Album Mini-Reviews
Year:
1980 I know I'm probably going to get killed for saying this, but I think Back in Black is a tad overrated. For an album that is supposedly one of rock 'n' roll's finest, I found it surprisingly bland. The main problem I have with the album is the lack of variety. The album starts out excellent, opening with the devilish-sounding "Hells Bells." However, by the fourth or fifth track, it begins to get stale. The non-stop power chords of Angus Young and the over-the-top vocals of Brian Johnson become irritating and redundant. Perhaps if there were a slower song or two, the album would feel more balanced. This, of course, doesn't mean the album is bad. I enjoy listening to the album, but only in small doses. There's enough to keep a true hard-rock fan occupied, but as for myself - I prefer a little bit more of a variety in my music. RATING: C Year:
1978 I am seriously convinced that this is the ONLY English review of this album on the web. Yep, it's a rare one. Having said that, Wheels of Time delivers a good dose of prog-rock. Highlights include the amazingly addictive opening track, "Vrindavan." Also, the psychedelic epic "Wheel of Time" shines with an excellent harpsichord solo. Finally, "The Game," sounding surprisingly like a Beatles song, is the most enjoyable song I've heard in a while. This isn't exactly up to par with the works of Yes or Genesis, but overall it's decent, albeit average album that is worth a listen. RATING: C+ Year:
1967 Listening to Smiley Smile is a lot like looking at the aftermath of a hurricane. As everyone knows, The Beach Boys' SMiLE project was cancelled due to Brian Wilson's unstable mental conditions. As a result, the band gathered what was left of the SMiLE sessions and released this album. In short, this album could have been a masterpiece. Most of the material is consists of outtakes and demos. However, that's not to say that the album is a complete disaster. The two completed song, "Heroes and Villians" and "Good Vibrations" are masterpieces in their own rights. Carefully balancing pop melodies with artistic music arrangements, these two songs are among the best in the band's catalog. Unfortunately, the rest of the album unfinished, which is sad considering the album is bursting with potentional. With obscure tracks such as "She's Goin' Bald" and "Wonderful" it's easy to see that Brian was definitely onto something. Perhaps I am downplaying Smiley Smile more than I should. After all, it is creative, and it does show the psychedelic side to the The Beach Boys. However, if you want to experience what Brian originally had in mind, pick up 2004's SMiLE, a recreation of one of the most sought upon albums in pop music history. RATING: C+ Blue Oyster Cult - Fire of Unknown Origin Year:
1981 Wow...the 1980s hit Blue Oyster Cult like a brick. This definitely isn't the same Cult I remember from Agents of Fortune or Secret Treaties, but this is still some damn good eighties rock. The album opens with the catchy title track. Between the generic guitar playing and the use of background synths, many might feel the urge to throw their CD player out the window. Nevertheless, the title track is harmless enough, but this album foes have more to offer. For example, "Vengence" and "Veteran of the Psychic Wars" are both cleverly constructed rockers, each with unique qualities that allow them to take on a life of their own. Also, "Sole Survivor" and "Don't Turn Your Back" are two brilliant 80s pop songs, the latter featuring some very creative chord changes. However, the best song on the album is easily "Joan Crawford." This is one of the strangest, darkest, most bombastic songs I've ever heard! Two songs really bug me, though. First, "Heavy Metal: Black and Silver" sounds too much like Whitesnake for my liking. Also, "After Dark" is another cheesy pop song, but this one's not clever - it's just plain irritating (save for an excellent guitar solo). Overall, the Cult has seen better days, but Fire of Unknown Origin is still better than most albums of the decade. By the way, this album also features the Cult's biggest hit of the decade - "Burnin' for You." Just throwin' that out there in case you haven't heard it enough on the radio. RATING: B+ Camel - I Can See Your House From Here Year:
1979 I Can See Your House From Here is one of those albums that borders between two genres of music. On one hand, songs such as "Wait" and "Your Love Is Stranger Than Mine" are typical 70s pop tracks. On the other hand, "Eye of the Storm" and "Ice" represent Camel's signature progressive rock style. Some noteworthy moments include the beautiful keyboard work in "Eye of the Storm," as well as the string section in "Who We Are." It's the pop tracks, however, that tend to dominate the album. The pushy, yet catchy "Wait," does a great job starting the album, and "Your Love is Stranger Than Mine" features an excellent sax solo towards the end. In the end, it's an excellent mix between two genres that should appeal to both pop-rock fans and progressive rock enthusiasts. Also, the album is short - at only 45 minutes long, it's great for a quick listen. RATING: B+ Year:
1977 Seconds Out is a double live album that portrays Genesis at their very best. The whole album is excellent, but there are a few parts that just completely blow me away everytime I listen to them. First, the extended jam session in "I Know What I Like" is just plain awesome. Next, the closing section of "The Cinema Show" is the most exciting piece of music I have ever heard in a live performance, thanks to Chester Thompson and Phil Collins' incredible drumming. Finally, the last movement of "Los Endos" once again features remarkable percussion work. As much as I like the album, I have a few complaints. First, the mixing isn't as good as I would have liked. Steve Hackett's guitar work is barely present, as it is overshadowed by just about every other instrument. Also, "The Carpet Crawl," sounds a bit too slow from compared to the studio version, and "Robbery, Assault, and Battery" just sounds awful. Nevertheless, if you're a fan of early Genesis work, this is definitely worth a listen. One more note - don't be throw off by Phil Collins as the lead singer - he does an excellent job replicating Peter Gabriel's vocals. RATING: B+ Year:
1986 Oh boy...where do I begin? I have mixed opinions about this album. On one hand, I think this is a fine example of pop music from the 1980s. On the other hand, I hate how Genesis is only remembered for the music on this album. Think about it - five of the eight tracks here are still in regular rotation on mainstream radio. To completely dismiss their career from the 1970s is unforgivable. As far as the music goes, it's actually not as bad as people say. Sure, it's no Selling England By the Pound, but it has its moments. The most recognizable song here is probably the title track, complete with its cheesy synth chords and catchy hooks. "Anything She Does" follows that pattern, even thought the opening sounds like the theme song to America's Funniest Home Videos. The pop classic here is, of course, "Land of Confusion," which is probably the only track that actually "rocks." "In Too Deep" is a sappy Phil Collins love song, but "Throwing It All Away" is perhaps their best ballad since "Follow You Follow Me." My favorite track, however, is "Tonight, Tonight, Tonight." At first it starts off with an ominous drum beat (think "Mama: Part Two"), but it actually turns out to be a very emotional song about drug addition. The two remaining songs, "Domino" and "The Brazilian" attempt to return to the band's progressive roots. "Domino" is actually a very nice two part epic about war, though it would have sounded better without all the synth. "The Brazilian" is an instrumental that also suffers from having too much synth. In retrospect, the over-the-top production values and use of synthesizers make this album sound dated, but if you are a fan of 80s pop, you'll probably enjoy this album. If you're a die-hard prog-rock fan, however, stay far away. RATING: C Year:
1968 Before they became one of progressive rock's leading bands, Jethro Tull started out as a blues-rock act. Having said that, This Was is a pretty strong debut album. There's a lot to like here, despite the fact that most of the songs are based upon a blues riff. Aside from the standard blues-based rockers ("My Sunday Feeling,"It's Breaking Me Up"), there's also a good number of improvised instrumentals. "Cat's Squirrel" is an impressive five-minite guitar piece, whereas "Dharma for One" is essentially a four-minute drum solo. Jazz lovers will probably like "Serenade to a Cuckoo," a six-minute jam complete with a swinging bass line and soulful flute playing by Ian Anderson. Other tracks include the short (but sweet) "Move on Alone." Featuring a powerful brass section, this is easily one of the strongest pieces on the album. "A Song For Jeffery" is another winner, bearing a strong resemblance to the early works of Led Zeppelin. The only track that doesn't really work is the album's closer, "Round." Granted, it starts off nice, but it really doesn't go anywhere after that. So, even though this is no Thick as a Brick, Tull's debut album is still a fine display of blues rock in the late 60s. RATING: B+ Year:
1975 Though forgotten, I've always considered Masque to be one of the better albums in Kansas' catalog. The album is filled with great straight-out rock tunes. The album opens with "It Takes a Woman's Love (To Make a Man)." Not exactly a profound statement, but it's one of the few Kansas songs that actually features a saxaphone solo. "Two Cents Worth" is another great rocker with a funk-driven bassline. Although there are a lot of rock songs on this album, Kansas' signature progressive sound can also be heard throughout. "Icarus: Borne on the Wings of Steel" is a mini-epic which tells the story of the legendary Greek icon. Furthermore, "All The World," starts out as a poignant (yet preachy) ballad, but quickly enters progressive rock mode with complex rhythms, extended keyboard solos, and of course, Robby Steinhardt's violin. The album has it's bad moments, including the irritating pop song "It's You." It's a pretty useless track, but aside from that, Masque is a great mix of straightforward rock and progressive rock. If you are new to Kansas, this is a great place to start. RATING: B Little Feat - Waiting for Columbus Year:
1978 Waiting for Columbus is a treat for both hardcore Little Feat fans and newcomers alike. A double live album, Waiting features some of the band's most treasured songs. Tracks such as "Fat Man in the Bathtub," "Spanish Moon," and "All That You Dream" are brought to life in their live setting. Furthermore, the production is flawless. This is one of the few live albums I've heard where the audience levels is just right. Also, subtle changes, such as the brief Dixieland brass segment in "Dixie Chicken," set each track apart from their album counterparts. Aside from the tunes mentioned above, highlights also include the extremely funky "Mercenary Territory," and "Triple Face Boogie," which is filled with enough southern hospitality to please any Skynryd fan (plus - it features a kickass synthesizer/keyboard solo). I t's hard to find any faults on this album. Well, okay - things DO slow down a bit after "Rocket in My Pocket," but with all due respect, it is never so boring where you feel forced to turn it off. If you've never heard Little Feat before, Waiting for Columbus is the place to start. Not only is it an incredible demonstration of southern rock at its finest, it is also one of the best live albums I've ever heard. RATING: A- Year:
1977 With the help of Jim Steinman, Meat Loaf's Bat Out of Hell is a treat to any fan of 70's glam rock, or just rock in general. What I like most about the album is its immature atmosphere. With lyrics such as "we were barely seventeen and we were barely dressed," the album fails to take itself seriously. However, somehow Meat Loaf and Steinman make it all work - creating a vibrant, humorus, and sometimes downright sad concept album about two teenage lovers. Musically, Bat Out of Hell doesn't disappoint. Many genres are represented on this album - from the proggresive elements used in the album's title track, to the Led Zeppelin-esque hard rocking finale of "All Revved Up And No Place to Go." In addition, Meat Loaf's powerful vocals prove that even the silliest of albums can show intense emotion. Of course, not everyone will enjoy the lack of seriousness in Bat Out of Hell, but for those who don't mind a little fun in their music, it's worth a listen. RATING: B+ Meat Loaf - Bat Out of Hell II: Back Into Hell Year:
1993 Those who enjoyed the first Bat Out of Hell will probably enjoy the sequel as well. Meat Loaf and Jim Steinman team up for the first time since 1977 to create an album that captures the absudity of it's predecessor. However, things seem a little bit more serious this time around. While the original had playful tunes such as "You Took the Words Right Out of My Mouth" and "Paradise by the Dashboard Light," the majority of Bat Out of Hell II is comprised of somber tunes such as "Objects in the Rearview Mirror May Appear Closer Than They Are" and "It Just Won't Quit." Thus, as a disclaimer, I must warn you that this album is not as quirky as the original. Of course, that doesn't mean that it isn't as good as Bat Out of Hell. In fact, in many ways, Back Into Hell actually improves on the original. First of all, there is more of a variety in the track selection this time around. Having four more tracks than Bat Out of Hell, you won't find yourself listening to the same songs over and over again (a small problem I had with the original). Also, due to the album's seriousness, the songs are more insightful, and with Meat Loaf's intense vocals, you can really feel the emotion represented in the lyrics. Bat Out of Hell II is a great follow up to the groundbreaking 1977 album. RATING: B+ Year:
1969 In the late 60s, Miles Davis, who was already responsible for pioneering the styles of "cool" and "modal" jazz, was on the verge of yet another breakthrough. Inspired by artists such as Jimi Hendrix and Sly and the Family Stone, Miles began incorporating rock and roll elements into jazz. Though Miles made several attempts at fusing the two genres, he finally perfected the formula with In a Silent Way. The entire album is basically one big jam session. Actually, it's several long jam sessions pasted into one. The album only consists of two tracks, both of which are over 18 minutes long. The first track, "Shhh/Peaceful," is a free-form jam at its best. Having absolutely no musical direction whatsoever, some listeners may find it hard to grasp due to the lack of a main melody. The second track is a bit more structured than the first. It begins with a goregous rendition of Josef Zawinul's "In a Silent Way." This is, without a doubt, the most atmospheric piece of music I've ever heard by a jazz artist. Period. The piece slowly forms into an all-out jazz-rock jam (dubbed "It's About Time" by Miles himself). It has all the fascinating improvisation of a jazz piece, yet it's based solely on a rock and roll melody. Yet, as groundbreaking and melodic as this piece is, it's still a bit long-winded for the casual listener. While "In a Silent Way's" endless jamming may not appeal to everyone, it is still a fascinating album which has stood well against the test of time. If you want to listen to some more accesible jazz-rock fusion, try Chick Corea's work with Return to Forever (or better yet, Herbie Hancock's Headhunters.) RATING: B+ Pink Floyd - Dark Side of the Moon Year:
1973 While it may be arguable whether or not this is the best Pink Floyd album, it is definitely one of the best classic rock albums ever made. What separates it from other albums from the decade is its theme. Instead of focusing on love, sex, and drugs, Dark Side of the Moon focuses on life's other assets - money, time, and the universe. Musically, Dark Side is phenominal. From the moment you first hear the opening track "Breathe," you'll be caught up in one of the most atmospheric albums you'll ever listen to. David Gilmour's timeless guitar playing serves as the spine of this album, but Richard Wright, Nick Mason, and Roger Waters all have their fair share in the spotlight. Sure, I could focus on each individual track, but what would be the point of that? In order to experience Dark Side in its fullest, you have to listen to the album in its entirety. Because it's only $9.72 at Wal-Mart; there's no excuse for not owning it. RATING: A- Year:
1974 An EXTREMELY underrated album. Queen II is a great improvement from their debut album. Basically, it has what the first album lacked - energy, and more importantly - variety. Nearly every song has a unique feeling and style. Tracks such as "Father to Son" and "The Loser in the End" are standard 70's classic rock songs, but others such as "White Queen" and "The March of the Black Queen" dip into the sounds of proggresive rock. Some of the album's slower songs are "Some Day One Day," an acoustic balland performed by Brian May, and the short-but-sweet "Nevermore", which demonstrates the power of Freddie Mercury's falsetto vocals. With the possible exception of "Seven Seas of Rhye," none of these songs are extremely popular. However, don't be turned off by the lack of popularity - Queen II is one of the best sleeper hits I have ever listened to. If you're a fan of classic or proggressive rock, be sure to check it out. RATING: A- Year:
1976 For many bands, the fourth album is coincidentally the turning point in their career. Queen's A Night at the Opera is no exception. Having released three sleeper hit albums, Queen finally struck gold with this one; and it's not hard to see why. All of Queen's trademarks are here - Freddie Mercury's falsetto vocals, operatic harmonizing, and Brian May's engaging guitar work. Unlike the previous albums, there is rarely a dull moment on this one. "Death on Two Legs," "I'm in Love With My Car," and "Sweet Lady" are high-quality classic rock songs. "You're My Best Friend" is a light-hearted pop-rock ballad. "Lazing on a Sunday Afternoon" and "Seaside Rendexvous" are Queen's homage to early 20th century music. "'39" is an acoustic ballad which is played and sung beautfully by Brian May. And finally, "The Prophet's Song" and the overplayed yet amazing "Bohemian Rhapsody" are two epic songs that venture into the world of progressive rock. The album ends with a beautiful rendition of "God Save the Queen," or for us Americans, "My Country 'Tis of Thee." Even after all these years, A Night at the Opera stands as one rock's most enjoyable albums. Rating: A- Year:
1988 Here's another album that has "80s" written all over it. There's no doubt about it - Now and Zen is full of dated synthesizers and overemphasized drum beats. Yet, it's still an enjoyable listen to the average rock fan. Led Zeppelin fans might enjoy the saavy "Tall Cool One," a rocker featuring the legendary Jimmy Page on guitar. Furthermore, the song ends with a short collage of classic Zeppelin tunes. The rest of the album is filled mellow, but not necessarily light rock. The opener, "Heaven Knows," is a brillantly crafted, choral-based pop song. It's synth-driven follow-up, "Dance On My Own" also shines. "Why" is another strong track, using a female vocalist for backup. Finally, if there's one song on this album that doesn't sound dated, its "Ship of Fools." This mystifying ballad manages to keep the synth to a minumun. As expected, there's some unmemorable tracks here and there, but overall this is one of the better albums from the 1980s. Just don't expect it to sound like early Zeppelin. RATING: B Robin Trower - Caravan to Midnight Year:
1978 With Caravan to Midnight, Robin Trower continues his funk trip which was started with 1977's In City Dreams. Every song here contains the traditional "wah-wah" guitar effect that is used in most funk music. As a result, this album is a bit more mellow than what you'd expect from Trower. The tracks "My Love (Burning Love)," "Fool," and "King of the Dance" rock the most, each complete with memorable choruses and classic guitar riffs. The title track is an overdubbed guitar instrumental which, in my opinion, is even better than the popular "Daydream" from Twice Removed from Yesterday. With its beautiful vocals and imagery, "Lost in Love" is easily the highlight of the album. "It's For You" sounds more like a lost Steely Dan tune than Trower, and "Birthday Boy," while melodic in its own right, is just plain out of place here. Caravan to Midnight is the kind of album I like listen to late at night. The overabundance of "wah-wah" create a relaxing atmosphere which is perfect after a hard day at work. However, if you want to hear Robin Trower in his traditional blues-rock flavor, stick with one of his earlier albums. RATING: B Supertramp - Even in the Quietest Moments Year:
1978 While it's hard to top the perfection of 1974's Crime of the Century, Supertramp came pretty damn close with this album. Hell, "Fool's Overture" alone is worth the price of the album. The song opens with one of the most gorgeous piano chord sequences I've ever heard. Then, after a brief spoken vocal section, the main melody kicks in. This piece demonstrates what I love most about Supertramp - clever instrumentation, emotional lyrics, and of course, a killer piano. The bluesy ballad "From Now On" takes the silver medal. With its beautiful vocals by Rick Davies and chorus-driven finale (think "Hey Jude"), the song remains one of Supertramp's most poignant ballads. Downstream, a duet between Davies an his piano, proves that even the most simplistic songs can be memorable. Other songs include the imagery-filled title track, the flamboyant "Lover Boy," and "Babaji," which sounds more like an early version of "The Logical Song" than anything. The only track I tend to skip is "Give a Little Bit." It's not a bad song, but its easily the most overplayed song in their catalog. Like I said before, Crime of the Century may be Supertramp's finest hour, but Even in the Quietest Moments is a close second. RATING: A- Tears For Fears - Songs From the Big Chair Year:
1985 Songs From the Big Chair is a great pop album. Some may see it as just another forgotten piece of trash to come from the 80s, but in reality it is actually a huge change from much of the decade's music. While their first album was more or less a new wave album, Songs From the Big Chair uses complex melodies combined with catchy lyrics. This mix is especially apparent in songs like "Mothers Talk," "Shout," and "Head Over Heels." Overall, the album moves at a steady pace, despite the slight slowdown of the B-Side opener, "I Believe." Not many albums have managed to stand the test of time as well as Songs From the Big Chair. Get it - you won't regret it. Rating: B Transatlantic - Bridge Across Forever Year:
2001 Well, hell must have frozen over because I'm reviewing an album that was released in this decade! Transatlantic is a supergroup composed of today's most popular progressive rock artists, including Neil Morse (Spock's Beard), Mike Portnoy (Dream Theater), and many others. Most of these musicians are known for playing progressive metal, but most of the music here is a throwback to 1970s prog-rock. Two of the album's four tracks ("Duel with the Devil" and "Stranger in Your Soul") are over 20 minutes long. These so-called "epics" are filled with diverse musical passages, spacey lyrics, and incredible musicianship. At times, they drag on a bit too much, but it's nothing as bad as say, Yes' Tales from Topographic Oceans. "Suite Charlotte Pike" is another song that is a bit too long, clocking in at approximately 15 minutes. The beauty of this track, however, is its Beatles-like hooks and melodies. If anything, the tune will remind you of the second side of Abbey Road (albeit longer). Finally, the title track is a ballad which sounds nothing like the other three songs, yet is beautiful nonetheless. Neal Morse's vocals may seem a little overbearing at first, but they begin to grow on you over time. Bridge Across Forever is a solid album which touches upon several styles, contains recurring musical themes, and showcases many talented musicians. Yes, some of the songs run longer than they should, but there is enough variation to keep you listening. Highly reccomended! RATING: B+ Year:
1988 OU812 is yet another example of how Van Halen was able to continue their strong career despite loosing David Lee Roth. Fans of 5150 will most likely enjoy this album. It follows the same format: there's an equal mix of classic Van Halen rockers ("A.F.U," "Black and Blue") as well as a few well-written power ballads ("When It's Love," "Feels So Good"). Other tracks include the Hagar-influenced travel song, "Cabo Wabo," and "Finished What Ya Started" -- a song that could have easily been sung by David Lee Roth. Sure, there's some filler on the album, but most of it is just good ol' rock 'n roll. Definitely worth a listen, if not just for the songs mentioned. RATING: B Year:
1983 Wow...this is Yes? It's hard to believe, but the band that once gave us progressive masterpieces such as "Siberian Khartu" and "South Side of the Sky" sank deep into the pop-rock scene of the 80s (with the help of Trevor Rabin). No, 90125 is not a bad album. In fact, I really like the album. Out of the album's 9 tracks, 7 manage to fully capture my interest. Every song contains upbeat rhythms and memorable choruses. However, like most pop-rock of the '80s, this music can be overwhelmingly...estatic (for lack of a better term). As irritating as it can be, there are some excellent tracks on this album. "Owner of Lonely Heart" not only has a memorable guitar riff and chorus, but it also managed to be Yes' only #1 hit. "Leave It" is one of the more memorable pop songs of the decade, with an a-capella intro to a synth-filled finale. And finally, "Hearts" is the only song on the album that manages to capture the classic Yes spirit with a powerful chorus and various melodic changes. Overall, it's a good album, but many proggesive rock fans will probably shy away from its commerical sound. If you're a hardcore fan of their 1970's output, you'd better skip straight to 1996's Keys to Ascendtion. RATING: C Yes - Highlights - The Very Best of Yes Year:
1993 While Highlights doesn't really offer an extensive look into the Yes library, it's a great start for newcomers. All their signature hits are here: "Roundabout," "All Good People," and of course, "Owner of a Lonely Heart." Other tracks include two song from Yes' early days - "Survival" and "Time and a Word;" two '80s pop songs - "Leave It" and "Rhythm of Love;" and two slower songs to balance the album - "Wonderous Stories" and "Soon." Even better, the tracks on the album are in chronological order, so listeners can hear how the band's sound has changed throughout their career. Long time listeners of Yes won't find anything new here, but if you're looking to get into Yes or proggressive rock in general, this is a great album to start with. RATING: B Year:
2001 For their latest (and presumeably last) studio album, Yes did something that they haven't done since the early 1970s - they hired an orchestra. What's the matter guys - one of your twenty-seven former keyboardists turn you down this time around? All kidding aside, the orchestra sounds wonderful. Unfortunately, the band does not. Jon Anderson brings a whole new meaning to the term "monotone." Steve Howe and Alan White do their things well, but neither of them are on par to what they are capable of. As for Chris Squire, well...is he even on this album? Yet despite the lackluster performances, this really isn't a bad album. The orchestra adds a whole new layer to the already established Yes sound. For example, in the rocker "Spirit of Survival" the tension that builds in the beginning is brought to life by the fluttering brass section. Also, the string intro to "Give Love Each Day" is very powerful. "Don't Go" is the "I want to hate it, but I can't" track of the album. Like "Face to Face" from The Ladder, it's so lame that it's actually good. "Can You Imagine" features Steve Howe as the lead vocalist for a change, although Anderson still sings backup. Lyrically, this is your standard Yes fare, filled with space-like themes, love, and so on. However, it should be noted that the lyrics are generally easier to understand than, say, Close to the Edge. Overall, Magnification may not be the best example of their talent, but I commend Yes for at least trying something different. Because it is considered a value CD, you can probably find a copy for under five dollars at most music chains. RATING: B |