According to the chart, Throwing Copper by Live had been out for almost a year (43 weeks) before it cracked the top ten. The good news for Live was that their trajectory continued upwards all the way to the top. According to wikipedia the album took 52 weeks to reach #1 in May, 1995.

I seem to remember some rumblings when this album was popular that Live was secretly a Christian rock band that was crossing over to the mainstream, and that some of the songs like Lightning Crashes were anti-abortion songs. Reading the wikipedia page for Lightning Crashes, it seems that some of that confusion might have come from the music video. In truth the song was dedicated to a high school friend of the lead singer who was killed by a drunk driver.

My opinion of Live has perhaps been tainted by these rumblings and I never got into deeply their music. My listening count for Live is small and a few of their contemporaries have quite a bit more plays from me, like Collective Soul, Bush, and Counting Crows. Listening now I think the music is just a bit too corny and just a bit over the top for me.

My recommendation is that Throwing Copper is worth a stream, but it's not spectacular. It is very 90s, and it is fun to re-discover some of Live's music from thirty years ago.

In a three months (thirty years ago) Cracked Rear View by Hootie & the Blowfish will hit #1, but this week it is only at #7. Looking at the last.fm page for Hootie & the Blowfish the top comment says "Damn...their one album sold more copies than they have plays on Last.fm" which equally true and revealing. As of this writing, they have 7.6 million scrobbles on last.fm, while Cracked Rear View has sold over 20 million copies. Working the math, this means that if all of Hootie's scrobbles came from playing a copy of Cracked Rear View just once, only 3% of those albums sold have been played while last.fm has existed. Clearly, Hootie's popularity is not what it once was.

Of course, this is not how scrobbling works; last.fm didn't exist when the album was released and only a fraction of music listeners bother to scrobble their plays. Also, I don't want to emphasize scrobble counts too much: The Beatles have 842 million scrobbles and Taylor Swift has 2.86 billion. I would hope that even Taylor Swift would admit that The Beatles are far and away more important, consequential, and everlasting (and honestly better) than she is. The only real thing we can read from Hootie's scrobble count is that they have fallen out of the current musical zeitgeist.

Like most last.fm users, my listening history for Hootie is pretty thin. I had only 17 plays prior to listening to this album, which averages to less than one play per year. I remember being aware of Hootie when it came out and hearing the songs on the radio, but they were not what I purposely listened to. Thirty years later, I don't think my opinions have changed all that much. Hootie is fine, but doesn't move me nor does it grab my attention. This album gets a big "meh" from me, I recommend that you listen to it, or don't, whatever, I don't care.

Following last week's Christmas album, this week we get the album with songs everyone hears (perhaps too much of) this time of year, Merry Christmas by Mariah Carey. Hitting #3 thirty years ago, this album has sold over 18 million copies since then. To mark the importance of 30 years, Mariah Carey released a 30th Anniversary Edition which I've linked to above.

My feelings about this album largely mirror how I feel about the Kenny G album last week. At the right time and in the right way, I'm completely fine with Christmas music. Christmas music can help to set a mood and that's great. I would never pick this nor any other Christmas music to actively listen to, but in the background, it can be just the right thing.

I have no doubt that this album will continue to get plays for decades to come. The songs on this album have a permanent place on many Christmas song playlists. Between Thanksgiving and New Years, you have my permission to play it, but not necessarily listen to it.

Released in late November 1994, Miracles: The Holiday Album by Kenny G hit #1 as the post-Thanksgiving holiday season set in. Other than for this album, I do not purposely listen to Kenny G. According to last.fm, I listened to a Kenny G track 12 times before I listened to this album for this blog post. I'm fairly certain that those earlier plays were part of some algorithmic mix.

Luckily for Kenny G, the album buying public does not like the same things I like and he has been very successful. This album alone has sold millions of copies. Likely because this one was so successful, Kenny G has recorded three more holiday albums since this one.

As far as this album goes, I don't really have a problem with it when it's played at the right time (after Thanksgiving and before New Years), and for the right reasons (as background music). If you were to listen to this album any other time of the year, or listen to it actively, you're crazy. It's holiday mood music, and that's fine, and that's all it will ever be. Include these songs in a holiday mix and hit shuffle/play. That's as much mental energy you should give this album (which is fine!).

Please note that I'm not a grinch! I'm getting into the holiday mood! I recently purchased a copy of Festivitas and it now decorates my dock. And it will continue to decorate my dock until no later than New Years, at which point it will be turned off.

Released the day I turned 15, Bedtime Stories by Madonna is in my opinion not one of her stronger albums. It's not a bad album per se, but compared to her other efforts, it's nothing special. Prior to listening to the full album, I think I had only heard two songs off of Bedtime Stores, Secret and Take a Bow. I'm pretty certain that it's been years since I heard either song on the radio. Looking at the most played Madonna songs played on Tidal and Spotify, the highest ranked song off this album is in the 30s, which shows that most of the public agrees with my opinion.

I actually do like Madonna, and I encourage listening to her music. This album can be ignored unless you really want to explore the full catalog of Madonna.

Hitting #8 on the charts after 33 weeks, Tuesday Night Music Club is Sheryl Crow's debut album. According to last.fm, I've listened to 12 Sheryl Crow tracks in the last 18 years, the majority off this album for this blog post. Clearly she is not one of my favorite artists. I don't think her music is bad, but I just don't choose to listen to it. I suspect the few random plays in the past were because of some algorithmic mix I was listening to.

The album does have two big hits: Strong Enough and All I Wanna Do, which I have heard before. I'm not entirely confident that I've heard any of the other songs on this album before.

Long story short, TL;DR, yadda yadda, my opinion of Sheryl Crow hasn't changed. I'll probably never listen to this album again. Finally, I'd rather go to Tuesday Night Racing than listen to this album.

Ace of Base is back at #1 so I need to go down the list to find something to review. The first album I haven't already reviewed (I won't do R. Kelly) is at #4 with August and Everything After by Counting Crows. This is the second week in a row where I review an album I genuinely like. I won't ruin things, but I've gone through the albums I'll be listening to in the near future and some weeks are going to get rough.

This album has the song "Perfect Blue Buildings" with the lyrics:

Down on Virginia and La Loma
Where I've got friends who'll care for me

Counting Crows is from Berkeley, and this refers to the intersection of Virginia Street and La Loma Avenue in Berkeley. I've spent quite a bit of time near that intersection. When I was in middle or high school (can't remember precisely when; his family moved later due to divorce) I had a good friend who lived at 2708 Virginia St and in college I had some (other) friends who lived just next door at 2704 Virginia St, both of which are at that intersection. One of those college friends tells the story of walking home one day and encountering some lost-looking young women. He asked them "perfect blue buildings?" and they said "yeah." There were no blue houses at that intersection at that time (ca. 2000), so he replied "I think it's that one over there, it's got a newer paint job."

Through all of my undergraduate years at UC Berkeley (1998-2002) I bought student tickets to the home Men's basketball games. During this time team was fairly decent. They would win at home more often than not and only reliably lost to much better teams (UCLA, Stanfurd, and Arizona were the tough opponents). The games were fun to attend. Adam Duritz, the lead singer of Counting Crows, was a regular at the games and I often saw him in the stands and hallways. I never asked for an autograph (selfies weren't a thing yet!). The main thing I took away from seeing him is that he's a pretty big guy, taller than me and husky.

I don't think I listened to Counting Crows all that much when the album came out. I think I was into more grunge rock than alternative rock (it's a small but important distinction!). Listening to this album doesn't conjure the same memories that other albums from this time might do. I'm certain I heard "Mr. Jones" on the radio when it was popular, and probably the other singles that came off the album. However my tastes in music have broadened since I was a teenager and according to Last.fm I've listened songs on this album almost 300 times. Like any kind of music I'm not always in the mood for this album, but sometimes I am and I continue to return to it.

Music Box is still the #1 album, but the #2 album is by R. Kelly, someone I'm going to stay away from, so we'll slide down to the #3 album, The Sign by the Swedish band Ace of Base. According to my last.fm scrobbling history, before today I had listened to Ace of Base exactly two times, probably as part of an algorithmic mix on a streaming service. I definitely remember hearing a few of these songs on the radio when this album came out and was popular, but I can't say I could remember the last time I heard it on the radio. Clearly, they're not my favorite band.

But luckily for them, my tastes, and perhaps American radio, the world has different tastes and they are the third most popular Swedish band in history, and have sold many millions of records. Don't worry about them.

Ace of Base is basically pure pop music, which isn't a bad thing. Their music is entertaining and enjoyable in the way pop music should be. It's obviously very synthesized, the horns in the beginning of "All That She Wants" are unambiguously fake. But that's the appeal of pop, right? Music that's tight, clean, and keeps the surprises to a minimum. Pop should be very danceable. The biggest hit off the record (in the United States), the eponymous "The Sign" fits this bill with a catchy driving beat. Many of the songs on this album were on their first album "Happy Nation" which did not make an impression in the US. This includes the title track of that album "Happy Nation" that didn't chart at all in the US. Curiously, "Happy Nation" appears to have a recent (relative) surge in plays according to last.fm, but the other songs off this album remain more popular overall.

My summary is that this music is not my favorite, but it's not bad. Now that I've been reminded of it, maybe when I'm in the mood for some pop, I'll think of them. We'll see!

Now that I've got my blog running again, I've decided restart my project of reviewing the top-selling album from 30 years ago. For the uninitiated, I listen to the top-selling album from 30 years ago one or more times and then write a review of it here. I'll try to do it weekly, but no promises.

I first started this over 13 years ago, and at that time 30 years ago was before I was into popular music. 30 years ago now in 2024 represents peak teenaged years for me. I was 14 and in 8th grade. Middle school is definitely peak teenage years and I definitely paid attention to popular music when I was 14. I think, therefore, I'll enjoy doing these reviews now more than I did before. There will be the stinkers and ones that I just don't like, of course, but there will be ones that bring me back to my youth.

Just like the first album I reviewed, this restart is a rough one in the form of Music Box by Mariah Carey.

Mariah Carey is not my first, second, nor third choice of music to listen to. It's not offensive nor grating, but it doesn't do much for me. About the only time I hear her music is when I'm listening to a Christmas music mix.

There are a few hit singles on this album, like Dreamlover and her cover of Without You. Unlike many songs, the original version of "Without You" isn't the best known or even the best version. The Harry Nilsson version is better than Mariah Carey's and the original. Apparently this album is important enough to warrant a 30th Anniversary Edition which I'm not going to listen to.

In summary, I will probably never listen to this album again.

By the way, I'm using this listing of top album sales. The quickest way to explore that list is just to change the date (YYYY-MM-DD) in the URL. It's likely that in about 15-20 years or so this listing will be completely messed up by digital music streaming, but I'll cross that bridge when (if!) I get there.

I was going to accuse Kim Carnes of being a one-hit wonder with "Bette Davis Eyes" (which went to #1 on the charts, is the lead track of Mistaken Identity and the only song I had heard from this album previously), but I suspect that's because her main genre is Country, and I never listen to Country. She is apparently very prolific and is active even today as a producer with the popular act Kings of Leon.

But the fact that she's not a one hit wonder doesn't change the (other) fact that I generally found this album to be merely fine. Not at all terrible, but not interesting to me. To her credit she has an excellent singing voice, the music is not slipshod, and the lyrics are not nonsensical, but it just didn't appeal to me. My recommendation is to skip this album. However, if you do listen to it and you like it, I won't accuse you of having bad taste in music. Now, if you admit to liking Yoko Ono's music...

I am a fan of the BBC auto/entertainment show Top Gear. Often the three presenters, Jeremy Clarkson, James May, and Richard Hammond, will be given a humorous challenge which involves accomplishing some ridiculous set of goals with inappropriate vehicles. A couple examples are crossing the Channel in a car-to-boat conversion and "caravanning" in questionably designed and executed homemade car-to-RV conversions. As a bonus to these challenges, often a pair will work together to sabotage the third presenter's car in some humorous way. A favored method is to (permanently using glue) set the radio to loudly play music disliked by the target. In the case of James, it's anything contemporary, and for Richard, it's progressive rock.

Face Value by Phil Collins is solidly in the category of progressive rock, also known as "prog rock", and every time I listened to it I thought about Richard getting stuck listening to prog rock. There are some aspects I like about this album, most notably the lead track "In The Air Tonight", but the things I dislike the most about this album are actually what define prog rock and annoy Richard the most. Things like directionless piano solos and the over-use of synthesizers. It's those songs that made me feel, well, bored, and stuck listening to the music.

Overall, this album isn't anything special, and chances are you've heard the only good song enough times that you can safely skip this album.

The album The Jazz Singer by Neil Diamond is the soundtrack to the 1980 film remake of the 1927 film adaption of the 1925 broadway musical. The 1980 film has a very low rating as judged by the critics, so I'm not going to bother seeing the movie myself. Diamond's performance was so poor that this movie is Neil Diamond's only acting credit on IMDB where he's not playing himself.

There is an interesting parallel with this film+soundtrack and the 1992 flim+soundtrack The Bodyguard. The Bodyguard, like The Jazz singer, starred a successful singer (Whitney Houston) making her acting debut. The Bodyguard gets somewhat higher reviews than The Jazz Singer, but they are still far from positive. Like The Jazz Singer, the soundtrack for The Bodyguard did well - so well that it is the best-selling soundtrack ever. It appears that for a class of musicians (notably not rappers, of which many have made a successful transition), acting is not amongst their artistic skills. Neil Diamond and Whitney Houston made best-selling albums for their movies, but apparently they ran out of creative "juice" and fell flat as actors.

Despite its economic record, I find this album bland enough that it is difficult to form any kind of opinion about it. Which is probably not a good thing, unless you're in the mood for music that blends easily into the background. So, my recommendation is to skip listening to this album. Here's a look twelve years into the future: you can skip The Bodyguard soundtrack, too.

This is the second album I've listened to with a female lead singer, and Crimes of Passion by Pat Benatar is by far a better album than the first. Of the two, this album is much more entertaining, lively, and worthwhile.

The album includes the hit "Hit Me with Your Best Shot", a confident song about female empowerment that is much more convincing than any of Babs stuff. "Treat Me Right" is similarly strong. "Hell Is for Children", about child abuse, became a bit of a radio hit and may have helped lead to the 1980's theme of musical telethons such as "We Are the World" in 1985.

My recommendation is that this album is worth checking out. If you listened to the Streisand album, I think this is especially good advice.

I've decided to begin listening to the number one album from 30 years ago each week and then write a little bit about it here. Why isn't terribly important, other than it will hopefully be mostly entertaining, always enlightening, and occasionally fruitful. However, here are a few reasons. I recently had my 31st birthday, and birthdays are always opportunities to ponder the passage of time. Presumably, I should have then decided to look back 31 years, but that makes the math harder (and thinking hurts) so I'll keep it at 30 years. Looking at the current top list of albums, much of it is stuff I definitely wouldn't listen to on my own volition. I doubt that in 30 years it will be judged to be any higher quality. In this sense, I could do this exercise with current music. But by going back in time I'm, exposing myself to new music that isn't currently on the radio (for the most part), so it has extra novelty. I already know the general direction of popular music over the last 30 years, so it will be interesting to see the progression in more detail with this foreknowledge.

I haven't fully fleshed out the rules of this. For example, if an album is number one for more than one week, I think I'll drop down to the second place album, or beyond. There will be other rules about if I've already listened to an album (for example if it oscillates up and down from number one).

This week I listened to Barbra Streisand - Guilty. The fact that this is the first album in this experiment made it very difficult to begin. I was not a fan of her work, and my opinion hasn't been improved.

First some observations about this album. The cover shows Barbra with Barry Gibb, of the Bee Gees. They sing duets on two of the nine of the tracks, which seems to be an awfully low ratio for him to be featured on the cover^*. Also, he doesn't really sing in his trademarked joyful falsetto, which is more false advertising. To me, that's 100% of his appeal, so without it, who cares? Furthermore, I'm not clear what anyone is guilty of in this album, besides being boring and uninspiring.

A few of songs have enough to them that the could serve as adequate background music during a Roger Moore Bond film, but certainly not during the introduction to a Bond movie. Most songs are Celine Dion-esque and are about strong women looking for love, but probably only appeal to women that are nothing like that. I'm missing the genetics and personality to appreciate it.

I'm planning on at least making a real effort to see this idea through for a while, but this is an inauspicious beginning.

(* Ok, apparently Barry Gibb wrote all of the songs, so his contribution is greater than 2/9ths.)