part 2 of You must listen to the album below you:canon edition by 
Mercury 
- Chart updated: 03/15/2022 17:15
- (Created: 08/26/2021 19:56).
- Chart size: 100 albums.
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Okay, so I also kind of adore Alan Lomax and everything he did to preserve traditions in music and folk. Many of the artistrs I revere were introduced to me by his roving work and recordings and were preserved by him. What a legend. When I think of what person or job I would like to hand out with and do - like if I had a time machine and I could just go do it, I think being the right hand man of Alan Lomax throughout the 40s and 50s would be right up there. Or maybe, similar, I could be a Folkways talant searcher. Idk. The point is, this is some cool stuff. When I read up on it before pushing play I was fascinated.
These are vocal/singing/choral works. Very Communal and rich and soaring and religious. This is about as DIY and uncommercial as it gets. Just a group of singers with different voices coming together and presenting these religious and traditional tunes and songs as a community, laying it all out on the line, expresses themselves and expressing themselves within this community context and it all comes together beautifully. The organic organization and chemistry these singers have and I assume developed over years of working together and getting to know each other as well as due to a shared vision of what their works mean and what they are for, all makes for some truly warm, welcoming, transcendent moments here.
At first I was listening as I would any Lomax or Folkways compilation - a bit detached and pseudo-academic - less feeling the music and more interested in pockets of folk music and tradition. As the recordings went along and I got more familiar with the stripped down to Vocals only approach and reading a little about the fundamentals of how they organize all these disparate singers, and as I just warmed to what I was hearing the academic side of the experience went away and I just started viobing with it. There are no "Solos" here, where one super talented and showy singer seems to come out and steal the show, instead there is a persistent PULSE to these compositions where the voices come forth in bursts and waves and there is a cool rhythmic aspect to this, very alive and very, again as there is no better word in my little vocabulary to describe it, COMMUNAL. It's gorgeous and inspiring. This is kind of like the perfect folk music/traditional music example of a group of people caringly and lovingly having a go atr living as a whole community and as a team. The music reflects or reminds me of like an isometric view of a old frontier town at dawn as each person and erach profession gets up and gets to work for the day. Idk. Its quite pretty.
Is this one of my favorite compilations or albums ever? Not yet and maybe never. But I'm on a second listen and I am just happy that I lknow what the fuck this is. Its quite inspiring.
(Edit: oh and I found this exact album on Apple Music. Maybe not on spotify, not sure. But I was worried I'd have to listen to some broken up youtube playlist of something. Happy to find it so fast). [First added to this chart: 01/05/2022]
These are vocal/singing/choral works. Very Communal and rich and soaring and religious. This is about as DIY and uncommercial as it gets. Just a group of singers with different voices coming together and presenting these religious and traditional tunes and songs as a community, laying it all out on the line, expresses themselves and expressing themselves within this community context and it all comes together beautifully. The organic organization and chemistry these singers have and I assume developed over years of working together and getting to know each other as well as due to a shared vision of what their works mean and what they are for, all makes for some truly warm, welcoming, transcendent moments here.
At first I was listening as I would any Lomax or Folkways compilation - a bit detached and pseudo-academic - less feeling the music and more interested in pockets of folk music and tradition. As the recordings went along and I got more familiar with the stripped down to Vocals only approach and reading a little about the fundamentals of how they organize all these disparate singers, and as I just warmed to what I was hearing the academic side of the experience went away and I just started viobing with it. There are no "Solos" here, where one super talented and showy singer seems to come out and steal the show, instead there is a persistent PULSE to these compositions where the voices come forth in bursts and waves and there is a cool rhythmic aspect to this, very alive and very, again as there is no better word in my little vocabulary to describe it, COMMUNAL. It's gorgeous and inspiring. This is kind of like the perfect folk music/traditional music example of a group of people caringly and lovingly having a go atr living as a whole community and as a team. The music reflects or reminds me of like an isometric view of a old frontier town at dawn as each person and erach profession gets up and gets to work for the day. Idk. Its quite pretty.
Is this one of my favorite compilations or albums ever? Not yet and maybe never. But I'm on a second listen and I am just happy that I lknow what the fuck this is. Its quite inspiring.
(Edit: oh and I found this exact album on Apple Music. Maybe not on spotify, not sure. But I was worried I'd have to listen to some broken up youtube playlist of something. Happy to find it so fast). [First added to this chart: 01/05/2022]
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Sludge. Perhaps no word better explains this guitar sound. Really everything about this screams sludge. And in most times I would adore this sound. Now it hits me as good for what it is, but not quite my tempo atm.
But again, the sound here is sickeningly heavy. it’s clear these dudes who made this worshipped Master of Reality, early Melvins and My War- era Black Flag. They add to this thick, molasses-like sound a distinct southern touch of dirty and biting lead guitar riffs. This albums helps me put together and understand what made Down’s debut sound so good and heavy. The heaviness in Down’s heaviest NOLA riffs can be linked right back to the guitarist of this group, Jimmy Bower.
As with most good sludge, there is a lot of Hardcore punk in this band’s DNA. Even at their heaviest and slooowest there are those vocals and that utter rage and hatred that gives away that side of the sound. Which is glorious.
Actually as I write this and listen a second time, I am warming more to this album as a whole. It’s certainly a downer of an album - wouldn’t expect a sunshiney vibe to emit from an album called Dopesick by sludge metal band Eyehategod. Lol. But yeah, I will be sure to return to this when next I want some music to match my mood when it’s in a particularly misanthropic state. [First added to this chart: 01/05/2022]
But again, the sound here is sickeningly heavy. it’s clear these dudes who made this worshipped Master of Reality, early Melvins and My War- era Black Flag. They add to this thick, molasses-like sound a distinct southern touch of dirty and biting lead guitar riffs. This albums helps me put together and understand what made Down’s debut sound so good and heavy. The heaviness in Down’s heaviest NOLA riffs can be linked right back to the guitarist of this group, Jimmy Bower.
As with most good sludge, there is a lot of Hardcore punk in this band’s DNA. Even at their heaviest and slooowest there are those vocals and that utter rage and hatred that gives away that side of the sound. Which is glorious.
Actually as I write this and listen a second time, I am warming more to this album as a whole. It’s certainly a downer of an album - wouldn’t expect a sunshiney vibe to emit from an album called Dopesick by sludge metal band Eyehategod. Lol. But yeah, I will be sure to return to this when next I want some music to match my mood when it’s in a particularly misanthropic state. [First added to this chart: 01/05/2022]
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Skeletal electronic beats and melodies with a strange vocalist over the top, sometimes sounding like some old timey bard and sometimes sounding like a chant. I'd be lying if I said I loved this. Outside of being impressed by how forward-thinking and unique it was for the late 60s, I wasn't overcome emotionally nor blown away by the complexity here. Some parts are outstanding, I adore for example "Lovefingers" - something about that organic drum groove and the building elements of electronic sound that come in. It seems that with each sound added, the whole mood of this song shifts. Awesome. I also like the opening 2 songs. Velvet Cave is very disorienting and interesting, that synth tone sounds like something off an LCD Soundsystem album which blows me away. And, finally, the closer is cool, "Misty Mountain" that is.
There are stretches of this album where I am mostly just listening placidly and outside again of a sense of fascination at what these 2 people m,anaged to create in '68 or whatever, I feel nothing. The dynamics of the builds, the highs and lows, they just aren't there. Maybe that just has to do with the limitations of the new technology that they have not mastered yet. Or maybe that is what they were going for artistically - sort of a stoic march, eerie and tense with no release. Idk. It was a good enough album as an album. But a fabulous document and fascinating as a nugget of innovative genius. [First added to this chart: 01/05/2022]
There are stretches of this album where I am mostly just listening placidly and outside again of a sense of fascination at what these 2 people m,anaged to create in '68 or whatever, I feel nothing. The dynamics of the builds, the highs and lows, they just aren't there. Maybe that just has to do with the limitations of the new technology that they have not mastered yet. Or maybe that is what they were going for artistically - sort of a stoic march, eerie and tense with no release. Idk. It was a good enough album as an album. But a fabulous document and fascinating as a nugget of innovative genius. [First added to this chart: 01/05/2022]
Year of Release:
1968
Appears in:
Rank Score:
1,210
Rank in 1968:
Rank in 1960s:
Overall Rank:
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Okay so I listened to this several times in a row a few days ago and I didn't fully know what to make of it. It wasn't what I was expecting. I had previously heard (and been weirded out by and quite liked) their album Chocolate and Cheese, as well as The Pod (which I mostly don't remember). So when I pushed play on this I guess I expected a very strange and very scattered and funny and quirky listen. And, while I did get that, I can say that I hear a lot of genuinely moving music here that is pretty indescribable and gorgeous.
The opening track, "It's Gonna Be A Long Night", I heard many many times when I was a lad because it was on a sampler CD iirc. I remember thinking it was a fucking kickass Motorhead tribute with some hilarious lyrics and I honestly have been satying for years (randomly and to varying response) "You bring the razor blade and I'll bring the speed!". Bt I didn't know that song was from this album so when I heard that I got super excited and it sounds as good as ever. Then... every track after proceeds to not sound at all, not even a little, like it. Which cracks me up. This whole album basically doesn't ever repeat itself. Each track is recorded and produced immaculately and each track and sound is fleshed out and embodied beautifully and there are just gobs and gobs and gobs of ear-candy parts to this album. And what is also really cool as that the second half of the album actually manages to get stronger (to my ears) than the first half. It has a whimsical, soft, melodic vibe especially in the second half (as well as much of side A so to speak) that just makes me happy. The solo on "I Don't Want It" is stunning as is the entire track. Other songs like "Among His Tribe", "Captain", "Chocolate Town", "Tried and True" etc are allll executed beautifully.
Honestly I don't generally like my music to be too quirky or funny and part of me was worried when I went into this album that it would be goofy and silly and stupid - I recently had a bad experience trying to listen to and enjoy They Might Be Giants and so I was ready to just think this was not my thing. BUT somehow this album when it gets quirky and funny I find myself buying in somewhat and I really don't know why. "So Many People In The Neighborhood" in almost any other hands would annoy me. As would the ridiculous and quite funny "The F****d Jam", but on here they just work and they are strange and surreal enough and muiscally creative enough to not JUST make me laugh but also kind of just fascinate me as well. Super cool.
And it must be said again that the second half and really the last 30-40% of this album is just 1 amazing and incredible track after another. Just awesome. As I listened I found myself getting more and more familiar (duh) and more and more just kind of in love with this album. Now I listen again as I write this and after 2 or 3 days to marinate I already can see that coming back to this album is like coming back to have a chat with old dear friends. This was the first LP I listened to in this new year and after 4 listens its safe to say that I picked a great and almost instantly a favorite to start the year off with. Easily an 8-9/10. Likely to increase in love as the months and years go on. [First added to this chart: 01/05/2022]
The opening track, "It's Gonna Be A Long Night", I heard many many times when I was a lad because it was on a sampler CD iirc. I remember thinking it was a fucking kickass Motorhead tribute with some hilarious lyrics and I honestly have been satying for years (randomly and to varying response) "You bring the razor blade and I'll bring the speed!". Bt I didn't know that song was from this album so when I heard that I got super excited and it sounds as good as ever. Then... every track after proceeds to not sound at all, not even a little, like it. Which cracks me up. This whole album basically doesn't ever repeat itself. Each track is recorded and produced immaculately and each track and sound is fleshed out and embodied beautifully and there are just gobs and gobs and gobs of ear-candy parts to this album. And what is also really cool as that the second half of the album actually manages to get stronger (to my ears) than the first half. It has a whimsical, soft, melodic vibe especially in the second half (as well as much of side A so to speak) that just makes me happy. The solo on "I Don't Want It" is stunning as is the entire track. Other songs like "Among His Tribe", "Captain", "Chocolate Town", "Tried and True" etc are allll executed beautifully.
Honestly I don't generally like my music to be too quirky or funny and part of me was worried when I went into this album that it would be goofy and silly and stupid - I recently had a bad experience trying to listen to and enjoy They Might Be Giants and so I was ready to just think this was not my thing. BUT somehow this album when it gets quirky and funny I find myself buying in somewhat and I really don't know why. "So Many People In The Neighborhood" in almost any other hands would annoy me. As would the ridiculous and quite funny "The F****d Jam", but on here they just work and they are strange and surreal enough and muiscally creative enough to not JUST make me laugh but also kind of just fascinate me as well. Super cool.
And it must be said again that the second half and really the last 30-40% of this album is just 1 amazing and incredible track after another. Just awesome. As I listened I found myself getting more and more familiar (duh) and more and more just kind of in love with this album. Now I listen again as I write this and after 2 or 3 days to marinate I already can see that coming back to this album is like coming back to have a chat with old dear friends. This was the first LP I listened to in this new year and after 4 listens its safe to say that I picked a great and almost instantly a favorite to start the year off with. Easily an 8-9/10. Likely to increase in love as the months and years go on. [First added to this chart: 01/05/2022]
Year of Release:
2003
Appears in:
Rank Score:
1,979
Rank in 2003:
Rank in 2000s:
Overall Rank:
Average Rating:
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This was surprisingly enjoyable. I think I gave myself enough space from Zeppelin for long enough that coming back and hearing a legitimately new (to me) peak Zeppelin album was super enjoyable. I found myself actually listening to these songs and those drums and that crisp production and those sick guitar riffs and fucking smiling happily in quasi-awe of these rock gods. That is an experience I haven't had with almost anyone in years and definitely not with Zeppelin since I was maybe 15.
I grew up with a father that LOVED Zeppelin. And there came a time when I just said "yeah, this is great and I can hear it but its not MY thing so bye bitchezzz". And that was a while back and that was a pretty thorough decision. I really haven't fucked with Zeppelin in long looong time. Basically, this is all a basic bitch way of saying, yeah these dudes were really good and some of these songs are fucking NEXTY LEVEL! They are groovy, heavy, artistic, passionate and cool as hell.
The album is NOT to me the best Zeppelin did, nor is it one of the great double albums. Much like All Things Must Pass this thing should have cut off most of the last 30% and if they had done that I think this may legitimately be up there with IV or, at least, II. On the strength of "Custard Pie", "The Rover", about 60% of the too long but really cool sounding "In My Time of Dying", "Houses of the Holy", "Trampled Under Foot", "Kashmir", "Bron Yr Stomp", and "Down by the Seaside" with a little last 3rd magic (not much of it) "The Wanton Song"... fuck that would be a TIGHT and damn near perfect 60-ish minute hard rock album. "Boogie With Stu" is okay actually, as is the overly sentimental yet surprisingly affecting "Ten Years Gone". Okay, so maybe this takes more listens and maybe if a I give it a few more listens I will start liking that post-persona;-burnout stage of the album. But yeah as of now 83 minutes of Zeppelin in a row even when its varied and pretty high quality like this, is just too much for me. Okay, fuck I'm rambling.
Some songs that legit blew me away more than anything else were "The Rover" (I love the whole flow and groove and badassery of that track sooo much.), and especially love that 2 song 1-2 punch of soft, truly unexpectedly gorgeous and legit moving songs with "Bron-Yr-Stomp" followed by "Down By The Seaside". (and to some degree "Ten Years Gone" but, again, it was a bit too dependent on the very very mawkish and irritating Plant vocals). I just love that they got so soft and earnest in the middle of this beast of a rock album. "Kashmir" I have heard too many times and I have heard TOO MUCH about it to enjoy it much, but I can acknowledge that is probably due to things other than the quality of the tune. There are other good ones. But really those first 3 songs mentioned in this paragraph are my personal faves as of now.
Overall It was really nice and refreshing (weirdly) to hear such a classic album by such a classic group - and to feel like I was NEWLY discovering this 47 years late.
Personal Zeppelin album ranks of those albums I really have much of a fresh or memorable impression of is IV>>II>Physical Graffiti>I>III>>>Houses of the Holy. [First added to this chart: 01/06/2022]
I grew up with a father that LOVED Zeppelin. And there came a time when I just said "yeah, this is great and I can hear it but its not MY thing so bye bitchezzz". And that was a while back and that was a pretty thorough decision. I really haven't fucked with Zeppelin in long looong time. Basically, this is all a basic bitch way of saying, yeah these dudes were really good and some of these songs are fucking NEXTY LEVEL! They are groovy, heavy, artistic, passionate and cool as hell.
The album is NOT to me the best Zeppelin did, nor is it one of the great double albums. Much like All Things Must Pass this thing should have cut off most of the last 30% and if they had done that I think this may legitimately be up there with IV or, at least, II. On the strength of "Custard Pie", "The Rover", about 60% of the too long but really cool sounding "In My Time of Dying", "Houses of the Holy", "Trampled Under Foot", "Kashmir", "Bron Yr Stomp", and "Down by the Seaside" with a little last 3rd magic (not much of it) "The Wanton Song"... fuck that would be a TIGHT and damn near perfect 60-ish minute hard rock album. "Boogie With Stu" is okay actually, as is the overly sentimental yet surprisingly affecting "Ten Years Gone". Okay, so maybe this takes more listens and maybe if a I give it a few more listens I will start liking that post-persona;-burnout stage of the album. But yeah as of now 83 minutes of Zeppelin in a row even when its varied and pretty high quality like this, is just too much for me. Okay, fuck I'm rambling.
Some songs that legit blew me away more than anything else were "The Rover" (I love the whole flow and groove and badassery of that track sooo much.), and especially love that 2 song 1-2 punch of soft, truly unexpectedly gorgeous and legit moving songs with "Bron-Yr-Stomp" followed by "Down By The Seaside". (and to some degree "Ten Years Gone" but, again, it was a bit too dependent on the very very mawkish and irritating Plant vocals). I just love that they got so soft and earnest in the middle of this beast of a rock album. "Kashmir" I have heard too many times and I have heard TOO MUCH about it to enjoy it much, but I can acknowledge that is probably due to things other than the quality of the tune. There are other good ones. But really those first 3 songs mentioned in this paragraph are my personal faves as of now.
Overall It was really nice and refreshing (weirdly) to hear such a classic album by such a classic group - and to feel like I was NEWLY discovering this 47 years late.
Personal Zeppelin album ranks of those albums I really have much of a fresh or memorable impression of is IV>>II>Physical Graffiti>I>III>>>Houses of the Holy. [First added to this chart: 01/06/2022]
Year of Release:
1975
Appears in:
Rank Score:
13,293
Rank in 1975:
Rank in 1970s:
Overall Rank:
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On a technical level, everything about this is as good as you will find in hard rock/alternative rock of this century. The production is really REALLY great and clear and immersive. The musicianship is varied and executed greatly. The songwriting with these hooks and these undeniable melodic parts are absolutely great. The flow of the album has a momentum and there is nothing out of place. It's just a super well rounded rock album.
And I did enjoy this. I think this requires more than just these 2 listens I gave it. There was nothing here that blew my mind. Part sof their 2002 album did blow my mind especially in its heavier moments, but here they had toned down the heaviness to a large degree and there is a lot more swaggering rock and at times quite melodic art rock type stuff on display here by and large. There are some seriously killer rock songs here of course and I get why this is so adored and more so by the day this seems to be becoming a bit of a classic. I think "I Sat By The Ocean", "The Vampyre of Time and Memory", "If I Had tail", "My God is the Sun", "Fairweather Friends" and ESPECIALLY that 1-2 punch to close the album, "I Appear Missing" and "...Like Clockwork" are all damn fine and at times gorgeous and dark and excellently written and performed songs.
Yeah I think this is one that I really need to give a little space and then come back to because I can't find any critiques outside of it just not having anything that absolutely grabs me and blows my mind. It's hard to describe. Sometimes those types of albums are the ones that, when I return after a bit of time to ruminate, become truly important and special to me.
"I Appear Missing" is a damn masterpiece. So there is at least one touchstone that I look forward to coming back to here and that will probably increase as I come to more of that conclusion with other songs here over the next little while as I return to this. [First added to this chart: 03/15/2022]
And I did enjoy this. I think this requires more than just these 2 listens I gave it. There was nothing here that blew my mind. Part sof their 2002 album did blow my mind especially in its heavier moments, but here they had toned down the heaviness to a large degree and there is a lot more swaggering rock and at times quite melodic art rock type stuff on display here by and large. There are some seriously killer rock songs here of course and I get why this is so adored and more so by the day this seems to be becoming a bit of a classic. I think "I Sat By The Ocean", "The Vampyre of Time and Memory", "If I Had tail", "My God is the Sun", "Fairweather Friends" and ESPECIALLY that 1-2 punch to close the album, "I Appear Missing" and "...Like Clockwork" are all damn fine and at times gorgeous and dark and excellently written and performed songs.
Yeah I think this is one that I really need to give a little space and then come back to because I can't find any critiques outside of it just not having anything that absolutely grabs me and blows my mind. It's hard to describe. Sometimes those types of albums are the ones that, when I return after a bit of time to ruminate, become truly important and special to me.
"I Appear Missing" is a damn masterpiece. So there is at least one touchstone that I look forward to coming back to here and that will probably increase as I come to more of that conclusion with other songs here over the next little while as I return to this. [First added to this chart: 03/15/2022]
Year of Release:
2013
Appears in:
Rank Score:
7,945
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
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This one caught me at the right time last night. When I heard "Let It Happen" it stopped me dead in my tracks. Something about the mood floating, detached yet quite somber and mournful vibe of that track (which I've heard many times when I have tried to listen to this whole album in the past) absolutely cut deep. The immense texture variety of the synths and the vocal melodies and the drum sounds and the way they are manipulated and shifted and played with, the multi-phased aspect of the song that changes the whole vibe of the song without losing the magic, everything. Everything about it kicks ass and is absolutely profound.
As the album progresses I don't feel it ever quite hits that same peak performance of the opener. BUT there is a pretty consistent string of hits and great songs here. And as a cohesive album this does work really well. The fact that he went out and re-invented himself and his music so thoroughly in one master stroke is very inspiring artistically as well. I enjoyed Lonerism and his debut which I'm blanking on now. I enjoyed the retro sounds that he brought in to present classic sounds of the 60s and 70s while making the mixes beefier and more intense as a result of technological advancements. But... they never really hit me emotionally or at least not very deeply. With this album though I was much more immersed in the sound and the environment.
The opener is 10/10 modern masterpiece. Other great songs are , "Yes I'm Changing", "The Less I Know The Better", "Disciples", "'Cause I'm A Man", and the closer is quite nice as well. The songs that didn't do much for me are escaping me now (as they are expected to do as they are forgettable and they just get lost in the consistent vibe and flow of the album) outside of "Past Lives" which I found quite corny and not good. That was the only track as of now that I can point to as a bit of a bummer. Maybe it'll grow on me. Otherwise, this was an album that featured absurdly high highs and a consistent synth heavy, danc-y, melancholic, inspiring while still being quite somber sound and atmosphere, the melodies and the vocals are pretty damn good, the bass work is stellar and the drum SOUNDS are so crisp and beautiful and the Synths and the way they are manipulated and, with almost infinite creativity, played with and mixed, its a good GOOD (dare I say GREAT?) album.
I'm a little perplexed as to why I couldn't dedicate 51 minutes of my time to listening to this these last 6 or 7 years. It's really impressive. [First added to this chart: 03/15/2022]
As the album progresses I don't feel it ever quite hits that same peak performance of the opener. BUT there is a pretty consistent string of hits and great songs here. And as a cohesive album this does work really well. The fact that he went out and re-invented himself and his music so thoroughly in one master stroke is very inspiring artistically as well. I enjoyed Lonerism and his debut which I'm blanking on now. I enjoyed the retro sounds that he brought in to present classic sounds of the 60s and 70s while making the mixes beefier and more intense as a result of technological advancements. But... they never really hit me emotionally or at least not very deeply. With this album though I was much more immersed in the sound and the environment.
The opener is 10/10 modern masterpiece. Other great songs are , "Yes I'm Changing", "The Less I Know The Better", "Disciples", "'Cause I'm A Man", and the closer is quite nice as well. The songs that didn't do much for me are escaping me now (as they are expected to do as they are forgettable and they just get lost in the consistent vibe and flow of the album) outside of "Past Lives" which I found quite corny and not good. That was the only track as of now that I can point to as a bit of a bummer. Maybe it'll grow on me. Otherwise, this was an album that featured absurdly high highs and a consistent synth heavy, danc-y, melancholic, inspiring while still being quite somber sound and atmosphere, the melodies and the vocals are pretty damn good, the bass work is stellar and the drum SOUNDS are so crisp and beautiful and the Synths and the way they are manipulated and, with almost infinite creativity, played with and mixed, its a good GOOD (dare I say GREAT?) album.
I'm a little perplexed as to why I couldn't dedicate 51 minutes of my time to listening to this these last 6 or 7 years. It's really impressive. [First added to this chart: 03/15/2022]
Year of Release:
2015
Appears in:
Rank Score:
10,564
Rank in 2015:
Rank in 2010s:
Overall Rank:
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I have had my moments of really being in near-awe of Springsteen. Some songs of his are perfect and incredible and even manage to get me fully buying into the heroism or tragedy of these characters and situations he’s talking about. There has yet to be an LP of his that really made me deel this way. Born to Run is pretty damn good, as is Nebraska as is large chunks of The River and even this album, Darkness on the Edge of Town. But never yet has an LP of his struck me as a real classic to my ears. Not sure why, maybe I just don’t vibe with the sentiment or his passionate voice. I also, musically, don’t love that fist pumping rock sound with the horns and the powerful drums and drum fills and the biting guitar lines and the melodramatic-by-design sincerity of the music.
This album has several stand outs and songs I really really enjoy. Namely, “Badlands” is a killer opener, “Racing In The Street” strikes me as one of the rare moments when I really feel myself move emotionally with the music, and the closing title track is also pretty great. There are other songs that are famous and revered and I like them well enough. But, mostly, this album doesn’t do too much for me. It certainly wasn’t the album to win me over to the Bruce Springsteen fan club. After 2 listens for this game, I feel I know this album well enough and I am glad I have heard it. It certainly is more tragic and desperate in tone than Born To Run which is an interesting development. 3/5 or so to my ears. [First added to this chart: 03/15/2022]
This album has several stand outs and songs I really really enjoy. Namely, “Badlands” is a killer opener, “Racing In The Street” strikes me as one of the rare moments when I really feel myself move emotionally with the music, and the closing title track is also pretty great. There are other songs that are famous and revered and I like them well enough. But, mostly, this album doesn’t do too much for me. It certainly wasn’t the album to win me over to the Bruce Springsteen fan club. After 2 listens for this game, I feel I know this album well enough and I am glad I have heard it. It certainly is more tragic and desperate in tone than Born To Run which is an interesting development. 3/5 or so to my ears. [First added to this chart: 03/15/2022]
Year of Release:
1978
Appears in:
Rank Score:
8,156
Rank in 1978:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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I am impressed by the clarity and crispness and punch of the production here as EyeKanFly mentioned. I had my ears open to this element as a result of your comment, EKF, so appreciate that. I also appreciate these players, they are good rock musicians. I like (well enough) the sound and style. In my mind I always thought of them growing up as the mass-market radiohead. Now, after listening to this and for the first time hearing a full album by them, I think this isn’t accurate. The vocals and some of the melodies are reminiscent of Radiohead, sure, but generally this is a somewhat artsy, very conceptual, HARD alt rock album at its core. Radiohead is… different. Very. So listening has helped me separate out the gauzy and indistinct concepts I have had of Muse and at least have a clear concept of what they are.
Okay, so did I like this album? Yes, I thought it was pretty good. Not sure if I ever loved it. But generally it was fine. Some of the over-the-top theatrics and things were BOTH the big turn offs and the selling points. They really get into it with full bodied vigor at times, and these are some HUGE moments, massive guitar parts, big soaring vocals and screams while always being quite melodic, massive drum sound, it all comes to a head and kicks ass and I can hear the appeal and at times even old curmudgeon/sad sack like me was getting a bit into it. But also about 60% or so of the time when these songs and concepts would crescendo I would feel like I was distant and unmoved and kind of “meh” about it.
The flow of the album is pretty fine I think. There are enough high points throughout mixed with the more low key building, “artsy” parts ( I think I like the more low key moments slightly more, as a side point), so almost always 5 minutes in any direction there is bound to be something new and dramatic or pretty.
More specifics and so forth are hard to dredge up. The most “popular” I guess - the ones with the little star beside them on apple music, - were the most clearly the BIG ballsy dramatic rock songs and those were the ones I was least interested in and the ones that I was most expecting to some degree. It was the low key stuff that I enjoyed the most.
I had a hard time making myself listen to this in full in one sitting. That is due to my musical preferences to some degree of course, but also that is a reflection of m,y mood the last few weeks. I haven’t been drawn as much to music for a little while. A Bit of a musical obsession lull is where I’m at. More work and audiobooks lately. And the albums that have been the ones that have been on consistent rotation lately have NOT been rock records, but more re-re-re-re-re listens of Reign In Blood and Adrianne Lenker’s songs album, as well as some Big Thief albums. Haven’t been in the mood for rock (anthemic and big rock stuff - big thief is rock of a kind), which is making this BEA, rock-loving, list a little tough to get excited about. Oh and my top 100 chart and the inclusion of songs and reign in blood in my personal top 3 is indication of my adoration that has developed or newly developed the last year for those albums. (that was a major random factoid disrelated utterly from Origin of Symmetry, apologies. [First added to this chart: 03/15/2022]
Okay, so did I like this album? Yes, I thought it was pretty good. Not sure if I ever loved it. But generally it was fine. Some of the over-the-top theatrics and things were BOTH the big turn offs and the selling points. They really get into it with full bodied vigor at times, and these are some HUGE moments, massive guitar parts, big soaring vocals and screams while always being quite melodic, massive drum sound, it all comes to a head and kicks ass and I can hear the appeal and at times even old curmudgeon/sad sack like me was getting a bit into it. But also about 60% or so of the time when these songs and concepts would crescendo I would feel like I was distant and unmoved and kind of “meh” about it.
The flow of the album is pretty fine I think. There are enough high points throughout mixed with the more low key building, “artsy” parts ( I think I like the more low key moments slightly more, as a side point), so almost always 5 minutes in any direction there is bound to be something new and dramatic or pretty.
More specifics and so forth are hard to dredge up. The most “popular” I guess - the ones with the little star beside them on apple music, - were the most clearly the BIG ballsy dramatic rock songs and those were the ones I was least interested in and the ones that I was most expecting to some degree. It was the low key stuff that I enjoyed the most.
I had a hard time making myself listen to this in full in one sitting. That is due to my musical preferences to some degree of course, but also that is a reflection of m,y mood the last few weeks. I haven’t been drawn as much to music for a little while. A Bit of a musical obsession lull is where I’m at. More work and audiobooks lately. And the albums that have been the ones that have been on consistent rotation lately have NOT been rock records, but more re-re-re-re-re listens of Reign In Blood and Adrianne Lenker’s songs album, as well as some Big Thief albums. Haven’t been in the mood for rock (anthemic and big rock stuff - big thief is rock of a kind), which is making this BEA, rock-loving, list a little tough to get excited about. Oh and my top 100 chart and the inclusion of songs and reign in blood in my personal top 3 is indication of my adoration that has developed or newly developed the last year for those albums. (that was a major random factoid disrelated utterly from Origin of Symmetry, apologies. [First added to this chart: 03/15/2022]
Year of Release:
2001
Appears in:
Rank Score:
7,803
Rank in 2001:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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This is really good. The songs here are very moody much like on To Bring You My Love, but, unlike on its predecessor, there are far fewer moments of feral release. Instead each one of these tracks is a slithering and roiling intense wildly emotional intense moody thing. At some points there are some intense and loud moments of release like on "No Girls So Sweet", or the disorienting industrial "Joy", but for the most part this is a less explosive album. By and large each of these moody songs and vibes is executed excellently and there are so many interesting musical choices and textures to keep it fascinating throughout. The songwriting is quite intense and emotional lyrically.
The change stylistically is really interesting. The more electronic beat sound mostly works quite well. The production is good. The vocals are solid. All these facets are great. I still consider her 1995 album to be her best I've heard by a mile, but its a bit unfair to compare to that album as I have heard it dozens more times and I grew up with it and I didn't always adore that album. It took years for it to become a special favorite, and perhaps with the years and decades this will blossom as one of my faves ever as well. I think i definitely do like this more than her first 2 albums. Is This Desire? just has such a dark atmosphere and vibe. It sounds like little vignettes of people going through some serious shit.
Anyway, this gets a 3.5 to 4 out of 5 now. It's great. [First added to this chart: 03/15/2022]
The change stylistically is really interesting. The more electronic beat sound mostly works quite well. The production is good. The vocals are solid. All these facets are great. I still consider her 1995 album to be her best I've heard by a mile, but its a bit unfair to compare to that album as I have heard it dozens more times and I grew up with it and I didn't always adore that album. It took years for it to become a special favorite, and perhaps with the years and decades this will blossom as one of my faves ever as well. I think i definitely do like this more than her first 2 albums. Is This Desire? just has such a dark atmosphere and vibe. It sounds like little vignettes of people going through some serious shit.
Anyway, this gets a 3.5 to 4 out of 5 now. It's great. [First added to this chart: 03/15/2022]
Year of Release:
1998
Appears in:
Rank Score:
941
Rank in 1998:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 10 of 10
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part 2 of You must listen to the album below you:canon edition composition
| Decade | Albums | % | |
|---|---|---|---|
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| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 2 | 2% | |
| 1960s | 7 | 7% | |
| 1970s | 12 | 12% | |
| 1980s | 6 | 6% | |
| 1990s | 35 | 35% | |
| 2000s | 24 | 24% | |
| 2010s | 14 | 14% | |
| 2020s | 0 | 0% |
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| Isis | 2 | 2% | |
| フィッシュマンズ [Fishmans] | 2 | 2% | |
| Deathspell Omega | 2 | 2% | |
| Neurosis | 2 | 2% | |
| Charles Mingus | 2 | 2% | |
| Queens Of The Stone Age | 2 | 2% | |
| ボリス [Boris] | 2 | 2% | |
| Show all | |||
| Country | Albums | % | |
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55 | 55% | |
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17 | 17% | |
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5 | 5% | |
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5 | 5% | |
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3 | 3% | |
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3 | 3% | |
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2 | 2% | |
| Show all | |||
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