Rolling Stone's 500 Greatest Albums of All Time: Album-by-Album Thread

Discussion in 'Music Corner' started by Jmac1979, Sep 19, 2021.

  1. Alf.

    Alf. Forum Resident

    Location:
    UK
    Yeezus I've no interest in this billionaire's cesspool of misogyny. Lyrically shameful; musically tedious.
     
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  2. Brian Kelly

    Brian Kelly 1964-73 rock's best decade

    YEEZUS (Kayne West)
    I have never understood the appeal of Kayne West. Boring songs, no apparent special singing/rapping ability, and he's just an awful person.
    GRADE: F

    My Current Top 60+ Albums:
    1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
    2. SOMETHING ELSE (The Kinks)
    3. ALL THINGS MUST PASS (George Harrison)
    4. NUGGETS (Various Artists)
    5. MODERN LOVERS (Modern Lovers)
    6. RAM (Paul & Linda McCartney)
    7. BETWEEN THE BUTTONS (Rolling Stones)
    8. THE WHO SELL OUT (The Who)
    9. GREATEST HITS (Sly & the Family Stone)
    10. THE CARS (The Cars)
    11. FULL MOON FEVER (Tom Petty)
    12. RADIO CITY (Big Star)
    13. #1 RECORD (Big Star)
    14. ODELAY (Beck)
    15. COSMO'S FACTORY (CCR)
    16. ROCKEY TO RUSSIA (Ramones)
    17. DOOKIE (Green Day)
    18. LET IT BE (The Beatles)
    19. WEEZER (Weezer)
    20. ANTHOLOGY (The Temptations)
    21. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
    22. ANTHOLOGY (Diana Ross & the Supremes)
    23. YOUNG GIFTED AND BLACK (Aretha Franklin)
    24. THE DEFINITIVE COLLECTION (Abba)
    25. HOUSES OF THE HOLY (Led Zeppelin)
    26. THE STOOGES (The Stooges)
    27. SURREALISTIC PILLOW (Jefferson Airplane)
    28. MY AIM IS TRUE (Elvis Costello)
    29. SOMETHING/ANYTHING (Todd Rundgren)
    30. BROTHERS IN ARMS (Dire Straits)
    31. CLOSE TO THE EDGE (Yes)
    32. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
    33. ELEPHANT (The White Stripes)
    34. UNPLUGGED IN NEW YORK CITY (Nirvana)
    35. ABRAXAS (Santana)
    36. PORTRAIT OF A LEGEND (Sam Cooke)
    37. PICTURES FROM THE CITY (PJ Harvey)
    38. MOVING PICTURES (Rush)
    39. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
    40. DICTIONARY OF SOUL (Otis Redding)
    41. SOME GIRLS (Rolling Stones)
    42. CURRENTS (Tame Impala)
    43. BEACH BOYS TODAY (The Beach Boys)
    44. ELVIS PRESLEY (Elvis Presley)
    45. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
    46. PARKLIFE (Blur)
    47. WHITE LIGHT/WHITE HEAT (Velvet Underground)
    48. SIAMESE DREAM (Smashing Pumpkins)
    49. LIVE AT LEEDS (The Who)
    50. RUST NEVER SLEEPS (Neil Young)
    51. CALIFORNICATION (Red Hot Chili Peppers)
    52. NORMAN R ROCKWELL (Lana Del Rey)
    53. 19 LOVE SONGS (Magnetic Fields)
    54, LUCINDA WILLIAMS (Lucinda Williams)
    55. HEART LIKE A WHEEL (Linda Rondstadt)
    56. MR TAMBOURINE MAN (The Byrds)
    57. PAUL SIMON (Paul Simon)
    58. SO (Peter Gabriel)
    59. LIKE A PRAYER (Madonna)
    60. SHERYL CROW (Sheryl Crow)
    61. BACK TO MONO (Phil Spector w/various artists)
    62. NICK OF TIME (Bonnie Raitt)
    63. THE ANTHOLOGY (Muddy Waters)
    64. PRESENTING THE FABULOUS RONETTES (Ronettes)
    65. MOANING IN THE MOONLIGHT (Howlin Wolf)
    66. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
    67. ANOTHER GREEN WORLD (Brian Eno)
    68. CURTIS (Curtis Mayfield)
    69. NILSSON SCHMILSSON (Harry Nilsson)

    No more cuts until I reach 75 albums
     
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  3. Flaevius

    Flaevius Left of the dial

    Location:
    Newcastle, UK
    #272 The Velvet Underground - White Light/White Heat
    An album with merit, yet not one I would choose to listen to. The title track seems based around an old rock 'n' roll structure but is distorted to the nth degree - great. However, The Gift is one of those songs that doesn't demand to be heard more than once. I'm not a fan of Lady Godiva's Operation either. The sprawling noise-a-thon Sister Ray is the best thing here.

    #271-Mary J Blige - What's the 411?
    As per the quote re: Real Love on the songs thread: "doesn't annoy me, doesn't excite me. Its ok, just not exactly my thing".

    #270 Kacey Musgraves - The Golden Hour
    I really liked Merry-Go-Round, as reviewed on the songs thread. So I was curious to see what Musgraves had to offer across a full album. Same view really - she has a lovely tone to her voice and puts 'country' in a way that is accessible to me. There weren't any songs as strong as Merry-Go-Round in the ones I sampled, but I can get along with Kacey Musgraves.

    #269 Kanye West - Yeezus
    Yeezus Christ. Black Skinhead is excellent and one of the three Kanye West songs I own. The remainder is largely a car crash of auto-tune and misogynistic tropes. Bitches here, hoes there, n****** everywhere. It undermines what could be interesting production.
     
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  4. EyeSock

    EyeSock Forum Resident

    Location:
    United States
    268. Randy Newman - Sail Away (1972)
    Producer: Lenny Waronker, Russ Titelman

    Sail Away is an album by Randy Newman, released on May 23, 1972. It was produced by Lenny Waronker and Russ Titelman and issued on Reprise Records. While all of its songs were written and composed by Newman, several had already been recorded by other artists.

    Composition
    As with all of Newman's early albums, several of its songs had been previously recorded by other artists. In this case, "Simon Smith and the Amazing Dancing Bear" had been a UK hit for Alan Price in 1967 and was recorded by Harry Nilsson on his 1969 album Harry. "Dayton, Ohio - 1903" had been recorded by Billy J. Kramer as a single in 1969, while Newman and Nilsson recorded a version together for Nilsson's 1970 album Nilsson Sings Newman. Newman himself had also previously recorded "Last Night I Had a Dream" as a single, issued in September 1968. The version heard on Sail Away is a re-recording with a notably different arrangement.

    "You Can Leave Your Hat On" was later recorded by Joe Cocker in 1986 and this version was featured on the soundtrack of the 1986 film 9½ Weeks starring Kim Basinger. A version by Tom Jones appeared on the soundtrack of the 1997 film The Full Monty.

    "He Gives Us All His Love" was also initially written and recorded by Newman in a sparser and slower arrangement for the 1971 film Cold Turkey. The film issued no soundtrack album, and the first commercially available recordings of this song were issued by Sundance (March 1971) and Ed Ames(October 1971).[citation needed]

    The song "Lonely at the Top" was written specifically with Frank Sinatra in mind, although he never recorded it.[2] Newman himself had already released it (in a solo live performance) on his previous album, Randy Newman Live (1971).

    Critical Reception
    AllMusic 5/5
    Christgau's Record Guide A–
    Rolling Stone (favorable)
    Encyclopedia of Popular Music 5/5

    Audience Reception
    80/100 from 67 users, #75 for 1972 - AlbumOfTheYear.org
    8.9/10 from 1,014 users - AllMusic
    3.9/5 from 27 users - Musicboard
    3.79/5 from 2,953 users, #57 for 1972, #1,983 overall - RateYourMusic.com

     
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  5. danasgoodstuff

    danasgoodstuff Forum Resident

    Location:
    Portland, OR
    Sail Away is a work of twisted genius
     
  6. Brian Kelly

    Brian Kelly 1964-73 rock's best decade

    SAIL AWAY (Randy Newman)
    I'm more of a fan of Newman the songwriter than Newman the singer/performer. There are some good songs here. I just prefer many of them by other artists. But this isn't a bad choice for the top 500. It just wouldn't be one of mine.
    GRADE: C+

    My Current Top 60+ Albums:
    1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
    2. SOMETHING ELSE (The Kinks)
    3. ALL THINGS MUST PASS (George Harrison)
    4. NUGGETS (Various Artists)
    5. MODERN LOVERS (Modern Lovers)
    6. RAM (Paul & Linda McCartney)
    7. BETWEEN THE BUTTONS (Rolling Stones)
    8. THE WHO SELL OUT (The Who)
    9. GREATEST HITS (Sly & the Family Stone)
    10. THE CARS (The Cars)
    11. FULL MOON FEVER (Tom Petty)
    12. RADIO CITY (Big Star)
    13. #1 RECORD (Big Star)
    14. ODELAY (Beck)
    15. COSMO'S FACTORY (CCR)
    16. ROCKEY TO RUSSIA (Ramones)
    17. DOOKIE (Green Day)
    18. LET IT BE (The Beatles)
    19. WEEZER (Weezer)
    20. ANTHOLOGY (The Temptations)
    21. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
    22. ANTHOLOGY (Diana Ross & the Supremes)
    23. YOUNG GIFTED AND BLACK (Aretha Franklin)
    24. THE DEFINITIVE COLLECTION (Abba)
    25. HOUSES OF THE HOLY (Led Zeppelin)
    26. THE STOOGES (The Stooges)
    27. SURREALISTIC PILLOW (Jefferson Airplane)
    28. MY AIM IS TRUE (Elvis Costello)
    29. SOMETHING/ANYTHING (Todd Rundgren)
    30. BROTHERS IN ARMS (Dire Straits)
    31. CLOSE TO THE EDGE (Yes)
    32. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
    33. ELEPHANT (The White Stripes)
    34. UNPLUGGED IN NEW YORK CITY (Nirvana)
    35. ABRAXAS (Santana)
    36. PORTRAIT OF A LEGEND (Sam Cooke)
    37. PICTURES FROM THE CITY (PJ Harvey)
    38. MOVING PICTURES (Rush)
    39. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
    40. DICTIONARY OF SOUL (Otis Redding)
    41. SOME GIRLS (Rolling Stones)
    42. CURRENTS (Tame Impala)
    43. BEACH BOYS TODAY (The Beach Boys)
    44. ELVIS PRESLEY (Elvis Presley)
    45. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
    46. PARKLIFE (Blur)
    47. WHITE LIGHT/WHITE HEAT (Velvet Underground)
    48. SIAMESE DREAM (Smashing Pumpkins)
    49. LIVE AT LEEDS (The Who)
    50. RUST NEVER SLEEPS (Neil Young)
    51. CALIFORNICATION (Red Hot Chili Peppers)
    52. NORMAN R ROCKWELL (Lana Del Rey)
    53. 19 LOVE SONGS (Magnetic Fields)
    54, LUCINDA WILLIAMS (Lucinda Williams)
    55. HEART LIKE A WHEEL (Linda Rondstadt)
    56. MR TAMBOURINE MAN (The Byrds)
    57. PAUL SIMON (Paul Simon)
    58. SO (Peter Gabriel)
    59. LIKE A PRAYER (Madonna)
    60. SHERYL CROW (Sheryl Crow)
    61. BACK TO MONO (Phil Spector w/various artists)
    62. NICK OF TIME (Bonnie Raitt)
    63. THE ANTHOLOGY (Muddy Waters)
    64. PRESENTING THE FABULOUS RONETTES (Ronettes)
    65. MOANING IN THE MOONLIGHT (Howlin Wolf)
    66. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
    67. ANOTHER GREEN WORLD (Brian Eno)
    68. CURTIS (Curtis Mayfield)
    69. NILSSON SCHMILSSON (Harry Nilsson)

    No more cuts until I reach 75 albums (if I ever do with the way it is going lately-LOL)
     
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  7. NettleBed

    NettleBed Forum Transient

    Location:
    new york city
    Yeezus
    B+
    Probably his best. I'm not really a fan, but this one is different.
     
  8. NettleBed

    NettleBed Forum Transient

    Location:
    new york city
    Sail Away
    B+
    Randy Newman has some albums that I like more, but this one still quite good, IMO. I'm kind of surprised to see this one so high on the list; I'm assuming 12 Songs and Good Old Boys are still to come.
     
  9. Alf.

    Alf. Forum Resident

    Location:
    UK
    Sail Away I've always found Newman's Fozzie Bear vocals off putting. Overall, the album has a rather antiquated Tin Pan Alley feel. I intensely dislike the Dancing Bear song. Not an album that does anything for me.
     
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  10. EyeSock

    EyeSock Forum Resident

    Location:
    United States
    267. Minutemen - Double Nickels in the Dime (1984)
    Producer: Ethan James

    Double Nickels on the Dime is the third album by American punk trio Minutemen, released on the California independent record label SST Records in 1984. A double album containing 45 songs, Double Nickels on the Dime combines elements of punk rock, funk, country, spoken word and jazz, and references a variety of themes, from the Vietnam War and racism in America, to working-class experience and linguistics.

    After recording new material, each band member selected songs for different sides of the double album, with the fourth side named "Chaff". Several songs on Double Nickels on the Dime were outsourced to or inspired by contemporaries, such as Black Flag's Henry Rollins and Jack Brewer of Saccharine Trust.

    Double Nickels on the Dime is seen not only as Minutemen's crowning achievement, but, according to critic Mark Deming, "one of the very best American rock albums of the 1980s".[4] The album now appears on many professional lists of the all-time best rock albums, including Rolling Stone's 500 Greatest Albums of All Time.[5] Slant Magazine listed the album at No. 77 on its list of "Best Albums of the 1980s".[6] Despite this, the full version of the album is only available on vinyl.

    Background
    Minutemen were formed by guitarist D. Boon and bassist Mike Watt, both from San Pedro, California, in 1980.[7] After their previous band, The Reactionaries, disbanded in 1979, the pair continued to write new material and formed the band with drummer Frank Tonche a year later. Minutemen signed to the Californian independent record labelSST Records following their second gig.[8] George Hurley, the former drummer of The Reactionaries, replaced Tonche as drummer soon afterwards. The Minutemen were noted in the California punk scene for a philosophy of "jamming econo"; a sense of thriftiness reflected in their touring and presentation.[7] They soon released numerous recordings through SST and their own label, New Alliance Records, while touring with hardcore punkbands like Black Flag and Hüsker Dü.[9]

    In January 1983, Minutemen were asked by ex-Blue Cheer keyboardist and local producer Ethan Jamesto contribute a song to Radio Tokyo Tapes, a compilation named after the Californian studio where James worked. The band agreed and contributed three songs to the compilation, with James recording them all for free. These three songs, and another five recorded in May 1983 for a total of $50, were included in their 1983 EP Buzz or Howl Under the Influence of Heat. The band had recorded solely with SST engineer Spot prior to the recordings.[10] However, they were so impressed by the sessions that they enlisted James to record their next full-length album; Watt later commented: "Ethan, although not knowing us much, tapped right in." After their European tour in mid-1983 with Black Flag, Minutemen entered Radio Tokyo Studios in November to record their next studio album.

    Recording and Production
    Minutemen originally recorded an "album's worth of material" with James in November 1983 in Radio Tokyo Studios. However, after hearing labelmates Hüsker Dü's double album Zen Arcade (1984), which had been recorded a month earlier, Minutemen decided to write more material. Watt later commented: "It wasn't really a competition even. When I wrote 'Take that Hüskers!" in [the album's liner notes] it was acknowledging that they gave us the idea to make a double album."[12] Unlike Hüsker Dü's Zen Arcade, Minutemen did not have a unifying concept, but soon decided that the record's concept would be their cars.[13]

    The band wrote almost two dozen more songs for a second recording session with James in April 1984.[14] Double Nickels on the Dime was then mixed on a single eight-track in one night by James and cost $1,100 to record.[15] Several songs on the album were recorded elsewhere; a studio-recorded cover of Creedence Clearwater Revival's "Don't Look Now" was replaced with a live version of the song,[16] and according to Watt, "Love Dance" was written at Ian MacKaye's Dischord House.[17]

    For sequencing, the band decided that each band member would be allocated a side of the record, an arrangement inspired by Pink Floyd's 1969 double album Ummagumma.[15] The band drew straws to select songs; Hurley won the draw and decided to pick his solo track "You Need the Glory", followed by Boon and Watt.[18] The fourth side of the record was named "Side Chaff", an admission that the songs present were the leftover songs.

    Music
    Watt refers to the album as being the band's art record in the documentary We Jam Econo: The Story of The Minutemen. The songwriting styles of Boon and Watt on Double Nickels on the Dimecontrasted. Boon tended to write the band's anthems, and often explored wider political issues. "This Ain't No Picnic" was an example of his approach. Exploring racism and the strife of the working class with both gravity and humor, he composed the song after his supervisor would not let him listen to jazz and soul music on the radio at his day job, calling it "n****r ****".[20]

    Watt favored complex and abstract lyrical themes, exemplified by songs such as "The Glory Of Man" and "My Heart and the Real World". Influenced by James Joyce's novel Ulysses (the subject of "June 16th") and the stream of consciousness literary technique in general, Watt's lyrics were often complex and philosophical. On "Take 5, D.", Boon felt that the lyrics were "too spacey". Watt agreed to rewrite the song, adding: "There ain't nothing going to be more real." He found a new set of lyrics: a note from a friend's landlady about a leaking shower.[20]

    Double Nickels on the Dime contained several inside jokes that were missed by the band's audience. Watt later remarked: "No one knew what the **** we were talking about. We'd explain it to people and they'd say, 'I don't get it, what's so funny about that?' And we couldn't tell them because it was our whole angle on the rock & roll, our worldview on the music scene."

    Critical Reception
    AllMusic 5/5
    The Boston Phoenix 3.5/4
    The Great Rock Discography 8/10
    MusicHound Rock 5/5
    Pitchfork 9.5/10
    Rolling Stone 3.5/5
    The Rolling Stone Album Guide 5/5
    Spin Alternative Record Guide 10/10
    Tom Hull A
    The Village Voice A−

    Audience Reception
    85/100 from 276 users, #12 for 1984, #484 overall - AlbumOfTheYear.org
    8.8/10 from 1,841 users - AllMusic
    4.1/5 from 100 users - Musicboard
    3.92/5 from 11,918 users, #6 for 1984, #377 overall - RateYourMusic.com


     
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  11. NettleBed

    NettleBed Forum Transient

    Location:
    new york city
    Double Nickels on the Dime
    A
    One of the great '80s albums, IMO. I feel like it should be higher, but since this whole slice of music seems to be less remembered these days ('80s US alternative that isn't Pixies), it's also nice to see it this high.
     
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  12. Brian Kelly

    Brian Kelly 1964-73 rock's best decade

    DOUBLE NICKELS IN THE DIME (Minutemen)
    I've never really got the whole "hard core" punk thing. To me much of it is just unpleasant and tedious. One of the most overrated artist in my opinion.
    GRADE: C-

    My Current Top 60+ Albums:
    1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
    2. SOMETHING ELSE (The Kinks)
    3. ALL THINGS MUST PASS (George Harrison)
    4. NUGGETS (Various Artists)
    5. MODERN LOVERS (Modern Lovers)
    6. RAM (Paul & Linda McCartney)
    7. BETWEEN THE BUTTONS (Rolling Stones)
    8. THE WHO SELL OUT (The Who)
    9. GREATEST HITS (Sly & the Family Stone)
    10. THE CARS (The Cars)
    11. FULL MOON FEVER (Tom Petty)
    12. RADIO CITY (Big Star)
    13. #1 RECORD (Big Star)
    14. ODELAY (Beck)
    15. COSMO'S FACTORY (CCR)
    16. ROCKEY TO RUSSIA (Ramones)
    17. DOOKIE (Green Day)
    18. LET IT BE (The Beatles)
    19. WEEZER (Weezer)
    20. ANTHOLOGY (The Temptations)
    21. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
    22. ANTHOLOGY (Diana Ross & the Supremes)
    23. YOUNG GIFTED AND BLACK (Aretha Franklin)
    24. THE DEFINITIVE COLLECTION (Abba)
    25. HOUSES OF THE HOLY (Led Zeppelin)
    26. THE STOOGES (The Stooges)
    27. SURREALISTIC PILLOW (Jefferson Airplane)
    28. MY AIM IS TRUE (Elvis Costello)
    29. SOMETHING/ANYTHING (Todd Rundgren)
    30. BROTHERS IN ARMS (Dire Straits)
    31. CLOSE TO THE EDGE (Yes)
    32. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
    33. ELEPHANT (The White Stripes)
    34. UNPLUGGED IN NEW YORK CITY (Nirvana)
    35. ABRAXAS (Santana)
    36. PORTRAIT OF A LEGEND (Sam Cooke)
    37. PICTURES FROM THE CITY (PJ Harvey)
    38. MOVING PICTURES (Rush)
    39. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
    40. DICTIONARY OF SOUL (Otis Redding)
    41. SOME GIRLS (Rolling Stones)
    42. CURRENTS (Tame Impala)
    43. BEACH BOYS TODAY (The Beach Boys)
    44. ELVIS PRESLEY (Elvis Presley)
    45. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
    46. PARKLIFE (Blur)
    47. WHITE LIGHT/WHITE HEAT (Velvet Underground)
    48. SIAMESE DREAM (Smashing Pumpkins)
    49. LIVE AT LEEDS (The Who)
    50. RUST NEVER SLEEPS (Neil Young)
    51. CALIFORNICATION (Red Hot Chili Peppers)
    52. NORMAN R ROCKWELL (Lana Del Rey)
    53. 19 LOVE SONGS (Magnetic Fields)
    54, LUCINDA WILLIAMS (Lucinda Williams)
    55. HEART LIKE A WHEEL (Linda Rondstadt)
    56. MR TAMBOURINE MAN (The Byrds)
    57. PAUL SIMON (Paul Simon)
    58. SO (Peter Gabriel)
    59. LIKE A PRAYER (Madonna)
    60. SHERYL CROW (Sheryl Crow)
    61. BACK TO MONO (Phil Spector w/various artists)
    62. NICK OF TIME (Bonnie Raitt)
    63. THE ANTHOLOGY (Muddy Waters)
    64. PRESENTING THE FABULOUS RONETTES (Ronettes)
    65. MOANING IN THE MOONLIGHT (Howlin Wolf)
    66. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
    67. ANOTHER GREEN WORLD (Brian Eno)
    68. CURTIS (Curtis Mayfield)
    69. NILSSON SCHMILSSON (Harry Nilsson)
     
  13. AudioEnz

    AudioEnz Senior Member

    Randy Newman's Sail Away album might have been the smartest financial move he ever made. An album made in the 70s that spun off hit singles (admittedly for other people) in the succeeding decades must have nicely filled his bank account.
     
  14. EyeSock

    EyeSock Forum Resident

    Location:
    United States
    266. The Beatles - Help! (1965)
    Producer: George Martin

    Help! is the fifth studio album by the English rockband the Beatles and the soundtrack to their film of the same name. It was released on 6 August 1965. Seven of the fourteen songs, including the singles "Help!" and "Ticket to Ride", appeared in the film and took up the first side of the vinyl album. The second side included "Yesterday", the most-coveredsong ever written.[3] The album was met with favourable critical reviews and topped the Australian, German, UK and US charts.

    During the recording sessions for the album, the Beatles continued to explore the studio's multitracking capabilities to layer their sound. "Yesterday" features a string quartet, the band's first use of Baroque sensibilities, and "You've Got to Hide Your Love Away" includes a flute section. In North America, the release was a true soundtrack album, combining the first seven songs with instrumental music from the film. The omitted tracks were instead spread across the Capitol Records LPs Beatles VI, Rubber Soul and Yesterday and Today.

    In the US, Help! marked the start of artistic recognition for the Beatles from mainstream critics, including comparisons to the European art musictradition. It was nominated in the category of Album of the Year at the 1966 Grammys Awards, marking the first time that a rock band had been recognised in this category. In 2000, it was voted 119th in the third edition of Colin Larkin's book All Time Top 1000 Albums. In 2020, it was ranked 266th on Rolling Stone magazine's list of the "500 Greatest Albums of All Time". In September 2013, after the British Phonographic Industry changed its sales award rules, Help! was certified platinum for recorded sales since 1994.

    Music
    The album includes Paul McCartney's "Yesterday", arranged for guitar and string quartet and recorded without the other group members. John Lennon's "You've Got to Hide Your Love Away" indicates the influence of Bob Dylan and includes flutes.

    "Ticket to Ride", released as a single in April 1965, was felt by Lennon to be "heavy" in its sound compared to the group's previous output[5] and daring in its reference to a boy and girl living together. McCartney called the arrangement "quite radical". During the recording sessions for the album, the band used the studio's multitrackingcapabilities to layer their sound. In this, author Mark Prendergast highlights George Harrison's use of a volume pedal and incorporation of "more intricate chordal devices to enrich his guitar sound".[6]

    As a songwriter, Harrison contributed "I Need You" and "You Like Me Too Much". These were his first compositions to be included on a Beatles album since "Don't Bother Me" on 1963's With the Beatles.

    The record contained two cover versions and a few tracks more closely related to the group's previous pop output, but still marked a decisive step forward.[citation needed] The record sleeve-note shows that Lennon and McCartney made more extensive and prominent use of keyboards, previously played unobtrusively by Martin. Four-track overdubbing technology encouraged this. Lennon, for his part, made much greater use of acoustic guitar, forsaking his famous Rickenbacker.

    The original LP's format of featuring songs from the soundtrack on side one and non-soundtrack songs on side two follows the format of A Hard Day's Night.

    In later years, Lennon stated that the album's title track was a sincere cry for help; he regretted changing it from a downbeat, piano-driven ballad to an uptempo pop song, which was done only as a result of commercial pressures.

    Help! was the band's final British album (aside from the late 1966 compilation A Collection of Beatles Oldies) to feature any cover songs until 1970's Let It Be (which included a performance of the traditional folk song "Maggie Mae"). In 1966, Capitol would release "Act Naturally", already on the British Help!album, on Yesterday and Today. "Bad Boy" and "Dizzy Miss Lizzy" (both written by Larry Williamsand recorded on 10 May 1965, Williams' birthday) were both aimed at the American market and originally not intended to appear on Help!, but "Dizzy Miss Lizzy" ultimately did.[9] Both songs appeared on Beatles VI, released in the US in June 1965. "Bad Boy" was not released in the UK until A Collection of Beatles Oldies, and was that album's only cover song.

    Outtakes
    A few songs that were recorded and intended for the album and film were not used. Lennon and McCartney wrote "
    If You've Got Trouble" for Ringo Starr to sing, but the Beatles were not satisfied with the song and it was abandoned, and Starr sang "Act Naturally" instead.[11] "That Means a Lot" was written for the film, but again, the Beatles were displeased with their recordings of the song and it was given to P.J. Proby who released it as a single.[12] Lennon said "Yes It Is" was "me trying a rewrite of 'This Boy', but it didn't work";[13] it was released as the B-side of "Ticket to Ride" and was also issued on Beatles VI. "You Like Me Too Much" and "Tell Me What You See" were turned down for use in the film by its director, Richard Lester, although they did appear on the album (and also on Beatles VI).[citation needed]

    In June 1965, at the end of the Help! sessions, the song "Wait" was recorded for the album, but was left unfinished. The Beatles resurrected the track and completed it for inclusion on Rubber Soul in November, when a final song was needed to complete that album.

    Critical Reception
    AllMusic 5/5
    The A.V. Club A
    Chicago Sun-Times 4/4
    Consequence of Sound B
    The Daily Telegraph 4/5
    Encyclopedia of Popular Music 5/5
    MusicHound 3.5/5
    Paste 100/100
    Pitchfork 9.2/10
    The Rolling Stone Album Guide 5/5

    Audience Reception
    79/100 from 1,187 users, #31 for 1965 - AlbumOfTheYear.org
    8.9/10 from 5,680 users - AllMusic
    3.8/5 from 1,333 users, #3 for 1965 - Musicboard
    3.67/5 from 22,867 users, #33 for 1965, #2,759 overall - RateYourMusic.com

     
  15. Lance LaSalle

    Lance LaSalle Prince of Swollen Sinus

    Funnily enough, Help! is one of my least favorite Beatles albums -- I even like it less than the oft-dissed Let It Be or Beatles For Sale, even though I realize that it's still a very, very good album and that I am almost completely alone on this hill.

    My chief problem is that, for me, despite (for me) four all time classics ("Ticket To Ride", "Help!" "I've Just Seen A Face" and "Yesterday") there are simply a large amount of songs that are good, even great but not stellar, and also a few songs which I consider out-and-out stinkers: both Harrison songs, but particularly "I Need You", "Act Naturally", and "Dizzy Miss Lizzy." I can't believe they put "I'm Down" on a B-side! And that it wasn't even released in America!!

    It's cooler than sixty percent of the album.

    And there's something else...for some reason that I can't quite explain, I just don't have a great feeling listening to the album as a whole. I know how overworked they were in those days, and that stress of vast fame and the neverending treadmill they were on was beginning to take its toll -- and maybe that was coming through: I sympathize. But in the end, I only give the album a hedgey 4/5. A high four, if possible, like a 4.4, but a four nonetheless.

    By the way, I've never even heard the American version, and am not interested in doing so at all, so these words are of course only for the UK album.

    This one goes out to all you list lovers:

    1. In the Aeroplane Over The Sea
    2. Third/Sister Lovers
    3. #1 Record
    4. Modern Lovers
    5. I Do Not Want What I haven't Got
    6. Weezer
    7. If You're Feeling Sinister
    8. Brian Wilson Presents "SMiLE"
    9. Nirvana MTV Unplugged In New York
    10. Radio City
    11. Post
    12. Dirty Mind
    13. Paul Simon
    14. My Aim Is True
    15. Mr. Tambourine Man
    16. Ram
    17. Wild Honey
    18. The Wild The Innocent and the E-Street Shuffle
    19. So
    20. Pink Flag
    21. The Basement Tapes
    22. John Wesley Harding
    23. Surfer Rosa
    24. Aftermath
    25. Everyone Thinks This Is Nowhere
    26. Full Moon Fever
    27. Village Green Preservation Society
    28. Something Else
    29. Gilded Palace Of Sin
    30. Houses of the Holy
    31. The Bends
    32. Sweethearts Of The Rodeo
    33. Today!
    34. Let It Be
    35. Siamese Dream
    36. Parklife
    37. Golden Hour
    38. Dookie
    39. Help!
    40. Music Of My Mind
    41. Sheryl Crow
    42. White Light/White Heat
    43. Sandinista!
    44. Goo
    45. Let's Get It On
     
  16. Alf.

    Alf. Forum Resident

    Location:
    UK
    Double Nickels On The Dime If you're going to release a double album, then shooting off at tangents is a requisite for maintaining interest throughout. The Minutemen opt for brevity, with many songs under the two minute mark, and this gives the album a certain amount of propulsion. They also wander off the beaten track a few times, which helps keep attention......BUT it ain't enough. Too much of the record is Gang Of Four-lite - that persistent angularity - and too many of the songs are mere sketches & snatches that eventually bleed into an amorphous lump of unmemorableness. It's a pity because, lyrically, they've got a lot of interesting things to say.

    Help
    This and the previous For Sale are both weak albums. Hard Day's Night had been fab; an all-original joie de vivre summation of their first couple of years. Then, despite all the OTT adulation, it was mostly rinse & repeat for the next twelve months on the creativity front.

    There are a quartet of oft praised great songs on Help: title track; Hide Your Love; Ticket To Ride; Yesterday. There are also two lesser known gems: the melancholic It's Only Love, and the low key folksiness of Just Seen A Face. (Paul Simon was undoubtedly listening closely to the latter!) Half of the album though is given over to moptop-by-numbers jauntiness - Freddie & The Dreamers cannon fodder - with two particular non-entities from Harrison. The Ringo-led country cover is a complete knockabout dud. Lennon's Dizzy Miss Lizzy is lively, but he'd already pulled the same trick with Twist & Shout and Money.

    For me, there's too much marking time on Help. The Beach Boy's Today is a more interesting record, and Dylan was streets ahead artistically at this stage. Of course that would all change with Rubber Soul. But, it's a definite thumbs down for their fifth album.
     
    Lance LaSalle likes this.
  17. Brian Kelly

    Brian Kelly 1964-73 rock's best decade

    HELP (The Beatles)
    HELP ranks #8 in my list of favorite Beatles albums, just ahead of LET IT BE. Nevertheless I am such a big Beatles fan that this would be in my top 500 unless I limited the number of times an artist can appear. Side one of the album is outstanding. The title song, Ticket To Ride, You've Got To Hide Your Love Away, and You're Gonna Lose That Girl are all excellent and the rest of the side is pretty good. Side two still has a couple outstanding songs with Yesterday and I've Just Seen A Face. I also like It's Only Love, but the rest of the album side is average at best.
    GRADE: B+

    My Current Top 60+ Albums:
    1. THE KINKS ARE THE VILLAGE GREEN PRESERVATION SOCIETY (The Kinks)
    2. SOMETHING ELSE (The Kinks)
    3. ALL THINGS MUST PASS (George Harrison)
    4. NUGGETS (Various Artists)
    5. MODERN LOVERS (Modern Lovers)
    6. RAM (Paul & Linda McCartney)
    7. BETWEEN THE BUTTONS (Rolling Stones)
    8. THE WHO SELL OUT (The Who)
    9. GREATEST HITS (Sly & the Family Stone)
    10. THE CARS (The Cars)
    11. FULL MOON FEVER (Tom Petty)
    12. RADIO CITY (Big Star)
    13. #1 RECORD (Big Star)
    14. ODELAY (Beck)
    15. COSMO'S FACTORY (CCR)
    16. ROCKEY TO RUSSIA (Ramones)
    17. DOOKIE (Green Day)
    18. HELP )The Beatles)
    19. LET IT BE (The Beatles)
    20. WEEZER (Weezer)
    21. ANTHOLOGY (The Temptations)
    22. EVERYBODY KNOWS THIS IS NOWHERE (Neil Young)
    23. ANTHOLOGY (Diana Ross & the Supremes)
    24. YOUNG GIFTED AND BLACK (Aretha Franklin)
    25. THE DEFINITIVE COLLECTION (Abba)
    26. HOUSES OF THE HOLY (Led Zeppelin)
    27. THE STOOGES (The Stooges)
    28. SURREALISTIC PILLOW (Jefferson Airplane)
    29. MY AIM IS TRUE (Elvis Costello)
    30. SOMETHING/ANYTHING (Todd Rundgren)
    31. BROTHERS IN ARMS (Dire Straits)
    32. CLOSE TO THE EDGE (Yes)
    33. PROUNCED LENHERD SKINNERD (Lynryd Skynryd)
    34. ELEPHANT (The White Stripes)
    35. UNPLUGGED IN NEW YORK CITY (Nirvana)
    36. ABRAXAS (Santana)
    37. PORTRAIT OF A LEGEND (Sam Cooke)
    38. PICTURES FROM THE CITY (PJ Harvey)
    39. MOVING PICTURES (Rush)
    40. KING OF THE DELTA BLUES SINGERS (Robert Johnson)
    41. DICTIONARY OF SOUL (Otis Redding)
    42. SOME GIRLS (Rolling Stones)
    43. CURRENTS (Tame Impala)
    44. BEACH BOYS TODAY (The Beach Boys)
    45. ELVIS PRESLEY (Elvis Presley)
    46. BO DIDDLEY/GO BO DIDDLEY (Bo Diddley)
    47. PARKLIFE (Blur)
    48. WHITE LIGHT/WHITE HEAT (Velvet Underground)
    49. SIAMESE DREAM (Smashing Pumpkins)
    50. LIVE AT LEEDS (The Who)
    51. RUST NEVER SLEEPS (Neil Young)
    52. CALIFORNICATION (Red Hot Chili Peppers)
    53. NORMAN R ROCKWELL (Lana Del Rey)
    54. 19 LOVE SONGS (Magnetic Fields)
    55, LUCINDA WILLIAMS (Lucinda Williams)
    56. HEART LIKE A WHEEL (Linda Rondstadt)
    57. MR TAMBOURINE MAN (The Byrds)
    58. PAUL SIMON (Paul Simon)
    59. SO (Peter Gabriel)
    60. LIKE A PRAYER (Madonna)
    61. SHERYL CROW (Sheryl Crow)
    62. BACK TO MONO (Phil Spector w/various artists)
    63. NICK OF TIME (Bonnie Raitt)
    64. THE ANTHOLOGY (Muddy Waters)
    65. PRESENTING THE FABULOUS RONETTES (Ronettes)
    66. MOANING IN THE MOONLIGHT (Howlin Wolf)
    67. MORE SONGS ABOUT BUILDING AND FOOD (Talking Heads)
    68. ANOTHER GREEN WORLD (Brian Eno)
    69. CURTIS (Curtis Mayfield)
    70. NILSSON SCHMILSSON (Harry Nilsson)
     
    Lance LaSalle likes this.
  18. NettleBed

    NettleBed Forum Transient

    Location:
    new york city
    Help!
    B
    Top heavy
     
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  19. danasgoodstuff

    danasgoodstuff Forum Resident

    Location:
    Portland, OR
    Most Beatles albums are professionally done product at a minimum but this feels kind of slapped together and unfinished Certainly has its moments though Should have included I’m Down and then I’m not sure what
     
    ARK likes this.
  20. danasgoodstuff

    danasgoodstuff Forum Resident

    Location:
    Portland, OR
    A
    nd the live introductions explain just how twisted the title tune truly is
     
  21. danasgoodstuff

    danasgoodstuff Forum Resident

    Location:
    Portland, OR
    Help wouldn’t make my albums list but it might if someone else had done it and several songs would make that list
     
  22. EyeSock

    EyeSock Forum Resident

    Location:
    United States
    Sail Away
    I will never understand why this is widely considered to be Randy Newman’s best album. 12 Songs is a much better album than this on a purely musical level and has some of his rootsiest and catchiest songs in his discography. On a lyrical level, Good Old Boys and Trouble in Paradise are much better than this. Those albums take the wit, satire and bite of a song like Political Science and Sail Away and carry them throughout almost the entire album, whereas this only has that bite on about four songs.

    That being said, this is still a good album. The biting tracks are among Newman’s best, and this has some of his best piano songs. However, I really don’t think it’s the definitive Randy Newman experience.

    7/10

    Golden Hour

    What a wonderful album. Before going into this, I was expecting most of the quality to be found in the lyrics, but instead it’s mainly from the fact (my opinion) that these are exceptionally written pop songs. Songs like Slow Burn and Butterflies sound like songs I’ve known my whole life even though I heard them for the first time today. Instead of the lyrics being incredibly complex and thoughtful, they’re just relatable. I know what it’s like to have a weekend to myself and not knowing what to do. I know what it’s like to have butterflies when with someone I like. Everything about this album is just wonderful. I really don’t know how anyone could dislike it, which explains how it managed to appear so high on Rolling Stone’s list.

    8/10

    Ranking of Albums I’ve Found Through this Game

    1. (8/10) Liquid Swords
    2. Bizarre Ride II Pharcyde
    3. The Kinks Are the Village Green Preservation Society
    4. Black Sabbath
    5. Blackout
    6. Cosmo’s Factory
    7. Live at the Regal
    8. Mingus Ah Um
    9. Suicide
    10. Young, Gifted, and Black
    11. Ege Bamyasi
    12. The Stooges
    13. Golden Hour
    14. Houses of the Holy
    15. Modern Vampires of the City
    16. (7/10) A Seat at the Table
    17. Sound of Silver
    18. I’m Still in Love With You
    19. Time (The Revelator)
    20. Cheap Thrills
    21. The Emancipation of Mimi
    22. A Rush of Blood to the Head
    23. In the Wee Small Hours
    24. Tha Carter II
    25. For Your Pleasure
    26. Never Too Much
    27. First Take
    28. Close to the Edge
    29. If You’re Reading This It’s Too Late
    30. In the Aeroplane Over the Sea
    31. Amor Prohibido
    32. Music of My Mind
    33. (6/10) EL MAL QUERER
    34. Aftermath
    35. The Shape of Jazz to Come
    36. II
    37. Crooked Rain, Crooked Rain
    38. (5/10) Born This Way
     
  23. Flaevius

    Flaevius Left of the dial

    Location:
    Newcastle, UK
    #268 Randy Newman - Sail Away
    I am familiar with zero music as sung by Randy Newman, albeit recognise a couple of songs as covered by other artists. Twisted is the correct term for the title song, and Last Night I Had a Dream with its guitar work was the best of the five songs I sampled. I didn't feel a need to progress beyond the dancing bear. This kind of lounge/cabaret music just isn't my kind of groove, not an album's worth anyway.

    #267 Minutemen - Double Nickels on the Dime
    Minutemen - a band fully living up to it's moniker on this album, with the majority of its 'songs' clocking-in within the 1"something mark. One of the great 'punk-rock' albums of the 80s, I may have uttered a wistful sigh at seeing it on RYM in a 6-7-8 run for 1984 with The Replacements' Let It Be and Hüsker Dü's Zen Arcade. What a trio of albums, sadly one of which we won't get to review. Across an album that is unrelentingly angular and thrusting, the more unassuming moments are a breath of fresh air; e.g. the latin-sounding Cohesion, the jangling Do You Want New Wave, History Lesson, Part II checking-off some of the early punk influences.

    There are plenty of vibrant moments, the chug-chug/interlude/manic solo of Political Song being one of my favourites. Although the songs are vignettes, there is a lot of scope and breadth to the content and styles. Overall, Double Nickels on the Dime transcends it's genre.

    #266 The Beatles - Help!
    Help! Quite.

    [​IMG]
     
    Last edited: May 24, 2022
    Synthfreek and aseriesofsneaks like this.
  24. EyeSock

    EyeSock Forum Resident

    Location:
    United States
    265. Pavement - Wowee Zowee (1995)
    Producer: Pavement

    Wowee Zowee is the third studio album by American indie rock band Pavement, released on April 11, 1995, by Matador Records. Most of it was recorded at Easley Recording in Memphis, Tennessee, where some members of the band had previously worked on Silver Jews' 1994 album Starlite Walker. The album showcases a more experimental side of the band, marking a return to the clatter and unpredictability of their early recordings after the more accessible sound of their 1994 studio album Crooked Rain, Crooked Rain. Its eclectic nature ranges from mellow yet distorted melodies to noise and punk rock, while the lyrics generally explore humorous and cryptic themes. At nearly one hour long, Wowee Zowee is Pavement's longest studio album, filling three sides of a vinyl record. Side four was left blank.


    Upon release, Wowee Zowee received mixed reviews from critics, being generally deemed as a sloppy effort in comparison to its acclaimed predecessor. However, some reviewers highlighted its adventurous style and Stephen Malkmus' lyricism. Two songs from the album, "Rattled by the Rush" and "Father to a Sister of Thought", were released as singles in 1995, but neither were successful. Despite being notable for ruining any opportunity Pavement had to capitalize on the success of Crooked Rain, Crooked Rain, Wowee Zowee has retrospectively been reappraised in highly positive terms, with Rolling Stone including it in the magazine's 2020 edition of The 500 Greatest Albums of All Time. A compilation containing the album in its entirety as well as B-sides and other rarities, titled Wowee Zowee: Sordid Sentinels Edition, was released in 2006.

    Background and Recording
    Wowee Zowee is the follow-up to Pavement's acclaimed second studio album Crooked Rain, Crooked Rain, which was released in February 1994 and ranked No. 2 in The Village Voice's Pazz & Jopcritics' poll.[1][2] Although the band was starting to get some attention from the mainstream press, they were not interested in signing to a major label.[3]Eight months after the release of their second album, having toured non-stop for two years, Pavement decided to record their next album at Easley Recording in Memphis, Tennessee.[4] Singer and guitarist Stephen Malkmus, percussionist Bob Nastanovich, and drummer Steve West were familiar with the place because they had already worked on Silver Jews' 1994 album Starlite Walker there.[4]Unlike previous Pavement albums, Wowee Zoweewas recorded with all five members in attendance.[5]

    Although the recording sessions only lasted from November 14 to 24, 1994,[6] Pavement recorded many songs. Some were outtakes from Crooked Rain, Crooked Rain that were re-recorded with better equipment, while others had already been part of the band's setlist for a year.[4] Singer and guitarist Scott Kannberg also wrote a few songs. Previously, he would occasionally write some pieces for Malkmus to sing, but Malkmus encouraged him to sing his own songs this time.[3] The recording sessions, which typically started at noon and ended by 10pm,[3] were very spontaneous.[5] According to Malkmus, "it was just sprawl, just do whatever you want, and don't worry about it fitting together. The less it fits together, the better."[5] Pavement really enjoyed Memphis' relaxed vibe, and would often go out in between sessions to eat at barbecues and drink beer. When the recording sessions concluded, the band mixed and overdubbed the tracks at Random Falls in Manhattan, New York City in February 10–14, 1995,[6] the same studio where they had recorded Crooked Rain, Crooked Rain.[4]

    Wowee Zowee is the only Pavement album that was entirely sequenced by Malkmus.[7] The band ended up with more than 20 songs to choose from and originally considered the possibility of putting them all on a record.[3] Kannberg, who had sequenced their previous albums, preferred a cohesive set of roughly 10 songs that would flow together, but Malkmus was keen to include songs that were considered B-sides by the band.[7] Ultimately, a total of 18 songs were included on the album, filling three sides of a vinyl record. Side four was left blank, with an empty thought bubble printed on the label.[4] At nearly one hour long, Wowee Zowee is Pavement's longest studio album.[8] Malkmus explained that, in his mind, everything made sense. He also described the opening track, "We Dance", as "a little torch song thing", and felt that the track would work as a good introduction to the album because it would show that the band was doing something different.

    Music and Lyrics
    Wowee Zowee showcases a more experimental side of Pavement, returning them to the clatter and unpredictability of their early recordings after the more accessible sound of Crooked Rain, Crooked Rain.[10][11] Distortion and feedback are often combined with mellow melodies, resulting in many songs having unusual structures and disjointed musical styles.[10][11] Noise rock is prevalent on some tracks, like "Serpentine Pad" and "Best Friends Arm",[10] while "Flux = Rad" is a punk song that was described as reminiscent of Nirvana's "Territorial Pissings".[12] The opening track "We Dance" is a ballad that features acoustic guitars and piano,[13] while "Father to a Sister of Thought" is a quasi-alternative country song that uses a pedal steel guitar.[5][14] Malkmus played a Gibson SG with P-90 pickups on "Rattled by the Rush",[15] which also features occasional harmonica at points.[13] Due to higher production values, the album generally lacks the lo-fi aesthetic of its predecessors.[3]

    Most lyrics on Wowee Zowee explore humorous and cryptic themes. Although many songs give the impression that their lyrics are nonsensical, they can unpack a meaning on further inspection.[16] For example, "Grounded", which suggests that something bad might happen after a doctor leaves for a routine holiday while his unsupervised teenage daughter parties, can be interpreted as an account of middle class decadence.[16] The song "Half a Canyon" mostly focuses on an over-driven guitar sound that Malkmus had never heard before. The lyrics are meaningless and were simply added for decoration; Malkmus said that he screamed so hard towards the end of the song that he scared himself. He thought that he would have an aneurysm and decided to never scream like that again.[9]Kannberg's "Kennel District", which was described as a fuzzy power pop song,[17] is considered one of the album's most accessible songs because it features a traditional verse-chorus-verse structure.

    Contemporary Reviews
    Chicago Tribune 2.5/4
    The Guardian 1/4
    Los Angeles Times 2.5/4
    Q 3/5
    Rolling Stone 2.5/5
    Select 4/5
    Spin 7/10
    The Village Voice A

    Retrospective Reviews
    AllMusic 4.5/5
    The Rolling Stone Album Guide 4/5
    Spin 5/5
    Uncut 4/5

    Audience Reception
    82/100 from 269 users, #62 for 1995 - AlbumOfTheYear.org
    8.6/10 from 1,458 users - AllMusic
    4.1/5 from 118 users - Musicboard
    3.83/5 from 9,944 users, #21 for 1995, #989 overall - RateYourMusic.com

     
    ARK likes this.
  25. NettleBed

    NettleBed Forum Transient

    Location:
    new york city
    Wowee Zowee
    A
    It's funny how few of the publications for music reviews "got" this album back when it was released, but by the end of the '90s most were calling it a classic. Glad to see it on the list, but it and Crooked Rain (434???) would be much higher on my own list.
     
    Last edited: May 25, 2022

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