u/Rambooctpuss

RS Synopsis:

The third and final album by R&B enigma Aaliyah is a hypnotic mix of gossamer funk and sounds from all over the pop diaspora. It’s also a sad reminder of the bright future that was cut off mere weeks after its release in the summer of 2001. Aaliyah’s voice, which was feather-light yet able to convey heavy meanings, glides over the serpentine beats of “We Need a Resolution” while driving home the romantic torment within; the Missy Elliott-penned ballad “I Care 4 U” evokes longing with its classically modern production and Aaliyah’s yearning performance. Aaliyah is a final statement with only one fault: It feels like it should have been the introduction of a new chapter.

The Review:

The album opens with “We Need A Resolution” ; it was the first single from the record. It sets the tone for a chilled out alt R&B vibe. The timberland produced beat gives off such a sultry energy that allows Aaliyah’s voice to soar. “Loose rap” has a chopped up jazzy instrumental. The song has a nice feature from Static Major. “Rock The Boat” feels so casual with its breezy R&B aura. “More Than A Woman” has a timberland produced funky beat. Aaliyah’s voice sounds so sultry and the harmonies add the perfect touch. “Never No More” is an emotional R&B ballad that highlights Aaliyah’s powerful vocal prowess. “I Care For U” feels like it could have been recorded in the 70’s with its classic R&B vibes but has some 2000’s production notes as well. “Extra Smooth” has this bouncy rhythm that just moves along with such energy. It just feels fun and energetic. “Read Between The Lines” experiments with a latin music inspired beat. Of course Aaliyah’s voice adjusted to the instrumentals. “U Got Nerve” has this dense R&B industrial beat. Aaliyah’s vocals sound so cold and compressed. “I Refuse” incorporates some thunder sound effects, heavy rhythm guitar, and classic piano motifs to create this chilled yet emotional theme. “Its Whatever” features an ambient smooth synth instrumental. It creates a surreal reflective energy. “I Can Be” features a twisted hybrid of R&B and alt rock melodies. Aaliyah’s voice sounds so menacing and sharp that it adds to the heavy industrial vibes. “Those Were Days” has this bouncy early 2000’s beat. Aaliyah’s vocals feel very reflective and nostalgic, perhaps remembering happier times. The album closes with “What If” features a heavy, distorted instrumental with Aaliyah’s vocals sounding so commanding and angry. Some of the international versions of the album include “Try Again” , a song she recorded for the Romeo Must Die soundtrack. I personally think its one of the best pop songs of the 2000’s and a reminder of what a great artist Aaliyah  was. 

Final Thoughts:

The tragic death of Aaliyah was a blow to the music world. I actually remembered where I was when I heard the news. This album was a new beginning for her and one has to wonder what her path would be in the future. Even though this isn’t my vibe I do respect the album and think it is a masterclass in alt-R&B that would flourish in years to come.

Miles Davis-On The Corner (1972)

Korn-Korn (1994)

Billy Joel-52nd Street (1978)

Abba-Arrival (1976)

Johnny Cash-With His Hot & Blue Gutiar (1957)

Jackson Browne-I'm Alive (1993)

Kanasas-Point Of Know Return (1977)

Ministry-Land Of Rape & Honey (1988)

Big Thief-Two Hearts (2019)

James Blunt-Back To Bedlam (2014)

Lionel Richie-Can't Slow Down (1983)

Billy Joel-Streetlife Sereande (1976)

Simply Red-Picture Book (1985)

Synopsis:

Recorded in Brazil (where Cave was living at the time), The Good Son is deeply informed by a sense of personal reinvention, warmth, and romantic redemption, heavily contrasted against his usual themes of biblical judgment and tragic violence. Musically, the album leans heavily on sweeping string arrangements (coordinated by Mick Harvey and Billy McGee), elegant piano melodies, and more restrained, atmospheric instrumentation from the Bad Seeds. Lyrically, it explores complex notions of family, forgiveness, grace, and human frailty, standing as one of the most cohesive and emotionally affecting records in their discography. 

The Review:

The album opens with “Foi Na Cruz” the song title is Portuguese and translates directly to "It Was on the Cross." The song has this warm gospel undertone and the harmonies are from a Brazilian local choir. The Bad Seeds play a sparse rhythm all together it gives off such a subtle spiritual vibe. “The Good Son” starts out with a southern gospel chorus before the band dives into a blues driven cinematic groove. Cave’s vocals has an immense sense of urgency. “Sorrow’s Child” has a soft piano led melody. It gives of such a tender vibe proving Cave can write an emotional song without his usual darkness creeping into it. “The Weeping Song” is about a father talking to his son about the sorrow of this world. It features a subtle tribal drum beat. It also has a nice vocal interplay between Cave and Blixa Bargeld. “The Ship Song” is a beautiful love ballad that has this tender piano riff and lush string arrangements. “The Hammer Song” feels like classic Bad Seeds. It has this crushing heavy rhythm and crunchy guitar riffs. It gives off such a menacing chilly vibe. “Lament” has such a warmness to it. The lush string arrangement just takes over the melodies and Cave has never sounded more tender then he does on this track. “The Witness song” has this high energy blues driven groove. It feels like a mix of a bluesy jam and a church choir band  on fire fighting the good fight against the demons that plague this world. The album closes with “Lucy” an uplifting piano ballad that does have some melancholy within its melody. It is the definition of a  bittersweet ballad and the perfect way to end the record.

Final Thoughts:

This record sounds so different from anything we have heard so far in Nick Cave’s discography so far. Nick has admitted he was in such a good place during the recording of this record. Thanks to his move to Brazil, his successful stint in rehab, and a new relationship with Brazilian Journalist Viviane Carneiro. This happiness resulted in a record filled with lush landscapes and tenderness. The darkness of the previous two records are gone. It is such a nice listen and deserves its place in any Nick Cave deep dive. 

Synopsis:

Released in 2003, Metaphorical Music is the debut studio album by the late Japanese producer and DJ Nujabes (Jun Seba). Widely celebrated as a foundational cornerstone of the lo-fi hip-hop and jazzy hip-hop genres, the album effortlessly bridges the gap between smooth, soul-infused instrumental jazz and classic boom-bap hip-hop. Rather than sounding like a collection of standard rap beats, the record flows like an organic, cinematic journey defined by pristine piano loops, warm horns, and tranquil atmospheric textures.

The Review:

The album opens with  “Blessing It (remix)” built around a sample of Pharoah Sander’s song  “Save Our Children”.  It also features vocals from  Substantial and Pase Rock who do a nice job flowing over a light chilled out jazz beat. “Horn in The Middle” feels so refreshing yet so filled with funky jazz beats. “Joshua” from Miles Davis is sampled to give it the sharp  jazzed out vibe yet meditative vibe. “Lady Brown” is highlighted by the impressive feature flow  from Cise Starr instrumentally; it has this bright piano-string arrangement and some vibrant  guitar picking. “Kumoni” is a good mix of tranquil piano loops and jazz drum beats to create this surreal aurora that feels like you’re floating in the sky. “Highs 2 Lows” once again features Cise Starr’s impressive bars. Sonically the song feels more electronic with its heavy bassline and drums beats. “Beat Laments World” samples two Kip Hanrahan songs “Make Love 2” and “Blessing It” ; it gives the track this roving earthy vibe and maintains that electronica/jazz hybrid base. “Letter From Yokosuku” is a collaboration with multi-instrumentalist Uyama Hiroto. It has this tight easy listening jazz sound. The subtle saxophone playing adds so much lightness to the track. “Think Different" features Substantial dropping bars about intelligent hip-hop sensibilities and not conforming to the industry standards that constrict some hip-hop artists. All done over a  bass heavy groove and a sample of "Live for Life (Vivre Pour Vivre)" from the soundtrack of live for life  by Francis Lai. “A day Of Atmosphere Supreme" creates such a light moodiness that glides with such lightness. “Next View” meshes together hip-hop percussion with progressive jazz improvisation. Umyama Hiroto is featured on a saxophone who is just jamming out over the lush landscape. “Latitude” features a futuristic chilled out beat that samples “Clouds” by Gigi Masin. It allows featured artists Five Deez to just lay down their chilled out flows. “F.I.L.O.” features a sample by Deixa" by Baden Powell, played by Toquinho  on "O Violão de Toquinho"  that allows the track to be a hybrid of jazz/hip-hop/latin music. “Summer Gypsy” feels like a warm nostalgic stroll on the beach late at night. The album's unofficial closing track is “The Final View” samples Yusef Lateef's "Love Theme From 'Spartacus'" It mixes Nujabes’ hypnotic lushness with some heavy jazz beats.  There is a hidden/bonus track on the album called “Peaceland“ clocking in at over 8 mins it is the longest song on the album. It has this sprawling meditative vibe that feels like you are coming down from a trip and you can finally let go and relax.

Final Thoughts:

Nujabes’ was a pioneer of lo-fi/hip-hop who unfortunately we lost too soon. This album feels like a trip through a trippy jazzy meditation. It filled with incredible musical moments. If you never experienced this album I would put on your album bucket lists soon.

Fionna Apple-Extraordinary Machine (2005)

Genesis-Genesis (1983)

The Who-By Numbers (1975)

Tom Waits-Real Gone (2004)

Dolly Parton-Here You Come Again (1977)

Beck-The Information (2006)

The Police-Zenyatta Mandatta (1980)

Green Day-Warning (2000)

Deftones-Adreanline (1995)

Beach House-Beach House (2006)

Franz Ferndinand-You Can Have It So Much Better (2005)

Merle Haggard-Mama Tried (1968)

The Hold Steady-Boys & Girls Of America (2006)

The Decemberists-The Crane Wife (2006)

Synopsis:
The Womack Sisters is the self-titled debut album by sibling trio Kucha, Zeimani, and BG Womack. Carrying one of the heaviest lineages in soul history—they are the granddaughters of Sam Cooke, the daughters of hitmaking duo Womack & Womack, and the nieces of Bobby Womack. Backed by the rich, analog  retro -soul production  the album balances classic soul music with some modern perspectives. 

The review:
The album opens with “Cheuffeur” ; it could be taken out of a soul recording  session from the 70's. The sister’s lush harmonies just glide over the sultry horns and rhythms, a nice introduction to the album’s retro themes. “If You Want Me” features a stax/Motown inspiration in the instrumentals with the smooth percussion and the sisters voices giving the harmonies some crisp notes that sound so powerful as well. “Monster” takes a dark moody turn. The instrumental hits you with an atmospheric eerie presence. The harmonies just swell up so big that it engulfs you in the song’s dark moodiness. “If I Let You” begins with a playful 60s psychedelic rock groove. The harmonies feel playful and soulful; they feel like they are from another time filled with naive innocence.  It has a 60’s girl group vibe. “I Just Don’t Want You (Say Goodbye)” is a heartbreaking soul ballad with some powerful vocals from BG Womack. This song seems to be plucked out of 70’s soul but doesn’t sound like it's copycating a formula but the group are forging their own sound. “Laughter & Tears” is a short doo-wop funk flavored track. It bounces around and is filled with a funk/gospel/soul hybrid groove. “Didn’t Mean Much To Mean” has a sparse jazzy/blues based instrumental that allows the harmonies to just glide all over the place. “You Went Away So Long” has a sweeping melodic soul/blues base. The horn and string arrangements feel like they are supporting the vocal harmonies and add so much texture to the song giving it a warm nostalgic vibe. “I Am Your Season” just feels so lush and melodic. It is really amazing how the sisters can evoke their heritage and put a modern spin on it. “All Around” is highlighted by the bouncy piano notes and the sharp high energy percussion. It gives the song a sharp soulful aura. The album closes with “My Sisters & Me” is just a breezy yet simple track that feels like the ultimate statement of family unity. The closing lines seem to be the mission statement for the record. “People come and go, but darling this I know, it will always be my sisters and me”.

Final Thoughts:

In a world filled with AI slop and generic pop music this record is a breath of fresh air. Filled with  warm nostalgia yet it feels very modern. This is just a finely  produced walk down a forgotten time when soul music was in full force. If you are in the mood to chill out to some great warm soul energy this is the record released this year for you .

Synopsis:
Released in May 1997, Flaming Pie is widely regarded as one of Paul McCartney's finest post-Beatles albums. Coming off the heels of his heavy involvement in The Beatles Anthology project, McCartney found himself looking back at his legacy, which reportedly "stirred his creative juices" and challenged him to write fresh music without overthinking it. Co-produced by McCartney, Jeff Lynne, and George Martin (on select tracks), the album balances a relaxed, home-studio vibe with introspective emotional depth, underscored by the poignant backdrop of his wife Linda’s private battle with cancer.

The Review:
The album opens with “The Song We Were Singing” and has this warm hazy acoustic base. The song is reminiscenting of a late night recording session from the 60’s. Some say it was a gentle nod to his friendship with John Lennon. There’s a warm nostalgia that flows from the track. “The World Tonight” kicks the record in high gear with a punchy melody. It is a track where you can hear Jeff Lynne production  influences. “If You Wanna” is this fast loose pop-rock song that features Steve Miller on guitar. “Somedays” is a sweeping orchestral ballad that features some nice acoustic guitar picking. McCartney is bearing his soul on the track which makes you think he is singing to his wife Linda who was dealing  with cancer at this time. The tone feels like he was giving her strength to carry on but also has some fear in his voice as well. “Young Boy” was the first single from the record. It has this nice breezy groove with harmonies and guitar featuring Steve Miller. “Calico Skies” is a simple acoustic guitar ballad. It was written while he was visiting  Long Island during a hurricane. “Flaming Pie” is a driving mid-tempo rock song that takes on McCartney’s playful demeanor. The song was inspired by a quote from John Lennon talking about how The Beatles got their name. “Heaven On A Sunday” features a warm yacht rock energy. It features Jeff Lynne on Paul’s son James on guitar. “Used To Be Bad” has a nice bluesy groove. The song was co-written by Steve Miller and is featured on the guitar. “Souviner” features a whimsical moodiness that has some hazy guitar riffs. It has a soulful energy that engulfs the whole song. “Little Willow” was written as a tribute to Maureen Starkey, Ringo Starr’s wife who passed away. It feels very emotive and tender. “Really Love You” was a jam session that has Ringo on drums and has him and Paul trading off vocals. It is a historic recording session featuring the two surviving members of the Beatles. It also has this energetic fun vibe. “Beautiful Night” is this lush orchestral ballad with a lush George Martin string arrangement and harmonies featuring Ringo. The album closes with “Great Day” which is just a simple acoustic ballad that shines with positivity. It features Linda on harmonies. It is one of my favorite McCartney songs and a nice gentle way to end the album. 

Why is it considered a comeback?

This was a great rebound record for McCartney. A commercial and creative  return to one of the greatest musicians of all time. There’s such a lowkey energy that is featured throughout the record. I would put this one the top tier of his solo work.

Alice In Chains-Dirt (1992)

Outkast-Aquemini (1998)

Stone Temple Pilots-Core (1992)

Iron Maiden-Somewhere In Time (1986)

New Order-Brotherhood (1986)

Billy Joel-The Stranger (1977)

Portishead-Portishead (1997)

Stevie Wonder-Hotter Than July (1980)

The Verve-Urban Hymns (1997)

Rush-All The World's A Stage (Live) (1976)

The Avett Brothers-I and Love and You (2009)

Mos Def & Talib Kweli-Are Blackstar (1998)

Paramore-Brand New Day (2009)

The Rolling Stones-Bridges To Babylon (1997)

Alice In Chains-Black Gives Away To Blue (2009)

Stevie Wonder-Song For The Key Of Life (1976)

Brian Wilson-Presents Smile (2004)

Neil Young-Le Nosie (2010)

Blondie-Eat to The Beat (1979)

The Smiths-Strangeways Here We Come (1987)

PJ Harvey-Is This Desire? (1998)

Black Sabbath-Never Say Die (1978)

Pixies-Come On Pilgrim (EP) (1987)

Sweet Trip-You Will Never Know Why (2009)

Depche Mode-Music For The Masses (1987)

The Dillinger Escape Plan-Caluculating Infinity (1999)

The Prodigy-The Prodigy Expirence (1992)

Souls Of Mischief-93 To Infinty (1993)

Ozzy Ozbourne-No Rest For The Wicked (1988)

KRS One-Return Of The Boom Bap (1993)

Synopsis:
Richard D. James Album is the fourth  studio album by Aphex Twin . It was released on 4 November 1996 It was composed by James on his Mac computer, and took longer to complete than his previous albums. It features fast breakbeats and intricate drum loops which draw from jungle and drum and bass . James' percussion is paired with lush string arrangement, and ambient melodies reminiscent of his earlier work, as well as modulated  vocals from James.
The Review: 
The album opens with “4” ; it meshes together the chopped up percussion and the slick melodies masterfully that lets the track glaze all over the place. “Cornish Acid” calls back to James’ acid house roots but also includes some bouncy 90’s production rhythms. “Peek 82454201” feels very twitchy and disjointed. That also gives off such a creepy vibe with its fractured textures. “Fingerbib” changes the pace of the album and features light funky synth melodies. It just proves the versatility of James as an artist. “Carn Marth” is named after a hill in the country of Cornwall where James is from. It is two minutes of rapid fire beats and choppy bass beats. “To Cure A Weakling Child” is both creepy and bouncy at the same time. The wrapped speed of the melodies is perfect for the child voice samples that are chopped up within the jagged beats. “Goon Gumpas” feels like a cinematic lullaby filled with lush string arrangement. “Yellow Calx” has a distorted industrial vibe. It feels like the beats are grinding into place that gives off such a menacing tone. “Girl/Boy Song” inspired in part by the death of a school friend, this track takes some sweeping string arrangements and mixes them into some rapid fire beats to create a hybrid of chaos and beauty. The album closes with “Logan Rock Witch” . It has this hyper bouncy tone that feels like you are stuck in some type of demented carnival ride that feels like it is never going to end. A very weird but interesting way to end the record. 
Final Thoughts:

Aphex Twin is one of the most intriguing artists in the Electronica genre. James could go from classic ambient vibes with one record and the next with hard industrial beats. This record is a great mix of both styles. I say this would be a great starter record for anyone wanting to get into EDM. It feels very accessible yet takes some chances as well.

Synopsis: 
Coming off the heels of their covers album Kicking Against the Pricks, Your Funeral... My Trial marked a dramatic shift away from the chaotic, noise-rock and gothic-blues onslaught of their early years. Instead, the band embraced a suffocating, atmospheric, and deeply cinematic noir aesthetic. The album was recorded across Berlin and London during a period of intense personal friction, substance abuse, and shifting relationships within the band. Musically, it relies heavily on sparse instrumentation, haunting organ, and percussion, creating a claustrophobic, fever-dream atmosphere. It is widely regarded by fans and critics—and Cave himself—as one of the absolute masterpieces of his catalog.

The Review:
The album opens with “Sad Waters” feels  so sorrowful and full of regret. The band just wades through the folk melodies with a dense depressing rhythm and Cave’s haunting harmonica. It set the tone for the whole record. “The Carney” sounds like a nightmarish  freak show coming to your town. It is a sprawling eight minute haunting cinematic epic. The creepy texture just keeps growing bigger as the track moves along. “Your Funeral, My Trial” is highlighted by the dark jazzy bassline and a menacing organ. They act as the glue that holds the track together as Cave Laments  on  personal regrets, judgement, and human suffering. “Stranger Than Kindness” Co-written by Blixa Bargeld and Anita Lane this song explores the themes of paranoia, obsession, and detachment. Sonically it is highlighted by the sparse percussion and the eerie hypnotic rhythms that just feels so cold. “Jack’s Shadow” driven by Thomas Wydler's drumming and an interlocking guitar interplay between Bargeld and Mick Harvey the song builds on a nervous energy that glides through the track. “Hard On For Love” just pulsates with nervous energy that grows bigger and bigger. It is the first time we hear some of the musical tendencies of Cave’s earlier work. “She Fell Away” feels like a psychotic mental breakdown set to a wall of noise that features jittering rhythms and disjointed guitar riffs. Cave vocals set the whole thing in motion with his emotive take on insanity. “Long Time Man” is one final take on insanity. Featuring a demented blues groove the song just jitters and flusters around with a dense frantic energy. 

Final Thoughts:

This is the Nick Cave I was looking forward to listening to. This is definitely his best album so far in this journey. I love the goth creepiness of this record. There is such a frantic tension throughout it that I just love. The perfect album for a spooky season. If you are in a mood for a record filled with manic energy this is the one for you.

Synopsis:

Released in May 1981, Long Distance Voyager is the tenth studio album by The Moody Blues. Coming nearly three years after their reunion album Octave (1978) and marking the debut of keyboardist Patrick Moraz (who replaced founding member Mike Pinder), the album was a monumental comeback. Embracing a modernized, synthesizer-heavy production style courtesy of producer Pip Williams, the record struck a brilliant balance between classic symphonic art-rock and 1980s pop sensibilities. It became a massive commercial success, hitting No. 1 on the US Billboard 200
The Review:
The album opens with “The Voice” filled with light scythe melodies and crisp melodies; it is a great way to introduce the album’s musical themes. “Talking Out Of Turn” was written by John Lodge and it is a lush seven minute epic with a melodic chilled out base. It is a mix of Beatles influences and the 80’s synths that the band was experimenting with. “Gemini Dream” is a slick high energy track that has some ELO influences along with the synth sheen that gives off an infectious aura. “In My World” is a lush acoustic ballad that also features some crisp harmonies. “Meanwhile” feels like a futuristic yacht rock tune. It feels so breezy and light. “22,000 Days” is about a human life span that lasted 60 years. It was penned by drummer Greame Edge. It feels like classic Moody Blues in their prog rock heyday. It is the most dense and heavy track on the album. “Nervous” is a cinematic ballad that just swells and grows with the lush string arrangements. “Painted Smile” is the first song of the three part finale written by flutist/vocalist Ray Thomas. It has this futuristic carnival vibe that just floats all over the place. “Refective Smile” is a quick 38 second interlude with spoken word vocals featuring Dave Symonds. The album closes with “Veteran Cosmic Rocker”  it acts a the grand finale of the album filled with bouncy rock hooks that ventures into blues and psychedelic rock before it fades away in its final climax. 
Why is it considered a comeback?

Some might argue their previous album Octave was a comeback album since it was their first album in seven years but that album just didn’t resonate like LDV. This record was a critical and commercial success that led to a resurgence for The Moody Blues. It was the band’s first #1 album since 1972. It was a massive achievement. 

Nirvana-In Utero (1993)

Green Day-American Idiot (2004)

Tom Waits-Small Change (1976)

Eels-Eletro-Shock Blues (1998)

Nine Inch Nails-The Fragile (1999)

Wire-154 (1979)

Melvins-Houndini (1993)

RS Synopsis:

Echoing the rapid evolution of U.K. garage into grime over London’s pirate radio airwaves, a year after the Streets’ UKG-flecked debut came this sparse, jagged monster by a younger (only 19 when it was released) and more forceful MC who’d also gotten his start on the pirates. Dizzee Rascal’s hyperactive flow and clanking, screeching beats — rumored for a time (since debunked) that it was produced using a Sony PlayStation — announced that British hip-hop had come of age, with Boy in Da Corner winning that year’s Mercury Music Prize. 

The Review: 

The album opens with “Sittin Here” highlighted a hollow electronica beat and Dizzee’s chilled out flow that takes the mundane and makes it something interesting. “Stop DAt” has a choppy anxious vibe. Down to the heavy aggressive beats and Dizzee’s rapid fire flow. “I Lov U” is the perfect introduction to the grime genre. The bats are grimy and bouncy. Frequent Dizzee collaborator Jeanie Jauques trades high energy bars with him. “Brand New Day” uses some snapping beats and a hypnotic melody to create this fun, very British vibe. His flow reminds me of the Streets. “2 Far” has fellow Grime artist Wiley who trades off bars over this bouncy hypnotic  beat. “Fix Up, Look Sharp” samples Billy Squirer’s “The Big Beat” to create this thumping thunderous beat. It is the closest the album would get to traditional American hip-hop production. Dizzee’s flow is so rapid and on another level. “Cut Em Off” lays off the high energy aura and feels so chilled out and hazy. The methodical beat just feels like it just skips along. “Hold Ya Mouf” feels aggressive and heavy hitting. The track features God’s Gift who helps build the tension that gets harder as the track moves along. “Round We Go” Co-produced by Chubby Dread, the track features looping, hypnotic hooks that feel like you are trapped in an endless loop. “Jus A Rascal” has this frantic chaotic beat but somehow it gives it an infectiousness. Taz is featured on the hook. “Wot U On” has this dizzying thumping instrumental that gives it a hypnotic vibe. “Jezebel” features a choppy methodical beat that is perfect about Dizzee’s cautionary tale of being a young woman in the city. “Seems 2 Be” is highlighted by the hazy instrumental. Dizee’s flow feels so playful and light. “Live O” feels so hard hitting and aggressive. The album closes with   “Do It” which feels like the album is powering down after some frantic high energy moments. The beat and Dizzee’s flow just feel so subtle and chilled out. 

Final Thoughts:

I was hesitant when I saw this one on the list but once again I was pleasantly surprised by how much I liked this album. I love the Dizzee’s flow and the high energy production. I haven’t gotten into Grime but I am sure going to check out more of this genre.

Stills-Young Band-Long May Your Roam (1976)

AC/DC-Dirty Deeds Done Dirt Cheap (1976)

The Jayhawks-Mockingbird Time (2011)

Grant Lee Buffalo-MIghty Joe Moon (1994)

Abaittor Blues/The Lyre Of Orpheus (2004)

Kings Of Leon-Mechanical Bull (2013)

LIz Phair-Whip-Smart (1994)

Ween-The Pod (1991)

Pearl Jam-Backspacer (2009)

Of Monsters & Men-My Head Is An Animal (2011)

Coheed & Cambria-Good Apollo, I'm A Burning Star IV Volume 1: From Fear Through The Eyes Of Madness (2005)

Opeth-Hertiage (2011)

Converge-Your Fail Me (2004)

Neil Young-After The Gold Rush (1970)

The Flaming Lips-Clouds Taste Metallic (1995)

Madonna-Music (2000)

Elvis Presley-King Creole (1958)

Janet Jackson-Janet Jackson's Rythmn Nation 1814 (1989)

Nick Cave & The Bad Seeds-Tender Prey (1988)

Leonard Cohen-Popular Problems (2014)

Sun Volt-Trace (1995)

Megadeth-Peace Sells....Who's Buying (1986)

Ben Kweller-Ben Kweller (2006)

Released in May 1976, Rising (often simply called Rainbow Rising) is the second studio album by  Rainbow, formed by  Deep Purple guitarist Ritchie Blackmore. Dissatisfied with Deep Purple's commercial trajectory, Blackmore parted ways with his former bandmates and assembled a powerhouse line-up alongside  vocalist Ronnie James Dio, bassist Jimmy Bain, keyboardist Tony Carey, and virtuoso drummer Cozy Powell. Clocking in at just under 34 minutes across only six tracks, Rising is lean, focused, and utterly devoid of filler. Marrying Blackmore’s neo-classical guitar sensibilities with Dio’s cinematic, mythic lyrical storytelling, the album is widely celebrated as a monumental bridge between 1970s hard rock and the birth of power metal/speed metal. 

The Review: 

The album opens with "Tarot Woman” the album opens up with a futuristic synth introduction before the band kicks in with its dense metal riffs. Dio’s vocals just feel so commanding. The track is a nice introduction to the album. “Run With The Wolf” feels like a more conventional heavy 70s rock track. Led by the sturdy rhythms of Powell and Bain that allows Dio and Blackmore to do their thing. One of the many songs on the album that delves into sci-fi/fantasy themes. “Starstruck” feels more like Deep Purple than the prog/metal Blackmore/Dio were  trying to create. Blackmore has a slashing guitar solo that feels like he is just shredding away. “Do You Close Your Eyes” is another straight forward 70’s hard rock stomper. “Stargazer” is the masterpiece of the album beginning with Powell’s thumping drum riffs. Clocking in at over 8 mins it allows all the members of the band to shine. Dio’s vocals just soar over the thick dense rhythms. Blackmore and Carey trade off mid-song guitar and synth solos. The song is about a wizard who enslaves his people to build him a structure to achieve flight to only fall to his death. The album closes with “A LIght In The Black” , its 8 minutes of epic metal riffs. It just balls to the wall high velocity speed metal that would influence the new wave heavy metal that would dominate the early 80’s. 

Final  Thoughts:

This is just 35 minutes of heavy metal glory filled with big riffs. A showcase for all the members. All the members of the band love this album and feel it was the best album in the band’s catalog except for Dio he felt the album sounds amateurish with the the dominance of the drum and guitars of the record. “Stargazer” is considered a cornerstone of metal dominance. If you are looking for a nice short album to rock out to this is the one for you.