The title of the recording refers to two possible recordings. The original recording was released in 1997, featuring only Ben Gibbard (Vocals, Guitar, Bass, Drums, Piano), as a demo. This demo was then re-released in 2002 by the members of Death Cab For Cutie after their successful album The Photo Album. With the original songs of the demo were ten more tracks by Death Cab For Cutie, adding Christopher Walla (Vocals, Guitar), Nicholas Harmer (Bass) and Nathan Good (Drums, Tambourine) to the mix. I'll be reviewing 2002 release.
This album has a few strengths, the first of which is Ben Gibbard's notable talents. The first eight songs feature him and only him, and they are excellent considering the demo nature of the recording. Songs like "Champagne From A Paper Cup" and "Hindsight" show skilled song-writing through simple music and well-crafted lyrics. The low-fi nature of this half of the recording appeals to me quite a bit, as it shows the strengths of the musician and not the producer. The other thing I really love about this album is the flip that occurs when we leave the demo and enter the bonus tracks. It's not often you can hear in one recording the growth of a group of musicians, and you can hear it here.
Some of the songs on the newer part of the album, such as "TV Trays" and "New Candles" are a little dull, but these incidences are uncommon enough that's it not hard to listen through the album to hear the good ones. There's one really odd song, called "Flustered/Hey Tomcat!" which involves many production-based effects that warp spoken words. I'm still not quite sure what to think about it, but if you like that kind of thing, you'll probably like this too.
Personally, I really like this album for the low-fi demo tracks and the experience of time-travel you get by leaping into more mature Death Cab music, and that's why you should listen to it.
Thursday, May 29, 2008
Review of Weezer [Blue Album] (Weezer)
The Blue Album is Weezer's first eponymous release, and referred to in this way to disambiguate it from The Green Album, another eponymous release which came seven years later. The band consisted of Rivers Cuomo (Lead Vocals, Lead Guitar, Keyboards), Patrick Wilson (Percussion), Brian Bell (Rhythm Guitar, Backing Vocals), and Matt Sharp (Bass Guitar, Backing Vocals).
The first release by Weezer definitely sounds like a first release. It's rough around all the edges, it's immature, and most of the songs are little more than catchy. Which is, of course, why I love it. It shows a wonderfully reckless disregard for the polished kind of music I'm used to hearing, and while the music is basic it does exactly what it means to do, which is to entertain. The first song, "My Name Is Jonas", is one of the stronger tracks on the record, with a funky little acoustic intro, the theme of which makes it into the solo-like bridge, which is my favourite piece of guitar work on the album. I can't call it a solo, because there's one guitar laying down a constant droning rhythm while another guitar slowly builds on top.
Other positives on the album include the bass-heavy "Only In Dreams", one of few seven-minute songs I'm willing to listen all the way through, and "Say It Aint So", purely for the chorus. I always wonder why I'm listening to the song, and then the chorus hits me and I remember. The weaker songs on the album are tracks like "No One Else", and "Surf Wax America", which are like the Pringles of the album. They're kind of entertaining, but there's a complete lack of substance in them. "Buddy Holly" fits this bill too.
Personally, I get a kick out of this album. It's catchy, and I enjoy listening to it. It's not an amazing piece of brilliant work that will last for the ages, but I don't think it was ever meant to be. So if you listen to music to enjoy it, and not just to marvel at it, you should definitely be listening to this album.
The first release by Weezer definitely sounds like a first release. It's rough around all the edges, it's immature, and most of the songs are little more than catchy. Which is, of course, why I love it. It shows a wonderfully reckless disregard for the polished kind of music I'm used to hearing, and while the music is basic it does exactly what it means to do, which is to entertain. The first song, "My Name Is Jonas", is one of the stronger tracks on the record, with a funky little acoustic intro, the theme of which makes it into the solo-like bridge, which is my favourite piece of guitar work on the album. I can't call it a solo, because there's one guitar laying down a constant droning rhythm while another guitar slowly builds on top.
Other positives on the album include the bass-heavy "Only In Dreams", one of few seven-minute songs I'm willing to listen all the way through, and "Say It Aint So", purely for the chorus. I always wonder why I'm listening to the song, and then the chorus hits me and I remember. The weaker songs on the album are tracks like "No One Else", and "Surf Wax America", which are like the Pringles of the album. They're kind of entertaining, but there's a complete lack of substance in them. "Buddy Holly" fits this bill too.
Personally, I get a kick out of this album. It's catchy, and I enjoy listening to it. It's not an amazing piece of brilliant work that will last for the ages, but I don't think it was ever meant to be. So if you listen to music to enjoy it, and not just to marvel at it, you should definitely be listening to this album.
Wednesday, May 28, 2008
Question of the Week
Hi everybody, I thought I'd kick off the grand public opening of the blog with a segment I hope will be weekly. I ask a question, something about music in some way, and everybody answers it! I hope.
This weeks question:What is the most embarrassing record/album/cd/recording you've ever bought with your own money?
Mine's pretty easy: Nickelback's "Silver Side Up"
How about you?
This weeks question:What is the most embarrassing record/album/cd/recording you've ever bought with your own money?
Mine's pretty easy: Nickelback's "Silver Side Up"
How about you?
Tuesday, May 27, 2008
Review of Nashville Skyline (Bob Dylan)
Bob Dylan's Nashville Skyline explores a country style unheard from Dylan prior to its release. The first song on the album is a re-recording of his own song "Girl From The North Country" which was performed with Johnny Cash, and really sets the tone for the rest of the recording.
As my friends will tell you, I am not generally a fan of country music, but this record is country done right. The technical skills of the musicians are showcased in the songs "Nashville Skyline Rag" (an instrumental piece), and "Country Pie", where the vocals are quiet and unassuming, allowing the musicians to really shine. The song "I Threw It All Away" is a heart-felt ballad about making a mistake in love, and Dylan's vocal talents make the song extremely touching.
The most well-known song from the album, "Lay Lady Lay", was originally recorded for a movie, but Dylan did not finish with it soon enough for it to be featured. "Tell Me That It Isn't True" is a brilliantly performed song wherein the singer is desperately asking his love to deny the rumours that she had been sleeping around, and Dylan's performance conveys the desperation very convincingly.
You might notice that I didn't have my usual "negatives" paragraph. That's because I couldn't find any. There is nothing about this album that I don't like. If you don't like or can't appreciate country music or Bob Dylan, you probably won't like this album, but apart from that, it's an astounding piece of music done right, and that's why you should listen to it.
As my friends will tell you, I am not generally a fan of country music, but this record is country done right. The technical skills of the musicians are showcased in the songs "Nashville Skyline Rag" (an instrumental piece), and "Country Pie", where the vocals are quiet and unassuming, allowing the musicians to really shine. The song "I Threw It All Away" is a heart-felt ballad about making a mistake in love, and Dylan's vocal talents make the song extremely touching.
The most well-known song from the album, "Lay Lady Lay", was originally recorded for a movie, but Dylan did not finish with it soon enough for it to be featured. "Tell Me That It Isn't True" is a brilliantly performed song wherein the singer is desperately asking his love to deny the rumours that she had been sleeping around, and Dylan's performance conveys the desperation very convincingly.
You might notice that I didn't have my usual "negatives" paragraph. That's because I couldn't find any. There is nothing about this album that I don't like. If you don't like or can't appreciate country music or Bob Dylan, you probably won't like this album, but apart from that, it's an astounding piece of music done right, and that's why you should listen to it.
Monday, May 26, 2008
Review of VU (The Velvet Underground)
VU is considered by many to be the "lost album" of the Velvet Underground. Recorded in 1969 while working under the MGM Records label, the Velvet Underground was released from its contract because their music was considered offensive to the moral standards of Mike Curb, the new CEO. Many of their recorded tracks were unreleased, and ten of them were released in 1985 as the album VU. The Velvet Underground is comprised of Lou Reed (Vocals, Guitar), John Cale (Bass), Maureen "Moe" Tucker (Percussion, Vocals), and Sterling Morrison (Guitar, Backup Vocals). Doug Yule (Bass, Keyboards) contributed as well.
This is one of my personal favourite Velvet Underground albums. Despite the fact that it was tossed together from a group of unreleased songs, the album is musically just as strong as the other Velvet Underground works. The song "Foggy Notion" puts forward some of the best sprawling guitar work I've ever heard. "Lisa Says" is another wonderful song, with quiet verses crescendoing into powerful choruses, which drop off right back into the soft sounds again.
Some of the songs, notably "Andy's Chest" are somewhat immature, which detracts from my overall enjoyment of the album. Before I did the reading for this review, I hadn't known that this was not a well-planned album, but in retrospect I can hear some of the differences in style from song to song, and this prevents the album from really sounding like a cohesive whole.
All things said, however, this album has some of indispensable music by the Velvet Underground, and should be listened to any serious alternative rocker at least once. The music of this band is too influential to ever disregard, and that's why you should be listening to it.
Review of Keasbey Nights (Streetlight Manifesto)
Keasbey Nights is a re-recording of an album by the same name by Catch 22. Tomas Kalnoky (Guitar, Vocals, Mixing, etc. etc...), formerly of Catch 22, was responsible for all the writing -- both lyrics and music -- for the original and this re-recording. He is backed by Jim Conti (Tenor Sax), James Egan (Trumpet, Background Vocals), Chris Paszik (Bass, Background Vocals), Dan Ross (Alto Sax, Baritone Sax), Mike Soprano (Trombone), and Chris Thatcher (Drums). Though chronologically second, this album is often not counted when ordering the band's official releases, because it is a re-recording.
In case you didn't figure it out from the massive number of people and brass instruments, this album is a third-wave Ska, released in 2006. It features much more skilled musicianship than the original Catch 22 recording. If you like Ska, this album is a huge treat with a never-ending run of brass solos that would rival the greats. The song "Walking Away" features a horn battle that showcases the talents of the musicians, if you're as interested by that as I am.
The other thing I really love about this album is the gangster feel about it. I'll say that again: "Gangster", not "Gangsta". Songs like "9mm And A Three Piece Suit" and the title track really give off the impression of the mob, and it's an oddly enjoyable feeling. My favourite lyric on the album is "Jack dropped 21, Jill 22, the look in his eye said 'Brother, what you gonna do, with a nine-milimetre and a three piece suit?'"
Negatively, this album has a couple songs that are not done as well, "Giving Up, Giving In" is rather uninteresting, and the half-screaming vocalist does not impress. "As The Footsteps Die Out Forever" suffers from a similar issue.
If you don't like Ska, or don't know what I'm talking about, this album is a pretty good one to wet your feet on. It's very standard ska fare done uncommonly well. I'll be honest, I enjoy listening to it in part despite the ordinary nature of the music itself, but that's Ska. It's jumpy and fun, and that's why you should listen to it.
In case you didn't figure it out from the massive number of people and brass instruments, this album is a third-wave Ska, released in 2006. It features much more skilled musicianship than the original Catch 22 recording. If you like Ska, this album is a huge treat with a never-ending run of brass solos that would rival the greats. The song "Walking Away" features a horn battle that showcases the talents of the musicians, if you're as interested by that as I am.
The other thing I really love about this album is the gangster feel about it. I'll say that again: "Gangster", not "Gangsta". Songs like "9mm And A Three Piece Suit" and the title track really give off the impression of the mob, and it's an oddly enjoyable feeling. My favourite lyric on the album is "Jack dropped 21, Jill 22, the look in his eye said 'Brother, what you gonna do, with a nine-milimetre and a three piece suit?'"
Negatively, this album has a couple songs that are not done as well, "Giving Up, Giving In" is rather uninteresting, and the half-screaming vocalist does not impress. "As The Footsteps Die Out Forever" suffers from a similar issue.
If you don't like Ska, or don't know what I'm talking about, this album is a pretty good one to wet your feet on. It's very standard ska fare done uncommonly well. I'll be honest, I enjoy listening to it in part despite the ordinary nature of the music itself, but that's Ska. It's jumpy and fun, and that's why you should listen to it.
Review of Cosmic Thing (The B-52s)
The B-52s are an Athens Georgia pop-rock/electronic band who got their start in 1976. The band consists of Keith Strickland (Guitar, Keyboard, Vocals), Kate Pierson (Keyboard, Vocals), Fred Schneider (Percussion, Vocals), and Cindy Wilson (Vocals), at its core. A great number of other people contributed to the album, which is their fifth full-length release.
One of the notable things about this band is the two distinct vocal styles applied by the men and women respectively. The women sing high, soft and sweet, while the men tend to belt out the tunes somewhere between singing and speaking in an almost Shatnerian style. This, combined with the electronic effects, tends to produce some very catchy-but-odd music, especially on tracks like "Love Shack" and "Roam". The album also has some more "normal-sounding" songs, like "Dead Beat Club", though the term "normal" and this band don't exactly mix.
The problem with this album is that it's pretty far out there, and I think one's either going to like the style of it or not. I find it easy to lose myself in the harmonies and the almost-spoken lyrics, but if this isn't your thing, you're really, really not going to like it. Generally it's a little more produced than I like to hear music. I'm a huge fan of the Low-Fi sound, and I consider the perfect sound to be a little too perfect, but once again that's a personal feeling and I'm sure many of you will disagree.
All I can say is that if you're the sort who likes your music wacky and weird, you'll get a kick out of these folks. I like it because it's too strange to do otherwise.
One of the notable things about this band is the two distinct vocal styles applied by the men and women respectively. The women sing high, soft and sweet, while the men tend to belt out the tunes somewhere between singing and speaking in an almost Shatnerian style. This, combined with the electronic effects, tends to produce some very catchy-but-odd music, especially on tracks like "Love Shack" and "Roam". The album also has some more "normal-sounding" songs, like "Dead Beat Club", though the term "normal" and this band don't exactly mix.
The problem with this album is that it's pretty far out there, and I think one's either going to like the style of it or not. I find it easy to lose myself in the harmonies and the almost-spoken lyrics, but if this isn't your thing, you're really, really not going to like it. Generally it's a little more produced than I like to hear music. I'm a huge fan of the Low-Fi sound, and I consider the perfect sound to be a little too perfect, but once again that's a personal feeling and I'm sure many of you will disagree.
All I can say is that if you're the sort who likes your music wacky and weird, you'll get a kick out of these folks. I like it because it's too strange to do otherwise.
Review of Violent Femmes (The Violent Femmes)
Violent Femmes is the self-titled first release of the band which gave birth to the folk-punk genre. The album is notable for mixing the sounds of American folk and proto-punk into a heavy, whirling mass of folk noise. The band consisted, at the time, of Gordon Gano (Guitar, Violin, Lead Vocals), Brian Ritchie (Acoustic Bass, Electric Bass, Xylophone, Vocals), and Victor Lorenzo (Percussion). Mark Van Hecke played piano on the track "Good Feeling."
It took me a long time to get into this album. For most of my listening life, I've always sort of ignored this album, preferring to it the fifth release, "Why Do Birds Sing?". In retrospect, this was unfair. This album was partially responsible for folk-punk, one of my favourite genres, and the music is reflective of the experimentalism of what I now consider to be standard fare. There is terrific energy on the album, especially in songs like "Blister In The Sun" (the one that everybody knows) and "Prove My Love" (probably less well-known). The work of this band also leads into the Low-Fi genre, tidbits of which can be heard across the album.
Earlier this year, when I was young and foolish (haha), I thought this album was kind of boring and, as I said, I skipped over it. There's not much negative say about the album, except that it might be a tad weird for some people. It's definitely not your average alternative rock, it's drug inspired (occasionally feverishly so) and discordant at times, and unless you're up for something a little different, you probably won't like this. Of course, if you're not up for something a little different, chances are you won't even be reading this review.
This album has so much going for it, and so little taking away from that, it would be a shame if you didn't listen to it. So get on it already, eh?
It took me a long time to get into this album. For most of my listening life, I've always sort of ignored this album, preferring to it the fifth release, "Why Do Birds Sing?". In retrospect, this was unfair. This album was partially responsible for folk-punk, one of my favourite genres, and the music is reflective of the experimentalism of what I now consider to be standard fare. There is terrific energy on the album, especially in songs like "Blister In The Sun" (the one that everybody knows) and "Prove My Love" (probably less well-known). The work of this band also leads into the Low-Fi genre, tidbits of which can be heard across the album.
Earlier this year, when I was young and foolish (haha), I thought this album was kind of boring and, as I said, I skipped over it. There's not much negative say about the album, except that it might be a tad weird for some people. It's definitely not your average alternative rock, it's drug inspired (occasionally feverishly so) and discordant at times, and unless you're up for something a little different, you probably won't like this. Of course, if you're not up for something a little different, chances are you won't even be reading this review.
This album has so much going for it, and so little taking away from that, it would be a shame if you didn't listen to it. So get on it already, eh?
Review of Psychocandy (Jesus And Mary Chain)
Psychocandy is the first release by the Scottish Jesus and Mary Chain. The album is notable for being one of the progenitors of the shoegaze genre, which is epitomized by melding vocals with guitar noise while the musicians stared at their feet. The band consisted, at the time, of Jim Reid (Vocals, Guitar), William Reid (his brother, also Vocals and Guitar), Douglas Hart (Bass), and Bobby Gillespie (Drums).
I like this album quite a bit. Obviously drug inspired, the feedback noises and building of simple parts together to form a greater whole was, for the time, revolutionary. Despite what you might think with the feedback and squealing guitars, I find this an excellent album to relax to. It's very mellow in its oddness, which is nice. Some songs definitely stick out, like "Just Like Honey" and "Taste of Cindy", they tend to be a little more upbeat, as is my wont. I'd also like to draw attention to the drumming. It's not crazy, it's not flashy, but it is just right and it cements the entire album together.
In the negative, the album can feel a bit repetitive if you're not into that sort of thing. Many songs sound somewhat similar, especially the intros of "Just Like Honey" and "Some Candy Talking" have the same feel to me. I do like this album, but I rarely listen all the way through, unless I need calming down.
This album is a little over-hyped, I think, which is not the band's fault and that's why I didn't include it in the negative. It's a great album, but I much prefer the edgier sound of Munki, their seventh and last. All things considered, this album is definitely worth checking out if you haven't, and definitely worth giving another listen if you have.
I like this album quite a bit. Obviously drug inspired, the feedback noises and building of simple parts together to form a greater whole was, for the time, revolutionary. Despite what you might think with the feedback and squealing guitars, I find this an excellent album to relax to. It's very mellow in its oddness, which is nice. Some songs definitely stick out, like "Just Like Honey" and "Taste of Cindy", they tend to be a little more upbeat, as is my wont. I'd also like to draw attention to the drumming. It's not crazy, it's not flashy, but it is just right and it cements the entire album together.
In the negative, the album can feel a bit repetitive if you're not into that sort of thing. Many songs sound somewhat similar, especially the intros of "Just Like Honey" and "Some Candy Talking" have the same feel to me. I do like this album, but I rarely listen all the way through, unless I need calming down.
This album is a little over-hyped, I think, which is not the band's fault and that's why I didn't include it in the negative. It's a great album, but I much prefer the edgier sound of Munki, their seventh and last. All things considered, this album is definitely worth checking out if you haven't, and definitely worth giving another listen if you have.
Thursday, May 22, 2008
Review of Good Weird Feeling (The Odds)
Good Weird Feeling is the third full-length release by the Odds (now the New Odds), and it's a titan of Canadian alternative rock. Craig Northey (Vocals, Guitar), Steven Drake (Vocals, Guitar), Doug Elliott (Bass), and Paul Brennan (Drums) make up the band, whose name reportedly came from Brennan asking Drake, "What are the odds of us ever escaping bullshit gigs like this?" while in a small town in British Colombia.
Good Weird Feeling is not too far out there, musically. It's an accessible power pop/alternative rock album, but don't let that fool you. I mentioned Heinz's quote, awhile back, something to the effect of, "To do a common thing uncommonly well bring success". This album is uncommonly well done. The subject matter is occasionally uncomfortably well treated, like in the case of "Oh Sorrow, Oh Shame", which is a song about feeling the shame of crossdressing. The song definitely made me feel like I understood, which was quite a treat.
Have you ever listened to an album and thought, "Wow, there's nothing they could have done to make this sound any better"? It happens to me very rarely, but this one of those albums. I have no issues with it musically, none whatsoever. Every time I listen to it, it's a joy to listen to. Some songs stand out, of course, like the slowly building "Break The Bed", and the quiet and quirky "The Last Drink".
This is, as an album, one of the best albums I've ever heard. Each of these songs is great alone, but together they truly surpass themselves. If you ever go hunting for one Canadian alternative rock album, make it this one.
Good Weird Feeling is not too far out there, musically. It's an accessible power pop/alternative rock album, but don't let that fool you. I mentioned Heinz's quote, awhile back, something to the effect of, "To do a common thing uncommonly well bring success". This album is uncommonly well done. The subject matter is occasionally uncomfortably well treated, like in the case of "Oh Sorrow, Oh Shame", which is a song about feeling the shame of crossdressing. The song definitely made me feel like I understood, which was quite a treat.
Have you ever listened to an album and thought, "Wow, there's nothing they could have done to make this sound any better"? It happens to me very rarely, but this one of those albums. I have no issues with it musically, none whatsoever. Every time I listen to it, it's a joy to listen to. Some songs stand out, of course, like the slowly building "Break The Bed", and the quiet and quirky "The Last Drink".
This is, as an album, one of the best albums I've ever heard. Each of these songs is great alone, but together they truly surpass themselves. If you ever go hunting for one Canadian alternative rock album, make it this one.
Review of Trompe Le Monde (The Pixies)
Trompe Le Monde is the fourth and final release by the Pixies. The band consists of Black Francis (Vocals, Guitar), Joey Santiago (Lead Guitar), David Lovering (Drums), Kim Deal (Bass, Vocals), and Eric Drew Feldman (Keyboard, Piano). The album is space-themed, referencing places like Roswell NM and the Olympus Mons (the largest mountain in our solar system, located on Mars). It's a little further out there than the rest of the work done by the band, and that's saying something about the Pixies.
Personally, I love how this album seems to take the styles of Doolittle and Bossanova and push them to the limit in this album. Everything is just a little sharper, from the guitars, to the production, to the lyrics and singing. I'm taken by soaring songs like "Bird Dream Of The Olympus Mons", and "Motorway to Roswell", which inspire in me the feeling of something bigger than our little home. Beyond that, though, the music rocks, and I mean really rocks. It's a little weird, but it's definitely weird in a good way. Songs like "Distance Equals Rate Times Time", "U-Mass" and "Trompe Le Monde" start hitting quickly and don't let up. When combined with the more introspective songs mentioned earlier, the mix is good enough to fall in love with.
There's not much in the negative on this album, but a couple songs -- "Planet Of Sound", I'm looking at you -- just fall flat for me. Sometimes it's a little too much in the way of screaming, sometimes the music is just a little boring: the exact reasons vary from song to song, but these few songs are definitely in the minority.
All told, I really, really like this album, and I think as far as Pixies albums go, it's fairly underrated and underlistened. I hope to change that. If you like the Pixies already, you ought to love this album. So give it a shot already!
Personally, I love how this album seems to take the styles of Doolittle and Bossanova and push them to the limit in this album. Everything is just a little sharper, from the guitars, to the production, to the lyrics and singing. I'm taken by soaring songs like "Bird Dream Of The Olympus Mons", and "Motorway to Roswell", which inspire in me the feeling of something bigger than our little home. Beyond that, though, the music rocks, and I mean really rocks. It's a little weird, but it's definitely weird in a good way. Songs like "Distance Equals Rate Times Time", "U-Mass" and "Trompe Le Monde" start hitting quickly and don't let up. When combined with the more introspective songs mentioned earlier, the mix is good enough to fall in love with.
There's not much in the negative on this album, but a couple songs -- "Planet Of Sound", I'm looking at you -- just fall flat for me. Sometimes it's a little too much in the way of screaming, sometimes the music is just a little boring: the exact reasons vary from song to song, but these few songs are definitely in the minority.
All told, I really, really like this album, and I think as far as Pixies albums go, it's fairly underrated and underlistened. I hope to change that. If you like the Pixies already, you ought to love this album. So give it a shot already!
Tuesday, May 20, 2008
Review of Ramones (The Ramones)
Ramones is the first release by the progenitors of punk, the Ramones. It's a blast that ends in a flash; at only twenty-nine minutes, I can put both it and their second record on the same CD. Joey (Vocals), Johnnie (Guitar), Dee-Dee (Bass, Backup Vocals), and Tommy (Drums) Ramone -- all stage names, of course -- make up this classic punk band.
This album scores serious points with me simply by being one of the first punk albums ever made. The music itself is very rough, but that was what made it different, and that is not a negative here. The wall of noise brings with it the emotions of being in a screwed up world, where fathers lock their children in basements (I Don't Wanna Go Down To The Basement) and mothers chase children with baseball bats (Beat On The Brat). Look for very simple instrumental work on this record.
The only thing about this album that occasionally perturbs me is Joey's singing style. Sometimes the noises he makes aren't really words, and I'm not used to that. Also, due to the lack of musical skill in the band, it's easy to get lost in the record, sometimes to forget where you are, because a lot of it sounds kind of the same.
Somehow, through it all, it still sounds like it stands as the birth of a genre, and I'm not quite sure how that works, but here it is. The Ramones will forever stand a head above the rest, and this album shows that clearly.
This album scores serious points with me simply by being one of the first punk albums ever made. The music itself is very rough, but that was what made it different, and that is not a negative here. The wall of noise brings with it the emotions of being in a screwed up world, where fathers lock their children in basements (I Don't Wanna Go Down To The Basement) and mothers chase children with baseball bats (Beat On The Brat). Look for very simple instrumental work on this record.
The only thing about this album that occasionally perturbs me is Joey's singing style. Sometimes the noises he makes aren't really words, and I'm not used to that. Also, due to the lack of musical skill in the band, it's easy to get lost in the record, sometimes to forget where you are, because a lot of it sounds kind of the same.
Somehow, through it all, it still sounds like it stands as the birth of a genre, and I'm not quite sure how that works, but here it is. The Ramones will forever stand a head above the rest, and this album shows that clearly.
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