1970.

I'm conflicted about this album.

The opening song, "And It Stoned Me," my favorite on the album, can be felt almost instantly, and the album holds the listener throughout. That said, I haven't heard that special something on the record that convinces me of its top 99 status. I'm sure this is no fault of the album, but rather of the listener.

Before this album, the only Van Morrison song I knew was, like everyone else, "Brown-Eyed Girl," which is not on this album. I say that because if you enjoy that song, you will undoubtedly like this album. The song "These Dreams Of You" might even remind you of "Brown Eyed Girl."

From an instrumental perspective, the album sounds like other music of the genre, with the addition of a flute. From a vocal perspective, however, you get these emotional messages delivered from someone who oozes authenticity without a trace of pretentiousness.

Perhaps that's a large part of the album's magic.

//

1971.

I have been spoiled by Physical Graffiti, but IV still delivers.

There's no denying that this is a great album. The last 1:20 of "Black Dog" and the conclusion to "Stairway To Heaven" are worth far more than the price of admission. Of course, this is the album withe the aforementioned "Stairway"---Zeppelin's most well-known song, though probably not considered their best by Led Zeppelin fans, if I were to guess. Don't get me wrong; it's great. It just doesn't hold the essence of Led Zeppelin's sound throughout. But, what do I know. I just became a fan a few weeks ago with Physical Graffiti, which remains my favorite by a smidgeon.

For being just eight songs, the album feels like so much more. Plus, Led Zeppelin's music has this quality that just fits with so many situations. If you're ever in a bar and can't decide which song to put on the jukebox, go with "Ramble On" from Led Zeppelin II. If you want to create a listening atmosphere, throw on Physical Graffiti. And, if you want to have some great music in the background when you have a few friends over, Led Zeppelin IV will fit perfectly.

//

1977.

The sound has an almost instant familiarity.

While you might already know one or two of the songs, nevertheless, the whole thing just feels like something you've already listened to many times. It doesn't take long at all to absorb.

It feels like an urban evening in a mild season.

"Scenes From An Italian Restaurant" is the sleeper on the album. With the exception of the final track, every song is objectively a four-star song, and many are subjectively five-star. As such, it is difficult to highlight just a handful. Buy the whole album.

//

PS: Be sure to check out Das Racist's "You Oughta Know," which sampled part of Joel's "Movin' Out (Anthony's Song)."

Two songs dominate this album. The first is the obvious "Don't Stop 'Til You Get Enough," which is an appropriate title for a six minute song. It has that sharp groove that Michael Jackson is known for. (The b-side to this song as a single was "I Can't Help It," which deserves an honorable mention for its contrasting unexpected flavor.) The second track that owns the album is "She's Outta My Life." This ballad is arguably his best at this point in his career.

The album finds Michael at the point of departure. He was on his way to becoming a superstar at this point, as evidenced by the follow up to this album, Thriller.

For the most part, it sounds like a late Spring evening or early Summer afternoon.

//

Don't do drugs.

That seems to be the message of this wholesome album. It sounds like you're walking down the street on a TV soundstage designed to look like the Bronx in the 1970's.

It's funky and soulful, and Mayfield's falsetto voice complements the grooves, but I just don't feel like I really fell in love with the music.

//