Natty Dread review

The 7th album by Bob Marley and the Wailers. This is the first studio released without Peter Tosh and Bunny Wailer and the first recorded with the I-Threes.

Tracks:

1. Lively Up Yourself: 7/10 incredibly forgettable and repetitive for half the run-time, but it finally gets into gear halfway through.

2. No Woman No Cry: 7/10 it can't live up to the live version, but it's still deeply moving.

3. Them Belly Full (But We Hungry): 9/10 a highlight of what Marley does best: an emotional and sobering yet simultaneously heart-warming and inspirational song with a deeply human focus that will move all but the coldest, most Scrooge-like listeners.

4. Rebel Music (3 O'Clock Roadblock): 8/10 even if the lyrics don't always make sense, they're interesting to interpret and the song is 6 minutes of highly pleasant reggae rhythms.  

5. So Jah S'eh: 8/10 more lovely stuff, although it doesn't break any new ground for Bob Marley.

6. Natty Dread: 8/10 not the best on the album, but another good one which feels like Bob Marley's equivalent to Ziggy Stardust.

7. Bend Down Low: 7/10 pretty confusing, but there's enough relaxing music here to compensate.

8. Talkin' Blues: 8/10 he may be well-known for his delightfully relaxing and uplifting songs, but as this song shows Marley is arguably at his best when he's political.

9. Revolution: 8/10 an excellent political song which concludes the album in style.

Best song: Them Belly Full (But We Hungry)
Worst song: Bend Down Low

Summary: Another excellent album from Bob Marley. It still isn't as good as Catch a Fire, but this is a record with so much to say and has so much to offer. It's got such a peaceful yet deep vibe, and Marley's vocals are still utterly fantastic. It's not my favorite of his albums since most of the songs aren't classics, but it does still pack plenty of punch. It's well worth listening and showcases Bob Marley's skill as a musician, as a singer and also as a songwriter.




Final rating: 8/10

John Wesley Harding review

The 8th studio album by Bob Dylan, which marks a return to acoustic music for him. The album is regarded as another one of Dylan's masterpieces and sold very well.

Tracks:

1. John Wesley Harding: 8/10 even Dylan himself has admitted he didn't really know quite what this was about, but this is still a gentle, pleasing folk song that is pleasingly simple.

2. As I Went Out One Morning: 8/10 an enjoyable and interesting song on it's own, yet the best part is all the interpretations one could put to it.

3. I Dreamed I Saw St. Augustine: 9/10 powerful, poetic, unpretentious and the best yet.

4. All Along the Watchtower: 9/10 a terrific song with so many possible interpretations, so many great ideas and so much ambiguity that when the song actually ends, it feels like it's just beginning. The Jimi Hendrix version is a little better though.

5. The Ballad of Frankie Lee and Judas Priest: 8/10 although a bit too long and a bit pretentious, once the conclusion comes around this song hits the mark spot on.

6. Drifter's Escape: 8/10 still a little hard to get, but it tells another fascinating story.

7. Dear Landlord: 7/10 ditto.

8. I am a Lonesome Hobo: 8/10 more solid and intelligently depressing stuff.

9. I Pity the Poor Immigrant: 9/10 a beautiful, subtle and thoroughly sobering song.  

10. The Wicked Messenger: 8/10 once again, despite being such a complex artist a minimalist approach works remarkably well for Dylan.

11. Down Along the Cove: 8/10 a pleasingly light song amidst a frequently sobering album.

12. I'll Be Your Baby Tonight: 8/10 an excellent album closer.

Best song: I Dreamed I Saw St. Augustine
Worst song: Dear Landlord

Summary: An excellent album by Bob Dylan. It isn't as good as his last 3, but it genuinely feels like something special. It is a quiet record and goes back to Dylan's folk roots. And that's a very good thing. There's some great writing here, it never becomes overwhelming and it truly is a great example of how less can be more. Also, nothing could really live up to the 10/10 trio of Bringing, Highway and Blonde so if the album feels like a slight anticlimax that's no indication of its overall quality. This is cracking stuff.



Final rating: 8/10

Sgt. Pepper's Lonely Hearts Club Band review

Now this is a big one. The 8th studio album by The Beatles is one of the first concept albums, one of the first art rock albums, is credited with starting the album era, is one of the best-selling albums ever and in terms of both being influential and critical acclaim, few, if any, albums can match this one. It is also number one of Rolling Stone's '500 Greatest Albums of All Time'.

Tracks:

1. Sgt. Pepper's Lonely Hearts Club Band: 8/10 while only a prologue, this is still both the most important conceptual part of the album and a fun rock song on its own.

2. With a Little Help from My Friends: 10/10 a fantastically catchy tribute to friendship boasting a surprisingly excellent vocal performance from Ringo Starr.

3. Lucy in the Sky with Diamonds: 10/10 a brilliant trip through some of the best psychedelic imagery ever and a fantastic, wonderfully unique instrumental.

4. Getting Better: 9/10 with more music which makes you wonder how they created such brilliant sounds in the sixties and an intelligent mix of optimism and cynicism, this is an album highlight.

5. Fixing a Hole: 8/10 an underrated track, this boasts more unique sounds and is a pleasingly calming and tranquil experience.

6. She's Leaving Home: 9/10 not a cheerful listen, but a beautiful and melancholy song that could be justifiably described as a tear-jerker.

7. Being for the Benefit of Mr Kite!: 8/10 a weird and wonderful song with one of the most complex technical  productions on the album. Not bad for something written word for word from a circus poster.

8. Within You Without You: 7/10 an interesting exploration of a foreign musical style with some good lyrics, but the song is a little dull and the lyrics are difficult to hear.

9. When I'm Sixty Four: 8/10 less exciting than the rest of the album, but a lovely little song nonetheless.

10. Lovely Rita: 8/10 the intro is absolutely unreal and the rest of the song's not bad either, even if it loses some momentum in the second half.

11. Good Morning Good Morning: 7/10 more of a generic rock song but it still offers some fun Lennon cynicism.

12. Sgt. Pepper's Lonely Hearts Club Band (Reprise): 8/10 just a bridge between 2 tracks, but as bridges go it's very good.

13. A Day in the Life: 7/10 the most overrated song by The Beatles. It's a technical marvel with a fabulous outro, but a car crash, a cinema trip, a thoroughly annoying Paul McCartney verse and some holes in a road don't really say anything, and it fails to mix art and entertainment like the rest of the album does.

Best song: Lucy in the Sky with Diamonds
Worst song: Within You Without You

Summary: I do see this album as overrated. The second half fails to reach the momentum of the first half and looking at the album as a track listing rather than a whole, it immediately becomes clear that this just doesn't quite represent the best of The Beatles. However, this does not mean for one second that I don't absolutely love this album. It is a brilliant work. Every song is unique and wonderful-sounding, the entire record is filled with art and in terms of technical skill it really is a masterpiece. The concept itself isn't even a big part of the record, but it's still just another innovative, spectacular element of the record. It's status as the most influential album of all time is justified, even if it isn't quite The Beatles' best album.




Final rating: 9/10

Pin Ups review

For some reason, despite being at the height of his fame David Bowie's 7th album is just a collection of cover songs. Still, it's a Bowie album so this should be fun.

Tracks:

1. Rosalyn: 6/10 the mundane lyrics are easier to ignore thanks to the sheer energy of the track.

2. Here Comes the Night: 7/10 entertaining enough but overdone,

3. I Wish You Would: 6/10 it's not bad, but it just doesn't feel like Bowie at all.

4. See Emily Play: 7/10 ditto, although Pink Floyd suits Bowie better and this is the best cover on the album so far.

5. Everything's Alright: 6/10 technically well-executed but mediocre.

6. I Can't Explain: 6/10 it still doesn't quite come together despite the fact it's not remarkably awful.

7. Friday on My Mind: 7/10 even if the lyrics are still below Bowie's usual standard, this is still a good cover song and the only one so far not to be overdone.

8. Sorrow: 7/10 ditto.

9. Don't Bring Me Down: 5/10 you can't help but zone out here despite the decent instrumental.

10. Shapes of Things: 6/10 yeah, it's fine, whatever.

11. Anyway, Anyhow, Anywhere: 6/10 it's still very difficult to get emotionally invested in it but it'd probably be a perfectly acceptable song to put on in the background.

12. Where Have All the Good Times Gone: 7/10 this ends a disappointing album on a decent note.

Best song: See Emily Play
Worst song: Don't Bring Me Down

Summary: There isn't a lot to say about this one. It's just a bit bland. There isn't really anything wrong with it specifically, but it isn't really Bowie. His style doesn't really fit the songs and much of the time the music goes over the top. Not a bad album, but compared to Bowie's other work during this period this one can definitely skipped as it doesn't really do anything. It just sort of exists. Some might enjoy it though.



Final rating: 6/10

Beggars Banquet review

The 7th album by The Rolling Stones and arguably the beginning of their classic period. This was the last album released during Brian Jones' lifetime. Thankfully, after their disastrous psychedelic album, the band returned to more traditional rock music.

Tracks:

1. Sympathy for the Devil: 10/10 a delightfully rebellious and infectiously catchy rock song, this not only shows The Rolling Stones at their best, it is perhaps the most entertaining depiction of the devil ever.

2. No Expectations: 6/10 while it's entertaining and boasts a strong acoustic instrumental, this song constantly sounds like it's about to really turn up a notch yet it never does. One can't help but feel they're still waiting for the song to start before it ends.

3. Dear Doctor: 7/10 perfectly good as a song, but it's oddly caged-in for the Stones.

4. Parachute Woman: 7/10 it hasn't got a lot to say, but it offers lots of fun.  

5. Jigsaw Puzzle: 8/10 an excellent Dylan-esque track that finally gets the album back up to the standard of the opening track.

6. Street Fighting Man: 8/10 a song so punchy it might actually leave you dazed.

7. Prodigal Son: 7/10 a quieter song, but still worth a listen without a doubt.

8. Stray Cat Blues: 8/10 a highly entertaining song that refuses to boxed in.

9. Factory Girl: 8/10 it may be short, ambiguous and repetitive but it's a lot better than it first looks.

10. Salt of the Earth: 9/10 an affectionate and unexpectedly moving tribute to the working class which, despite its break from the normal rebellious tone the Stones embody, still has all of their musical fire.

Best song: Sympathy for the Devil
Worst song: No Expectations

Summary: The album begins with maybe the best Rolling Stones song ever. After that, it drops only to suddenly regain its momentum. The album doesn't let up until the very end after that. The Rolling Stones, in my eyes, still lack the brilliance of The Beatles and other 60s bands, but this album channels the fiery quality of their music brilliantly, and there isn't a bad song here. All of them are united by their punch and weight, but they are also all different songs with their own interesting statements and personalities. Overall, a successful and highly entertaining record.  



Final rating: 8/10

The Velvet Underground albums ranked

The 5 studio albums of the experimental band The Velvet Underground ranked. Although many debate whether or not it is a VU record, Squeeze is included. Compilations and solo albums by the band members aren't.

5. Squeeze: What were you expecting in last place? Still, for this band last place isn't saying that much. They never did a bad album. Squeeze has essentially been disowned by the band's fanbase, but if you listen to it it's not actually the worst thing ever. It's very forgettable, but it's a perfectly nice, reasonably enjoyable record without any bad intentions. It's many, many miles away from what the band did before, but this is a classic example of something being evaluated based on its connections, not its quality. If you call it a Velvet Underground record, it's something of a joke. If you call it a Doug Yule record- as it should have been marketed- you'll likely find completely harmless and fairly pleasant, although as music goes it's forgettable and underdone.

4. Loaded: Despite all the critical acclaim, this one doesn't quite live up to its predecessors. It's an awkward gap between commercial and arthouse. There's nothing wrong with the instrumentals. To be honest, they're pretty catchy. It doesn't quite lose the band's identity, since you can sense some of the more experimental stuff in there. The trouble is, the song-writing takes a massive nose-dive. The subjects are thoroughly uninteresting (Trains going around a bend, a boring cowboy etc.) but when combined with the band's minimalist writing, they become borderline maddening. Overall, this album feels safe and overly quiet much of the time. I've never been fussed about Sweet Jane either. Still, it's a catchy, entertaining record that shows a band doing their best to mix a more commercial sound with their abstract experimentation.

3. The Velvet Underground: With easily the most boring title of the lot, this one is difficult to define. It gets extremely arty much of the time, but is also often enjoyable and less alienating to casual listeners than the first 2 albums. Some of the songs feel like whispers, others pack a serious punch but it's still unmistakably The Velvet Underground. It's not the band at their absolute best. After 2 smashing songs at the beginning the album occasionally gets a little dull. It's an interesting work of musical art which, as well as being enjoyable, still feels like its exploring the avant-garde. Some even like this more than the first 2. I wouldn't agree personally, but perhaps because this doesn't contain as many memorable songs, while in the first 2 there were loads of standouts. Still, this is a solid album and the first VU record not to feel like an extended experiment.

2. White Light/White Heat: This one is insane. It goes full on into chaotic, mad, twisted and delightfully demented territory without ever giving any thought to those minor concepts called coherence, entertainment and sense. The songs are mostly ballistic, noisy and screechy and in all honesty this album perfectly replicates a 40 minute thunderstorm. Filled with power and consistently innovative, this one certainly isn't for everyone. It's occasionally something of a grating record and is more of an experiment than a commercial release. It's unbelievably self-indulgent and does get tedious at times. It's certainly not an album I'd listen to much and it's an acquired taste, but as crazy, stormy and bizarre music which sounds like the gates of hell opening at times, this ain't half-bad. Plus, the final track is stellar.

1. The Velvet Underground & Nico: The obvious choice, but choices are obvious for a reason. Without the sheer blandness of Squeeze, the overly commercial sound of Loaded, the quietness of The Velvet Underground (Album) and the overwhelming loudness of White Light/White Heat, this one is perhaps the band's most complete artistic statement. It's certainly not a masterpiece in my eyes, due to its indulgence and occasional dull moments, but that's probably because The VU aren't really my sort of thing. With moments of touching beauty, overwhelming instrumental madness and shocking innovation, this album fully lives up to its status as one of the most influential albums of them all. This is one album which truly makes the avant-garde a commercial form and sees the band, aided by the superb Nico, at the top of their game.

Thanks for reading.  

Other Voices review

The 7th album by The Doors, and their first after the death of Jim Morrison. It's somewhat surprising the band carried on without Morrison, but they only did so for a short while. Both this and the next 2 albums without Morrison frequently do not seem to be considered alongside the earlier 6 albums.  

Tracks:

1. In the Eye of the Sun: 4/10 a rhythm-free collection of clunky sounds which the only occasionally entertaining psychedelic poetry tries to make work mostly in vain.

2. Variety is the Spice of Life: 6/10 it doesn't feel like the old Doors stuff, but it's actually surprisingly decent nonetheless.

3. Ships w/ Sails: 7/10 again, it's not the Morrison era yet it's still surprisingly solid and the remaining band members still play just as well.

4. Tightrope Ride: 7/10 ditto.

5. Down on the Farm: 6/10 the song can be dull and the changes in tone can be jarring, but overall this is relatively adequate stuff on an album that is so far proving to be better than expected.

6. I'm Horny, I'm Stoned: 6/10 simplistic but quite fun.

7. Wandering Musician: 5/10 it's too well-played to dismiss but it doesn't half-ramble on.

8. Hang On to Your Life: 7/10 an interesting and unpredictable song that still doesn't quite reach the heights of The Doors' earlier songs.

Best song: Ships w/ Sails
Worst song: In the Eye of the Sun

Summary: It's not the early Doors stuff, that's for sure. Jim Morrison was undoubtedly The Doors and his absence is felt resoundingly here. It lacks the power and fun pretentiousness of the previous albums, and of course it now lacks Jim Morrison's fantastic voice. However, the remaining 3 band members play very well and enough of what Morrison brought to the group is left over that the album is often enjoyable and thoroughly competent. I was expecting a lot worse. While not as good as most of the Morrison era, this has enough psychedelic oddness and musical punch to elevate it to 3 stars.



Final rating: 6/10

In Rainbows review

The 7th album by Radiohead. This is widely regarded as one of their masterpieces and notable for having a pay-what-you-want release.

Tracks:

1. 15 Step: 8/10 while occasionally overwhelming, this artistic and at times awe-inspiring track never ceases to impress.

2. Bodysnatchers: 9/10 this song takes some fairly familiar themes and what at first appears to be an ordinary rock instrumental and turns both into genuine art.

3. Nude: 9/10 simultaneously understated and utterly soaring, even in quieter moments this never stops being a musical juggernaut.

4. Weird Fishes/Arpeggi: 9/10 Radiohead in every sense of the word, this blends aural art and thematic depth into a seamless whole.

5. All I Need: 9/10 it's disappointing to see Radiohead do such a generic song topic, but this song is infused with artistry and charisma, and boasts a fantastic outro.

6. Faust Arp: 8/10 an interesting track, especially because it's the closest Radiohead have come to doing hip-hop.

7. Reckoner: 10/10 a song which manages to be heart-breaking, euphoric and exhilirating- frequently all at the same time. One of the best Radiohead songs ever.

8. House of Cards: 8/10 despite this song's more commercial sound, it's still unmistakably Radiohead and it's still excellent.

9. Jigsaw Falling into Place: 9/10 not only a terrific song with a great beat, but thankfully far less depressing than most of the album.

10. Videotape: 9/10 the last- and most depressing- song on the album, this is a brilliantly emotional and tear-jerking finale although it may crush your soul.

Best song: Reckoner
Worst song: Faust Arp

Summary: This album is an emotional juggernaut so you'll need to be prepared for it. Aside from that, there isn't really a downside to it. It's a difficult album to define and to talk about. It covers so many themes and sounds. It isn't an album you listen to, it's an album you experience and one which works its way into your psyche and explodes like an atom bomb. It's rock music at its artiest, most powerful and most shattering. It's an overwhelming, tear-jerking and occasionally life-affirming experience, and it's up there with OK Computer. It really is that good.



Final rating: 10/10

Presence review

The 7th album by Led Zeppelin. As great as it is, as always, to be reviewing a Led Zeppelin album, apparently this is a slightly weaker one. I'm still recovering from seeing Robert Plant live on stage.

Tracks:

1. Achilles Last Stand: 7/10 aside from its staggering 10 minute length, this is one of Led Zeppelin's more commercial and conventional tracks. It works as an entertaining rock song, if not so much as anything we haven't heard from the bang before in a more interesting way.

2. For Your Life: 6/10 despite questionable lyrics and general monotony this is a fun-enough song.

3. New Orleans: 7/10 forgettable but reasonably catchy.

4. Nobody's Fault But Mine: 8/10 a fun and gleefully heavy song, although still not one of their classics.

5. Candy Store Rock: 5/10 it's catchy enough, but don't let that fool you. A repetitive, monotonours song, this is one of Led Zeppelin's weaker tracks.

6. Hots on For Nowhere: 5/10 while it still lacks the energy levels seen on the previous albums, it's not bad so much as just a bit weak.

7. Tea For One: 7/10 although an acknowledged redo of Since I've Been Loving You, a welcome burst of energy from a subdued album and an entertaining slow epic.

Best song: Nobody's Fault But Mine
Worst song: New Orleans

Summary: Well, they did do 6 amazing albums so they had to come down eventually. By a clear mile their worst album yet, everyone in the band seems weary and all of them phone it in. Many of the songs don't stand out and this suffers from a noticeable lack of energy and charisma. At the same time, it's still the same band we know and love. They can still rock in a truly incredible way and none of these songs are bad. But compared to what came before, this is a disappointing album.



Final rating: 6/10

The Beach Boys' Christmas Album review

The 7th album by The Beach Boys. Apologies again for my inactivity as of late but a combination of poor wi-fi and my workload means my posts for the time being might be slightly less frequent than before. This is a Christmas album by The Beach Boys. It's not really the right time of year for a Christmas album but never mind.

Tracks:

1. Little Saint Nick: 8/10 simple and perhaps too happy for the cynical listeners, but it's really fun.

2. The Man With All the Toys: 7/10 more of the same, but it's difficult to resist.

3. Santa's Beard: 7/10 the tune is lovely, but the lyrics are confusingly un-Christmassy.

4. Merry Christmas, Baby: 8/10 a really excellent break-up song and a pleasing veer away from the band's occasionally grating optimism.

5. Christmas Day: 8/10 another great tune with a smashing amount of festive spirit.

6. Frosty the Snowman: 8/10 a lovely version of the song filled with joy and an infectious enthusiasm.

7. We Three Kings of Orient Are: 7/10 alternately overdone and too slow, but it ultimately proves a memorable and effective rendition of the carol.

8. Blue Christmas: 7/10 a little tedious, but the lyrics are really nice.

9. Santa Claus is Coming to Town: 8/10 a solid rendition of the song that offers plenty of fun.

10. White Christmas: 8/10 a moving and emotive version of the classic, this is an album highlight.

11. I'll Be Home For Christmas: 7/10 again- lot's of energy and charm and the harmonies are unreal but it is overdone.

12. Auld Lang Syne: 8/10 the song part of this track is very nice, but this also includes a very nice spoken message from The Beach Boys.

Best song: Merry Christmas, Baby
Worst song: Santa's Beard

Summary: Inevitably, this album won't always work and might be more of a Christmas listen. It's a superb Christmas album though, with the festive spirit running through every song. The original songs are on the whole excellent, while the renditions of classic, established Christmas songs are also hugely effective and manage to be not just cover versions, but awesome songs in general. An excellent album overall, and it is clear that by this point The Beach Boys were well on the way to Pet Sounds.



Final rating: 8/10

Loose Ends review

The 4th posthumous compilation album of Jimi Hendrix's work. This is another fairly rare record that isn't even available in its entirety on Spotify. It only contains 8 songs. Since it's a rare album, some of the reviews below might be alternative, but highly similar versions of the tracks on this album.

Tracks:

1. Come Down Hard on Me Baby: 7/10 simple and unmemorable, but genuinely quite fun.

2. Blue Suede Shoes: 8/10 a really entertaining cover song. Come to think of it, Jimi Hendrix does seem to have a knack for doing excellent covers.

3. Jam 292: 8/10 a generic but highly enjoyable jam.

4. The Stars That Play with Laughing Sam's Dice: 6/10 if you ignore the terrible writing, it's a perfectly decent rock song.

5. Drifter's Escape: 7/10 despite being 2 such different artists, Bob Dylan and Jimi Hendrix do go together well.

6. Burning Desire: 7/10 a good track but it doesn't show Hendrix at his peak.

7. Born a Hoochie Coochie Man: 6/10 average.

8. Have You Ever Been (To Electric Ladyland): 5/10 a fairly bland instrumental version.

Best song: Blue Suede Shoes
Worst song: Born a Hoochie Coochie Man (Out of the songs which didn't appear on earlier albums)

Summary: Another unremarkable but decent compilation album. It's a rarity that doesn't need to be discovered and most, if not all of the songs can be found on other albums. It doesn't match the earlier stuff, but in fairness none of the songs on this album are particuarly bad and it gets off to a pretty decent stuff. As usual, it's Hendrix and his guitar that truly make the album.


Final rating: 7/10