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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Nothing revolutionary, nor is that what it’s trying to be. This sounds like an album where every riff lyric and everything is exact and pretty much perfect. It distills death metal down to its essential elements and does it amazingly well. It’s never abstract or wildly complex. And it’s never super ultra heavy or brutal. But each and every song here has a sick sound and groove and they all find that pocket and stay there and the result is a wildly consistent and badass album.
The album also sounds amazing. Really cleanly recorded and every detail shines. I’m no expert on recording techniques, just wanted to say this sounds incredible and dynamic.
The vocals are excellent old school death metal in the best way. The solos and riffs are all killer. And the whole presentation is cool. The subgenre noted for this on RYM is groove metal. I can hear that. There are some parts of these songs where the groove is too good. It just makes you (or me) feel like a badass and, even though the motion contradicts my internal feeling of badassness, my head can’t help but bob.
Anyway, yeah this was great. It was refreshing hearing this. Obscura and None So Vile and even The Sound of Perseverence (all DM albums recently heard for this game) were albums of extremes. Either overwhelmingly fast and avant garde and experimental, or overwhelmingly brutally heavy and fast or incredibly complex and progressive. This album, however, takes old school death metal and just perfects it and it sounds fucking cool as hell.
Edit: particular shout out should be given to the entirety of the title track here. What a fucking powerful riff with an incredible low end bass line rolling underneath the guitar onslaught. Also “Killchain” and
“Granite Wall” and “Anti-Tank” are incredible. The album is consistent as hell but that middle of the album run is mind blowing. [First added to this chart: 08/26/2021]
The album also sounds amazing. Really cleanly recorded and every detail shines. I’m no expert on recording techniques, just wanted to say this sounds incredible and dynamic.
The vocals are excellent old school death metal in the best way. The solos and riffs are all killer. And the whole presentation is cool. The subgenre noted for this on RYM is groove metal. I can hear that. There are some parts of these songs where the groove is too good. It just makes you (or me) feel like a badass and, even though the motion contradicts my internal feeling of badassness, my head can’t help but bob.
Anyway, yeah this was great. It was refreshing hearing this. Obscura and None So Vile and even The Sound of Perseverence (all DM albums recently heard for this game) were albums of extremes. Either overwhelmingly fast and avant garde and experimental, or overwhelmingly brutally heavy and fast or incredibly complex and progressive. This album, however, takes old school death metal and just perfects it and it sounds fucking cool as hell.
Edit: particular shout out should be given to the entirety of the title track here. What a fucking powerful riff with an incredible low end bass line rolling underneath the guitar onslaught. Also “Killchain” and
“Granite Wall” and “Anti-Tank” are incredible. The album is consistent as hell but that middle of the album run is mind blowing. [First added to this chart: 08/26/2021]
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This is indeed a great album, and a classic. I am no good at writing about hip hop and why and how I love it. But this has most elements I want to hear in a hip hop album: incredible personality, incredible lyrics, a slight variety of sounds but also a consistent groove track to track and also within tracks, and also some cool features. The only down side is that I have not YET fully fallen in love with DOOM's voice and delivery. Its very cool, monotone. There is a level of depth to his lyrics it blows me away. The sheer number of brilliant one liners is astounding. So, with such amazing and unique lyrics I don't NEED to love the voice to think the album is great.
I also can say after 2 listens I like this more than Madvillainy. Maybe because its more lush... or IDK I am now thinking about my thoughts on Madvillainy last time I heard it and maybe I like that more... damn! I just don't know. They're both cool. [First added to this chart: 08/26/2021]
I also can say after 2 listens I like this more than Madvillainy. Maybe because its more lush... or IDK I am now thinking about my thoughts on Madvillainy last time I heard it and maybe I like that more... damn! I just don't know. They're both cool. [First added to this chart: 08/26/2021]
Year of Release:
2004
Appears in:
Rank Score:
3,431
Rank in 2004:
Rank in 2000s:
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Went ahead and listened to Discipline by KC as well. This 1973 album is as good as I remembered vaguely. It is a cool, equal parts cerebral and physically intense album. The grooves and the quasi-metal parts are so awesome, inspired and intimidating. The more hushed and subdued tracks and the more beautiful melodic bits are also stunning and the band manages to marry these cool sounds excellently here. I may still love Red the most, I mostly feel like Red is just one of the ultimate statement rock records i've ever heard, on this they almost achieve that same level of almost scary intensity while also doing more light stuff beautifully as well. Title track part 1 is one of their best songs that I've heard. Its just so eerie the way it builds and then so awe-inspiring the way it culminates and explodes.
The band here is superb of course. I think Yes of this era is better than KC ever was, but this is about as close as any band I've heard has come to matching the chemistry and brilliance of 1971-1974 Yes.
Discipline which I'm finishing up now as I write this is also great and has a chance to be there at the top tier of King Crimson favorites alongside their debut and Red. Its really a wild departure from their earlier sound. [First added to this chart: 08/26/2021]
The band here is superb of course. I think Yes of this era is better than KC ever was, but this is about as close as any band I've heard has come to matching the chemistry and brilliance of 1971-1974 Yes.
Discipline which I'm finishing up now as I write this is also great and has a chance to be there at the top tier of King Crimson favorites alongside their debut and Red. Its really a wild departure from their earlier sound. [First added to this chart: 08/26/2021]
Year of Release:
1973
Appears in:
Rank Score:
2,429
Rank in 1973:
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Overall Rank:
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Powerslave is a pretty amazing heavy metal album. It sounds like a perfect representation of classic heavy metal. The duel-attack solos, the active riffs, the bass player and his thumping power, the drummer and his rock solid style, and even the vocals (despite being something I don’t like) is classic and technically impressive.
The songs and the craft is top notch, cool change ups, excellent dynamics, cool stuff like I said.
Is this style my fave? Nope. I didn’t love this album. It’s cool though that I finally have heard (twice) this classic album and can finally check this off my metal education checklist without feeling like I totally brushed it off and didn’t pay attention.
Maybe it’s just because it was the first Maiden I ever owned and listened to a lot, but I much prefer Number of the Beast. As a youngster after listening to ride the lightning I used to look up in mags and on Amazon.com what the most essential and highest rated metal albums were. And so of course the album I heard about first was their classic from 1982. Remember never loving it but slowly falling into a deep liking of it. (I still consider “Hallowed be thy Name” to be an all time 10/10 classic of classics.).
Anyway, this was a great listen. Thanks
For nominating it and making me face my classic metal demons. I pushed play on this at least a dozen times whenever I’d see how highly ranked it was on RYM (#10 highest rated metal of any kind album) and I was always almost repulsed. For some reason. Not sure why. I think it’s just Dickinson. I really don’t like his whole thing and style. Despite it being classic and perhaps technically amazing, I always thought it to be shite. While I don’t think it’s shite anymore, still don’t like it. HalFord blows him out of the water. I’m tired of Dio amd DICKINSON being mentioned alongside Halford. It’s not close. Lol. (IMHO of course, apologies to those who worship at the double D’s altar).
I love that this album and NotB follow somewhat similar flows and have similar traits. What I mean is half or more of the songs here are all time Maiden classics, just like Number of the Beast. They both tackle similar sonic ranges, and both have certain EPIC historical song subjects, and both - most awesome to me - end with their best songs and the longest. After only a couple listens to the masterpiece that is “Rime of the Ancient Mariner” - I am not yet sure I can say it is quite on the same tier as Hallowed, not to me personally at least. But idk, it left a mark on my raging wild metal heart! And the fact that only a few listens in I am even comparing it to a song I have heard and obsessed over 100+ times the last 19 years is saying something. It’s a stunning awesome way to end a classic metal album that is for sure.
Okay that is all good bye.
——-
How and I listened to Seventh Son of a Seventh son as well. It was similarly cool. The vocals were even more irksome for me, but the musicianship and the more proggy structures were better than any other
Maiden I’ve yet heard. Really great! Not sure which I liked more. Both solid if not new faves. [First added to this chart: 08/26/2021]
The songs and the craft is top notch, cool change ups, excellent dynamics, cool stuff like I said.
Is this style my fave? Nope. I didn’t love this album. It’s cool though that I finally have heard (twice) this classic album and can finally check this off my metal education checklist without feeling like I totally brushed it off and didn’t pay attention.
Maybe it’s just because it was the first Maiden I ever owned and listened to a lot, but I much prefer Number of the Beast. As a youngster after listening to ride the lightning I used to look up in mags and on Amazon.com what the most essential and highest rated metal albums were. And so of course the album I heard about first was their classic from 1982. Remember never loving it but slowly falling into a deep liking of it. (I still consider “Hallowed be thy Name” to be an all time 10/10 classic of classics.).
Anyway, this was a great listen. Thanks
For nominating it and making me face my classic metal demons. I pushed play on this at least a dozen times whenever I’d see how highly ranked it was on RYM (#10 highest rated metal of any kind album) and I was always almost repulsed. For some reason. Not sure why. I think it’s just Dickinson. I really don’t like his whole thing and style. Despite it being classic and perhaps technically amazing, I always thought it to be shite. While I don’t think it’s shite anymore, still don’t like it. HalFord blows him out of the water. I’m tired of Dio amd DICKINSON being mentioned alongside Halford. It’s not close. Lol. (IMHO of course, apologies to those who worship at the double D’s altar).
I love that this album and NotB follow somewhat similar flows and have similar traits. What I mean is half or more of the songs here are all time Maiden classics, just like Number of the Beast. They both tackle similar sonic ranges, and both have certain EPIC historical song subjects, and both - most awesome to me - end with their best songs and the longest. After only a couple listens to the masterpiece that is “Rime of the Ancient Mariner” - I am not yet sure I can say it is quite on the same tier as Hallowed, not to me personally at least. But idk, it left a mark on my raging wild metal heart! And the fact that only a few listens in I am even comparing it to a song I have heard and obsessed over 100+ times the last 19 years is saying something. It’s a stunning awesome way to end a classic metal album that is for sure.
Okay that is all good bye.
——-
How and I listened to Seventh Son of a Seventh son as well. It was similarly cool. The vocals were even more irksome for me, but the musicianship and the more proggy structures were better than any other
Maiden I’ve yet heard. Really great! Not sure which I liked more. Both solid if not new faves. [First added to this chart: 08/26/2021]
Year of Release:
1984
Appears in:
Rank Score:
4,191
Rank in 1984:
Rank in 1980s:
Overall Rank:
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This was excellent. I felt while listening that this is a gorgeous and consistent and melodically rich album, that is subtle. Subtler than Selling England by the Pound and The Lamb Lies Down on Broadway. What I mean is quite simplistic - there are few “WHOA! HOLY SHIZ!” moments on Foxtrot. There are moments of grandeur and moments of propulsive heaviness on Selling England… and The Lamb… which this album doesn’t have. At least based off what I noticed this time through.
Also this album doesn’t sound super dated. The main thing in old Prog of this era that, for me, dates it and can admittedly make me feel a little embarrassed is that super bright, outlandish keyboard sound. That sound I didn’t notice until the massive end track “Supper’s Ready”. It was good keyboard playing and technical and expressive - but was less my thing than most of the other art rock, literate softness that dominated the first tracks and most of the rest of Supper’s Ready.
Supper’s Ready tho, I have to say, was incredible. When I saw 23 minutes (broken into 7 parts that aren’t noted on Apple Music) I was a little daunted. My experience with these types of MASSIVE suites in Prog is hit and miss. I consider Yes’ Close to the Edge to be perhaps the single greatest “song” I’ve ever heard and I worship it. But I consider Jethro Tull’s Thick as a Brick to be mostly a slog. And even Yes couldn’t capture that same level of brilliance in subsequent albums with 18-22 minute tracks (though none of them are less than great). Anyway, back to Supper’s Ready, I thought the lyrics and the whole equal parts philosophical and heart-wrenching writing to be masterful and the way it builds and crescendos at the end would put GY!BE to shame.
The rest of the track list was cool. Need a few more listens to really pinpoint particularly great moments. But there were half a dozen times I was struck by some chord change or melody and thought it was cool as hell.
Great album. Will revisit.
Oh and I went ahead and listened again to The Lamb Lies Down on Broadway. After Foxtrot I was just in a Genesis/Peter Gabriel mood. And… it was great. Like awesome. Not sure which brand of artsy Prog I liked more - Foxtrot or Lamb - but both were excellent in unique ways. Genesis really were on a tear in the early 70s. I’ve heard Nursery Cryme is also quite good. Will get to that in this game eventually - but probably I was skip ahead and listen to it before we get that far down (or up this list - as we are working from both sides). Peter Gabriel vocally and personality wise is one of the most strange and unique and genius rock musicians of all time. I kind of already knew that but this last 2.5 hours of listening sort of cemented that take. [First added to this chart: 08/26/2021]
Also this album doesn’t sound super dated. The main thing in old Prog of this era that, for me, dates it and can admittedly make me feel a little embarrassed is that super bright, outlandish keyboard sound. That sound I didn’t notice until the massive end track “Supper’s Ready”. It was good keyboard playing and technical and expressive - but was less my thing than most of the other art rock, literate softness that dominated the first tracks and most of the rest of Supper’s Ready.
Supper’s Ready tho, I have to say, was incredible. When I saw 23 minutes (broken into 7 parts that aren’t noted on Apple Music) I was a little daunted. My experience with these types of MASSIVE suites in Prog is hit and miss. I consider Yes’ Close to the Edge to be perhaps the single greatest “song” I’ve ever heard and I worship it. But I consider Jethro Tull’s Thick as a Brick to be mostly a slog. And even Yes couldn’t capture that same level of brilliance in subsequent albums with 18-22 minute tracks (though none of them are less than great). Anyway, back to Supper’s Ready, I thought the lyrics and the whole equal parts philosophical and heart-wrenching writing to be masterful and the way it builds and crescendos at the end would put GY!BE to shame.
The rest of the track list was cool. Need a few more listens to really pinpoint particularly great moments. But there were half a dozen times I was struck by some chord change or melody and thought it was cool as hell.
Great album. Will revisit.
Oh and I went ahead and listened again to The Lamb Lies Down on Broadway. After Foxtrot I was just in a Genesis/Peter Gabriel mood. And… it was great. Like awesome. Not sure which brand of artsy Prog I liked more - Foxtrot or Lamb - but both were excellent in unique ways. Genesis really were on a tear in the early 70s. I’ve heard Nursery Cryme is also quite good. Will get to that in this game eventually - but probably I was skip ahead and listen to it before we get that far down (or up this list - as we are working from both sides). Peter Gabriel vocally and personality wise is one of the most strange and unique and genius rock musicians of all time. I kind of already knew that but this last 2.5 hours of listening sort of cemented that take. [First added to this chart: 08/26/2021]
Year of Release:
1972
Appears in:
Rank Score:
5,869
Rank in 1972:
Rank in 1970s:
Overall Rank:
Average Rating:
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Of all the recent albums I’ve been listening to for the RYM top 1000 list, this is probably my fave. Off screen I went and listened ahead and listened to Fiona’s When A Pawn… and that was another one I adored and gave 4.5 score to. It’s rare that I hear an album and like it so much so quickly. This album is stellar.
I don’t know exactly why I love it so much. I think because it has an emotional core to it that I don’t find in much Prog. Some of the melodies especially the keyboard parts and a good amount of guitar lines are so gorgeous and soaring and powerful. The guitar line/reoccurring melody on Lady Fantasy is sublime and some of the coolest and most rich stuff I’ve heard in awhile.
The band also can rock more intensely when needed. It’s awe-inspiring when they just “let loose” (in quotes because they are always controlled and precise even in the more intense rocking moments).
Also technical mastery has always been something that is almost a direct index of how much I can really relate to music. I guess on either extreme I don’t feel a connection. If a band or artist sucks and can’t play for shit I also don’t like it much or connect. (Usually). But certainly when I hear intensely technical Prog or prog death metal or fusion sometimes this just sorta bewilders and hard me out of the moment. This happens a lot with those genres. But with this album and hopefully band (I’ll soon listen to their other classics) while sure there is a precise sound and there are rhythm changes and I’m sure what is happening is complex and is cat nip for Prog heads, I can’t think of a single time I weird change or uptick in technicality took me out of the heart of the song. My immersion is never broken with this album. I think this is because the songs and the melodies or gorgeous and so well written and logical.
The vocals are the only part I don’t think is 9-10/10. They are fine and they sound peaceful and they work well in the context of the music and it’s great not hearing a showboat lead singer, one who just embodies the song and does his job in a rock solid way. They aren’t super distinctive, but they’re good and basically just what this album needs.
Anyway, I love this. Listening for the 3rd time now. And I think I like it more. This is possible overall chart worthy once I take it off private. Certainly going high on a super super stacked decade chart. I highly recommend this album to all ye music fans. Even if you don’t generally love Prog rock. [First added to this chart: 08/26/2021]
I don’t know exactly why I love it so much. I think because it has an emotional core to it that I don’t find in much Prog. Some of the melodies especially the keyboard parts and a good amount of guitar lines are so gorgeous and soaring and powerful. The guitar line/reoccurring melody on Lady Fantasy is sublime and some of the coolest and most rich stuff I’ve heard in awhile.
The band also can rock more intensely when needed. It’s awe-inspiring when they just “let loose” (in quotes because they are always controlled and precise even in the more intense rocking moments).
Also technical mastery has always been something that is almost a direct index of how much I can really relate to music. I guess on either extreme I don’t feel a connection. If a band or artist sucks and can’t play for shit I also don’t like it much or connect. (Usually). But certainly when I hear intensely technical Prog or prog death metal or fusion sometimes this just sorta bewilders and hard me out of the moment. This happens a lot with those genres. But with this album and hopefully band (I’ll soon listen to their other classics) while sure there is a precise sound and there are rhythm changes and I’m sure what is happening is complex and is cat nip for Prog heads, I can’t think of a single time I weird change or uptick in technicality took me out of the heart of the song. My immersion is never broken with this album. I think this is because the songs and the melodies or gorgeous and so well written and logical.
The vocals are the only part I don’t think is 9-10/10. They are fine and they sound peaceful and they work well in the context of the music and it’s great not hearing a showboat lead singer, one who just embodies the song and does his job in a rock solid way. They aren’t super distinctive, but they’re good and basically just what this album needs.
Anyway, I love this. Listening for the 3rd time now. And I think I like it more. This is possible overall chart worthy once I take it off private. Certainly going high on a super super stacked decade chart. I highly recommend this album to all ye music fans. Even if you don’t generally love Prog rock. [First added to this chart: 08/26/2021]
Year of Release:
1974
Appears in:
Rank Score:
2,574
Rank in 1974:
Rank in 1970s:
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Okay, this is good and probably the most pretty and shimmering Radiohead album. The 3rd track is awesome and the last closing track is one of the most touching and beautiful and tear-inducing songs ever written and recorded.
The other tracks are consistently subtle and gorgeous and well produced. It still isn’t a favorite certainly not of all time more of even Radiohead’s discography. For me it’s Kid A and OK Computer still tops, followed a bit by In Rainbows and The Bends followed by albums I enjoy but don’t love like A Moon Shaped Pool and Amnesiac and Hail to the Thief.
Anyway, it was good to just relax and listen and listen good to this more recent Radiohead album. Hasn’t hooked me yet and maybe never will (I’m not a huge Radiohead fan) but it is good. [First added to this chart: 08/26/2021]
The other tracks are consistently subtle and gorgeous and well produced. It still isn’t a favorite certainly not of all time more of even Radiohead’s discography. For me it’s Kid A and OK Computer still tops, followed a bit by In Rainbows and The Bends followed by albums I enjoy but don’t love like A Moon Shaped Pool and Amnesiac and Hail to the Thief.
Anyway, it was good to just relax and listen and listen good to this more recent Radiohead album. Hasn’t hooked me yet and maybe never will (I’m not a huge Radiohead fan) but it is good. [First added to this chart: 08/26/2021]
Year of Release:
2016
Appears in:
Rank Score:
17,163
Rank in 2016:
Rank in 2010s:
Overall Rank:
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This was cool. It mostly sounds like a slightly updated Bowie album. Maybe it takes a few more listens to unravel the album’s qualities, but mostly it made me want to listen to 70s Bowie (which is weird because I’m not a big fan of his works either).
That said the melodies and some of the musical builds and hooks are stellar and brilliantly written. It was a nice feeling listen to a good classic rock album (I know it’s not exactly”Classic Rock” - what I mean is a pretty highly heralded album firmly within the pop rock realm) and it felt somewhat educational.
I had very meh feelings about Parklife and This Is Hardcore as well when I heard them (my 2 fave “britpop albums I would guess based off a cursory glance at charts of britpop as well as recollection) and they have both grown on me to great liking if not love.
Most of these bands seem like refueled 90s updates of great bands and artists of the 60s and 70s - and I GREATLY prefer hearing The Kinks and The Beatles and even David Bowie over the offshoots. All in all the whole Britpop phenomenon seems like something maybe I had to be there for. I’m seems it was a pretty significant and major movement of sorts in ‘93 in the UK. And I bet it was very exciting for a lot of young kids in that era. But maybe that significance and excitement just doesn’t translate to me across a generation of time and an ocean.
Those words are selling short the album which I don’t want to do. I think I will give it a 3 or 3.5 on RYM. It’s really cool. Most of the Travis here on Dog Man Star are beautifully written and performed and even sometimes quite epic and moving. I think “We are The Pigs”, “The Wild Ones”, “New Generation”, “Still Life” and “athe Asphalt World” are excellent and there are probably others to which I am forgetting to show respect. It’s really solid and I am glad I heard it. [First added to this chart: 08/26/2021]
That said the melodies and some of the musical builds and hooks are stellar and brilliantly written. It was a nice feeling listen to a good classic rock album (I know it’s not exactly”Classic Rock” - what I mean is a pretty highly heralded album firmly within the pop rock realm) and it felt somewhat educational.
I had very meh feelings about Parklife and This Is Hardcore as well when I heard them (my 2 fave “britpop albums I would guess based off a cursory glance at charts of britpop as well as recollection) and they have both grown on me to great liking if not love.
Most of these bands seem like refueled 90s updates of great bands and artists of the 60s and 70s - and I GREATLY prefer hearing The Kinks and The Beatles and even David Bowie over the offshoots. All in all the whole Britpop phenomenon seems like something maybe I had to be there for. I’m seems it was a pretty significant and major movement of sorts in ‘93 in the UK. And I bet it was very exciting for a lot of young kids in that era. But maybe that significance and excitement just doesn’t translate to me across a generation of time and an ocean.
Those words are selling short the album which I don’t want to do. I think I will give it a 3 or 3.5 on RYM. It’s really cool. Most of the Travis here on Dog Man Star are beautifully written and performed and even sometimes quite epic and moving. I think “We are The Pigs”, “The Wild Ones”, “New Generation”, “Still Life” and “athe Asphalt World” are excellent and there are probably others to which I am forgetting to show respect. It’s really solid and I am glad I heard it. [First added to this chart: 08/26/2021]
Year of Release:
1994
Appears in:
Rank Score:
3,715
Rank in 1994:
Rank in 1990s:
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Average Rating:
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First off the production here is fucking crisp-crisp-crispy as hell. It sounds so alive and tangible and downright modern! I thought this album may sound like good but harmless and dated pop rock. But heck no it isn't like that at all. The whole sound here has a liveliness and energy that is mindboggling. Adore it.
Next, this album along with Ram and my realization that that album is amazing as well as this one, is making me realize McCartney is really good. It's like "well, yes. of course. What are you stupid or something?" But yeah I really was dumb. For some reason I have never given the time of day to Paul McCartney. Just wasn't interested in him and for some reason his persona of the romantic heartthrob in the band and just everything made me infinitely less interested in him than George and even John.
Next, this album starts off as good as any album basically ever or at least since, like, the Babylonians. The first track is perfect head to toe in all its small parts and its maybe the coolest distillation of the greatness of McCartney as a songwriter. Then the absolute rocking badassery of "Jet", followed by the sweetness and gorgeousness of "Bluebird" which is every bit as great as Band On The Run and more focused and less suite-like to boot (which is a good thing to me.), then followed by Mrs. Vanderbilt and "Let Me Roll It' - 2 more absolute classics, .... what the fuck?! 5 straight masterclasses?!
The streak is a bit dampened by the very fine but comparably unremarkable "Mamunia". "No Words" is similarly very good to great if a tier down from the first 5, Still, damn the guitar is so sexy and fiery at the end. Then the album closes with a couple very very different types of classics on a plain with the first 5. "Picasso's Last Drink" is very playful and fun and makes fun references to other melodies (or at least one) and its just excellent. And finally the stomp and swagger of the closer "Nineteen-Hundred and Eighty-Five" is to die for. Again, this damn track sounds like it could be a hit in the 60s, 70s, 80s, 90s, 2000s, today, it just has a badass groove and a smooth as silk vocal part and the way it switches between those different parts is just incredible.
The folk rock stuff here is brilliant and he does it to perfection. The pop rock and, well, just rock rock, he does just as well. Basically he was just clicking with this album and whatever sound he was going for he was nailing and sticking the landing every time.
Overall, I have been sleeping on this Paul McCartney guy. Lyrically he is no Dylan or even Paul Simon or even even John Lennon (actually just as good as Lennon whilst tackling different topics) but that hardly matters when you have the musical touch and feel and pop chops that he does. I can finally say I am a fan of Paul. Kind of weird. Great nomination/choice for me, Baystateoftheart! [First added to this chart: 09/06/2021]
Next, this album along with Ram and my realization that that album is amazing as well as this one, is making me realize McCartney is really good. It's like "well, yes. of course. What are you stupid or something?" But yeah I really was dumb. For some reason I have never given the time of day to Paul McCartney. Just wasn't interested in him and for some reason his persona of the romantic heartthrob in the band and just everything made me infinitely less interested in him than George and even John.
Next, this album starts off as good as any album basically ever or at least since, like, the Babylonians. The first track is perfect head to toe in all its small parts and its maybe the coolest distillation of the greatness of McCartney as a songwriter. Then the absolute rocking badassery of "Jet", followed by the sweetness and gorgeousness of "Bluebird" which is every bit as great as Band On The Run and more focused and less suite-like to boot (which is a good thing to me.), then followed by Mrs. Vanderbilt and "Let Me Roll It' - 2 more absolute classics, .... what the fuck?! 5 straight masterclasses?!
The streak is a bit dampened by the very fine but comparably unremarkable "Mamunia". "No Words" is similarly very good to great if a tier down from the first 5, Still, damn the guitar is so sexy and fiery at the end. Then the album closes with a couple very very different types of classics on a plain with the first 5. "Picasso's Last Drink" is very playful and fun and makes fun references to other melodies (or at least one) and its just excellent. And finally the stomp and swagger of the closer "Nineteen-Hundred and Eighty-Five" is to die for. Again, this damn track sounds like it could be a hit in the 60s, 70s, 80s, 90s, 2000s, today, it just has a badass groove and a smooth as silk vocal part and the way it switches between those different parts is just incredible.
The folk rock stuff here is brilliant and he does it to perfection. The pop rock and, well, just rock rock, he does just as well. Basically he was just clicking with this album and whatever sound he was going for he was nailing and sticking the landing every time.
Overall, I have been sleeping on this Paul McCartney guy. Lyrically he is no Dylan or even Paul Simon or even even John Lennon (actually just as good as Lennon whilst tackling different topics) but that hardly matters when you have the musical touch and feel and pop chops that he does. I can finally say I am a fan of Paul. Kind of weird. Great nomination/choice for me, Baystateoftheart! [First added to this chart: 09/06/2021]
Year of Release:
1973
Appears in:
Rank Score:
6,748
Rank in 1973:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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This was cool. I don’t know if hat it is about charli’s voice but I love it. It’s just strangely beautiful the way she lays effects on her voice and sings these emotional, maximalistic pop songs. I really love that. Not a fan of some of the features but whenever I like the artist as much as I do I find it annoying listening to others almost regardless of who or how good. Maybe that is why I like last years album the most of hers. It felt the most wholly hers. Still most of these tracks are great. I will say sometimes on the more noisy and grating bits and in the more over the top loud parts I was out off a little. I know that that is what makes her so unique. But I guess I just prefer the slightly lower scale pop sounds here.
I think that I rank the 3 LPs I’ve heard of hers 1. How I’m Feeling Now, 2. Charli, 3. Pop 2. But all are excellent. Easily one of my fave pop musicians today. Maybe only Rina Sawayama challenges her for that number 1 spot. [First added to this chart: 09/08/2021]
I think that I rank the 3 LPs I’ve heard of hers 1. How I’m Feeling Now, 2. Charli, 3. Pop 2. But all are excellent. Easily one of my fave pop musicians today. Maybe only Rina Sawayama challenges her for that number 1 spot. [First added to this chart: 09/08/2021]
Total albums: 17. Page 1 of 2
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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% |
| Artist | Albums | % | |
|---|---|---|---|
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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% | |
 |
3 | 3% | |
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2 | 2% | |
| Show all | |||
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| Best Artists of 1960 | |
|---|---|
| 1. John Coltrane | |
| 2. Miles Davis | |
| 3. Etta James | |
| 4. Charles Mingus | |
| 5. Elvis Presley | |
| 6. Joan Baez | |
| 7. Max Roach | |
| 8. The Everly Brothers | |
| 9. Muddy Waters | |
| 10. Wes Montgomery | |
| 11. Hank Mobley | |
| 12. Bill Evans | |
| 13. Bill Evans Trio | |
| 14. Ella Fitzgerald | |
| 15. Johnny Cash | |
| 16. John Lee Hooker | |
| 17. Eddie Cochran | |
| 18. Miriam Makeba | |
| 19. Bo Diddley | |
| 20. Olatunji |