The Music Slut Committee

"Similar to Nick, my other TTC was Send His Love to Me because I think it's hard to beat a raucous jangly acoustic banger. I love how this album is structured around those moments like C'mon Billy and Send His Love to Me but manages to extend outwards and encompass all sorts of related sounds that feels like it's in dialogue with artists both before and after. The Dancer at times sounds like a Coctau Twins track, and when we listened to St. Vincent, Bring Me Your Loves as a refrain instantly reminded me of the title track. While sounding so different, the inspiration was clear to me.

I just think it's a really solid album and I'm so glad it's ended up dovetailing with a lot of stuff we've listened to already." - Steve

Editor's Note: We were provided with a playlist that stripped the radio play out of this album.

"Pete Townshend is my all time favorite songwriter. He had a way that he can craft a song throughout his 60 year career that mesmerizes me every time I hear a song. Not all songs are perfect and some are down right bad. But I would say 90% of his output I love. I started to dig into The Who and Peter Townshend in 2006, slowly listening to all available things Who and Townshend. Browsing Wikipedia and absorbing all the knowledge I could muster, seeing Psycoderlict as Pete’s last solo album and last produced album he was apart of until 2006 raised questions and interest. Why did he stop, he was consistent in releasing stuff with shorter windows. Reading this album had mixed reviews and low sales due to the radio play aspect forced the release of the music only version. This even added more to the lore. I bought the Music Only version because, to be honest, I found the use of actors lame in a discography full of just straight up music. Even the Tommy movie has no spoken lines. This review focuses on the Music Only version as it is the one I feel in love with and we can focus on what Pete does best, convey messages through songs and lyrics. The lyrical themes in the album that he expands upon that he had previously written about. growing older, struggle with that, the pedestal’s we put famous people and others on. Being a post war British baby boomer. One aspect of the story we do not get in the music only is the explanation of the Grid, which is sort of a fleshed out version of Lifehouse, Pete’s complex abandoned project.

What makes this different than” the same old song with a few new lines.” The music is different than who and pervious work. I always appreciated Townshend’s ambition to try new things. Every record stands on its own, and this is no exception. and there is a range of different musical styles. Like the higher pitched vocals in the last chorus of “Let’s Get Pretentious” this jazzy bluesy “Outlive The Dinosaur” the vocal arrangement for the verses of “Early Morning dreaming.” He shows he isn’t gonna do the same old thing, he is gonna dress it up. He still presents catchy songs with complex arrangements, guitar lick and phrasing that are him but pushed

One of the instrumental pieces stands out to me above the rest and that is Meher Baba M3 as this is just a greasy guitar band jam. I love the tone of the guitar.

Flame is the outlier here, it doesn’t really fit stylistic, given it isn’t even write by Pete. Very dated sound where I feel the album doesn’t have a dated feel overall.

To comment on Alex’s view of Now and Then, I think sometimes the simplicity of what the chorus is and deliver a powerful message. Love is like that, you just feel it when you get to know someone beyond the physical. We can’t do a thing about it. People try to put us down, just because we get around, also simple also massively affective." - Zach

"I don’t really remember why I decided to put this record on when I did the first time. Maybe George Clinton came up and I was just wondering what the Funkadelic side was. Parliament being that disco funk that I love, i was wondering what the other band did (not realizing that it’s kinda the same band, but not?)

But I took a break at work and threw it on. And maggot brain blew my mind. I remember starting to just cry a little. Like I felt the pain that Eddie was trying to convey (while both on acid, George asked him to imagine that his Mom died and what his guitar would say about that). I kinda like how all the songs fade out (which I usually don’t like) because it makes me feel like there is more to the story of the music, and they’re still playing the song today lol I think I would be remised if I didn’t talk about the other songs. “can you get to that” is so unique, but familiar. The guitar is so chill. I imagine being on a boat with a bunch of friends and having a sing a long. The bass vocal is so great in that tune. I was also happy the first time I heard it because I realized that “Rill Rill” by Sleigh Bells used the guitar as a sample (I guess that’s why it was familiar)

“hit it and quit it” and “you and your folks, me and my folks” are kinda two sides of the same coin. Real sexy songs. Post-Motown psych. Something I really wish I could find more of. I love my disco, but I really love the underground style pre-disco funk. It’s what really paved the way so the stars could shine.

I like that these songs aren’t afraid to get sexual. People complain that hip hop and R&B of the 90’s and 2000’s was too sex forward. But a lot of black music seems to gravitate towards that thematic. Maybe because in this country, it was the only thing they could do that was making them feel equal, as their rights were stripped elsewhere. I kinda like that black music gets weird and “freaky”. Everyone tries to copy it without the authenticity. Like hearing Igor by Tyler, I don’t know if that could have existed if George Clinton didn’t step up and get weird with it. Would I say he probably was one of the most influential black musicians of all time without people realizing?? Yes.

Any true artist beats to their own drum and doesn’t compromise. Black musicians, like Zach said, have to be innovative and better than the white musicians. They have to do their own thing, and then white boys with guitars reap the benefits when they cop it." - Nick

"I picked this album because it surprised me. I was pretty unfamiliar with Blondie and their mix of punk and 50s sounding rock and disco still feels novel to me. Even on close listen, I forget that One Way ends with that breakdown that really elevates the song for me. Same with the reggae jam at the end of Fade Away and Radiate. The album just really surprised me, and when it wasn’t throwing new interesting twists, it was just straight up solid rock.

And then there’s the lyrics, which yeah having a dude sing One Way completely doesn’t work but women should write all the creepy stalker songs they want. The album is straightforward about its lust but also sometimes it just describes falling asleep in front of the television. It’s just fun!" - Steve

"It took me a while to come around to Coheed in general. I think its partially because I read "Oh, the albums are all rock operas, that means I need to listen to every album in order and read the comic books at the same time so I can understand and follow the story." But I never made it this far because the first album is very raw and little too meandering for it to really click. It wasn't until I said "Ok, fuck the story" and just listened to the greatest hits that I started to really enjoy it (and, ironically, I remember exactly when and where I was when it did! I was walking up 31st Street in Astoria to Derek's apartment, and Ten Speed came on right as I was crossing under the subway in front of Mela Pizzeria).

This is the first album where things started to fall into place, at least musically. I still don't love the story. But the songs feel very distinct and memorable, the leitmotifs are easier to track, and the whole affair just feels more put together. I especially like how Apollo I feels polished and composed, then Apollo II (aka Willing Well III) feels more slipshod and frantic...very In the Flesh? vs In the Flesh." - Alex

"I knew of St. Vincent when this came out. Really liked her appearance on SNL. But I listened to this album for the first time after seeing her on the Grammy’s performing with Dua Lipa, doing the self-titled track to Masseduction. So I listed to both of those albums non-stop at that time. The self titled album being more of what I was use to and masseduction being more where I was heading musically was a really cool experience to jump between the two.

The Self-Titled just really paints a wonderful picture of this dystopian tech hellscape where life is still happening. Even your guitar doesn’t sound like a guitar. And I really loved that about it. The instrument has so much more to offer. (Really liked Zach’s Jack white comment). It’s a great showcase of indie rock pushing the bounds and not being like everyone else. All the songs are different.

My favorite line of many is from “regret”

“I'm afraid of heaven because I can't stand the heights. I'm afraid of you because I can't be left behind” is such a relatable line about the death of, well, anything. Friendship or a loved one, or even of a society.

Also, Rattlesnake fucks" - Nick

"This album's just a great dance party. It tells the Sophomore Slump to kick brick. One of the fascinating things about this record is that it came out on March 27, 2020. Right as we were about two weeks into lock down. A lot of artist pushed their albums back (Lady Gaga famously) but Dua and her team still pushed forward and gave everyone a little joy during that weird time. It paid off. It was all about Tiger King, Future Nostalgia and clapping for nurse at 7 PM.

The album consistency of the new but old feel is something I love. The producers go full on with the disco string and the funk, but bring in the modern production techniques. He voice suits the materials very well and the lyrics are clever, and fun. It’s a great record to put on for any occasion." - Zach

"I know you all know this about me, but I'll repeat it anyway so its on the record. Pink Floyd is my favorite band and Roger Waters is the reason for that. While I do think Roger and David bring out the best in each other (neither of them did anything solo that was as good as their joint stuff), I am firmly in the camp of "Pink Floyd would be nothing without Roger." He basically defined to me what music could be and what it should strive to be. He taught me that songs can be bitingly political and witty/funny at the same time, that music can tell an expansive story, and that it can kick ass all the way through.

Despite this, I also think he is one of the goofiest human beings on planet earth. I don't think I can think of an artist whose work I revere as much, and who I also simply cannot take seriously. He's a freak! A lunatic! Deeply unserious! This mfer really said "Dear Ukrainian Woman, you should stop resisting and let Russia come in, that way the violence would be over. By the way, send me pics of ur dog."

Radio K.A.O.S. is the ultimate embodiment of that dynamic. It's a rock opera that is extremely earnest and heartfelt, Roger clearly has stuff he wants to say, and a lot of the messaging does land for me. BUT. It's also the cheesiest corniest silliest fucking thing I've ever listened to. The whole premise of a dude in a wheelchair picking up radiowaves in his head is such a bonkers stupid (offensive?) concept, but Roger commits fully to it in a way that almost comes across as endearing.

I'm sitting here laughing at the album. Even in Radio Waves, I'm just thinking like "Man, Roger, why do you sound so old and tired? We're not that far removed from Floyd?" Or Home, like Nick said, a signature Roger Waters listicle song. Or Me or Him, which ends in such a fucking Roger way with TV commercials and cars going by...this dude has been doing the same stupid audio tricks for a decade!

AND YET I LOVE THEM EVERY TIME. I turned on a Waters album and the second I hear advertisements crackling over static, I'm always like "Hell yeah brother, you change that channel!" To me, this is such a perfect distillation of who Roger Waters is. A guy that has serious things to say, pours his heart into it, but still comes across like a goofball because he is a fucking goofball. It's perfect." - Alex

"I was really getting into “every open eye” during covid (highly recommend this album too). CHVRCHES was a band I skipped at a festival to get front row for LCD Soundsystem (worth it!), but I always regretted that. Their other two albums didn’t do much for me. Initially, the “he said she said” lead single didn’t do much for me. But I still, I was interested to hear the full album when it dropped. Blown away from the first listen. During a dark time in the world for many, and a new spark of feminism calling out their abusers, this album really brought it. I feel everyone, especially women, were trying to figure out how to “survive” this world where monsters were uncovered and really realized no one is safe if silent; even the rich, powerful, and famous. I will acknowledge Alex’s issue with kinda the same sound. Every Open Eye can feel like that too (but they fucking rule on that one too). But I feel with world building, and in loose concept albums, you want recurring themes. I think of it as a movie in a way, these songs all live here, and they don’t live anywhere else. It should all meld together.

Lauren is an incredible woman. She never shies away from speaking up for those who feel they can’t. Even criticized DJ Marshmellow whom they collabed with for also collabing with Chris Brown. Even knowing that was going to alienate the new audience they may have gotten from that collab. Standing up for what is right is a big turn on for me musically. I did get to see them in Buffalo. I was in the pit. It was incredible, I think even on stage, I was taller than Lauren." - Nick

"Thank you for giving this one a shot - I picked this one knowing it would be challenging. I agree that the voice seems to be a gimmick because he can actually sing, but then I think, then there must be a reason he's doing this intentionally? And then I start seeing how his usage of it makes his melodic moments hit way harder, The Councelor's Office "All the probleeeeeems, stem from the lack offffffff...." or in An Evening of Moving Pictures "So what's the catch? Will you catch me when I fall?" and it just makes the song and lyricism soar.

It is a very, very dark album and I 100% get not wanting to go there at any point. I think to tie it back to Nick's earlier point, especially in the metal/hardcore scene, it feels like an important album for giving a voice to underserved viewpoints in that community. Finally, emo that isn't about wanting to kill your girlfriend. It's been a long time since I heard an album that felt like I was getting raw unfiltered emotion from someone." - Steve

Editors Note: As most of TMSC are Gaga fans, this album was placed in the rotation the week it released and not indicative of any member's pick.

"Overall, loved the album. I felt like it was a sequel to every Lady Gaga album. Step aside Taylor, the real Eras tour starts here. Killah and Zombieboy feels very The Fame, LoveDrug feels very Born This Way, Garden of Eden feels very Artpop, Blade of Grass feels very Joanne, etc. Obviously I hope she keeps making music forever, but if this were to be her final album, I'd think it was a good high note to go out. Feels like a solid culmination of everything. (Please don't stop making music, Stef).

In general, I think this probably is my favorite album of hers since Artpop. Right from the jump, those first few notes of Disease, I was sold. I had the hook that I felt Chromatica was missing and the edges that Joanne had (admittely, rightly) sanded off.

But also, my GAWD, I can't get over what a Taylor Swift song How Bad Do U Want Me is. Like, it is unfathomable to me that Gaga wrote this and not Swift. I'm not the biggest Swiftie here, nor am I her biggest hater, so the song didn't bother me per se, but I can't listen to it without thinking "The wrong person is singing this." Also, I didn't notice the Peter Griffin laugh until you pointed it out Zach, and now I can't unhear it." - Alex

"In 2009, I remember hearing a DJ say that in a recent interview with Neil Peart that the next Rush album would be something no one has heard from Rush before. That day I was already a fan of Clockwork Angels. When the album came out I felt like I was hit in the face by this sonic masterpiece and every time I listen to it, I love it more and hear more things I fall in love with. For the past 13 years it has been a rock in my listening. This is no Clorox commercial album.

And these 3 guy fired all the cylinders for this album. Each of them show case their masterclass abilities on every track. Everyone having a moment to shine with solos. Complex arrangements and just fucking funky breakdown. The arrangements are diverse but held together.

I just love this album so much. Some of these songs are just fucking sick and rip. I could go on and on. In the end, The Garden is a perfect ending the Rush’s career. It is such a beautiful song. And I love the ebbs and flows and I feel Alex’s solo. Just a great piece.

I hope this album encourages you to look beyond the lighted stage of hits this band has. Their catalog is not perfect but there are so many awesome gems throughout their 40 years of recorded music." - Zach

"[T]his album was the epitome of a grower for me. I also came to the album from Zombie and was so disappointed when the rest of the album initially didn't meet my expectations. I thought it was too slow, too sparse, not enough to hook into (and sometimes, I still feel this way! I think the overall pacing is a bit slow). But as I kept listening, it kept unfolding more and more to me. Tuning into the lyrics helped, but just setting into the ebb and flow of the songs, like skimming atop waves. Sometimes you ramp up and your blood pumps and sometimes you drift down and sit in a groove and a mood for a bit. I've been listening to this album on and off for years but my close listen this week was the one I got the most out of yet. Music is powerful!

Shout out to Yeat's Grave and Daffodil's Lament, I think both of those songs are S-tier as well. Also agree on No Need to Argue. Dolores could sing the alphabet and I'd be enraptured. I don't know if it's intentional or not, but I feel like a lot of artists' accents get hidden for whatever reason, and I love that you can hear Dolores' brogue so clearly." - Steve

"In general, I feel like modern rock has sorta gone off in two directions. It's either gotten really heavy, very metal- or metal-adjacent. Or, its gone into super alternative indie noodling territory. Outside of, like, the Foo Fighters and a handful of classic rock-inspired punk bands, its tough for me to find modern rock and roll that feels like it has the far-reaching roots of the stuff I grew up on. I almost feel about modern rock how Hayao Miyazaki feels about modern anime. The modern rock/anime is influenced by older rock/anime, whereas older rock/anime was influenced by a whole bunch of other things. And that's why this album really speaks to me. Like, yes, its rock (and its rockin' rock), but I hear so much blues and folk and country in this band that it was like a breath of fresh air when I first found them. Whereas a lot of albums take several listens for me to really grok them, this one hooked me immediately. I was like "Oh, I get it." - Alex

"There are not many rappers in the modern era that are musicians themselves. I am happy that members of Odd Future (and their offshoots) were recognized for their talents musically, lyrically, and for performance. This album is an absolute stunner from Tyler that I don’t think anyone ever expected from really anyone. You can tell this is such a personal story of him as he put everything into it, and its effect.

I’m a sucker for a theme and concept album, so when my friend Brandon threw this to me, I was very very into it. It also helped me understand Tyler’s previous work, working backwards. The mass confusion that came after Flower Boy and him alluding to his sexuality being other than straight was a shock as he had some very controversial homophobic lyrics in prior works. What makes this album work is his honesty with himself. He likes chicks and dudes, and he wrote about that. He didn’t have to hide any of it, and that authenticity shined through. It’s truly one of my favorite albums of the century. It’s wild, aggressive, heartfelt, and down right beautiful. He’s not a good singer, but his emotion drives enough to be convincing otherwise" - Nick

"This has Everything an album needs: Songs about Sex, Motorcycles, sci fi stories of avenging someone against a gang in an unreal epic bloodbath that sends shivers down your spine and Rock and Roll

Tom Allom’s production really pulls the best performances out of each member. Even changing up the sounds on a song like Love Bites, where it is not a traditional metal sound, or even a sound the have done in the past. The fast bridge vocals in Freewheel Burning is so impressive to me to get all those ideas to make them work. The way that Glenn and Kk’s guitars just mesh so well and don’t step over each other when both players are truly metal master. He reeled them in so well.

Obviously our stand out performer is Rob Halford who’s runs are absolutely insane and earn him the title of “The Metal God” how his voice sound great in every register on every song. His ability to sound so good so high is jaw dropping. He was at his peak. And this was 6 years before Painkiller. They say your early/ mid 30s is a vocalist peak. He was around 33 at this time. Some of the lyrical content features so very Heavy handed innuendos. I’m sure we all gathered that Jawbreaker is about a Penis (something the band didn’t even know until after Rob came out) and Eat Me Alive being as they say “tongue in cheek”. (Read up on The Filthy 15, satanic panic bullshit) In today’s music, especially with the superstars, it seems trendy to have all your songs be autobiographical and you can just make up crazy stories just write about motorcycles and Cock.

This album is one of my favorites of their career. I would consider it their last great album. All Theo pieces really came together. Making something off the heels of another fantastic record adds pressure and they really cooked well under it for this one." - Zach

"I also just knew Spiderwebs, Don't Speak, and Just a Girl (goddamn all three of those rip though). A friend had been begging me to listen to No Doubt for a long time and when I finally did I also didn't expect ska. It's funny Zack mentioned Gwen Stefani sounding like Geddy Lee because I also was going to highlight that vibrato thing she does and that's exactly the right description. Same with the Blondie call out - I actually also put Parallel Lines in the album pool lol.

Anyway the album a really fun listen. It's got rockers, boppers, and dramatic grooves (groppers?). You just can't go wrong with Tragic Kingdom. It's the album I'll always put on if I'm not sure what I want to listen to because Spiderwebs always hooks me from the get go." - Steve

"I really like the first two Gunship albums, but they've always felt like Really Really Really Good versions of a genre that is sorta just background music. Whenever I put on synthwave, its usually when I'm going into deep work mode or space out on the couch mode. I never really listen to synthwave. This album feels like Gunship took a major step, making the first synthwave album that really holds my attention and keeps me engaged with each and every song (except Ghost). There's a great sense of purpose to these songs; some of them are more aggressive, others more pensive, but meaningful all the same. On top of that, I just find several of the songs to be extremely sexy. Right off the bat, the whispered line of All this living is so worth dying for...I can make you feel alive immediately grabbed my attention. Alex Westaway also just has a very sultry voice and Weaponized Love does not hold back. The whole album just feels like this crazy amalgamation of moods; it's scary, it's soothing, it's horny, it's happy. Just a super rich evolution of the synthwave genre." - Alex

"My roommate freshman year introduced me to a lot of indie music and I really have to thank him because he lead me to explore music more than just the classic rock and their deep cuts. I was introduced to LCD Soundsystem, Kid Cudi, modest mouse to name a few.

I never heard anything like modest mouse before, I literally couldn’t believe my ears. A whole new world of music and approach, also something that people my age actually listened to (girls love modest mill use for some reason, but not king crimson???)

The album is close to my heart because of that. New fun experiences and new perspectives.

I love the aggression, even on the slower songs. This is the first time that I heard obvious mocking of God in music (along with their other albums). It was very rebellious and thought provoking. I have grown to like the 2 albums after more since they’re more controlled and polished, but have the same intensity and lyricism, but this started it for me." - Nick

"Basically a supergroup album Adrian brings his power and influence from playing with Frank Zappa, David Bowie and talking heads. Tony Levin, studio musician master introduces us to the Chapman stock as the first instrument you hear on the album. Bruford from Yes and Genesis and jazz roots and of course Robert Fripp as an innovator himself (look up Frippertronics), the brain child of the king crimson band but also probably its silent but deadly weapon.

This album is like Talking Heads on more Acid. The overall piece is unlike anything I have ever heard before. It just takes you to so many places and draws influence from so many areas. Prog, jazz, pop, spoken word, fusion, rock, jam. Though it is not something I would share with anybody it is pretty dense. My one issue with it in terms of putting identify on the players is who is playing what. The stick covers bass and treble ranges and Adrian and Fripp both play weird and complex passages. I know sheltering sky is Fripp because of the friggertronics tone. When I saw beat play live. I was stunned by of how much ground was covered by levin.

Years ago before hearing the album I looked up king crimson to see what the fuss was about and it was a performance of Elephant Talk on the show Fridays and I was horrified by the look and sound of the band but Adrian did the solo before the last verse and it was fucking insane to me. As indiscipline says. “The more I listen to it, the more I like it.”

As a music nerd I love the complex arrangements and stellar musicianship, the story of a band trying to be innovative. But I just really appreciate the humor that Adrain puts into some of the songs. Elephant talking with its verses begins with a letter ending with E to get to the title, but the line “these are words that start with a D this time” is just funny. Indiscipline being about a painting his wife made. The whole story in Thlea while this intense music is playing in the back." - Zach