I have London Calling laying around somewhere I think i'll put ti in again.

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The Cure - Disintegration (1983)
WARNING: YOU ARE ADVISED TO WATCH THIS BEFORE READING THE REVIEW
YouTube - south park with robert smith
The Cure is an example of how to improve and grow as a band perfectly. In addition Robert Smiths incredible commitment to production of music at every level and attention to detail drives them to this peak. 1983's Disintegration marks the perfect storm of The Cure’s young raw dark and angry side and their more self aware musically efficient evolution. It is an intentionally bleak album and performed primarily in minor keys. The album has both the mayhem of their musical infancy and a new level of song construction and consistency as Smith orchestrates his finest composition. “Plainsong” transports you into the world of the Cure and applies Disintegrations first calming wave of sound. “Pictures of You” is the first song that grabs your attention, written about a fire in Smiths home and the remains he found, it is considered one of the bands greatest efforts. “Lovesong” had a resurgence recently when it was covered and quite well by 311. Still if you’d heard both versions you’d think the later was simply a live or alternate version by the Cure. Their unmistakable pulse carries the song along from start to end. The ominous single “Fascination Street” in a beautiful construction and an equal commercial success. Title track “Disintegration” is about as upbeat as the album gets but this is The Cure. Like most of the tracks on the album it pulls you into its blissful misery, it having a particularly strong hold. The penultimate “Home Sick” is one of the most perfectly titled tracks ever. The Cure being my sister’s favorite band of all-time it has always reminded me of home. A instrumental driven album with well placed and perfectly fitting vocals the “Untitled” final track is like a closing credits that you stay for out of respect for the movie of the whole and because you just have to have more. Fin.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Lovesong


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Nirvana – In Utero (1993)
Teenage angst has paid off well. Nirvana’s third and ultimately final effort is marked by what is to their unmistakably best composition. The Guitar in “Serve the Servants” had me thinking Beatles the moment I heard it. The album as a whole explores many directions but never fails to provide results. Following the satisfying group composition “Scentless Apprentice” is the first mainstream eye opener “Heart Shaped Box” with is magnetic rhythms and it’s an abrasive hazy chorus. Written by Kurt in five minutes in a closet so the story goes. The minimalist opening to “Rape Me” serves to provide greater impact with its energetic chorus. Even MTV refused to play the music video to the song and for obvious reasons it drew ire from feminist groups. Pushing On. Of “Frances Farmer will have her Revenge on Seattle”: Frances Farmer was a radical atheist and accused communist from the Seattle area and perhaps it’s Cobain, a similarly controversial character in a more progressive time, who is enacting said revenge. Just a thought, decent song anyway. With its opening lyrics becoming a sort an honorary eulogy for Cobain (“The Sun is gone but I have a Light”) “Dumb” is another example of Cobain’s pensive song writing. I probably prefer the live version of “Pennyroyal Tea” but there is satisfaction in one of the deepest self examinations of any of Kurt’s songs in any form. “Radio Friendly Unit Shifter” is a middle singer pointing at every radio station as they plucked singles from the album because of demand. The swan song final track “All Apologies” was written three years prior and nipped and tucked to its form over the period between then and the release of In Utero. While Nevermind is responsible for making Nirvana explode they are remembered, in my opinion, because of In Utero.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Heart Shaped Box


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Queen - A Night at the Opera (1975)
A look into the more progressive side of Queen, “A Night at the Opera” is over the top, enjoyable as hell and has some moments of musical majesty. There is no shortage of production value here; in fact it was billed as the most expensive album ever made at the time of its release. Thanks to the book about the album I have some nice nuggets here. “Death of Two Legs” is a playful but angry letter directed towards the bands former manager and a truly appropriate introduction to the insanity. After a brief respite with “Lazing on a Sunday Afternoon” it transitions to “In Love with my Car” Roger Taylor’s crowning achievement in terms of song writing of lead vocals. The powerful vocals and excellent range Taylor demonstrates has made it a Queen standard. John Deacon’s proudest moment from the album must be “You’re my best friend” a semi-traditional pop hit amongst the chaos. In true romantic pop fashion the song was written for and about his wife. Brian May attempted to fuse Jazz, Blues and Folk (that’s right skiffle fans) into he’s ode to a fictional group of bizarrely fated space travelers title simply enough “39”. The Chorus is a delightful success and the verses are folksy enough to pass though the rest of the song is a bit out there, it could only be home in “A Night at the Opera”. May follows that with naturally the heavy metal “Sweet Lady” which trails into “Seaside Rendezvous” which has a notable bridge performed completely by the vocals of Freddie Mercury and Roger Taylor. You don’t have to like this song to realize its pure evil genius which makes Queen of the best acts ever. “The Prophets Song” is about a dream May had with Mercury on vocals, a powerful compilation highlighted by a vocal and instrumental canon in the middle of the song, by the timed its plucked acoustic outro concludes its Queens longest track ever. Mercury’s simple ballad “Love of my Life” is a foreshadower of the epic “Bohemian Rhapsody” which follows Brian May’s “Good Company” a Dixieland style ditty featuring a humming ukulele accompanied intro and verses. Another story telling song the narrator is rewarded with his own Limited Company and the listener is dropped off at the door step of “Bohemian Rhapsody” which was known as “Freddie’s Thing” during its embryonic stages it evolved into the bands Magnum Opus and gave birth to the music video concept. While Mercury was shy when it came to discussing the meaning of his songs he made no effort to hide the pride he felt and personal resonance the song held for him. The electric version of the traditional “God Save the Queen” is Brian May’s tribute to Jimi Hendrix and a most fitting end for an excellent album.
Musical Content: ****
Artistic Content: *****
Impact: ****

Favorite Song: Bohemian Rhapsody

Stunning choice for DISINTEGRATION. A great, great album. A bit higher in my top 100, a nice succinct review too.

I respect Queen but I can't say I like them. In Utero would have been higher on my list. In the high forties probably.

An album I never get bored of playing. It is one of the most complete albums ever made. They have made some tracks that are better, but this is a great package.

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Pink Floyd – The Wall (1979)
Pink Floyd’s “The Wall” is of course a rock opera concept album and if you didn’t know I am a total sucker for the format. This is one of many that will appear on the list so if you don’t dig the Progressive concept stuff, this is not the review for you. The eighty minute masterpiece chronicles the story of Pink the protagonist and survivor of childhood trauma. His tale is one of isolation out of anxiety turned to fame and fortune only to find the same need for seclusion. After completing his “wall” to the outside world, Pink goes mad and obligations of his notoriety afflict his madness on the outside world. Musically the Wall is near perfection it tells the story note by note and supplies poetic narration with each verse. The first five tracks include the first two sections of “Another Brick in the Wall” tell the story of Pinks childhood up until grammar school and allude to the events that have lead to Pinks current state of being. “Mother” is a wonderful and concentrated track narrating a macabre type of motherly instinct in action. The Depression is still haunting the protagonist however in the next track “Goodbye Blue Sky” which despite its innocent appearance has a sinister tranquility that you can’t help but feel. The next portion of the album addresses Pink’s rise to stardom entrance into marriage and contemplation of abandoning construction of the wall but eventually in part three of “Another Brick in the Wall” he completes it in response to his wife’s betrayal. The final track of the first record is “Goodbye Cruel World” indicates Pink’s complete withdrawal from the outside world. The second half of the experience starts with “Hey You” the first song on the second side is out of its intended order and was cut from the film. It was intended to be the prelude to what is in my opinion the musical highlight of the album “Comfortably Numb” A rhythm driven song with two outstanding Gilmour guitar solos. Following Comfortably Numbs’ eerie atmosphere is another disquieting allusion in “The show must go on” which shows Pink’s angst and frustration with the burden of fame. The next three tracks are a psychedelic departure into a hallucination of Pink as a fascist dictator. He snaps out of it just in time for the penultimate chapter of the story “The Trial” with amazing vocals by Waters and complex song composition requiring over the top musical execution. Detailing Pink’s self afflicted examination in the form of a courtroom trial. Despite the verdict “The Wall” stands as one of my favorite Rock Operas of all-time and among the best stories told within one.
Musical Content: ***
Artistic Content: *****
Impact: ****

Favorite Song: The Trial



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Green Day – American Idiot (2004)
I was surprised to see how poorly this album was regarded by this forum; I still think its brilliant and critically the best of 2004. For me it conjures up images of the Who, Pink Floyd and the Beatles and seems like a band producing the best they are capable of in any given genre. Beyond the unnecessary title track you enter a, you guessed it Rock Opera, beginning the five part introduction “Jesus of Suburbia” which presents Jimmy the title character aka Jesus of Suburbia. The punk rock eponymous first fifth transitions in the ascending “City of the Damned” showing Jimmy’s feelings of isolation similar to the Wall’s Pink. The energetic middle section “I Don’t Care” serves to turn the energy in a more ominous direction as “Dearly Beloved” and it’s soothing chimes serve to confuse the issue further, leading into the final movement “Tales of another broken home” which brings resolution to the introduction with Jimmy leaving behind the city he calls home. Despite its borderline retarded message “Holiday” is a wonderfully addictive song and a lot of fun with wonderful crescendo and lyrical phrasing. The radio played the shit out “Boulevard of Broken Dreams” I’ll give you that, but has not stopped me from appreciating it just the same. In addition to moving along the story and showing the state of Jimmy on his travels it is a solid instrumental composition from a band whose singles are noted for being such. The anthemic chorus of “Are we the Waiting” coupled with its powerfully simple verses and creative imagery created via poignant lyrics act to validate it as a concept album musically and artistically. The protagonist’s second title track “St. Jimmy” is a pure punk romp from the doppelganger alter ego of Jesus of Suburbia which is followed by the appropriately relaxing “Give me Novocaine” a mirror of “She’s a Rebel”. The songs present Jimmy and Whatshername respectively from the others perspective this serves to show the union of the two a sort of exchanging of vows. Their relationship is detailed in the next two songs “Extraordinary Girl” and “Letterbomb”. Before the eccentric conclusion Billy Joe's personal ballad “Wake me up when September Ends” soothes you with a comfortable build up from isolated lyrical recounting to electric hard rock anthem. before bleeding out into the “Homecoming” the five part counterpart and climax of the story. Beginning with victorious “The Death of St. Jimmy” announcing the removal of Jimmy’s destructive alter ego before modifying into East 12th street as Jimmy fills out police work as a metaphor for his ambivalence to his burdens. The middle movement “Nobody Likes You” was originally written to relieve stress created by making the album. Turns out it fit perfect as a light hearted intro to the heavy handed “Rock and Roll Girlfriend” and bends into Jimmy’s announcement to return home in “We’re coming Home Again” which leaves an indelible mark with its deliberate methodical drumming and affecting purposeful lyrics. In my opinion it should have ended the album and will end my review. Except for noting that if the master tracks of what was intended to be their seventh album were not stolen this would never have been made.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Homecoming





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The Mighty Mighty Bosstones – Let’s Face It (1997)
This album is overrated on my list, I am sure of it, but I can’t help myself. If you have a band and you want me to be a fan there are a few things you can do to increase your odds…#1 Add a brass section; #2 Have a lead singer with a distinctive voice; #3 Work Reggae into your music somehow. The Bosstones succeed at all three and never more impressively then in their fifth album Let’s Face It. Featuring the immensely popular “The Impression that I Get” with its memorable ska driven guitar rhythm and smashing horn section. It is the biggest single the band ever had and a song it’s tough to get tired of. Joining it as radio singles from the album were the surf music inspired “Royal Oil” and jazz ska “Rascal King” a personal favorite of mine from the first time I heard until today. In addition title track “Let’s Face it” has a great message and is presented in a quick passed brass powered way. There are heavier electric tracks as well like “A bug bit me” “Nevermind Me” and “Numbered Days” which is among the bands most overlooked and under-rated songs. To me it is their best lyrical effort on the album as well and has the most dynamic chorus despite its short length. The surreal “Another Drinking song” I’ve found serves its purpose quite effectively. “1-2-8” shows the greatest range in terms of song structure on the album, but that’s not what this music is for. The overwhelming strength of this album comes from its fluidity each song lends momentum to the next. It flows so nicely it’s over before you realize you put it on. Probably the last CD I bought on the day of its release at a store.
Musical Content: *****
Artistic Content: ***
Impact: ***

Favorite Song: Rascal King

the cure - disentigration

:whythis:

^Because spamminator 3000

Lolz

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Rage Against The Machine - Renegades (2000)
An album entirely comprised of covers would typically be left far of any best of list I compile but this is a certain exception. The immensely distinctive style Rage Against the Machine Brings to the creations of their musical idols and influences sets this album apart. From the get go with the influential “Microphone Fiend” (Original by Eric B and Rakim) with Zack’s distinctive painstaking vocals and Tom Morellos dynamic guitar interpretations driving it into your ear. The MC5’s “Kick out the Jams” is the next highlight as Rage brings it a whole new level of energy. “Renegades of Funk” is the fourth and probably best track on the album. De La Rocha deliverers such an emotional performance lyrically it’s impossible to escape. EPMD’s “I’m Housin” features Tim’s strongest isolated bass effort providing the basis of the songs groove. The playful interpretation of Cypress Hill’s “I could just kill a Man” is even better on the live version that finishes album. The helicopter that opens “The Ghost of Tom Joad” and it’s distortion fueled guitar lead ins are so good they almost make you forget it’s a Bruce Springsteen song they are covering. The Stones “Street Fighting Man” is one of the few disappointments from the album and is still a listenable track. In the tradition of Jimi Hendrix, Rage covers a Bob Dylan song and makes it a thousand times better. “Maggie’s Farm” was a wonderful protest song in Dylan’s hands, but Rage brings it to life with considerable liveliness. This is sadly the final offering we have from Rage Against the Machine to date, the unique dynamics of the band and their sound make them a favorite of mine. This will not be the last time they are heard from on this list.
Musical Content: *****
Artistic Content: ***
Impact: ****

Favorite Song: Maggie’s Farm


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Pearl Jam - Ten (1991)
The debut effort for the band that once considered the name Mookie Blaylock but settled on Pearl Jam. Chalked full of memorable hits like “Alive” with it’s pulsating hook and electric closing solo, the inexorable “Even Flow” which continues to invade rock radio and “Jeremy” the cryptic re-telling of a high school suicide tragedy which helped create the template for rock singers for the next ten years. Eddie Vedder’s grating moans and commanding shouts became the signature of the bands Seattle grunge sound. “Black” is a methodical expressive ode that demonstrates the young bands ability to mellow their aggressive sound when needed. It’s the most critical track on the album and elevates it to top 100 status in my world. There are some lame ducks on this album but just a few opening track “Once” awakens the sound that is Pearl Jam and pushes the album forward very effectively, while it’s counterpart finale track “Release” gives summation to the album as a whole building over the course of nearly ten minutes from a rhythmic bellowing ode into an electronic salutations of the arrival of what would become the most significant lasting band of the movement. Also recorded during the “Ten” sessions but left of the album is “Yellow Ledbetter” a much underrated and often overlooked song with great pacing and a catchy balance. An easy choice for me over Vitalogy as the Pearl Jam representative in the group.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Black



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Metallica – Master of Puppets (1986)
There is nothing subtle about this at all. With a continuous theme of our inability to control our own paths resonating throughout this surprisingly benevolent compilation, the third effort by the band stands as there greatest work Metallica was the heaviest band I’d ever heard and enjoyed. I was captivated by the power of their music and their innovative thrash metal sound. Opening track “Battery” delicately places you in the troughs of their musical destruction and then shakes your core. It’s followed by title track “Master of Puppets” and its remarkable opening and hook riff. Bass player Cliff Burton had a significant role in writing this song and credits it as his favorite Metallica track. “The Thing That Should Not Be” is filled with dark imagery and more heavy guitar riffs. The shadowy “Welcome Home” hovers as a cloud of revolution in the midst of the album emoting riffs and increasingly ominous lyrics give the song an even more dark edge then the rest of the album. The easy on melodic battlefield of “Disposable Heroes” provides excellent speed guitar work by both Hetfield and Hammett throughout as its lyrics detail the chaos of war from the participant’s perspective. Burton’s instrumental composition “Orion” is a highlight of the album for me, a mix of Metallica’s signature style riffs and bass and drum driven transitions. The final cut from the album is “Damage Inc.” begins with an echoing bass guitar intro and explodes intro a criticism of the conformity within the music scene at the time. Consistently reviewed as on of the best and most significant metal albums of all-time it’d be a shame not to give it a listen.
Musical Content: ****
Artistic Content: ****
Impact: *****

Favorite Song: Welcome Home

The list will take a temporary hiatus, but return shortly with a frenzy as I recalibrate some of my rankings. I'm already upset I left "London Calling" and a few others so low. You forget just how much you like something when you have not listened to it in 8-12 months or longer.

Albums 59-62
 

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Red Hot Chili Peppers – Blood Sugar Sex Magik (1991)
The Pinnacle of the Chili Peppers discography is this Rick Rubin produced 75 minute foray into the personal torment and eccentric compulsions of Anthony Kiedas, the aggressive bass play of Michael “Flea” Balzary the now refined drumming of Chad Smith and the passion of super fan turned lead guitar player John Frusciante. Blood Sugar Sex Magik marks a progression into a more funk driven alternative rock style for the band with songs like “Give it Away” a Grammy award winning punk anthem born out of a jam session and “Suck My Kiss” containing one of several sexually charged lyrical efforts. Daring from the outset with the raucous opening track “Power of Equality” and groove laden tracks mixed with the somber “Breaking the Girl”. The acoustic motivated “I Could Have Lied” is a stand out song demonstrating the range the now polished band has. Fleas Bass lines are perhaps the most resounding mark this album makes, the intro to “Apache Rose Pea****” (for fucks sake they bleeped out cock in the context of the animal) will stick in your head for hours. “Sir Psycho Sexy” is the heaviest and grimiest funk effort on the album and solidifies the funk as the defining sound for the compilation. Despite this undoubtedly the crowning achievement of the album is “Under the Bridge” which has become a sort of Magnum Opus for the band. Now more then 15 years old it remains there most popular and revered song. The ballad is of course a first hand account of Heroin addiction from Kiedas’ point of view. A defining album for one of the most unique bands of the modern era and always a good listen cover to cover so to speak.
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Under The Bridge

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Incubus – Morning View (2001)
The third mainstream effort by Incubus marked a further departure, for better or worse, from their modern metal roots into a more expressive intricate style while sill maintaining a good portion of the tranquil aggression. Regardless of preference the album demonstrates further the massive variety of influence that Incubus incorporates into their sound. The first highlight is the introductory riff in the albums second track “Circles” one the albums stronger songs featuring a solid vocal performance by Brandon highlighted by a harmonious chorus and a nonchalant mellowing bridge. Now track better illustrates the evolution from organic Incubus to all grown up better then “Just a Phase” which is layers and layers of contentment and intrigue that lulls you into a sense of security comfort. With intentionally ironic metaphorically lyrics and an enjoyable musical cadence complete with a looping pre-chorus that explodes the second time around into a traditional Incubus symphonic audio experience. The rough edged “11 am” follows telling the story of one particular morning from a first person perspective. “Blood on the Ground” is a more traditional Incubus effort featuring up-tempo lyrics and intense hard rock riffs. “Mexico” is a surprise to steal the show as a chilling acoustic ballad demonstrating Brandon’s outstanding range as a singer and developing ability as a song writer. “Warning” is a true gem with an ambient light hearted melody and outstanding lyrical phrasing. Among Incubuses finest song writing efforts before or since; a favorite moment is the understated piano in the songs final movement. The subsequent song “Echo” serves as both a bridge between Incubuses styles a sort of prelude or foreshadowing to the albums final track the glorious middle-eastern stringed experiment in relaxation “Aqueous Transmission”. “Are you in” serves as a respite from the intensely poignant (either musically or vocally) tone of the album while continuing the soothing theme established throughout. Morning View, on the whole, its greatest detriment is coming on the heels of two outstanding efforts previous and additionally is victimized in terms of consistency as a result of the evolving musical direction the band was taking at the time. It is still a uniquely good album and a frequent disc in my rotation.
Musical Content: ****
Artistic Content: *****
Impact: ***

Favorite Song: Warning

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The Rolling Stones – Exile on Mainstreet (1972)
Retrieving Review File
Musical Content: ****
Artistic Content: ****
Impact: ****

Favorite Song: Tumbling Dice

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Van Morrison – Saint Dominic’s Preview (1972)
Opening with a rousing tribute and concluding with a dynamic ten minute opus, Saint Dominic’s Preview is seven thrilling R&B and folk rooted tracks jammed in between two more generic efforts in Van’s discography. Often overlooked and underestimated by the casual fan, its allure is undeniable when its rhythm is laid upon you. As with most of Van’s albums Saint Dominic’s Preview is best listened to and therefore reviewed in its attentive order. So…“Jackie Wilson Said” is the afore mentioned opening tribute track and the most notable single from the album is a snappy upbeat jam that does its muse proud. The gripping “Gypsy” is a step by step accent into the esoteric, a burgeoning theme for the album. The tour of homage continues with the jazzy “I’ll be there” as Van provides praise for Count Basse. Following next is the mind relocating first side finale “Listen to the Lion” with a very Vanesque improvisation, streaming outro. Like in his previous release, 1968’s Astral Weeks, the careful rhythm lifts you into the world of imagery the lyrics create as you experience the dream as it pours from Van. At more then eleven minutes it is the longest track on the album. The eponymous side two opener “Saint Dominic’s Preview” is a seemingly autobiographical ballad as evidenced by the reference to cleaning windows in the songs opening lyric. With a personal message and some of Van’s most epic lyrics, the intricate fills of the verses and the swelling momentum of the exclaimed title chorus make this one of my favorite songs ever. This song both in it’s context and as Van improvises outside the box is further evidence of Morrison’s amazing ability to say the same words over and over again without ever saying the same thing twice. On the heels of that masterpiece “Redwood” seamlessly combines country\folk\funk\jazz\gospel\soul and pop elements into another indubitable masterpiece of childhood memories and simplicity. Concluding the album a superfluous but brilliant intro bleeds into the plot of “Almost Independence Day” as Morrison and Ron Elliot duel on guitars behind the anticipatory lyrics and more direct metaphorical imagery. One of five Van Morrison albums that qualify as more of an experience than an album and the first of four on my list; Saint Dominic’s preview will draw you in with it’s jazzy charm and grab a hold of you with it’s poignant spirit. An essential listen.
Musical Content: *****
Artistic Content: ****
Impact: ****

Favorite Song: Saint Dominic’s Preview

Exile On Main is my second favorite Stones album, I'd have it in my top 40. But it's your list so...

I'm not a huge Stones fan...especially in album form, I loved them live, but they never really put a great album together for my taste.

Beggars Banquet is in my top 10, and Sticky Fingers and Exile are in my top 40 but beyond that...

Morning View is such a fantastic album, Incubus seem to get over looked because they're mainstream rock but they're a great band. Plus Brandon Boyd is a great singer, he pisses all over Cornell at that whole nasally singer type thing. Drive is probably my favorite song off of it. Pardon Me is great too you didn't mention that one D=!

Those songs are off of Make Yourself actually, which is a superior album to morning view in my opinion and apparently yours.

As you can see I don't listen to Incubus too much anymore...>.>

I used to play Morning View all the time, then the album with Megalomaniac came out (Is the album titled Megalomaniac?), and I kinda had a falling out with them, I just didn't care for that album much at all. Incubus was one of the first bands I ever really got into, and Morning View being the first album of theirs I got into.

I totally agree with you, that album was called "A crow left of the murder" I think. Also there most recent album Light Gernades is pretty weak too. Still there first three albums (mainstream) are very very good. You should give morning view another listen sometime soon, I think you'll be surprised how much you still like it.

Albums 57 & 58
 

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Crosby Stills Nash & Young – Four Way Street (1971)
The 1971 “Four Way Street” is a double album packed with memorable live performances spanning the past years for the group collectively and in their solo or side projects. Four of the era’s most prolific and dynamic songwriters combine and bring a symphony of sound from varying prospectives with a consistent country folk rock sound carrying the music. Opening with the immortal “Suite: Judy Blue Eyes”, which first appears two years prior on the CSN debut album, the tone is set from the start. A Stephen Stills title about his former girlfriend Judy Collins, which is hinted at within the title, it contains four separate movements combined into one “Suite” Each section has it’s own personality and trademark and together they form on the decades most successful and memorable songs. Another mainstream highlight from the album comes just a few tracks later with Graham Nash’s thoughtful “Teach your Children” a heartfelt and cautionary tale relating his thoughts on raising children. With a soft country undertone and the trademark CSNY harmonizing vocals it’s another song that’s tough not to like. The next two tracks are David Crosby numbers my favorite of which is “The Lee Shore” a somber acoustic\vocal track with an eerie ease throughout the verses. “Chicago” is a wonderfully written powerful track addressing the affairs and trial of the Chicago Eight and the riots outside the Democratic Convention within the city. The lyrics are a plea to Graham Nash’s band mates to join him in Chicago for the protest. It features one of the best intros of all time. Neil Young’s “Cowgirl in the Sand” featured on the second side of the albums first disc is an excellent live performance with gritty acoustic fills and dark rhythms allowing hope to surface just enough, it’s another treat to hear live. “49 bye byes” has about as much of a late sixties\early seventies feel as is possible, it’s a smooth charming little ditty. The first side closes with the outstanding “Love the one you’re with” courtesy of Stephen Stills. The steady strumming rhythm of Stills version (The original) has been often imitated but never duplicated. It’s punchy up-tempo rhythm and tender message are an entrancing combination. Graham Nash’s “Pre Road Downs” with its country stomp intro and electric pulse is an energetic opening to the second disc in the album. It only gets better from there as David Crosby’s piercing “Long Time Gone” with electric fills and forceful lyrical delivery lends itself to the socially conscious nature of the quartet. Neil Young’s critical “Southern Man” is another example of this and was even able to create a rift between himself and Southern rock musicians most notably Lynyrd Skynyrd who address Neil Young in pithy fashion during Sweet Home Alabama. Neil Young’s commentary extends to the campus of Kent State with the renowned “Ohio” with one of the most tangible and apropos riffs imaginable. Heavily critical authority and the actions of the soldiers that resulted in “four dead in Ohio” it was a very controversial track upon its release. The slightly more light hearted and optimistic “Carry On” written by Stephen Stills, the quiet star of the album, it encompasses all the elements of CSNY into a wonderful penultimate track for the double album. Concluding the performance is “Find the cost of Freedom” a simple straight to the point composition featuring an instrumental intro comprising the first half of the songs and echoing harmonizing vocals that conclude acapella style bringing an end to the concert and the audience to their feet. A great place to start for potential CSNY fans.
Musical Content: *****
Artistic Content: ***
Impact: *****

Favorite Song: Suite: Judy Blue Eyes

57. http://www.kkbox.com.tw/funky/album/51921.jpg

311 - Evolver (2003)
For whatever reason this album was met with very poor reviews from critics, in fact it is one of 311’s worst reviewed albums. Still I would argue it is there most “evolved” and consistent album ever. It’s a mature more focused effort with a clear purpose and excellent execution. Beginning with “Creatures (For a while)” which achieved moderate success as a radio single, and is a well placed track with good energy throughout and it sets the tone nicely for the rest of the album including the subsequent “Reconsider Everything” a very traditional 311 styled ska fueled electric ode which knows it’s place. “Crack the Code” was the first track from this album to really reel me in; from top to bottom it is a beautifully constructed rhythmic romp. Highlighted by a careful progressive loop built around the catchy chorus. Next on the docket is “Same mistake twice”. The strength of this track are the well phrased and carefully placed verses. The melodic transient “Beyond the Grey Sky” is the most tranquil track the listener experiences and the most personal track for the band in particular lead vocalist and songwriter Nick Hexum. With its smooth melancholy and steady pacing gently leading into the harmonious chorus it is a particularly unique track in the 311 library. There is a track like “It seems uncertain” on every 311 album and they are always enjoyable this one with its standout instrumental quality in particular. Understated rhythms unique to each section give the song even more grace then even it’s natural beauty posses. And while ambiguity is far from a stance it is a particularly conscious track for the band. “Still Dreaming” is next and another almost from outer space like sound. A bit choppy but not lacking the charm inherent to 311 music. “Give me a Call” is a catchy little spasm of a song with a bubbly energy and natural appeal unfailing throughout the album. Smooth moving and again very well placed amongst the context of the album. “Don’t Dwell” is another bouncy energetic track with a very sticky bridge that is impossible not to move your head and feet to. The most fun and free spirited song on the album; among my favorites on this and any 311 album. “Other side of Things” is one of the heaviest efforts on the album and another solid track with a solid circular poppy chorus. Several layers that quickly unfold give it great energy. The closing track “Sometimes Jacks Rule the Realm” is a stunning endeavor that surprised me almost as much as I enjoy it. Intricate while raw featuring stand out performances by all members on all levels, each layer of the song is added and subtracted at exactly the right time while it’s tranquil steady vibe carries away the burdens of your day. Might be the best 311 song I’ve yet to hear. An album without a bad track and very few if any that you would classify as filler, a more thoughtful mature and musical conquest and a permanent favorite of mine.
Musical Content: *****
Artistic Content: ****
Impact: ****

Favorite Song: Sometimes Jacks Rule the Realm

There would be one more album but it exceeded the character limit. To be Continued...

Albums 55 & 56
 

56. http://www.fortunecity.com/tinpan/morrison/11/waea.jpg

Ben Folds Five – Whatever and ever Amen (1997)
The second and most notable effort for the three member Ben Folds Five is a celebration of music and its power. Essentially a 45 minute jam session interrupted by at times brilliant song writing from a then still blossoming Ben Folds. The vigorous “One Angry Dwarf and 200 Solemn Faces” is one of several sardonic songs of rebellion or youthful angst. “Fair” which follows it is a carefully written delicate almost there type song. Lite and bouncy with a sort of casual flare that has an ordinary but delightful attraction. “Brick” is the third track and a song anyone over the age of 20 likely knows and knows fairly well. A huge radio hit fueled by a repetitive piano riff of chord arpeggios. The songs subject matter deals with an unfortunate trip to an abortion clinic and sets an appropriately very morose but captivating mood. If you’ve heard it a million times you probably still like it, if you’ve not heard it, do so. “Song for the Dumped” is just that, a very honest and direct excavation of emotion. Folds’ eloquently demonstrates how to effectively use profanity at the initial climax and in subsequent instances. It also features a nice instrumental piano lead interlude and guitar solo on the back end. A few tracks later “Kate” which experienced more success in the UK and Europe then in the states; with it’s a bar room style piano, distorted electric melody and peculiar lyrics is a strong and enjoyable jaunt. “Smoke” is a breathless European styled pseudo-love song and perhaps a guilty pleasure of mine. The most free spirited all out jam on the album is “Steven’s Last Night in Town” it is the standout performance for drummer Darren Jessee, and features a nice horn section and that’s just hard for me to resist. There is a clear Big band soul within the song and the drumming brings it to the forefront. The second single from the album was “The Battle of Who could Care Less” which is a fairly generic song but played by excellent musicians as it is in this case it is a solid listen. The deliberate “Missing the War” moves at a suave pace as the silver tongued Folds’ narrates the events of the song. One of many tracks with excellent back up vocals and another example of the Bands musical agility; pure relaxation. The closing “Evaporated” has that last dance kind of pacing and sound to it and leaves an indelible mark on the listener persuading you to start the album all over again. Not sure why but this song has always been particular favorite of mine and one I can barely listen to in affecting moments. Just a pure expression of emotion with incredible care placed into each measure. A fitting end to an album that is among my favorite of the decade only possible when done by the kind of trio that calls them self a five.
Musical Content: ****
Artistic Content: ****
Impact: *****

Favorite Song: Evaporated


55. http://g-ec2.images-amazon.com/image...4L._AA240_.jpg

Ben Harper - Lifeline (2007)
101 Style Review coming soon
Musical Content: *****
Artistic Content: ****
Impact: ****

Favorite Song: Heart of the Matters

In the mean time...

http://www.musicbanter.com/album-rev...-lifeline.html

Give me my money back you bitch, I want my money back and don't forget to give me back my black t-shirt.

Yeah, it is Crow Left of The Murder, it had some decent tracks, but overall it lacked. I've yet to check out Light Grenades. But yeah, Morning View is home so I won't be able to listen to it until I go home for Thanksgiving.

Damn jjj I was going to slow down for you but you're all the way at 55! This post was kind of pointless so i'd like to restate how awesome that Ben Folds Five album is. Yeah its awesome.

Look how effing long my reviews are...

And yes that BF5 Album is great almost as great as a three piece band being called a five.


Thread Closed for remodeling...re-release expected in late 2009.

Re-release postponed again, not sure I'll ever get around to it, too hard to stay satisfied with the results.

hotel
 

i love this.
this song is the best Beck song.