. It ends up making this a somewhat enjoyable listen - I’m more surprised than you are.

But whenever Durst opens his mouth I lose hope. There are times when I amaze myself and actually get the overall idea of Limp Bizkit, like on “Boiler”, but I can’t get over the awfulness of Durst’s vocal, inane humor and his edgy political statements of how everything sucks and should be destroyed - very profound.

There’s a part of me that would like Limp Bizkit were they not Limp Bizkit.

But alas, they are.

With Beck you never know quite what you’re gonna get. This time he went a decade back in time and revisited a sound closer to his mid 90’s-albums.

If you like those, you will ultimately like this. If not, you will probably be quite bored - and I totally understand.

Me? I’m in the first camp fortunately.

Totally forgot just how great Sleater-Kinney is. Phenomenal record - energetic guitars, insisting vocals and attitude for days. Oh yeah and the bass? No need!

You think Spice Girls was the feminist group of the 90’s? Think again.

The fact that Van Halen decided that “Eruption” wouldn’t be the album opener should act as a warning that this might not be among the greatest rock debuts, as it if often called.

I’ve read people argue that it would otherwise sell the album as an Eddie-one-man show - but why, oh why, is the rest of the album when just an explosion of Eddie playing great guitar with some guys playing instruments alongside him?

I don’t actually hate it, as you would probably think from reading the above - it’s quite good, considering the genre.

Smooth indeed.

Sade reeks of the 80’s - and I’m all aboard.

What a weird inclusion.
It doesn’t feel ambitious enough for it to be the factor and the arrangements are rarely more than fine.

Feels a lot longer than what it actually is.

Going straight from a string of great psychedelic rock and folk albums into an album consisting mainly of country covers is a weird choice.

Gram Parsons was to become somewhat of a legend, but as a newcomer in the group, I don’t really get why they would abandon their sound so drastically in such a short time.

It’s fine I guess, but I wasn’t compelled to it in the way that I had hoped.

If all blues came from the desert, I would be a bigger fan.

Why do people seem to dislike this so much? It’s a U2 album produced by Lanois and Eno opening with a strong set of singles.

A daring move, as the closing half is not as great as the first - but then again … It doesn’t contain EVERY single from the album in continuation, so how could it be?

American IV is less of a cover albums and more a collection of songs finding a new home.

His talent for interpreting stories and breathing new life into them is unmatched - there are new meanings to be found in these songs and lyrics when delivered by Cash.

Time Out Of Mind is from the part of Dylan’s vast discography I don’t often pay attention to.

Daniel Lanois’ airy production really suits the sound of the record - even though I’m not completely sold on the number of blues rockers present.

“Not Dark Yet” is an absolute highlight and almost deserves a spot on this list itself. It’s not carrying the album though, as Dylan’s songwriting is solid throughout.

It’s not his greatest work, but with a bar as high as his, it would be weird if a ‘97-Dylan-album was.

You can at times hear, that some of the songs lack a bit of leadership due to the departure of Gene Clark, but everything else is incredibly well-written and fresh - parts of it even has a sound and production ahead of its time.

Rod Stewart sounds like he has lived a full life at the ripe old age of 25.

Gasoline Alley is excellent when Stewart the storyteller is in play - not so excellent when Stewart the ladies man is present.

If I was still coming to terms with the massive weight of Harvest, I too would need to take it down a notch and hit the beach.

You Want It Darker is the perfect end to Cohen’s wonderful career. His voice became progressively more fitting for his songwriting as he aged and the songs are filled with both sorrow and humor - a most excellent full stop.

Garbage is a weird mix of being outdated at the time of release and still sounding new today. The singles are the strongest songs on the record and apart from those I really wasn’t that drawn towards the record.

It’s alright, but I thought I would’ve liked it even more.

Almost as good as Fear Of A … Not quite, but almost!

Chuck D still delivers like his life depended and the arrangements are solid as well; a higher degree of live musicianship helps bring the songs to life.

The fact that Anthrax collaborated with the group on the closing remix of “Bring Tha Noize” slams dunk the ending and helped pave a change in direction of the genre.

Short, to the point, in your face, and stupid rock’n’roll. I hate to admit it, but the Swedes know how to have some fun.

Often imitated, rarely duplicated.

When looking at Kings Of Leon’s early discography, Youth And Young Manhood is probably the album to skip.

Followill’s (the vocal one) singing is the highlight, but I’m a bit underwhelmed by Followill’s (the drum one) performance - on most other albums he is the centerpiece.

It feels dated and their songwriting just isn’t as distinct as it would soon become.