Appetite For Destruction ~ Guns N Roses (1987)

If you're a true rebellious teenager, you'll have listened to this album at full volume, trying to imitate Axl Rose's screech. The atmosphere of chaos and devilish shenanigans that surround this album's sound just appeals to the teen's sense of "screw the man", or whatever kids today say. (I honestly have no idea what they say.) Kids don't rebel anymore; they just sing about sex, money, and other disgusting music. I can't stand it.
Now, I can't defend GN'R to the point of saying that their music isn't about the same subjects, but the lyrics are just so much more brilliant. But all that aside...
Appetite For Destruction is the top-selling debut album of all time. Any idea how hard it is to claim that? Back in the 80's, it would require serious word-of-mouth to generate that kind of fanbase for a debut album. With all the swearing in the songs, I highly doubt that many songs could have made it onto the radio, and they had no music videos in the beginning, so MTV had nothing to show.
This album blew up like it did for good reason. The talent presented on it is clear. From all five of them. I want to clearly state that GN'R is probably one of the most under-rated bands of all time. Well, the lineup of Axl, Izzy, Slash, Duff and Steven is. Almost every song on this album could at one point or another make it onto my 'favorite songs' list.
But if I had to pick one...
It feels sacrilegious to say any of these are better than any other. Whenever I need to listen to this album (like, absolutely need to) I listen to the whole thing, front to back. No excuses.

Some Girls ~ The Rolling Stones (1978)

The first thing that encouraged me to try listening to this album is probably the fantastically designed (yet, sadly, somewhat confusing) cover. I can only imagine how much work went in the front, back, and even inner sleeve of this album. As I have it on vinyl, I can fully appreciate all the little details. Like, there's even descriptions for the five Stones as girls, and explanations for why they're all single. This album starts out with one of the songs on my list of songs everyone knows, but no one knows what they are, or who they're by. I've been hearing it on the radio since I was four, but never knew what it was. As soon as the vinyl started spinning, I started having all these incredible flashbacks.
I think what I like most about this album is that it's got a groove to it. A Stones-y kind of groove. Only the Rolling Stones have that groove. Each band has their own groove, but they're all variations of a Stones groove. Make sense? I dunno, makes sense to me.
Before I listened to this album, my favorite song was Beast Of Burden, cause it's just such a pretty song. After listening to it, my favorite song is now the opener, Miss You. Once you hear Miss You the first time, it just sorta sticks with you. You can't forget it, no matter how hard you try.

Rock Island ~ Jethro Tull (1989)

BEFORE SIDE 1:
Thought I'd try something a little different today. Instead of reviewing an album I've already heard many times, I thought I'd give a listen to a band I never heard before, in this case, Jethro Tull. I know nothing about them, so I can't give much deep insight, but I'll give it my best shot.
DURING SONG 1:
Flute. After you've formed a thought of this album, the thought is "flute?". Being an ex-band student, I know flute when I hear it. They- they layered a flute solo over the guitar solo. Is that a Jethro Tull thing? All I know is that I've never heard a rock band use a flute. Heck, in all my years as a band student, I never knew a guy who played flute. Strictly a girl instrument.
DURING SONG 2:
It's bizarre, but the flute actually works. It sort of portrays the vibe of a guitar with a human voice. I don't understand. How can something as bread-and-butter as a flute be used like that in songs that can't possibly be considered ballads?
DURING SONG 3:
When this song started, as well as the flute, it didn't sound out-of-place. If it had been any band, the flute wouldn't have caused anyone to bat an eye. Once the slow beginning had passed, I've started to get used to the flute, I'm almost excited to hear it. It's so wonderfully unique.
AFTER LISTENING ALL THE WAY THROUGH:
I thoroughly enjoyed this album. Even though it's one big schtick was the flute, every song had its own flavor. It's like nothing I've ever heard before, and I've heard a lot of stuff. For such a small, twinkish instrument, it added a lot to the album.
I think my favorite song on the album was probably Heavy Water. Don't know what it was; I just feel Heavy Water best enraptured the ambiance of this album, besides the title track.

5150 ~ Van Halen (1986)

The die-hard Van Halen fanboys will defend the original lineup with their lives. Luckily, I'm not one of those people. I have an open mind, and I thoroughly enjoy the aptly nicknamed "Van Hagar". I say I'm lucky because the songs Van Halen did with Sammy Hagar are beautiful. There are the hard-rocking numbers, and the ballads. (Yeah, yeah, I love ballads. Sue me.)
5150 is probably the best way they could have introduced their new lead singer to the world. I mean that literally. Side 1 starts with a loud "Helloooooo, baaaaby!" Nearly made me jump the first time I listened to it. Of course, it didn't help that I had the volume up pretty loud, expecting a hard-rocking Van Halen trip. Good Enough is a fabulous album opener, but if I'm being honest, it isn't even close to the best song on the album, although not the worst.
This is the kind of album you'd listen to while going a bit too fast down the highway in the late afternoon/ early evening, with the windows down and the volume up as loud as your ears could stand it. You'd sing along with the entirety of every song you know all the words to.
Since I got this album last August, I've listened to it countless times, in various moods. I call 5150 one of my 'peaceful albums'. By the time the final song plays, I've calmed down from whatever was irritating me, because I share a vocal range with Sammy Hagar, and I can sing along. Because of my various moods when I listen to it, my favorite song changes. If I'm in a rock-out mood, it's Get Up. If I'm in a dark mood, it's Inside. If I'm in a singing mood, it's Why Can't This Be Love. If I'm feeling lonely, it's Love Walks In. You get the point.

Hot In The Shade ~ KISS (1989)

I have a lot of bands I'm very passionate about, and that can do no wrong in my eyes. KISS tops that list. I have fellow KISS fans who tell me that Hot In The Shade is the worst KISS album. I can't say I agree with them. Admittedly, there aren't as many 'stand-out, remember for decades' songs on this album compared to others, but there is at least one. Had this album been released in the late 70's, when KISS was still wearing makeup and blowing stuff up onstage, I can't say it would be better received, but at least it wouldn't be in the midst of other bands that seem nearly identical to them.
By the mid-80's, KISS was essentially a hair band. It hurts to admit, but it's true. I think the reason most people call this the worst KISS album is because all the other ones were better. There was no one reason that killed it, just that every other album was better.
But here, I'm going against the grain. I generally dislike the songs Gene Simmons sings as opposed to Paul Stanley's. Just as a generality. On this album, there are some songs sung by Gene that I would consider some of my favorite KISS songs. That is a very redeeming quality. I think that out of the astounding 15 songs on this album, I would only skip 2 of them.
But Forever, though. I think a song digs itself a special place in someone's heart if it makes them cry the first time they hear it. And the second and third times. Which it did. It's just such a beautiful song.
Forever is my favorite song on this album, but Silver Spoon comes in at a slightly more distant second. The two of them coming one after the other is probably my favorite part of the album, and a great way to end the first side.
This is a fantastic album, but it isn't a fantastic KISS album. There's a difference. Like, if this was a Poison album, it'd probably be one of their best. But it's a KISS album, and there was just too much legacy to live up to.

Moving Pictures ~ Rush (1981)

Being Canadian at heart, I always have and always will have a soft spot for Canadian artists (Justin Beiber excluded) regardless of whether or not they actually have any talent. Luckily, when the subject of Rush comes up, there is no question whether they have talent or not, because all three of them are simply dripping with it.
When I first listened to this album, all my Rush-fan friends told me I had made a big mistake in starting my Rush-listening career with the best one. Every song, they said, is pure gold. "I know", I said. "I heard it." They shook their heads, a smile on their faces. "No, you listened to it, you played it; but you haven't heard it." I was confused, so I went back home and put the record on the turntable. Then, I sat between the two speakers and really tried to pay attention to it. The first time, I must have been distracted or something, because the second time made a switch flip on in my head. I actually heard it. I suppose I hadn't heard it the first time because I wasn't paying attention to the lyrics.
Besides the uniqueness of it all, I'd never heard a style like that before, with as much prowess on drums that Neil Peart brings to the table.
This album opens with one single blast that brings you to another universe with its outer-space feel. You're immediately thrown from wherever you once were to a place you've never been. Only once the first song ends do you remember where you are. A few seconds later, a more peaceful vibe lulls you in, and you're gone again, gone on a voyage on a red Barchetta. The mild tranquility only lasts for so long, however, because what's next is a story told by drums and guitars. The flavors of YYZ are as contrasting, yet as perfectly melded as a well-executed meal. It serves as a bridge between two songs, with an adventure of its own to deliver. Side one ends on a high note with Limelight, the tale of fame in its most infamous form.
Side two is a different thing altogether. If played at the right volume, it feels like you're being brought on a voyage through space and time, to a be an other-wordly observer of Earth. (I know I sound like I'm talking out of my ass, but if you listen to it, you'll see what I mean) And it just gets better from there.
I really like albums that can take you on a journey like this. It shows a remarkable ability as a musician. Not only that, but this album isn't even considered a 'concept' album, yet it brings you through parts of your mind you never thought you'd visit.
Every song on this album is on someone's favorite song list somewhere, that I guarantee, but if I had to pick my favorite, I would go with Limelight. I could explain in some sort of deep way that it's brilliant in it's own way, which it is, but that's not why it's my favorite. I like it so much because it's honest. Not in just the way of being a musician coping with fame, but in all of our lives. Whenever I'm with people, I see the lyrics being acted out, and not subconsciously, either.  People are fully aware that they're hiding from their true selves and are playing roles of who they think everyone wants them to be. I've been saying this for years, and now that I've found Geddy Lee said it first, I can just call people out with the power of Rush.
That's what Rush is, well, this album at least; they're a power, unknown of its ability until you give it a try.
Snootchins,
~Kat

Led Zeppelin 1 (1969)

I've always been a big believer in judging an album by the cover. On a record, this is an especially prominent part. A full square foot of artwork to look at and admire as you place your head between the speakers and turn the volume up as high as it goes.
While not reading in too deep on the significance of the cover of Led Zeppelin, I believe there is some sort meaning. At first glance, it makes sense; the band is Led Zeppelin, so they put a picture of a zeppelin. Fairly straight-forward. BUT, the zeppelin is landing or coming in flaming. I like to think that since this is Led Zeppelin's first album, it brags that the group is coming in flaming. I see what they did there, do you?
The first song opens with a powerful blast of lead guitar. Sucks you in for what promises to be the next big thing in rock music, and it follows through on its promises. As the ground-breaker for a new group, it had a first impression to make, and what an impression! Between Robert Plant's soulful screeching and Jimmy Page's guitar magic (still not convinced he's not a wizard) it's one of my favorite songs on the album.
Look at me; I'm acting like the album came out yesterday. I wish. It's so much better than anything else on the radio nowadays. Give me a Zeppelin record on a turntable over a tablet with YouTube any day.
But back to the review, what I really like about it is that it's not just guitar solos layered with bizarre lyrics, as most late 60's albums were. This one has so much more depth than that, and I think most of it has to do with Jimmy's mastery of producing. Not all, though. Definitely not all. Every member of Led Zeppelin has more talent in one of their hairs than every 21st century pop artist combined. I mean, every song that wasn't a cover was written by them. Not by some outside party. Led Zeppelin is a member-only party. Only three songs on the album weren't written by them. With a combination of (according to Rolling Stone magazine) the best drummer of all time, the third best (behind Clapton and Hendrix) guitarist of all time, 15th best singer of all time and 6th best bass player of all time.
My favorite song on this album is probably "Babe, I'm Gonna Leave You". Now, it isn't written by the members of the band, but Jimmy arranged it. The reason I like it so much is that it enraptures everything a Led Zeppelin song should be. It has both sides of the coin: the ballad and the hard rock. Not only that, but it does it so well. It gets tells the whole story of what Led Zeppelin would turn out to be within 7 minutes.
All in all, I say that this is an excellent album, and definitely deserves a space in everyone's record collection.
Snootchins,
~Kat