perry1710

Some musical/arrangement and production elements are severely dated. But Joel is doing some of his most wide-ranging vocal work and his deepest lyrical work. It’s complicated, frustrating sometimes. However, it may very well be the clearest reflection of the artist himself that he’s ever allowed his audience.

U2 sometimes gets caught up in remaining commercially relevant and the “biggest Rock band in the world.” This is evident here (even besides the Apple debacle). It has moments of what brilliance the band is capable of. However, it’s trying too hard to reach an irretrievable audience.

It’s Madonna focusing on what she’s good at: getting people to dance. No more trying to fool anyone into thinking she’s younger than she is. No hollow statement pieces. Just clever grooves and fun time lyrics providing much needed escapism.

The mixing/mastering and choice of synth and vocal overdubs make Peter Gabriel ready for the 21st century dance floor and beyond. While somewhat long-winded and repetitive at times, PG’s 21 year build up to new material was thankfully, though not surprisingly, worth the wait.

Possibly McMurtry’s most consistent set. Dry humor and dusty Americana at its finest from a well-worn storyteller and road warrior. Be prepared to rock out, and to ponder quality of life.

Possibly Elton’s best. The lyrical and sonic images are vivid and at times harsh. It exists on its own plain, really - defying the single genre mainstream radio tried to make it be. Both the hits and the deep cuts are rewarding listens.

Richly textured and deeply soulful. A gospel-hinged voice and quasi-classical piano from the Rocket Man give this album a maturity and intellectual challenge that long time fans will appreciate and new fans will find intriguing.

It’s weird, it’s funny, it’s fresh yet retro.

At first, it’s difficult to tell what 3stacks is doing here and what he’s trying to accomplish. Once the listener settles in though, it’s a relaxing ride through a sound jungle.

It’s outrageous how hard these guys go on this one. Bursting with energy. The grooves are what you want The Stones to be. The collection of songs aren’t all winners, but when they hit, they hit.

Is it Jazz Fusion? Is it Alternative Folk? Is it total creative freedom? Yes.

With producer Joe Henry and arranger Allen Toussaint, yes that Hugh Laurie makes a real New Orleans Blues record. It feels ancient in the best way. The roster of musicians working on this is insane. It’s a rewarding joy.

A surprise around every corner. Producer Ethan Johns pushes Tom Jones artistically with roomy atmospheres. The song choices are fascinating; Jones covering his contemporaries - but more recent songs. There are truly stunning moments, perhaps the most striking being the Gregorian choir-backed “Charlie Darwin.”

Outrageously creative with its bars and with its samples. Doom was working on a different level here.

The unusualness of its rhythms and wordings make it a standout in any genre. “Bombs Over Baghdad” maybe one of the most important and culturally significant songs ever written, tbh.

Layered production and songwriting is *chef’s kiss* 🤌🏻 You’ll hear something new every time you listen.

It’s a little bloated, but the keepers are some of the Stones’ best work in recent memory. They have no business sounding this good at this stage in life.

21st century Cowpunk at its finest. Yoakam’s songwriting is deep, and his presentation is loose and warm. Beck adds a sprinkle of his production magic. It works in a surprising number of ways.

Quintessential Stones. Sassy, raw, mystical at times.

Somehow, it’s the perfect mixture of Paul Simon’s artistic instincts and South African interpretations of western melodies. No skips. Each one is a stunner.

Bowie does what he does best: the unexpected. Experimenting with Jazz, Hip-Hop, and the Funk of his mid-‘70’s past (and making up his own language at one point), The Thin White Duke goes out on top by saying farewell without actually saying it.