Reviews by tjehl

I'm having a really hard time rating this album.
There are certain parts that are deserving of a 4 / 5. And then there are parts that I get bored of really quickly and deserves a 2 / 5.

Phair's songwriting is quite unique and she's great at sounding innovative - even as the album progresses.
But on the other hand I'm having a hard time coming to terms with her vocal.. It's really not that good, is it?

The lo-fi approach to production really has its positives; the excellent "Dance of the Seven Veils" and "Fuck and Run" being prime examples.
On the other hand I find that the album is 6-7 songs too long for it to still be interesting as the guitar fades away on the otherwise great closing track, "Strange Loop?".

I'm going to listen to this again; for sure.
But the next listen is just as likely to make this lose a star as it is to make it gain one.

What a weird, weird collection of songs. Ranging from the serious to the almost silly, the Kinks somehow captures the essence of the late 60’s better than most contemporaries and manages to not sound dated whatsoever - even when held up against the Beatles. Truly not a feat most bands accomplished.

This is simply pure fun and imagination from start to finish.

You just know you’re quite an early group, when that name was still available.

The Band is fully able to distinguish themselves from the sound of Dylan even though this is basically from the same period as the Basement Tapes.

Everything is fresh and alive and you can tell how dynamic the process of writing and recording this album must have been.
There are plenty of highlights; especially “The Weight” still sounds absolutely brilliant.

Ocean Rain is one of albums I return to once or twice a year without ever being disappointed. It’s dramatic, melancholic and incredibly grand. The accompanying orchestra does wonders to the songs.

“Nocturnal Me”, the beautiful title track and “The Killing Moon” are especially breathtaking with the latter being one of the absolute peaks of the entire post-punk genre (just listen to Sergeant’s solo).

Looking forward to join the Bunnymen’s gloomy gondola trip once again.

Ambient 1/Music for Airports is exactly as breathtaking and innovative today as it was when it was first released.

Time simply flies by as you lose yourself in both the ethereal music and your own mind.

This is genius. Pure and simple.

Now That’s What I Call Bongos Vol 1.

Having the word “incredible” in your band name is like North Korea having the word “democratic” in its name.

It doesn’t necessarily make it true.

Tina Turner might just be the most powerful Swiss (say what now?) singer to be alive.
Her gravelly voice and attitude is prominent in every aspect of the album and you’re sure to have a fun time while it lasts.

The iconic “What’s Love Got to Do With It” might be the song to go down in history, but the incredible “I Can’t Stand the Rain” and “Private Dancer” is where Turner really shows off.

The two covers at the end are fun but altogether I don’t particularly remember them shortly after. Some aspects of Private Dancer are a bit dated, but on a whole you’re always in safe hands with the Queen of Rock and Roll.

How is this released in '67 and not '63-'64?
It sounds really outdated and I'm sure it must have done so at its release as well.

There's a few fun songs, "I'm So Happy Now", "A Place In The Sun" and "It's Love". But mostly it just sounds like discount Beatles.

This is such a difficult album to review. First of all - at 100 minutes, it's too long. The runtime of most tracks is excessive and I could have done without songs like "Adrift".

On the other hand... I just might have listened to this under the right circumstances. I listened to the title track at home and felt that it was, of course, too long but I was drawn in by the atmosphere and Diane Charlemagne's vocal.

The rest of the album I listened to while driving on the freeway at night during a light rain. And then everything just made kind of sense.

I mean it's excessive and too ambitious and some of the choices I can not defend. But I think I enjoyed this way more than I expected too.

It’s impossible not to have a good time when Pet Shop Boys are playing. Somewhat presented as a party and dance band, there’s actually (lol) only a few tracks that wouldn’t be a mood killer at any ordinary party.

The production on hits such as “What Have I Done To Deserve This” and the extremely dramatic “It’s A Sin” is absolute perfection but there’s so many more excellent songs to be found scattered around this record.

Especially the goosebump inducing Rent”, “I Want To Wake Up” and “Heart” is just as good as any Pet Shop classic.

This is basically all I want from my alternative rock/punk record. To the point, without any real filler and just filled with energy and great musicianship.

The only time I almost lose interest is when the band focus too hard on their punk roots on “Tommy Gets His Tonsils Out” and “Gary’s Got a Boner”.

Other than that I really enjoy Westerberg’s vocals and the first trio of songs, ending with the amazing “We’re Coming Out”, and the middle section with “Androgynous”, the great Kiss cover “Black Diamond” and “Unsatisfied” is unbelievably good.

I've got exactly two problems with this record.
The exhausting length and the amount of covers.
Had they cut the covers to only include "Little Wing" the sole musical output from Derek and the Dominos would have stood that much sharper.

Also... Taken into account that this is essentially a love letter to a friend's wife... Covers? Not really that romantic.

Musically there's absolutely nothing wrong with anything though. Clapton is as good as he ever is when he's in his bluesy mood and Whitlock provides the backbone of it all.

There are too few truly memorable songs but "Layla" almost makes up for anything problems I have with the album. Jesus Christ, is it possible to ever get tired of listening to Clapton crying his heart out and Duane Allman almost playing his guitar to shreds?
I think not.

How do you not instantly love an album that opens with “Sympathy For the Devil”?
From the sound of the initial congas there’s no turning back.

Beggars Banquet is stuffed with some of the Stones’ best 60’s work like “Street Fighting Man”, “Salt of the Earth”, “No Expectations” and “Jigsaw Puzzle”. The band itself is vibrant and almost seem destined to play with each other.

What a powerful return to their bluesy roots this is!

Whoever told Kiss that it would be fun if "Detroit Rock City" opened the album with a minute and a half of car sounds and radio noise need to be fired.
It's especially a shame since it's actually quite a powerful opening song.

While I'm initially intrigued by "God of Thunder" Simmons' vocals doesn't do anything for me and follow-up with "Great Expectations" is simply dreadful.

I can sense what the hype is about on Destroyer with songs like "Detroit Rock City" and the anthem "Shout It Out Loud". But even after seeing the band live I simply have to admit that Kiss just isn't for me.

Fun side note. "Beth" is Kiss' biggest commercial hit in the States. Boy, would I've liked to the fly on the wall to experience the disappointment in the face of whoever bought this album expecting more orchestral ballads.

Is it new wave? Is it punk? Is it pop?
I don't know and I honestly don't care if the product is as fun as The Only Ones.

Peter Perrett is terribly British and half the time it sounds like he's only half invested in recording the songs - but somehow it only adds to the experience.

Songs like "Another Girl, Another Planet" and "Language Problem" are especially fun with Perrett really showing off on the latter.

On the other hand I'm not quite as interested when they go for a more straight on punk(ish) approach like on "City Of Fun".

Huge praise for keeping this at a length of barely more than half an hour. Thight and with absolutely no time for bullshit.

Listening to The Dreaming is very much like experiencing a play. Bush is extremely theatrical in both her songwriting and production incorporating sounds effects as easy as if it was just another breath.

Her vocal performance is, of course, beyond belief and ranges from impressive dephts to full on screams and something almost resembling avante garde metal on "Houdini".

The instrumentation, relying on an array of experimentation with the list including didgeridoo, bouzoki and uilleann pipes and a sound ranging from baroque to avante garde and Irish folk music.

This is such a bizarre piece of work. Brutal as on "Get Out of My House" yet wonderfully beautiful as on "Night of the Swallow". But under the careful command of Kate Bush everything works and comes together.

Also - is it any wonder TIDAL went straight into Björk after this?

If you’re only listening to Elliott Smith’s songwriting and recordings you might find, that he’s just quite the talented singer-songwriter. But when you get the chance to dive deeper into the lyrics behind the songs - that’s when you find out just what a genius Smith truly was.

The songs are extremely fragile and combined with Smith’s shivering and shy vocal they’re almost threatening to crumble beneath their own weight - but somehow they never do.

Roxy Music have always been hovering around in the outskirts of my musical interest. I have a couple of their records but I never truly made a deep dive into their discography; and I don’t think I ever heard this album in it’s entirety before.. But being a child of geniuses, Ferry and Eno, I’m a fool for not have done it earlier.

Ferry’s vocal is absolutely breathtaking throughout the entire album; especially on the haunting and stunningly beautiful “In Every Dream Home a Heartache”.

But even with a vocalist as strong and unique as Ferry every other aspect of the group has plenty of time to stand out.
The presence of Eno is obvious throughout, while Mackay’s saxophone and Manzanera’s guitar never misses the mark.

“The Bogus Man” is obviously way too long and “The Beauty Queen” does nothing for me, but with songs like “Strictly Confidential”, “Editions of You” and the title track I really don’t care that much.

Few bands hit me in quite the same way as Dinosaur Jr. As noisy, screeching and hysterical as it may be - the amazingly tumultuous “Don’t” being the prime example - there’s always raw emotions and a feeling of honesty hiding just beneath the surface; most often in the form of Mascis’ delicate and bare vocal and brutally beautiful guitar.

While I love their older material there’s a special vibe about their post-reunion albums that isn’t quite present here. Maybe it’s because they matured along the way or maybe it’s the heavier focus on their punk aesthetic on the early records? I nevertheless enjoy the ride every bit of the way!

There’s a charm and immediacy to Bolan’s music that’s hard not to like - it also makes for extremely approachable and catchy songs.

I like the tone and production a lot but as time passes I start to grow tired of the repetitive nature of the songs and lack of change.

I start to get into the record again with the powerful “Chariot Choogle”, but I think this would’ve been better had Bolan just kept this as a short 35 minute album.