4080
Well-Known Member
Totally forgot about that movie! I had one of those friends who would always try to get us to get high and watch that movie, I mean we'd always knock out the first part, still haven't seen the movie
The 1001 Album Generator Project Thread
- Thread starter Nee Lewman
- Start date
Totally forgot about that movie! I had one of those friends who would always try to get us to get high and watch that movie, I mean we'd always knock out the first part, still haven't seen the movie
Nee Lewman
बैस्टर्ड
My brother is one of those guys. Haven’t seen it either.
gaporter
Well-Known Member
Wasn't sure how to feel about this Marianne Faithfull album. Stylistically I like a lot of the eclectic new wave elements and the songs themselves are mostly fine.
Unfortunately, though, I had a pretty strong negative reaction to the first few tracks when I first put it on and I feel like the reason is pretty obvious. Typically I'm all for distinctive voices and I'm not bothered by vocalists who aren't pitch perfect. However it seems like I found my limits because I really struggled with parts of this album. Yes, I know the context for why her voice sounds like that but that doesn't change the fact that the vocals on some of these tracks are particularly hard to listen to.
The thing is, as the album went on, I found myself getting used to the vocals and even enjoying them by the end. I guess it took hearing her sing about spitting on snatches and barbed wire pussy to really appreciate the grit in her voice. However I stand by that some songs, like Witches' Song and Guilt, just flat out don't suit Faithfull's voice at all. I ultimately gave it a 3 because I think some of the material does really work, the last three songs especially. Her wheelhouse on here seems to be more in the aggressive, rawer sounding tracks and I think if that constituted more of the album it could have been bumped up to a 4.
Unfortunately, though, I had a pretty strong negative reaction to the first few tracks when I first put it on and I feel like the reason is pretty obvious. Typically I'm all for distinctive voices and I'm not bothered by vocalists who aren't pitch perfect. However it seems like I found my limits because I really struggled with parts of this album. Yes, I know the context for why her voice sounds like that but that doesn't change the fact that the vocals on some of these tracks are particularly hard to listen to.
The thing is, as the album went on, I found myself getting used to the vocals and even enjoying them by the end. I guess it took hearing her sing about spitting on snatches and barbed wire pussy to really appreciate the grit in her voice. However I stand by that some songs, like Witches' Song and Guilt, just flat out don't suit Faithfull's voice at all. I ultimately gave it a 3 because I think some of the material does really work, the last three songs especially. Her wheelhouse on here seems to be more in the aggressive, rawer sounding tracks and I think if that constituted more of the album it could have been bumped up to a 4.
Nee Lewman
बैस्टर्ड
what?
Nee Lewman
बैस्टर्ड
I don’t recognize any that and why did they get VMP to do the original cover?
this is entirely new to me. there's not a lot of 'rock' on here, it's mostly a collection of slower tempo soul/gospel infused r&b songs that showcase burke's notable talent as a vocalist. it's fine. looks like it came out in 1964 which seems kind of late for these songs to stand out among the popular music of the time, when artists like ray charles and sam cooke had been putting out similar (and more upbeat) music for several years. there's nothing wrong with it (i do like the music and burke's performances) and maybe some greater context would be needed for me to more fully appreciate it, but i'm not feeling this particular album as an essential record to hear.
keylime_5
Well-Known Member
this is entirely new to me. there's not a lot of 'rock' on here, it's mostly a collection of slower tempo soul/gospel infused r&b songs that showcase burke's notable talent as a vocalist. it's fine. looks like it came out in 1964 which seems kind of late for these songs to stand out among the popular music of the time, when artists like ray charles and sam cooke had been putting out similar (and more upbeat) music for several years. there's nothing wrong with it (i do like the music and burke's performances) and maybe some greater context would be needed for me to more fully appreciate it, but i'm not feeling this particular album as an essential record to hear.
Burke was one of greatest singers of all time and key in bridging 50s r&b to 60s soul music as it would be the template for the likes of Wilson Pickett and Otis Redding. Big influence on the Stones too. Y’all should get the book and read the write ups on these albums if you haven’t already
if wiki/discogs are accurate, he's got a handful of albums and numerous singles released before this (also a large catalog after). would you have picked this album as the one to represent his influence and a must-listen? as a singular listening experience this one just doesn't hit as an album of essential listening as much as it seems that listening to solomon burke in general is an essential ingredient in understanding the broader development of soul music, for which you don't really need this album in particular. in other words i guess, what makes this record the solomon burke record to listen to, in your view?
keylime_5
Well-Known Member
The album had 7 billboard top 100 hits, which in 1964 was pretty unheard of for a black artist
gaporter
Well-Known Member
I don't know about this Rod Stewart album, man. It's well-played and well-recorded but I'm not really jiving with Stewart's vocal style or his repertoire. It's repetitive and the whole "good ol country boy" shtick he's going for here is really lame in my opinion. The songwriting credits boast names like Bobby Womack, Bob Dylan, and Elton John & Bernie Taupin. And in each case I feel like I'd much rather be hearing those artists perform their respective songs because in Stewart's hands they all end up melting into one big country rock pastiche that floats straight into the background for me. Why do so many of these songs go on for like three minutes too long? Why are his vocals buried in the mix on the title track? Why are they panned to one side on the last track? Not that I'm complaining that I can't hear Rod Stewart's voice but still.
Respect to the musicians who made this semi-less irritating but listening to Stewart constantly wail "YOU'RE MY GIRL" over and over again into my right ear on the final song is what it took to push me to give this my first 1 out of 5.
Once again, I'll let SpongeBob sum up my feelings better than I could:
And out of curiosity I did go back and listen to the original Elton John version of "Country Comfort" after this and I'd be embarrassed if I were Rod.
Respect to the musicians who made this semi-less irritating but listening to Stewart constantly wail "YOU'RE MY GIRL" over and over again into my right ear on the final song is what it took to push me to give this my first 1 out of 5.
Once again, I'll let SpongeBob sum up my feelings better than I could:
And out of curiosity I did go back and listen to the original Elton John version of "Country Comfort" after this and I'd be embarrassed if I were Rod.
fair enough. i see now that this album is really more of a compilation - those hits were all singles released over the previous 3+ years so i guess if you're going to represent burke's output as influential this is probably the best way to do it, and also explains to me why 1964 seems like it's a bit late when, to your point, redding and the stones were already on the scene when this record came out.
avecigrec
Well-Known Member
If you find yourself wanting even more depression and disgust in your life, you could always have a listen to Rod's version of the Tom Waits classic "Downtown Train" - but , if you prefer joy and goodness I recommend against it!
TenderLovingKiller®
Well-Known Member
Stewart’s voice is what made him a star. His Faces stuff is more fun, it has more of a rocking pub band feel to it. Gasoline Alley is alright but if I were gonna pick a Rod Stewart record to spin it would be his follow up, Every Picture Tells A Story.
Though if you don’t dig Rod’s voices it’s probably not worth exploring further as the music isn’t revelatory in of itself.
Nee Lewman
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Common - Be
Probably my second favorite Common album (some days I might put Like Water for Chocolate slightly above it. One Day It Will All Make Sense will ever be his masterpiece in my view.) Definitely some of Kanye's best work.
5/5
Nee Lewman
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Seems like a weird pick for Rod.
Nee Lewman
बैस्टर्ड
I'll also be the brave one to say that I actually like Rod Stewart. I really only don't want him doing Standards though. That crap is AWFUL. I even like his Downtown Train - hell, it's the reason I got into Waits anyhow.