One of the great things about Queen is also a major flaw of the band: they were a songwriting democracy and that led to both a greater diversity of sound and a lack of consistency.
Category: Music
Real People (1980) by Chic
I’m definitely more receptive to Chic’s version of disco than I am to many others, I guess because sometimes it’s hard to tell whether they’re disco or funk. (And I, of course, prefer funk greatly to disco.)
Underwater Moonlight (1980) by The Soft Boys
The beginning of the first song got me excited. Then the rest of the album happened…
Uprising (1980) by Bob Marley and the Wailers
I am on record as stating that I think Peter Tosh’s departure from the Wailers was not good for the Wailers. Tosh is, to me, the better songwriter. (Shock! Horror!) Not melodically, necessarily. (Really, I should say “of course”. Who has more hits, Marley or Tosh?)
Main Course (1975) by Bee Gees
This album is considered a bit of a landmark in the Bee Gees catalogue because it marks the transition (or the beginning of the transition?) from their earlier baroque pop sound to their disco sound, as well as the introduction of Barry’s falsetto. This is as far as I know one of their albums.Personally, I’m …
Why Can’t We Be Friends? (1975) by War
This is my second ever War album but I didn’t remember The World is a Ghetto until I looked up my review. I was going to say they reminded me a little of Earth, Wind and Fire on this one, but not that much. (In the sense of combining ballads and funk on the same …
One of These Nights (1975) by Eagles
I have an irrational hatred for the Eagles that was developed long before I could articulate why I hated them. Now the reasons are that I dislike the whole aesthetic of the Mellow Mafia (and their sheer dominance of American popular music in the 1970s) and I don’t like what they did to country rock. …
The Heat Is On (1975) by The Isley Brothers
When a band attempts more than one style, I usually prefer when they mix things up in the sequence. I find the “one side this, other side that” a bit annoying. I’m not sure why I don’t like it, but it bothers me enough that I often find myself docking a point for sequencing like …
Diana Ross (1970)
This album was the attempt to launch Ross as a solo artist, without the Supremes, and that seems very true when you take a look at the cover art. It’s the cover art, even more than the music, that feels like a declaration of independence. It’s amazing to the me that the cover has been …
The “Angry” Young Them (1965)
When I was younger, I was really into British R&B. But the older I get the less essential it seems to me: it’s not the genuine article and so much of it sounds the same. 55-60 years later, do we really care about British interpretations of American music? I mean, it made sense at the …
The Marshall Mathers LP (2000) by Eminem
I am always at least partially at a loss with reviewing hip hop records but it’s so much more true with lyrics like this. Fortunately, Eminem is a white guy (like me), so I feel a little less like a jerk writing about what he has to say. My experience is still very far removed …
Ooops!…I Did It Again (2000) by Britney Spears
A lot of people think pop music is supposed to be ephemeral, disposable. I guess that’s one reason I don’t like so much of it. One of my criteria for deciding whether or not something is “great” is transcendence. And, if pop music is supposed to be disposable, it should be very hard for it …
All Hands on the Bad One (2000) by Sleater-Kinney
I like this band. I really like their aesthetic and I like their songs. But, at some point, I’ve come to realize that they are an AC/DC type band rather than a band that is concerned with making big artistic strides on each record. (I should probably pick a bett4er comparison given AC/DC’s lyrics, but …
Everything I Long For (1995) by Hayden
Despite being Canadian Hayden has mostly eluded me. (And I’ve, um, seen him live. Seriously.) I don’t know why but I’ve just never taken the time to listen to his albums. I’ve heard some of his songs at friend’s places and, yes, I’ve seen him at a festival. But I’ve never paid much attention and …
Sparkle and Fade (1995) by Everclear
I’m familiar with Everclear from their softer, later hits but I’d always heard “they used to be louder”. Well, I can confirm, that is indeed true.
I Should Coco (1995) by Supergrass
Every couple of years – hell, sometimes more than once a year – a new British band comes along that sounds like many previous British bands, but just different enough to sound “new” to enough people, and the British music press and some of their public lose their fucking minds over them. The band makes …
Destroy Erase Improve (1995) by Meshuggah
Metal is a curious thing, a world which values extreme forms of expression but which often doesn’t value diversity of expression. So many metal classics are albums that establish the conventions of a particular sub-genre, which will later ossify into something many people view as inviolable. Not this record.
Tilt (1995) by Scott Walker
Scott Walker had one of the most incredible second acts in popular music, utterly transforming his sound at a point at which most people could be forgiven for having forgotten about him (if they knew about him at all). His late career albums are some of the most vital, original singer-songwriter albums you’ll ever hear. …
Nobody Else (1995) by Take That
Take that were way, way less of a big deal in North America than they were in the UK – like most if not all UK manufactured pop – and so I was barely aware they existed, except that “Back for Good” was an actual hit over here. But I basically only know they exist …
Electr-o-Pura (1995) by Yo La Tengo
My biggest issue with many dream pop bands is that they make music that just doesn’t appeal to me, it’s just a not a sound I particularly enjoy. But there is a subgenre of dream pop which includes noisy guitars, and that’s a subgenre I can usually get behind. That’s the world that Yo La …
Fun Trick Noisemaker (1995) by The Apples in Stereo
My understanding is that this is the first Elephant 6 album. So, for people who care about such things, that’s a really big deal. For the rest of us, it’s certainly much less of a big deal. Moreover, the degree to which The Apples in Stereo truly represent that beloved “lo fi indie pop” aesthetic …
Pod (1990) by The Breeders
I can’ really decide what to do with this one. The songs are okay but I like the aesthetic. But I don’t like the production. I keep going back and forth.
Wilson Phillips (1990)
My memory of “Hold On” was that it was catchier than it is. I’m not saying it’s not catchy, it totally is. But I’m not sure it’s as memorable as I remembered it being. (I have some vision of somebody – in a film? – singing along to it.)
Low-Life (1985) by New Order
I generally don’t like and don’t get the gradual drift tin dance music of so many of the trailblazers and followers of the initial wave of post punk. It doesn’t make much sense to me to be excited by the possibilities of punk, and want to expand it, and then to decide that what you …
I Just Can’t Stop It (1980) by The [English] Beat
Remember when 2 Tone was a really big deal?
diana (1980) by Diana Ross
Diana Ross’ biggest hit, which I really had no idea about. In part, I guess, because I didn’t know “I’m Coming Out” was her song. I knew it, but I didn’t know it was her. Teaming with the creative team behind Chic seems like a pretty inspired idea, at least from a commercial standpoint. Also, …
Joan Jett aka Bad Reputation (1980)
Joan Jett was pretty young when she made this record – only 19 or 20 – but it sounds like it was made by someone 10 years her senior. That’s often a compliment but it’s not here: like so many punk-adjacent albums of the late ’70s and early ’80s, this one is obsessed with the …
Freedom of Choice (1980) by Devo
As someone else put it: Devo have actually devolved – as they claim was happening to culture – only to produce their biggest hit. This contains “Whip It” – far and away their most famous song – and, as a result, the album was their biggest hit.
Steppin’ (1975) by The Pointer Sisters
This is the extent of my knowledge of The Pointer Sisters: I’ve heard “Jump” a million times. Sure, it’s possible I know some other hits of theirs. If I played all their Top 20 hits maybe I’d recognize a few of them, but the only one I could identify by name (and would know as …
There’s No Place Like America Today (1975) by Curtis Mayfield
My general, um, impression of Curtis Mayfield is that his version of soul is just way too slick for me. I’ve felt this about the limited albums of his I’ve heard, be it solo or the Impressions. I don’t feel that way as much about this record and I’m not sure if that’s me getting …