Reviews by vict14

A fantastic album, rich, diverse in sounds and instruments it has everything I love in an album. I think it is music that has depth, a point of view and a soul behind it. Everything as a sound and a purpose, and it is a journey to go through, full of excitement and diversity. There is very little to complain about, I may not like the final song very much for example (Ingoo Pow-Pow), but I also love that it is included because it sounds very different from the rest while still being tied together by the same brilliant person behind it. Honestly the blend of different genre is absolutely excellent, it works for me in the smoothest way, and I am really glad I got to hear it.

This is a solid album, but the heaviness (in particular in sounds) weighs it down. I do think it is too cohesive and in his own world to truly be great in my opinion. There is no question it should be there, or that it is worth a listen, but I understand why the hit is Nothing Else Matters, a gorgeous song, and probably the only one who doesn't sound like the others. I also think the songs are generally too long, 1H plus for twelve tracks it feels quite slow which is surprising for a metal/rock album. On the positive side it has energy, depth, and ambition. I could have used some fun, but overall I did enjoy listening to it

Above all else it is very fun, this album is full of energy, full tilt, therefore may be a bit exhausting by the end of it, but it is a ride I don't mind at all. At the same time, while fun, it takes itself very seriously, which does add a tasty layer of camp to it. (the moaning on rocket queen being peak). The riffs are cool, and sonically it is trying different things in a very maximalist fashion. This strong point is a bit dimmed by the writing, which is a bit hollow especially near the end of the album, (You're Crazy / Anything goes). That is a small grip, since given the way Axl Rose sings, it is barely intelligible anyway. At the end of the day it has most thing I like in an album, it has ambition, kinda like they were very much trying to do the best thing they could, and with a sound that is very specific to them. Very strong album, albeit not perfect.

Better than other U2 project but still not great as an album. Sunday Bloody Sunday is a hit, no doubt about it, and I found the album more coherent and lsitenable. But there is still a lot of filler song on there, and the ambition of the band sonically is not there. I am not mad at this inclusion, but is it a must listen gorgeous thing, no. It's not reinventing anything, it's just nice enough.

Interesting album, very much a staple of a certain sound, and overall I found the soundscape rich and diverse. A couple of things are holding it back in my opinion : it's too long, some songs deserve an edit, and I could cut one or two, that would make the project more concise and be more impactful. It's also very much rooted in the 90's and therefore sounds quite dated. That is not necessarily a problem, cause it's a good example of that type of music, but I always gravitate towards music that feels timeless, and in my opinion the greatest songs can manage that. i would argue Portishead for example, even though it's very much rooted in the 90's sound as well feels a bit more timeless and albums like Dummy will always get an edge. Dated album loose their avant garde edge or the experimentation to it comes at a wash in time. That doesn't mean it's not great, but that means that the surprise factor isn't there when I can really put music firmly in a certain decade. Here that is my impression, it's good, I understand why we should listen to it, but it feels a bit too exemplary and not sparkly on it's own to truly be a standout.

This is bad. I guess one is a good enough song, but nowherere near good enough to warrant the inclusion of the whole album, and it does feel like that. The rest is uninspired filler, except may be Mysterious Ways which is barely ok. U2 has albums that are a lot better, this one should not be there. I will finish this list someday, and I know I'll always wonder why this one is in, and so many aren't. It shouldn't be and I am already mad

It's big and brassy but so so short. Goes by in a flash. Very sexy and full of passion. I dont really care for the second track and it's 1/4 of the album, so can't be a five but glad to have it.

I hate this. It's melting my mind how boring it is. I understand that this is garage rock epitome, a classic by a legend. But there is no writing, ("give love a chance", "I keep fuckin up". How clever, how novel). And I know and love some of Neil Young's work, he can be incredible if he wants too, don't know why he decided to make no effort here.
I get the concept, it's supposed to be jamming and music that is free, but the "improvisation" doesn't work, all the songs are incredibly too long and don't seem to land. They don't go anywhere interesting, they don't feel fresh or coming from the heart, they feel lazy and bloated. In a way, it does succeed in doing what it aimed, it does feel like a jam session, one with your dad making music with his buddies from work. No freshness or originality whatsoever, sounds dated even for the 90's. Wouldn't be here if it hadn't the brand Neil Young. No.

This album is quite deceptive, in the sense that it takes a couple of listens to really understand it. At first glance you may wonder why it's on this list, as it is not reinventing any wheel, or really a sound that is very unique to them. After spending the day with it, I started to get it more, my initial reaction of "why this one?" softened. Some songs are really all time great. Helicopter is perfect for example. In general, the writing is quite precise and succinct, albeit not very specific or original (Desire Line for example is a good song that doesn't say much in terms of meaning). It leaves the impression that the words are kinda working for the music, rather than the other way around. It doesn't need to be that profound of a meaning every time, it's much more about the sound of words and the syllables in my opinion, none of it feels accidental or there as a flourish. It's very much precise, which is interesting given the diversity of sounds. It's not all "dream pop" and the soundscape is quite larger than the opening would suggest. So it has ambition, which is important to me in rating and appreciating an album. However, it is not perfect either, I still think it starts at track 3 though, and the first two are skips in my opinion. I don't think it's revolutionary, or a must listen, but it's nice, it's solid, and very much a window in indie 2010's. That sound in the larger sense deserves recognition on there.

I believe that the person who put this on this list as never listened to that album. First of all they feel like what a door to door encyclopedia salesman must have felt like. The sound is trying really super hard to be cool, (which is the most obvious way to do that), but it is also 1982, disco has been here for a decade at least, and is in fact at the end of its rise. The straight white boys are not helping. I blame this band especially, though they are not all white, and I don't know them enough to know that there all straight, but the absence of joy is really giving me Crypto Bro energy.
There are very few bops, all front loaded. The album would have been ok with like 5 tracks on there. But it's not, it's long, it draaaags, and refuses to say anything of substance ever. The back half is a mix between the worst of Chic and the terrible writing of Depeche Mode. ("Yeah, Yeah, Yeah, oh Yeah, Calling Captain, Autumn" Hell no.) I would not know the sound of this band from a thousand others, cause it's as bland as this type of music can get. The worst offenders : the baseline that are mostly flat or very reminiscing of other bands, but most of all the saxophone on every song. It's not even good sax, (good sax, is always and forever sexy sax) it sounds like lazy sax cause they have the charisma of the toothbrush you keep for bathroom cleaning. After this album, I am unsure if the starting thoughts have any validity to them. Has any of them ever met a girl?

This album is not really interesting. Why is this revered in any way today ? The music is simple to say the least, very much like others of the time, and bands like New Order have made much more interesting music than this. To me the only track worth anything are the opener which is a good pop song but not that special, and I want you now, that is a bit weird and at least trying something. It has no ambition which is crazy given the title given to that album.
But especially it is the writing that is driving me bananas. The words are really dumb. I'll let them speak for themselves : "Nothing, Nothing What am I trying to do ? What am I trying to say ? Nothing, Nothing, oh no". Yeah there is very little worth keeping here, really.

I think this album is difficult to rank and revisit. On the one hand, it's wonderful, an instant classic that is great and soaring to new heights especially for a first outing. I have always loved this, I remember what it was like as a kid to listen to this for the first time, the jolt of creativity I felt. Some tracks there are absolutely great, and still sound fresh and very much like their own sound. But I can't ignore that the allegations against the singer have taken their toll on the band's legacy. It shouldn't be ignored, and I do fall on the side that I like Arcade Fire a lot less than I used to. If you look at the allegations, it's probably less awful than other atrocious stories of show business, and the band as done charitable things for years especially for Haiti. That doesn't excuse anything, but I did think it deserved to be listen to again, if only once for this. In the end, I would understand a 1 star, and I would get a 5 star rating, it's a complex situation. Even though the singer as a person is an alleged demon, the band's music is not, so I landed in the middle.

I'm quite ambivalent about this album, it's different and the mix of sounds still sounds fresh, but it's annoying at times. I don't think all of it works and is as great as it could be, but it is trying, it has ambition and a point of view, and sonically it is quite daring. I think that alone is worth my time, and it has all of that in spade. Even if it doesn't become a main stay for me, I'm glad I got to listen to it. It probably won't, cause I can't deal with the way he sings the word fire.

It is different to hear Bob Dylan with a full band and in a "rock" vibe, but it doesn't have the charm and earnestness of his earlier work, or the accuracy and poetry of his latter work. I think this one in particular feels the least necessary of his earlier work I know about, and too much of a continuation to be really interesting. There are absolute gems on there, (Highway 61, Ballad of a thin man) but for the most part most the songs run too long and sound too much a like to one another or the rest of his catalogue. As far as what he says, I think his work can be a lot more precise and interesting than this and this album while good reflects that.

The album has its moments, there are some nuggets of really good stuff there (My Mate Paul for example is interesting to me), and it's mostly a pleasure to listen to. Yet, some of it sounds quite dated and not experimental enough to truly be fascinating. As an album it goes the route of "collection of sounds" rather than a truly great album meaning where the songs really synergies with each other. With this process, it covers a lot of ground in terms of genre and sound, and that makes it worth a listen just for the historical factor, but it lacks coherence to truly be a standout in my opinion.

Kinda underwhelming, some great baselines and overall tracks, but most of it feels like fluff and for a disco record it's not that fun. The interesting and best part comes from the originality of the construction of the album, the first part implying a live and the last part Funny Bones (mvp of the album) being without singing, just laughs, the radio presenter and sounds is very very cool.

A phenomenal listen, full of passion and interesting quirks, a legend, that I can't believe was improvised in parts. Jazz sometimes can be a little tough but not here, it's hopeful, it's bright, the piano sounds incredible, and the whole legend around that piano (it was a janky one, certainly not what he requested) just builds the myth that is that album. I understand fully why it is so popular and the best selling piano record of all times, it's full of little moments that you catch while going through it mutiple times and it i full of emotions. I can already tell you I'll be listening to it a lot.

A good album, very much rooted in their own reggae sound and full of hooks. The best part of the album is that it doesn’t sound all the same, while remaining coherent. There is also some solid writing, but it’s mostly about the music as the title track (with lyrics that are mostly sounds) clearly suggest. I found myself very impressed by the drums, over the record they print around fast and furious, and they try a lot of different things (like on Walking on the Moon). Obviously, there is also that incredible base line in Message In a Bottle. That hit alone makes it worth a listen.
I don’t know that I like all of it, cause the middle of the album is a bit stiff but I can vibe with it well. The opening however is quite interesting, (up to Bring On the Night) and clearly the popular part. However, I don’t understand the lack of love streaming wise for I found No Time This Time, not a hit, but very interesting and forward sounding, (it’s giving the Who on speed). On any other day is however, on there. The song is about a man’s birthday being a crybaby and lamenting, and the worst thing that happened to him is that “ My fine young son has turned out gay”. Yeah. Not great. The pitch for the song is a good idea, and the construction is clever going down like that, but not a fan of lyrics that are homophobic. However, it's one song out of eleven. It’s offensive, but “ it would be okay any other day”? Overall, it’s fun, and while not better than their first outing it’s solid and still relevant today sonically. That one line though.

Sorry about this review, but this is a weak outing by the Kinks. It is nothing I should really have listened to, there is one good song on there (picture you) and it's not even that good. It sounds exactly like early Beatles, which is not the most interesting point, and to give context, this album is from 68 Abbey Road (kind of their last album) is from 69. There is very little excuse to make that kind of music at that time, it's not inspired, it's not interesting, it really as no business being listen to today. I am frustrated by its inclusion, cause I don't even get the legacy pick cause there are music from earlier that is much more interesting. Its not all bad, I can listen to this, but should I have heard it ? Is it necessary ? Absolutely not.

A very meh album, with a lot of "oh she's hot" songs. I'm typically down for a fun time in music, but yeah it's not that fun. Sonically it's minimalist but efficient, and coherent without being the same. It's not terrible, just lyrically very very poor, and the music isn't experimental enough to salvage the whole thing. Some moments are shining, like Breakout, but over all it's quite forgettable. The hidden tracks are a throwback for sure, but 3 is one too many. In the end, if feels like a producer's album, with very little to actually say and no need to be heard.