This week, I had the pleasure of reviewing some more LPs that you all suggested.

First was Bridge Over Troubled Water by Simon & Garfunkel.  While Paul and Art were known as a power duo in the six years since their first album, Bridge Over Troubled Water was their last joint project before they split in 1970.  Many people say that this is their best album—to which I agree—and it is certainly their most famous.  Some songs are certainly overplayed, but there is so much about it that makes it great.  Their songwriting, as always, is elite and their soft voices mirror each other in harmony.  Their timeless title track is probably my favorite, but I also really enjoyed “The Boxer” and “So Long, Frank Lloyd Wright.”  Overall, the production is a little bit dated and you can tell it’s from over fifty years ago, but tracks like “Cecilia” and “El Condor Pasa (If I Could)” still sound fresh.

This one goes out to all the Beatles fans: All Things Must Pass by the most underrated Beatle, George Harrison, is an incredible album.  Everyone knows that John Lennon and Paul McCartney’s partnership in songwriting and fronting the band completely overshadowed George and Ringo’s influence.  It had been evident for a few years that each Beatle had been developing into his own person and his own musician.  This was clearly evident when Paul McCartney stood his ground on continuing the band’s pop sound.  John Lennon became more reflective in his songwriting, Ringo Starr became upset that his friends were fighting, and George Harrison developed an interest in Indian music.  That said, when Harrison was finally given his own studio and his own space to do what he wanted with his own art, he did what no other Beatle could have done in each of their solo careers: he turned his songs inside out and gave fans a look into his mind.  While Lennon’s lyrics were profound and McCartney’s melodies were beautiful, Harrison’s passion was undeniable.  For these reasons, my favorite song was “Every Minute.”  It was an insanely long quadruple album, but I enjoyed all of it.

You may have heard The Miseducation of Lauryn Hill, it’s a classic 90s hip-hop album by a woman who got into Columbia University, dropped out after a semester, showed up late for all of her live shows, and is still respected to this day.  That’s how much of a tangible impact Lauryn Hill has made on music.  But Lauryn Hill had more than a career as just a solo artist.  Before the release of her only solo album, she was also part of a hip-hop trio, called the Fugees, the other two members being Pras and Wyclef Jean.  Their second and final studio album, The Score, easily ranks as one of the most distinctive hip-hop records of all time.  This album really showcases the intelligence, consciousness, and rawness of 90s hip-hop.  This was so good, that it won a Grammy award for Best Rap Album of 1997.  “Killing Me Softly” is a cover of the original song written by Norman Gimbel, but performed by Roberta Flack in the 1970s.  I was already familiar with this track and a few of the others on this album, and while I used to dislike how the Fugees stripped the song of its sweet soulfulness in their remixed version, I now almost like it even better than Flack’s because they perfectly replaced it with a catchy hip-hop groove that isn’t too heavy on the ears.  Overall, everyone had his or her fair share of time on the record and it seemed like everyone worked well together since they each had something unique to bring to the table.  Lauryn Hill has a great singing voice and is an energetic rapper.  The other two accompany Hill’s melodies but also add their own flair with their strong flows.  “Fu-Gee-La” showcased how the group works together perfectly.  No one outshone another member.  “How Many Mics” was a heavier and more rough-sounding song, but I really liked the bassy sound.  They certainly sounded great. 

The last album for today is IGOR by Tyler, The Creator.  The person who suggested this album said that it makes him feel like he’s achieved nirvana.  I have to applaud Tyler’s creativity because it never fails to disappoint.  I’m familiar with a lot of Tyler, the Creator’s other work, but, admittedly, I had never listened to IGOR in depth.  Knowing Tyler, he’s never been into the traditional kind of song, opting for more of a focus on the richness of sound and creating almost an unexpected “sonic maze” for his listeners.  I never really knew where this album was going, but once I took a step back, I learned to appreciate how he wrote this album like a director would make a movie—emphasis on story and artistry.  At its core, IGOR is a tragic love story that ends in defeat.  When the music is good, like in “NEW MAGIC WAND” and “A BOY IS A GUN*,” it sends a powerful message, and when it’s weaker, like in “I DON’T LOVE YOU ANYMORE,” it’s still pretty good.

That’s all for today.  Tune in for next issue’s album review.