MGMT - Oracular Spectacular

MGMT - Oracular Spectacular (2007)

Genre: Indietronica, Indie Pop, Synth Pop

Now a well established duo in the indie pop scene, their debut record showcased a gorgeous atmosphere of electronic influences and self-aware, true to life songwriting. As a reminder, I do not intend for this to be a really in-depth and complex review. I'm just sharing my quick personal thoughts on the album. As for any album review I do, I try to be objective without letting any personal bias get too much in the way of the final grade. 

Starting off with a bold testament on the life of stardom through the use of tongue-in-cheek humor and sarcasm, Time to Pretend is a perfect introduction to this album from a musical standpoint, but also serves as a statement of the duo's state of mind. They had ambition, and whether they took off was only a matter of time. There's nothing wildly experimental about their sound, but instead, they make it work by creating an intoxicatingly catchy atmosphere of fun synth melodies and occasional haunting vocals.

Songs like Weekend Wars and Kids are care-free throwbacks to years long past, serving as anthems for childhood imagination and childhood innocence, respectively. The latter song features what I believe to be one of the most uplifting synth riffs to come out of a pop record. It's fitting, as it's almost child-like in nature; simplistic and cute. There's also other highlights that slightly shift away from the synth pop influences, such as Of Moon, Birds & Monsters, which more often than not plays out more like an indie rock evaluation of the human psyche, slowly evolving into a psychedelic electronic jam session near the end. Make of it what you will.

Admittedly, Pieces of What is a song that initially feels out of place on this record, maintaining an acoustic aesthetic throughout. It's quite nice though, and it shows that MGMT were certainly capable of branching out a bit, even if it's for more traditional forms of composition. It was probably a sign of things to come, such as in their second album, Congratulations, which featured the gorgeous title track. There's no shortage of lovely tracks on here though, mostly of the neo-psychedelia variety.

The strength of this album is measured by its varied and eclectic mix of trippy soundscapes and melodies that make for a consistently beautiful experience. 4th Dimensional Transition is one of the few songs where I have ever truly felt like the title means what I felt, if that makes sense. It's a great experience. Sure, there were a couple songs that I didn't feel as strongly for, most notably, Electric Feel, which for being a hit, I expected a bit more outside of its basic groove and muddled disco influences. Nevertheless, this is certainly one of the better debuts of 2007, and one that is mostly a spectacular (pun intended) listen from start to finish.

A

Favorite Tracks: Weekend Wars; The Youth; Kids; 4th Dimensional Transition; Pieces of What; Of Moons, Birds & Monsters

Least Favorite Track: Electric Feel

Jack White - Blunderbuss

Jack White - Blunderbuss (2012)

Genre: Blues Rock, Garage Rock

Among the biggest icons in 21st century rock music lies Jack White, who's first proper solo album may not exactly tread completely new ground, is still an excellent demonstration of blues rock... with spunk. As a reminder, I do not intend for this to be a really in-depth and complex review. I'm just sharing my quick personal thoughts on the album. As for any album review I do, I try to be objective without letting any personal bias get too much in the way of the final grade. 

Up to this point in his career, I believe it wasn't since The White Stripes' Elephant that White cranked out an album as consistently great as this. This is pure blues rock revival, with that touch of charisma that is undeniable of Jack White. He roars through the track list with such conviction, and at times, even angst, that you can't help but keep up with these storylines of disturbed emotions and troubled love that he sings about. My first exposure to this album was upon hearing Sixteen Saltines while I was playing Rocksmith back in my younger teenage years, and I immediately feel in love with it.

While Sixteen Saltines is certainly one of my favorites, there are no shortage of other great tracks here. Freedom at 21, plays like an anthem of young rebellion, and I can't help but feel hooked by Jack's borderline rapping here. Love Interruption is a favorite among many, it seems, and it's easy to see its appeal among its subtle abrasiveness. Likewise, Trash Tongue Talker is another abrasive track that seems to draw on some soul influence. Its aggressive piano riffs and Jack's evident anger in his voice drives this song amazingly well and is certainly one of the funkier songs on here. 

As much praise as I'm giving this album, there's still a few songs here that don't necessarily live up to standard. The title track, while still effective in its subtle country influences, didn't exactly hook me all that much. Hip (Eponymous) Poor Boy seemed to be among the more upbeat tracks, and it certainly succeeds in its more happy aesthetic, but I can't help but feel that it sounds a bit out of place on the album. Still, these two tracks don't really detract much from the rest of the album's appeal.

Overall, Jack's brilliance in creating stellar rock tracks shines through on this record. What this album lacks in innovation, it makes up for it with a sizeable number of infectiously moody and catchy songs, with only the occasionally small hiccup. For lovers of blues rock or anyone that was a fan of The White Stripes, this is a must listen. If anything, it serves as a prime example of why Jack White is such a revered figure among the rock community today.

A

Favorite Tracks: Missing Pieces, Sixteen Saltines, Freedom at 21, Love Interruption, I'm Shakin', Trash Tongue Talker

Least Favorite Track: Hip (Eponymous) Poor Boy

Paul and Linda McCartney - Ram

Paul and Linda McCartney - Ram (1971)

Genre: Country Rock, Folk Rock, Blues Rock

Acknowledging the criticisms he received from critics for his debut album, Macca used them to whip up a better sophomore effort. Ironically, critics at the time did not agree. As a reminder, I do not intend for this to be a really in-depth and complex review. I'm just sharing my quick personal thoughts on the album. As for any album review I will do, I try to be objective without letting any personal bias get too much in the way of the final grade.

As previously stated, this record was not very well received by most critics back in 1971. I've always wondered what these critics were smoking back in the day, because this record is such a great improvement over his debut. For one, the production here is noticeably better as a direct result of criticism aimed at the production of his first album. As charming as the "homemade mixtape" aesthetic of his previous effort was to me, I admit that this time around, it actually sounds more like an actual professional release, which is a much better fit for a musician of such high rank. Aside from that, Macca also hired actual studio musicians this time, including his future Wings drummer, Denny Seiwell. 

Seeing as this record is credited to his wife as well, it's cute to hear more vocal contributions from Linda this time around. There's a sense of greater sonic experimentation here as well. Uncle Albert/Admiral Halsey combines stormy sound effects, distorted vocals and dabbles in baroque to paint a story, and it makes for one of the more amusing tracks on the record. As much as Paul is known for writing "silly love songs," it's amazing to note that there aren't that many obvious ones on here. Long Haired Lady and Back Seat Of My Car are the most direct approaches to writing a love song here, with the former including a strangely hypnotic, almost psychedelic outro that, admittedly drags on for a bit too long, but is quite interesting.

Let me not forget to mention the more straightforward rock tracks. Smile Away is a nice throwback to the "swing beat" style of 50's and early 60's rock. It's also notable for featuring lyrics about "stinky feet, stinky breath, and stinky teeth." Eat at Home is one of my favorite on here. It's simply catchy as hell. Monkberry Moon Delight on the other hand is an odd specimen on this record, if not for its purely non-sensical lyrics, but also for Paul's incredibly heavy, growly, and at times screechy vocal performance. It's also catchy in it's own right, though.

Every time I go back to this album, I catch myself smiling throughout most of it. Objectively speaking, I wouldn't call this a masterpiece, but I never seem to get bored of replaying it. Within Macca's discography, I'd be hard-pressed to consider any of his albums to be "perfect," but this may very well be the closest he'll ever get to that (as a solo act). It's just an incredibly upbeat, sweet, and at times, comedically amusing album. I seriously have yet to understand what critics back in 1971 thought was so bad about it. There is just so much charm here that's hard to deny and not enjoy.

A

Favorite Tracks: 3 Legs, Uncle Albert/Admiral Halsey, Smile Away, Heart Of The Country, Monkberry Moon Delight, Eat At Home, Long Haired Lady

Least Favorite Track: Dear Boy

Led Zeppelin - Led Zeppelin II

Led Zeppelin - Led Zeppelin II (1969)

Genre: Hard Rock, Heavy Metal, Blues Rock

Released a little over half a year after their stellar debut, Led Zeppelin II knocked The Beatles' Abbey Road off of the No.1 spot on the charts, twice, proving that they were a force to be reckoned with. As a reminder, I do not intend for this to be a really in-depth and complex review. I'm just sharing my quick personal thoughts on the album. As for any album review I will do, I try to be objective without letting any personal bias get too much in the way of the final grade.

Led Zeppelin II was more or less a continuation of the early heavy metal sound of their first record. Most critics and fans like to think back on this record as the most heavy among the band's discography, and I can agree with that. Hits on this record like Whole Lotta Love and Heartbreaker demonstrate this, with their hard pounding bass grooves and loud, distorted guitar riffs. The former song takes a break halfway through with a very psychedelic jam session which includes Robert Plant doing some interesting vocal improv (honestly, he sounds like he's having a seizure induced orgasm). The latter song also takes a break at the halfway point, just for Jimmy Page to get cocky and show off his flashy guitar shreds.

Personally, the heaviest track on this record would have to be The Lemon Song. This is over six minutes of pure, unadulterated Zeppelin at their finest. Two transitions throughout the song lead into a fine showcase of musicianship, with the members playing at full capacity, thanks in part to a really fast tempo change. Plus, with lyrics like these, one can't resist, "Squeeze me baby, 'till the juice runs down my leg... the way you squeeze my lemon, I'm gonna fall right out of bed." Still on the subject of heavy tunes, Moby Dick, which is pretty much just a glorified drum solo, still sounds intense and is fairly enjoyable. Bonham is truly a master of his craft.

Even though this record feels heavier than the rest of their discography, there's still a couple of tracks here that fit into the lighter side of the spectrum. Thank You is quite an underrated mellow love song, featuring some sweet undertones from Jones' Hammond organ. What Is And What Should Never Be and Ramble On, both incredibly infectious songs, balance the sound between soft and hard rock. Both start off with some incredibly sweet and melodic guitar riffs and break into some intense verses. 

While there was little innovation in the way of their sound on this record, there's no denying the amount of hits that came from it. Pretty much 2/3 of the tracks on here are classics that you instantly think of when Led Zeppelin is brought up. I still prefer their debut slightly more over this one, but I still consider this a great demonstration of late 60's hard rock and an incredibly consistent demonstration of what made Led Zeppelin so great as a pioneer of heavy metal.

A

Favorite Tracks: Whole Lotta Love, What Is And What Should Never Be, The Lemon Song, Living Loving Maid (She's Just A Woman), Ramble On, Bring It On Home

Least Favorite Track: Moby Dick

King Crimson - In The Court Of The Crimson King

King Crimson - In The Court Of The Crimson King (1969)

Genre: Progressive Rock

Often hailed as one of the greatest achievements in prog-rock history, King Crimson's debut album has become a staple of rock history and pop culture, and one that by 1969 standards, seemed ahead of its time. This album is being reviewed per request. As a reminder, I do not intend for this to be a really in-depth and complex review. I'm just sharing my quick personal thoughts on the album. As for any album review I will do, I try to be objective without letting any personal bias get too much in the way of the final grade.

After many years of this album seemingly going under my radar, thanks in part to its absence from YouTube and Spotify, I can now finally agree with the fanboys. This is an essential, prog-rock album, and anyone that claims to be a fan of the genre would be doing themselves a great disservice in skipping it. With its smooth blend of symphonic, jazz, and classical influences, I'm still amazed that this was released in 1969.

Uncommon for the era, 5 tracks are all that's presented here. This record runs nearly 44 minutes, so you can expect some pretty lengthy passages. As is obvious, you cannot hold someone's attention for that long without offering something incredibly well-crafted and interesting. For the most part, King Crimson did well in delivering some sweet guitar improv passages, pounding bass riffs and strangely enough, some of the best hard hitting drum fills I have heard on any record. 21st Century Schizoid Man opens up the album with an incredibly upbeat jazz-influenced track that crescendos into one of the most satisfying climaxes I've heard in progressive rock, a little bit after the 2 minute mark. This trails back to the original style of the track around the 6 minute mark. A lot of people consider this to be the highlight of the album, and I can see why, though it's hard to decide if it truly is.

As far as musical variation goes, 21st Century Schizoid Man probably takes the cake, but tracks like Epitaph and the title track are so full of life, so hypnotically beautiful, that it's hard for me to decide on a favorite. Epitaph especially, has a deep sense of urgency surrounding its haunting instrumentals and depressing lyrics, which bring to mind thoughts of nuclear fallout. Court Of The Crimson King is a wonderful album closer, and features some great fantastical imagery that really takes you to another world. I Talk To The Wind is the most "traditional" song on the record, presenting a colorful, lovely acoustic melody, perfectly complimented by Ian McDonald's sweetly melodic flute playing, which is also prominent halfway through the title track. 

The worst track on this otherwise perfectly constructed album would have to be Moonchild. There is nothing inherently wrong with some Avant-Garde experimentation in a prog-rock album. However, when the track is just over 12 minutes long, and most of it is dedicated to minimalistic instrumental quips, it does drag quite a bit. Granted, it's not a big deal for aficionados of the genre. I can't say that I wasn't amused upon first listen, though I wouldn't find myself hard-pressed to listen to this track in its entirety every time I go through this record. The sums on this record greatly outweigh the few cons here though.

A

Favorite Track: Can't decide

Least Favorite Track: Moonchild