Number 13: The Velvet Underground

Album: The Velvet  Underground & Nico

Artist: The Velvet Underground

Year: 1967

Information: Lou Reed had attended Syracuse University, where he had met Delmore Schwartz, the school's premier poet. Delmore taught poetry at the college and became friends with Reed, who then became his mentor. Fresh out of college, Reed went to write songs for Pickwick Records, where he penned "The Ostrich." Pickwick saw potential  in Reed's song, so they assembled a band around him, which is when he met John Cale (he was a musician in La Monte Young's Theater of Eternal Music, an avant garde ensemble.)
John Cale was at first unimpressed with Reed, but he then found his other songs, which included Heroin, and a partnership started to grow. Reed and Cale began to form a band which went through different names and different line-ups, until it landed on Reed, Cale, Sterling Morrison, and Maureen Tucker. They went by The Velvet Underground, the name they got off a small book they found in the street.
They began to play shows in New York, where they eventually landed a steady gig in a bar. During these shows, they would play a very raucous version of "European Son," which the bar owner expressed a dislike of. When the owner told them not to play the song anymore, they went on stage and finished their set with an blistering, extended version of the song and walked off the stage, knowing that they would no longer have a job.
However, Andy Warhol was in the audience and saw their performance. He found them after the show and told him how he felt about their music and eventually offered to be their producer.
They started recording at Scepter Studios for four days, which Warhol financed. He suggested that they bring in Nico, a German model, to sing on their album. During these sessions, Warhol acted as a producer in the sense that he would let the band do be free and creative in the studio, without having someone to tell them to conform to commercial appeal.
High Points: Every song on this album is consistently groundbreaking and superb.
Low Points: The only song that I'm not absolutely in love with is "I'll Be Your Mirror," but that's not to say it isn't good. It's the least impressive track on an album full of  rough cut gems.
Is it Great? So much so.

"Sunday Morning" kicks off the album. Described as a song of induced paranoia and trudging through a heavy hangover from the night before, it's the lightest song on this album (similar to "Who Loves the Sun" on Loaded.) It's a very pop-ish song, which is rare for the Velvets. It's also an odd song to start due to the rest of the album sounding so much different.

The next song is the garage-rock masterpiece, "I'm Waiting for the Man." It tells the tale of a junkie looking for his drug dealer with a total of twenty six dollars. We follow him as he waits for his dealer, is accused of stealing women, crosses streets, and finally reaches a house where he gets his drugs and runs off. The rhythm section, with Maureen-style drumming (no cymbals; Lou thought they "ate up guitar,") John's repeating piano riff, and guitar, all melt together under Reed's plain singing to bring a deeper feeling to the daily process of drug-searching and ultimately creates a fantastic song.

It then moves onto "Femme Fatale," a more slow, relaxed story of a woman who is pictured as doing what she wants and not belonging to anyone (much different than recent views of women.) She'll make you fall for her, but she won't fall for you. You're just another one of the men written down in her black book ("You're written in her book/You're number 37, have a look") and that's all you'll mean to her.

"Venus in Furs," a song consisting of scandalous sex practices (bondage, submission, etc.) is filled with droning instrumentation that only adds to the mood. John's viola and Lou's ostrich guitar fill the void on this black song.

"Run Run Run" is another great garage rock tune that has a great rock melody and is excellently sung by Reed. The chorus is also great and, once learned, you can't help but sing along. The song also allows for great, improvised solos during a live setting.

"All Tomorrow Parties" has a great intro. It starts with a quiet, building guitar, goes onto a punching drum, and then ends in barrelhouse piano. The repeating piano riff is really the staple of this song about a seemingly poor girl who longs to go to high-class parties, but can only get old, ratty clothing.

The next song, a very legendary one, is "Heroin." The song is another droning one, but soon picks up speed, which the song is notable for. The verses start slowly, but gradually build up, then they begin to slow, which would seem to resemble a heroin high. The lyrics are replete with an understanding of society's views and the health downfalls, but "I just don't care." To listen to this song is to understand it.

"There She Goes Again" is another odd change in pace. After all the downers and seedy songs about sex and drugs, it switches to cheerful. Another song about an independent girl who knows what she wants, she's asking for you once and only once, and if you say "no," she's moving on.

"I'll Be Your Mirror," is, as said above, the least impressive. Although, the lyrics are a prelude to Reed's impending sensitive songs, there's not much special going on in this song. Other than Nico's deadpan lyrics, the music isn't really noteworthy. Although, the ending does have a nice, contrasting harmony to Nico's singing.

"The Black Angel's Death Song" is another great, droning viola song that appears to be an apocalyptic tale spanning America. The lyrics are really well written and the first few lines of the verses all tie together really well and have a tight rhythm.

"European Son" finishes off the album and is an excellent song to do so. The song starts slow and cool with a Chuck Berry riff and Reed's singing. Unexpectedly, you hear a large, ominous sound that breaks into the other side of this song. The sound was created by dragging a chair across the floor and then slamming dishes piled on top of each other. The next six minutes are cacophonous, improvised glory.

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A truly phenomenal album. It's such a better record than Exile on Main St. that it is incomprehensible,but inevitable, that it is six places behind that album. Surely belongs in the top ten.

Number 12: Kind of Blue

Album: Kind of Blue

Artist: Miles Davis

Year: 1959

DISCLAIMER: Although I have a large admiration and appreciation for jazz, I really know nothing about it. Therefore, anything I could say about this record is terribly uniformed and wouldn't do this album justice.

Information: Miles had started becoming upset after his realization that bebop was hindering creativity, so he started experimented with new, more loose and free versions of jazz. Miles Davis then released two jazz albums that had begun experimentation with modality. Unlike the two experimental albums, Kind of Blue was Miles' full immersion into the new genre. Miles and his band didn't rehearse any material to be recorded and he only gave his performers sketches of scales and melody lines to improvise upon. He then gave them brief instructions on the songs and they then played them.

Is it Great? I certainly enjoy it.

Here's a review I find suitable: Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses [sic] such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline [sic] and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection. (source)

Number 11: The Sun Sessions

Album: The Sun Sessions

Artist: Elvis Presley

Recorded: 1954 - 1955

 Released: 1976

Information: Elvis and his band were playing in the studio when someone came over the intercom and asked "What are you guys doing?" Elvis replied that they were just messing around. This "messing around" continued and was recorded. Some of the material was released on his debut and scattered across other releases, but this marks the first time that the sessions were compiled and it gives an interesting view into the "birth" of a genre.

High Points: The best song is the first one, once again. It starts off with "That's All Right" which is considered one of the first rock and roll records. Elvis is young and full of life and it really comes across in this recording. It's him having fun, but the consequences of this record are much bigger than he could imagine.
Low Points: I don't particularly think "I Don't Care if the Sun Don't Shine" and "I Love You Because" are that great.

Is it Great? Historically, yes.

Elvis entered Sun Studios and played with his backing band, making mostly private recordings. However, this would come to pass. Elvis would eventually release commercial recordings and would take over the world with his music.

At this point, the world needed someone like Elvis. They needed someone to come in and take over. Music, it seems, had run a bit dry, and needed a rejuvenation.When Elvis released his first single, fans began to obsess over him and his new sound and he would score hit after hit in the '50's. He blazed the trail for future artists, the likes of Little Richard and Chuck Berry.

With all that said, I don't find this album very impressive. Rock and roll was about energy, having a certain kick. Elvis could really nail that on certain songs, but he doesn't do it often. There one or two great songs, a lot of okay songs, and a few that aren't so great. 

So, number 11? In terms of quality, for me, probably not. However, in terms of significance, I would say it deserves a spot that is high on this list.

Number 10: The Beatles

Album: The Beatles

Artist: The Beatles

Year: 1968

Information: The Beatles went on a retreat to India to learn how to meditate. They began to have issues with each other that ultimately never healed and led to the end of their band. This album shows the different Beatles as singer/songwriters instead of a collaborative unit.

High Points: "Blackbird" is arguably the best song on the album and features a stark arrangement of Paul on acoustic guitar with him singing, like Dylan's early days, about social inequalities. The other excellent song is "Happiness is a Warm Gun" which combines many different songs John was working on at the time into one suite.

Low Points: Revolution 9.

Is it Great? It's my favorite Beatles record.

"Why Don't We Do it In the Road," which is about monkey's having sex in the road, so why don't we, showcases Paul's superb singing. 

"The Continuing Story of Bungalow Bill" is a great sing-along-y song about a person who killed a tiger in India. 

"Back In the USSR" is another great track that uses airplane sounds to great effects and has a fine melody. 

"Julia" is a fine example of  John's work: an introspective, psychedelic song. 

"Yer Blues" is a great blues song with excellent riffs by John, who was afraid of people's feeling toward it, so he labeled it "Yer Blues" as a joke. 

"Everybody's Got Something to Hide Except for Me and My Monkey" is another good song that's reminiscent of early rock songs and uses a bell that's furiously shaken. 

"Helter Skelter" is a road less traveled by Paul, who helps to create what will be known as metal and has Ringo screaming the iconic line "I've got blisters on my fingers!" 

I much prefer the Past Masters-version of "Revolution 1," but the song is still very good, nonetheless.

Number 9: Blonde on Blonde, Pt. 2

Album: Blonde On Blonde

Artist: Bob Dylan

Year: 1966

Information: The last album released in Dylan's trilogy of acclaimed works, it is commonly regarded as his finest. Leaving behind his garage rock tendencies (Maggie's Farm, From a Buick 6) for a deeper, more complex record. The first album fully produced by Bob Johnston had many unfruitful sessions. For these early, unfruitful sessions, he used Ronnie Hawks backing-band, The Hawks (now known as The Band), Dylan was getting frustrated with the current situation of his recording sessions so far, which added up to about ten, none of which had satisfactory takes. He decided, after advice from Bob Johnston, to move down to Nashville to record further, leaving behind most of The Hawks. He then finally started to get things going with his new band. They frequently got satisfactory takes, opposed to the zero that were achieved in New York. Dylan was ultimately satisfied with the album stating “The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde On Blonde album. It’s that thin, that wild mercury sound."

High Points: The best song on disc 2 is "4th Time Around." The song itself is can be interpreted as playful or as a warning. The Beatles were coming under heavy Dylan-influence and had begun to take cues from him. Perhaps they're most influenced point was Rubber Soul, a mostly acoustic album released in 1965. On said album, there is a song called "Norwegian Wood," which was written by John. The song is widely regarded to be John mimicking Dylan and Dylan must have thought this as well. "4th Time Around" has a very similar melody and story (however, Dylan seems more like a parody of John's) to "Norwegian Wood" and the song ends with "I never asked for your crutch, so don't ask for mine." Whether the song the song was light-hearted or an attack is open to interpretation.

With that aside, the song has nice guitar accompaniment to Dylan's voice and odd story.  

Low Points: I think "Sad-Eyed Lady of the Lowlands" goes on too long.

Is it Great? This is another record that I think is one of the greatest ever made, along with most of the albums I've reviewed so far.

"Sad-Eyed Lady of the Lowlands" is probably the most criticized song on the album, but I enjoy it. However, as I did mention, I do think it goes on a bit too long, but the length is almost hypnotic. The beat and rhythm suck you into a different place while Dylan describes her mercury mouth for eleven minutes.

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With all that praise being sung about this album, it would be worthy to note that this is one of the Dylan albums I listen to least. Perhaps because it is such a long album, or perhaps it's because it's so dense.

Number 9: Blonde on Blonde, Pt. 1

Album: Blonde on Blonde

Artist: Bob Dylan

Year: 1966

Information: The last album released in Dylan's trilogy of acclaimed works, it is commonly regarded as his finest. Leaving behind his garage rock tendencies (Maggie's Farm, From a Buick 6) for a deeper, more complex record. The first album fully produced by Bob Johnston had many unfruitful sessions. For these early, unfruitful sessions, he used Ronnie Hawks backing-band, The Hawks (now known as The Band), Dylan was getting frustrated with the current situation of his recording sessions so far, which added up to about ten, none of which had satisfactory takes. He decided, after advice from Bob Johnston, to move down to Nashville to record further, leaving behind most of The Hawks. He then finally started to get things going with his new band. They frequently got satisfactory takes, opposed to the zero that were achieved in New York. Dylan was ultimately satisfied with the album stating “The closest I ever got to the sound I hear in my mind was on individual bands in the Blonde On Blonde album. It’s that thin, that wild mercury sound."

High Points: The best song, perhaps on this entire record, is Visions of Johanna. It tells the story of a man who has constant visions of a woman he lusts after, but is stuck with what is presumed to be his wife. Perhaps representing the struggle within most people of wanting something that is out of reach while finding yourself stuck with something that only makes you lust for the unreachable more. 

The opening verses also paint a picture as to his surroundings and it uses very subtle language throughout with great success.

Low Points: I have trouble finding fault with any of the songs on disc one. Each one is so unique and all the words are so excellently written. Even the music that accompanies Dylan's voice is consistently superb, which is surprising because Dylan wasn't necessarily as good as music as he was lyrics.

Is it Great? This is another record that I think is one of the greatest ever made, along with most of the albums I've reviewed so far.

I remember reading an article called something like "The Worst Songs by Great Artists" and in that article, many were obvious choices. However, one of the entries was "Rainy Day Women #12 & #35." I find much fault with that. It's one of my favorite Dylan songs and is one the more unique in his catalog. Outfitted with what sounds to be a Salvation Army band, Dylan sings about being stoned. The song itself has two different angles you can look at it from. One is from people throwing stones at you and the other is about being stoned.

If you look at from the angle of being hit by stones, you can get another insight to the criticism Dylan was facing at this time. The songs describe a person doing everyday things while people throw stones at him for no apparent reason (They'll stone you when you're walking on the floor, They'll stone you when you're walking through the door,) which probably sums up Dylan's feelings pretty well.

You could also pay attention to the chorus "Everybody must get stoned," which of course means exactly what you think it means, everyone has to get high. This was a pretty shocking song, considering the time it was released. Even Dylan's label didn't want it released, but Bob Johnston (his producer) and Bob Dylan rushed it through to make it a surprisingly well-charting single.

Also, it's a fun song. According to Dylan myth, he refused to perform this song "straight" (sober) and would pass around joints before recording this song. They gave Kenny Buttrey a large drum to hang around his neck and had him bang on it while marching around the studio. There's also prominent laughing and shouting in the background, which wasn't overdubbed later, but was actually happening at the same time of the recording. Great song.

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"I Want You" is another of my favorite Dylan songs and was even considered to be the title of the album. It is in general a very happy song with an upbeat tempo. Although, it's not without odd imagery "Now your dancing child with his Chinese suit, he spoke to me, I took his flute, no I wasn't very cute to him was I?" and, even though this song is upbeat, this being Dylan, there are always down points "I did it because you lied, and because he took you for a ride" which is a very intense point due to its contrast in relation to the rest of the song.

Reportedly, Dylan recorded this song last, due to how much Al Kooper loved it. Al told Dylan that he really liked this song and was looking forward to recording it, so Bob being Bob, decided to record it last.

Also, that part about the "dancing child in his Chinese suit" is thought to be about Brian Jones.

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"Stuck Inside of Mobile with the Memphis Blues Again" is just too large of a song for me to write about. It covers so much ground about topics such as Shakespeare, girls covering him in tape, the post office, building fires, punching cigarettes, a senator showing off a gun, stapling twenty pounds of headlights to your chest.. There's a lot.

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"Leopard-Skin Pill-Box Hat" is an unusual song.The song is a satire on materialism and fashionable clothing, which is exemplified by such lines "You make think he loves you for your money, but I know what he really loves you for, it's your brand new Leopard-Skin Pill-Box hat." The song starts off with an interesting guitar lick and goes into a very blues-y song. It's also quite funny, something that I never really find songs to be. "Honey, can I jump on it sometime? Yes, I just wanna see, if it's really the expensive kind. You know it balances on your head, just like a mattress balances on a bottle of wine." Also, "We'll both just sit there and stare. Me with my belt, wrapped around my head, and you just sittin' there, in your brand new Leopard-Skin Pill-Box hat."

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It then ends with "Just Like a Woman," which is similar to "I Want You." It could be interpreted as a sexist song due to the fact that Dylan regales us with the information that "She makes love just like a woman" and that "she breaks just like a little girl." 


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With all that praise being sung about this album, it would be worthy to note that this is one of the Dylan albums I listen to least. Perhaps because it is such a long album, or perhaps it's because it's so dense.

Blonde on Blonde Info

Blonde on Blonde is a colossal album. It's quite large in terms of sound, content, and, of course, length. I haven't found a good angle to review this album, which has made me hold off on reviewing it. I thought about how to do this and I figured I would review the album, one disc at a time.

Part one will be "Rainy Day Women #12 & #35" to "Just Like a Woman."

Part two will be "Most Likely You Go Your Way and I'll Go Mine" to "Sad-Eyed Lady of the Lowlands."

This will probably still be a bit difficult for me to do, but it will certainly make it easier.

Number 8: London Calling

Album: London Calling

Artist: The Clash

Year: 1979

Information: This album is what The Clash were growing into. They started as punk band, but they were never restrained to that moniker. They were always experimenting with new sounds and new ideas. They kept moving and growing as a band and were just about at their peak. Then they created this. A double album that spans plenty of genres was finesse, this album shows The Clash in top form and what they were able to do.

High Points: I find this album to be one high point after another. From reggae, to rockabilly, to punk rock, to ska, The Clash manages to create standards in each genre available to them.
Low Points: The only song I dislike on this entire album is "Lost in the supermarket." It might be a good tune on another album, but it's sound and sensibilities don't really seem to fit the rest of the album. That's the nadir in an album full of highs.

Is it Great? Definitely.

My favorite songs on this album, and there are plenty of them, are "London Calling," "Brand New Cadillac," "Jimmy Jazz," "Wrong 'Em Boyo," and "Clampdown" to name a few. All the songs on this album have great subject matter, ranging from adult responsibilities, drug use, and the Spanish War. 

So, yeah. It's good.

Number 7: Exile On Main St. (Revised)

Album: Exile On Main St.

Artist: The Rolling Stones

Year: 1972

Information: The last album in a string of what is considered to be the band's best work, it covers a lot of ground in a little over an hour. Keith Richards once called it the "first grunge record." A claim easy to back up, once you listen to it. With muddy sounds and lines like "the sunshine bores the daylights outta me," it very well may be the first, or one of the first grunge records. This album is a lot like a brief history of the band. It has blues covers ("Shake Your Hips" and "Stop Breaking Down,") there's a psychedelic part in "Rocks Off" and the album makes use of choruses, like on Let it Bleed.

High Points: I find the best song on this album to be the first one (like so many of the previous albums,) "Rocks Off." I usually like odd intros to songs, like Taxman, where they count "One, two, three, four." You can also hear them coughing and tuning their guitar. This song has another odd intro, which probably makes me like it more. It starts off a bit slow, but soon kicks it up a notch. Adorned with a brass section and an injected, psychedelic breakdown, it is one of the more unique songs on the album. The other great song is "Tumbling Dice," which has a great back beat and eventually dissolves to a call and response of "you got to roll me," and "keep on rollin'."

Low Points: The low points are few and far between and are so minor that none are worth mentioning. However, I do find the lyrics of "Loving Cup" a bit stupid. Revision: Upon thinking about this album, a lot of the songs aren't really spectacular. Naturally, this is a double album, so there is likely going to be filler. However, this album has a lot of sub-par songs.

Is it Great? I do think it's a pretty good album, but I think number seven is too high. Revision: This album is overrated on this list. The album is alright, but it's certainly not number seven. 

My favorite song on this album is "Sweet Virginia." Although, I don't particularly enjoy the lines "you got to scrape that shit right off your shoes." Just not a good image in an otherwise good song.

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I do think that The Rolling Stones released better albums than this, and I'm not sure I would place either in the top 10, however, they are quite good. Those albums being Beggar's Banquet and Let it Bleed. Revision: Sticky Fingers is also a very good album and deserves to be mentioned with the other two.

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I find this album to be a tad weird when I look back on it. I enjoy the songs, but I don't find the album as great. It's almost as if the parts are greater than the sum. Maybe it's the combination of all the songs, maybe it's how long it is, I am unsure. 

Something else that I find odd about this record, is that when I think about listening to this record, I really dread doing so. However, when I do, I usually end up enjoying it.

This album has the weird effect of degrading with each listen.

Number 6: What's Going On

Album: What's Going On

Artist: Marvin Gaye

Year: 1971

Information: Marvin's brother had just come back from war with many tales of endeavors in Vietnam. He regaled Marvin in his stories and it inspired him to create this album. When Marvin presented Motown with his singles, responses were surprisingly negative. Marvin was told that "What's Going On" was the worst song they had ever heard and that they didn't even know what "ecology" was (Mercy, Mercy Me (The Ecology.) However, he kept fighting and finally had his singles released. The singles took over the charts and his label quickly changed their mind. This album has left quite the legacy and blazed a trail for socially conscious music from Motown. It's been called the Sgt. Pepper's of soul music and I would have to agree.

High Points: This entire album is one massive high point. It starts off (like the others so far) with what might be it's highest point. I would try to describe this album, but I can't find the words. To quote someone else "The songs move along and blend together and leave you in a dream-like haze." This quote is a wondrous description that fits this album very well.

Low Points: There aren't any.

Is it Great: It certainly is.

I don't ever really call music beautiful. It's difficult for me to find such adjectives suitable to most songs and albums. Some people would call Sgt. Pepper's beautiful, but I really don't understand that.

However, this album is the one exception.  The songs have the capability to slide into your brain and make everything, ironically, seem okay. It's the only album I consider to be worthy of the hefty title of "beautiful."

Number 5: Rubber Soul

Album: Rubber Soul

Artist: The Beatles

Year: 1965

Information: The Dylan influence is strongest on this album and therefore is obviously going to be a mostly acoustic album. It is one of the finest/earliest examples of folk rock and it can be traced back as one that helped along the burgeoning of folk rock.They played their last commercial concert and released this album before becoming a studio band.

High Points: Well, like the rest of the albums so far, it starts off with a high point. It begins with "Drive My Car," a humorous song about a starlet who recruits a driver, but turns out not to own a car. Beep beep, beep beep, yea.

Low Points: Unlike the rest of the albums so far, it ends a little weak. John Lennon admitted that "Run for Your Life" was a cop on Elvis and that he was ultimately unsatisfied with the song. This song also doesn't really fit in with the theme of the rest of the album, as John also points out. The album has many songs that focus on independent women and "Run for Your Life" basically tells of a man having ownership of what appears to be his girlfriend and threatening her if she ever dates someone else or cheats on him.

Is it Great? I think it's just as good as Revolver is.

As I said earlier, I'm trying to keep the Beatle reviews short.

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"Michelle" and "Norwegian Wood" are the other best songs on this album. "Michelle" was one of the first songs Paul wrote. It started as a piss take on men who would bring guitars and play to attract people at parties and such. It was soon suggested that it actually become a song and Paul went along with it, adding actual French parts with the help of a friend. "Norwegian Wood" was heavily Dylan-influenced and Dylan even made a parody of it on Blonde on Blonde called "4th Time Around" which have very similar melodies and guitar accompaniments. Even the title seems to be a pun.

Number 4: Highway 61 Revisited

Album: Highway 61 Revisited

Artist: Bob Dylan

Year: 1965

Information: A revolutionary album released in 1965. When you look around at the other artists at this time, Bob Dylan had left everyone in the dust. Even The Beatles, who were being heavily influenced by him at this time, leading to the creation and sound of Rubber Soul, were completely left behind. This album was released in the middle of perhaps the greatest trilogy of albums released by any artist, only rivaled by "Rubber Soul," "Revolver," and "Sgt. Pepper's Lonely Hearts Club Band" and possibly Jimi Hendrix.

High Points: We'll start at the beginning. The very first seconds of "Like a Rolling Stone" has a snare shot that Bruce Springsteen eloquently described as "kicking open the door to your mind." Over six minutes of condescending greatness, the first song is an all-out attack on an unnamed person who fell from the world's graces. Bob's young, rebellious sneer is never stronger than it is on this song is and it never fails to capture my attention and hold it the entire, raucous six minutes. The other high point is at the end of the album, "Desolation Row." An eight minute folk song that references everything from Casanova, Einstein, Dr. Filth, and Cinderella.The song hearkens back to Dylan's folkie days, where he is alone with his acoustic guitar and harmonica, with the exception of another musician playing  latin-style riffs on top of his strumming.The song spins the tale of an apocalyptic day filled with murderous super heroes and the sinking of the Titanic.

Low Points: There is one song that I don't like as much as the others, which is "Queen Jane Approximately." I believe this is usually regarded as the least impressive song on this album, so that should be no surprise to fans of this album. The song is a tad boring, however it does have nice lyrics (which Dylan is ultimately known for,) that tell a similar story to "Like a Rolling Stone," but it has a more apathetic relationship with the subject, even inviting the person to "come see me, Queen Jane."

Is it Great? I'll go with what Phil Ochs once said of this album "How can a human mind do this?"

I will be honest. I pray at the altar of Robert Allen Zimmerman. This man is my musical god, and if I would ever attempt to make music, this is the man I would aspire be like. So, my review is definitely biased to some degree, but it's hard to overstate how fantastic this album is.

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I personally believe that Dylan's song "Like a Rolling Stone" is actually aimed at himself, rather than someone like Edie Sedgwick. I base this idea in the fact that Dylan frequently says that person fell from grace, which recently happened to him. When he played his first electric set at the Newport Folk Festival, it backfired heavily, leading to a large portion of fans starting to boo and even leading to one magazine that had held him in high regard was now heavily criticizing him. He then talks about having to "live out on the street" and how's he "gonna have to get used to it." Dylan never really faced criticism before, only mild indifference facing his debut album. Now negative press surrounded him and he had to learn how to deal with it. He went from being the "voice of a generation" (a title he loathed) and having everything in the palm of his hand to being kicked around by his former admirers and colleagues. 

Something that I quite enjoy from another concert is that someone, two people take credit for this, shouted out "Judas!" (being a biblical reference.) Dylan shot back at him, saying "I don't believe you.... You're a liar." He then looked back to his band and said "Play it fucking loud," leading into "Like a Rolling Stone " (which could also support my theory of how the song is aimed at himself.) Just another reason why I admire him so much.

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"Tombstone Blues" and "From a Buick 6" are both powerful blues rock songs that were certainly precursors to garage rock, the second one having an opening snare shot similar to that of "Like a Rolling Stone." "Tombstone Blues" contains shots at society and authority figures, such as the president. At one point, he tells of the president pointing towards the sun and claiming "the sun's not yellow, it's chicken," and at another  point he's "chasing a fly," painting societal leaders as idiotic.  

The two slower songs, "It Takes a Lot to Laugh, It Takes a Train to Cry" and "Just Like Tom Thumb's Blues," are both a bit similar in sound, but very different lyrically. "It Takes a Lot to Laugh..." is thought to be an allegory for someone who is sexually frustrated, which make the lyrics for an interesting read. "Just Like Tom Thumb's Blues" is a great song about a man who's exhausted all his luck and opportunity down in Mexico. He encounters prostitutes, corrupt authority figures, drugs, sickness, and at one point, saints. He finally hits bottom and decides that "I'm going back to New York City, I do believe I've had enough."

"Ballad of a Thin Man" is another superb song with great accompanying piano. It tells the story of a clueless business man who finds himself in several situations where he has no understanding of what is happening around him. The song is also critical of his naivete, such as when the sword swallower says "Here is your throat back, thanks for the loan," giving one the idea that the business man frequently has things shoved down his throat, whether that be foreign ideas or something completely different is your call. On that note, the song has a lot of sexual imagery, such as the "one-eyed midget."

The last song to mention is also one of the stranger ones. "Highway 61 Revisited," which shares the name of the album, makes interesting use of a police whistle and tells a myriad of stories. One for example, is of a bored gambler who wants to start a new world war. So, he goes to a promoter who tells him to put bleachers  out in the sun on Highway 61. Another is the story of someone who appears to be royalty and complains to her fourth father that her complexion is very pale. So the fourth father plans to tell the second mother, but the second mother is with the seventh son. You get the picture. 

Number 3: Revolver

Album: Revolver

Artist: The Beatles

Year: 1966

Information: The first album released during The Beatles' studio years, it is widely regarded as a groundbreaking album and one of the best ever made. It is one of the first psychedelic albums and helped to popularize the genre that would take over for the next few years. It's covers a wide range of genres, such as blues rock, baroque pop, R&B, and ends with a praised experimental track.

High Points: This album has a lot of high points. The first song is George-penned and is a jab at the tax code in England. Filled with jokes ("I'll tax your seat," "Declare the penny's on your eyes,") and a superb guitar solo by Paul, this song is one of my favorites.Then it moves onto a slightly depressing song by Paul that recounts the final days of an old lonely woman. The song is set to a string octet arranged by Paul and George Martin. Later, it hits a very touching, Beach Boys-inspired song, "Here, There, and Everywhere." The vocals are great and the lyrics are superbly written. Up next is one of everyone's favorite songs, "Yellow Submarine." How can you resist singing along to this song? On a personal and odd note, I once cried while listening to this. Then, it moves onto the brassy, R&B "Got to Get You Into My Life." The singing is also really well done and John considers it to be one of Paul's best songs. To finish off, the album ends on "Tomorrow Never Knows." A  highly experimental track written by John, it is also held in high regard and opened new possibilities in the studio. Implementing tape reels brought in by Paul, the song is filled double-tracked vocals, backwards guitar, and endless tape loops that all seem to be building towards the apocalypse. 

Low Points: The weakest song here is And Your Bird Can Sing. It's a nice little song, but, to me, it's a tad forgettable.

Is it Great? Yea, I would say it is.

From now on, I'm going to attempt to keep these Beatle reviews short. In all reality, what else could I possibly say that hasn't been said about these guys that took over the world in 1963 and have remained in the limelight ever since? There's been 50 years of heavy documentation and everything that can be said, has been said.

Number 2: Pet Sounds

Album: Pet Sounds

Artist: The Beach Boys

Year: 1966

Information: Predating the Summer of Love, but predicting its sounds, this album was a radical departure from the surf and sun themes of previous albums. This is essentially a Brian Wilson solo album, with added vocal parts from his band mates. It was not as well received in America as Brian had hoped. His standards were set very high for this project, as evidenced in Brian's claims to his wife Marilyn at the time, "Marilyn, I'm gonna make the greatest album. The greatest rock album ever made!" There are many people who would agree that Brian met his goal, but this album's failure in the charts crushed him and set him on his path for his impending insanity and the beauty that is SMiLE.

High Points: Well, for me, basically the entire album. I love the beginning "Wouldn't It Be Nice" and of course I will have to mention "God Only Knows" or I will be hanged at the Beach Boys fan gallows.

Low Points: I may be biased, but I'm hard pressed to find one. There is nothing I dislike on the album, and neither should you.

Is it Great? Perhaps the greatest.

This album was made in response to Rubber Soul, which Brian thought was a cohesive unit. From start to end, there was no filler and they all fit together, whether in themes or sound. This was a major inspiration for Brian and this album. 

Coincidentally, this album then influenced and inspired The Beatles. This album led to the creation of Sgt. Pepper's. George Martin once said that Sgt. Pepper's was an attempt to equal Pet Sounds. This album is also one of Paul McCartney's favorites; his favorite song being "God Only Knows," saying that the song usually brings him to tears when he listens.

When you listen to the background to these songs, you begin to realize how complex these songs are. The startling fact is that Brian had all these ideas in his head. He heard all these things in his head and he put them on wax. He knew what the available sounds were from the instruments he was using and he knew the vocal ranges from his band mates. Brian had this whole album mapped out in his head. It's really fascinating.

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I learn about albums. I look up their history, their reception, their songs, everything. I soak up the information and somehow retain it all. In fact, I wrote this entire entry from memory of things I had read.


To be honest, when I first bought this album, I didn't enjoy it. I heard "Wouldn't it Be Nice," and I loved that song. But that was it really, although I did also enjoy "Sloop John B.," but those songs weren't enough to make want to keep coming back to it. But something did. For some reason, I kept listening to this album, even though I didn't enjoy it at first.

I think understanding an album and where it came from is crucial to appreciation of it, or at least it is to me. It's intriguing to learn about Brian, his escapades (like replacing all his furniture with gym mats,) and his spiral into insanity. It's really a heart breaking story.

I learned all I could about this album. I soaked it all up. I know a lot more about this album than I'll ever need to. So, I listened to it more and more. My love for this album raised incrementally with every listen. And I kept listening.

I love this album now. It's something I listen to almost everyday and I would probably be a different person had I never heard it.

I could write about Brian all day, but I'll wrap it up here.

If you're hesitant on this album, I encourage you to read about it. It really changed my opinion.

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Looking back on this review, it really seems like what I'm saying is that the record itself isn't great, but the history is. That would incredibly inaccurate.

This album is gorgeous. When you listen to the vocals, it really is quite amazing how they all blend together to create this one larger effect, and all the singing is absolutely superb on this album. Not only do you hear the words, but you can feel them. Carl Wilson was used quite well on "God Only Knows," as his great voice caresses every word, giving you a key to a locked door of emotions.

Not only is the vocal side of this album great, but so is its musical side. Even from the beginning of the album, you get a brief foray into how all the music will play off of each other. The album starts with a "guitar duet" (might be an accordion) of sorts, were two guitars play simultaneously and seem to bounce off one another. From then on, this record steeps you in musical mastery. Think Phil Spector, but with improvised instruments, such as sleigh bells and soda cans.

It make take you a listen or two, but you'll start to get more familiar with the album. When that happens, you'll understand why this album receives so much praise.

Number 1: Sgt. Pepper's Lonely Hearts Club Band

Album: Sgt. Pepper's Lonely Hearts Club Band

Artist: The Beatles

Year: 1967

Information: This album, released during the Summer of Love, is unanimously praised and celebrated. Treated like one of the most (or the most) important musical creations in pop culture history. The album is still held in high regard today and remains one of the best-selling albums of all time.

High points: The best song on this album (or, maybe, in The Beatles entire catalog,) is A Day in the Life. A true McCartney and Lennon collaboration, the first verses are distinctly Lennon, telling of death and newspaper stories, with a tinge of psychedelia. Then, it turns distinctly McCartney, having a nice melody and being overall joyful. Telling the morning routine of the everyday worker, it soon fades back to Lennon. After a big crescendo, it turns into a large, singular, ominous, and mysterious chord, which is played on three pianos and one harmonium. This E major chord rings out for approximately forty seconds, having the volume raised gradually to the point where you can hear the sound of a squeaking chair and rustling papers.

Low points: Although there really is no bad songs on this album, the weakest song, in my opinion, is Being for the Benefit of Mr. Kite!. Don't get me wrong, I personally love this song, but when compared to the other songs contained within this album, I don't feel as though this song is on the same level as the others. The song is kind of pointless, it's a description of acts for a circus, itself being based on a poster that John found.

Is it great? Incredibly so.

This album is filled with meticulous detail and attention paid to the songs. Generally, the lyrics are well written and are just pleasing and easy to listen to. In a landscape of auto-tune and unimpressive music, this album is a nice refresher of a decade and musical genre at it's peak.

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When I look back at "A Day in the Life," I almost find a deeper meaning to the lyrics. It seems like the song shows the different environments in which John and Paul grew up. Notice how, when John Lennon sings, he seems to be an outsider looking in at the happenings of the day, detached from the average people. After Lennon left for the care of his aunt, he grew up having money and things bought for him. When Paul McCartney sings, he's part of the day, he is the working man. Getting up every morning, trudging through the daily routine to go to work. Paul, mirroring his song, grew up in a working class family.

Maybe these things are unrelated, but I just happened to find this connection and it seemed substantial.

Disclaimer

This my first attempt at reviewing music. Probably not the best place to start. Rather than starting with the purportedly greatest ever albums, why not start with a few, mediocre ones to find my grounding? Because that's not how I do things, apparently.

Also, I am no music critic. I would like to think I have good taste in music, but then I realize there is no definitive taste in music because music is whatever you want it to be. Which is why I hate the "real music" comments. Anyways, all of this is my opinion and in no means should be regarded as definitive. If you disagree with anything I might have said, I would encourage you to leave a comment. I would love to see what you think and I'll try to reply to anything you might post.

Game plan

I plan to review the updated Rolling Stone's 500 Greatest Albums list (2012.) Also, I'll probably review a few other albums if I have the urge to do so.

Why?
It is a good question. I mean, why would I want to go through all of the trouble of doing this? Most likely, I'll get very few, if any, visitors. Or recurring, for that matter. However, for some reason I am driven to do this. Maybe to discover new albums, maybe to spread my opinion, or maybe this is some cathartic process. All in all, this will give me a medium to put my thoughts and ideas of albums down. And maybe even discover something worth while along the way.

Information

Hello, everyone

I figure I'll start this off with an introduction.

My name is Josh and I reside on the west coast. I'm a Caucasian, 16 year old, male. I thought that information may give an insult to my musical tastes and, perhaps, biases.

My favorite bands at this moment are The Velvet Underground, Bob Dylan, The Beach Boys, The Rolling Stones, and The Beatles (I am a Paul fan.) I know my choices may seem a bit cliche, but I feel as though I have an eclectic range of music that I like. After all, those were my favorite bands, but they're not all I listen to.

To give credit where credit is due, my inspiration for this project is from another blog called "One Man, 500 Albums." I'm currently reading through the archived posts and thoroughly enjoying it. However, I was a bit disappointed that he seemed content to leave the blog as it was and just let it float along in the internet until he finally decides to pull the plug on it. I wish that he would go back and review the new additions to the list, but I am confident that's probably not going to happen. So, I figured I'll do it myself.

Some more, disjointed information:

Favorite genres: Rock( and Roll,) folk rock, country rock, psychedelic rock, roots rock, soul, and whatever Tom Waits is. (I feel as though I'm missing a few.)

Least favorite genres: Hip hop, modern country, rap, reggae, electronic, and pop. (I'm probably missing a few here as well.)

Don't actively listen to, but have an appreciation of: Jazz, blues, gospel, old country, and R&B.


Favorite decades: This probably seems a tad obvious, but I'm in love with the 1960's and  I also wholeheartedly enjoy the 1970's.  


Least favorite decades: Well, I really dislike the 1980's. A lot. They're awful. I also don't really like the 1990's and the current music situation.


Of course, there are always exceptions.