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My opinion on 15 Big Ones: Not good, but definitely not the worst.

I just recently listened to this all the way through, and was pleasantly surprised. I'd heard all about how it was the absolute worst album, a big mistake, worthless, etc..
Overall, I thought it was a bloated and uneven, but still better than the albums Chaplin/Fataar worked on. Those two seem like decent guys and decent songwriters, but blues rock is not what the Beach Boys had been about before, and they were not good enough at it to hold their own against groups like CCR, Three Dog Night (yes I know), or the Animals, etc..
It also seems that 15 Big Ones gets criticized for not having any great standout song on it. Most of the Beach Boys albums in 62-66 would each have a few decent songs, a few pointless fillers, and a couple of real bangers. While this album doesn't have anything on the level of "Good Vibrations," or even "Help Me Rhonda," it also doesn't suffer from anything like "Denny's Drums" or "She's Going Bald."
  1. Rock and Roll Music - What better way to kick off a nostalgic album about good old-fashioned rock and roll than a song literally named "Rock and Roll Music?" Especially when it's by their hero and sometimes copyright plaintiff Chuck Berry? Many things would have been better. This version just sort of ambles around in circles. There's no point to it here. It sounds like a bunch of guys just demonstrating that they are physically capable of playing the chords and reciting the lyrics. This is probably one of the tracks that made Carl and Dennis sad.
  2. "It's OK" - The song that reviewed itself! Like 1969's "Do it Again," this is a completely obvious attempt to recover the FunTM of their early albums. A little boppy, but not too boppy, with some nice harmonies and some slightly incongruous synthesizers. Proof that Brian could still write songs about cars and the beach if he were heavily medicated and under coercion.
  3. "Had to Phone Ya" - This is actually a really good song. I feel like this is the direction they should have been moving in, not spending 8 years herking and jerking between blues rock, protest music, freak folk, watered down soul, and old-timey moon-spoon-June stuff. This is really sweet and pretty with a fun woodwind part that should have fit right in with 70s pop. The only problem with "Had to Phone Ya" is it's too short. The fix-it guy in me wants to get in there and insert another verse, make Dennis's part a bridge, add some more to the end, and maybe thrown in a key change. But maybe that 1:46 says everything it needed to.
  4. "Chapel of Love" - This cover leaves me scratching my head and wondering to myself, "How did one of the all time greatest music producers think this was a tasteful way to use a synthesizer?" The song itself is corny but loveable, Brian's deeper voice sounds fine. So whose idea was it to have a weird, fake string synth turgidly pounding home every single upbeat? If you could make the feeling of a mild headache into a song, this would be it. And the background has gratuitous Carl. At least, I'm guessing that's him doing the histrionic call-and-response part. I'm also guessing that Carl did not actually know the tape was running and thought he'd pull a prank. Wow.
  5. "Everyone's in Love With You" - Mike Love is not actually a terrible songwriter. This is a fair effort from him. If it had been released in 1964 by someone like Herman's Hermits, it might have been a minor hit. It's hard to imagine anyone in 1976 digging this lighter than air fluff. If you are a rock music listener, and you exist in the same universe as Sgt Pepper's Lonely Hearts Club Band, Led Zeppelin II, and Dark Side of the Moon, then the cobbling together of treacly flute, Love's Frankie Valli impression, and a choral intro that skates dangerously close to "Whiter Shade of Pale" isn't going to cut the mustard.
  6. "Talk to Me/Tallahassee Lassie" - Not very innovative, but a pretty good cover. Carl mostly finds the right balance between grit and sweetness. If this is the kind of thing you like, you might like it.
  7. "That Same Song" - Brian sounds hoarse but excited as he bangs out this embarrassing bit of dreck that sounds like a children's tv show theme or something that would be popular with youth pastors working out of strip mall churches. We can only be thankful it's short.
  8. "TM Song" - This 1-minute song was padded out to 1:38 by an unfunny skit at the beginning. I didn't read up on the history of it, but the the jarring tempo changes, and inane throwaway lyrics make it sound like something written for Smile, but ultimately deemed too dunderheaded to even go on Smiley Smile.
  9. "Palisades Park" - The original is fast, catchy and has lyrics that weave together young love and an amusement park. This is another cover that could have been FunTM, like a roller coaster, but was actually kind of Not FunTM, like a pony ride, but you're 11, and you're not really into ponies anymore, and this particular pony seems to have a weepy eye and a limp, and now your friends saw you and they're going to tell all the kids at school that you're a baby who went on the pony ride, and it's hot out here and it's not fair, and your parents are listening to the Beach Boys singing "Palisades Park." Why is it so slow? Dressing it up with a silly saxophone solo and growling doesn't save it, it just piles on more dated cliches.
  10. "Susie Cincinatti" - I think of Al Jardine as the most likeable Beach Boy. He doesn't write a lot, he doesn't sing lead a lot. His guitar parts get drowned out in the mix. He's just a cool guy, no scandals, no drama. Here he is just being cool. "Susie Cincinatti" is a genuinely good Beach Boys song. It doesn't sound like an over the hill burnout doing a pastiche of a 1964 Beach Boys song--this is the real deal, with the cool harmony and energy and everything.
  11. "A Casual Look" - The Beach Boys prove it's possible to be so uncool you actually come out the other side and are cool again. When this was recorded, the doo-wop sound had been revived in glam rock. So this actually comes off not only as a sharp 50's cover, but is not too far from the sound of T. Rex. It's well-executed and not cringe-inducing. Brian recycles the bell sound from "Chapel of Love", and it works here with a simple piano arrangement.
  12. "Blueberry Hill" - Yes, it is the song "Blueberry Hill." There it is. Except instead of Fats Domino singing it, it is Brian Wilson Mike Love (but seriously, who cares). The notes of this song are on a piano and the words are being sung, it's true. There is no weird synthesizer part, so that's nice. Yerp.
  13. "Back Home" - This rolicking boogie woogie piano number rolicks pretty earnestly, if not too hard. I was just thinking this would have been great as an early 1960s song, then I looked it up and it was written in 1963, so it is an oldie and also an original. It contains some of Brian's favorite things to sing about: staying home, eating, and wholesome, simple living that he fantasized about but could not manage to achieve.
  14. "In the Still of the Night" - This would join the list of uninspired, skippable covers of worn-out standards on this album if not for Dennis's vocal performance, one of the best of his career. He's got power, and just a little ragged edge. It's about good enough to overlook the incongruity between Brian's smoothed-over, multi-tracked "woo-woo," the other guys' rough, street corner shooby-doops, and more fake strings.
  15. "Just Once in My Life" - This is the cherry on the sundae dessert that you get for putting up with the "That Same Song" boiled cabbage and "TM Song" lima beans. Not a Beach Boys original, but an old Brill Building song. It starts slow and earnest in the verses, then gets a big and bombastic chorus. They keep the arrangement fairly close to the Righteous Brothers' version, but gosh darn it, you know it wouldn't be 15 Big Ones if there wasn't a weird synth part right there in the front of the mix. I'll forgive it this time. The despair in the lyrics sounds authentic coming from some haggard guys in their 30s who have seen some crazy shit and really, REALLY, need this record to work.
submitted by 9_of_wands to thebeachboys

Every Metallica Song Ranked - Tier 2: "The Hall Of Very Good"

Please keep in mind that any comment I make about these songs when I post my rankings is solely within the context of Metallica's music. Even the worst of Metallica's songs are better than 90% of all other music out there. Also, the exact numerical placement of each song isn’t as important as the tier that they’re placed in. On any given day, a song might be a few places higher or lower depending on my mood. This is all in good fun, I'm not looking to hurt any feelings here.

If you want to read about my methods for compiling this list, it’s all explained in the intro post here.
The List So Far:

Tier Seven: Bottom Of The Barrel

106). Poor Twisted Me 105). Murder One 104). Here Comes Revenge 103). Confusion 102). My Apocalypse 101). Purify 100). All Within My Hands

Tier Six: Ham Sandwich

99). Attitude 98). The Struggle Within 97). Metal Militia 96). Prince Charming 95). St. Anger 94). Atlas, Rise! 93). Cure 92). Better Than You 91). Phantom Lord 90). Of Wolf And Man 89). No remorse 88). My Friend Of Misery 87). 2x4 86). Now That We're Dead 85). The End Of The Line

Tier 5: Directed By J.J. Abrams

84). ManUNkind 83). Motorbreath 82). Slither 81). Broken, Beat & Scarred 80). Escape 79). Jump In The Fire 78). Am I Savage? 77). Don’t Tread On Me 76). To Live Is To Die 75). Hit The Lights 74). Where The Wild Things Are 73). Ain’t My Bitch 72). Through The Never 71). Wasting My Hate 70). Hardwired 69). Ronnie

Tier 4: Stuck In The Middle With You

68). Carpe Diem Baby 67). The Thing That Should Not Be 66). Thorn Within 65). Dirty Window 64). Holier Than Thou 63). Fight Fire With Fire 62). Some Kind Of Monster 61). The Memory Remains 60). Cyanide 59). The Unforgiven III 58). Mama Said 57). Bad Seed 56). Dream No More

Tier 3: The Fender Stratocaster

55). Welcome Home (Sanitarium) 54). Shoot Me Again 53). Whiplash 52). The Outlaw Torn 51). Devil's Dance 50). Harvester Of Sorrow 49). Bleeding Me 48). Frantic 47). Fuel 46). Damage, Inc. 45). The House That Jack Built 44). My World 43). Trapped Under Ice 42). Enter Sandman 41). Sweet Amber 40). Suicide & Redemption
Today’s tier:

TIER TWO: THE HALL OF VERY GOOD. Many of these songs are either my favorite or second favorite from their respective albums. These are the songs that while being incredible and amazing as they are (which they all are), fall juuuuuust short of truly being among their very best, for whatever reason.

  • 39. Until It Sleeps
What I like about this song: There are a lot of little, subtle things that really make this song work the way it does. From (like I said) Jason's fretless bass, Kirk and James's guitar tones, Lars's surprisingly nimble snare work at times - all work together to make one of Metallica's more unique songs to date. I'm also a sucker for the subtle change in time signature to 6/4 for the choruses. Why it's not ranked higher: I'm not crazy about how Kirk's "guitar solo" (if you even wanna call it that) is executed on this song. His part is rather buried in the mix, not out in front like it should be.
  • 38. Wherever I May Roam
What I like about this song: This song just has a great vibe to it. I love how it builds up from the slower tempo of the intro to a faster paced song. There is some great riffing by James here, Kirk has a badass solo, and Jason actually shines quite a bit here - they stated how they wanted the drums and the bass to form a more "traditional" rhythm section on this album. Why it's not ranked higher: I'm going back to an answer that I've given a couple times. This song is amazing, the songs ahead of it are just better.
  • 37. Leper Messiah
What I like about this song: Leper Messiah is truly one of Metallica's most underrated songs, in my opinion. The riffs are fucking crushing, James's vocals may be the best on the album, and that's saying something. The pre-chorus sections - "Chain, chain/Join the endless chain" are my favorite parts of the song. Not to mention, Kirk's solo just fucking rips. Why it's not ranked higher: In comparison to songs in this tier and the one ahead of it, the chorus is just a tad weak. But this is just me being ridiculously nit-picky. I still love it.
  • 36. That Was Just Your Life
Before I get into my likes/dislikes of this song, I wanna tell a funny little anecdote about it. When Death Magnetic was released, I worked in a small, local music shop. One day I was playing one of the guitars (I had just put new strings on it) and I was playing the main riff to this song. A customer overheard me and said "Wow, that sounds exactly like old Metallica!" - to which I replied "That's funny, because this is new Metallica." He couldn't believe it.
What I like about this song: I love the ominous intro. To me, the heartbeat in the beginning was symbolic of a band that was coming back to life. The main riff of this song is brutal, James's barking vocals are on point, and the energy harkens back to songs like Battery and Blackened. **Why it's not ranked higher: It's a little bloated. Bits and pieces could have been trimmed off to make the song flow better.
  • 35. The Eye Of The Beholder
What I like about this song: James's lyrics are absolutely top notch here, touching on the idea of shrinking liberties and freedoms. Then of course, there's the time shift from 4/4 to 12/8 for the pre-chorus (Doesn't matter what you see...) and then back to 4/4 for the chorus, which might just be my favorite Metallica chorus ever. Why it's not ranked higher: While it's very diverse, rhythmically, it's not very diverse musically. It kind of hangs out in one area or another for the majority of the song, and it can kind of drag at times.
  • 34. Low Man's Lyric
What I like about this song: The lyrics. They perfectly describe a completely broken man. The call and response of "There's a dog at your back step/He must come in from the rain" and "So you bring this poor dog in from the rain/Though he just wants right back out again" is simply brilliant. I also love the hurdy gurdy featured at the beginning and end of this song. It's very powerful. Why it's not ranked higher: As brilliant as this song is, it does kind of drag at times. I'm not sure how it could be fixed in this song, but it's not paced very well.
  • 33. Invisible Kid
What I like about this song: I love the overall energy this song has. It's like a sonic bowling ball to me. It has some great riffs, I love James's vocal delivery, and the lyrics are great to sing along with. Why it's not ranked higher: It's a bit too long for its own good, and gets repetitive. Trimming out the "Ooooooh, what a good boy you are" part would help with maintaining the flow.
  • 32. Halo On Fire
What I like about this song: I love how James sings the first two verses. The way he changes his enunciation when he repeats the words is something we've never really heard from him before. I'm also a big fan of Kirk's lead work in this song, probably his best work on this album, especially his ending solo. That whole outtro section really reminds me of the epic ending to Freebird. I really wish it was longer! Why it's not ranked higher: I personally feel like this song could have been longer. Each section feels like it needs a little more time to fully flesh out its ideas. Just when each section feels like it gets good, the song moves to the next section. To me, as great as the individual sections and ideas in this song are, it doesn't quite feel like it has a complete identity of its own. Maybe it's the sudden shift in tone to the "Hello darkness/Say goodbye" part. This song feels like parts of 2 or 3 different songs that were kind of mashed together.
  • 31. The Day That Never Comes
What I like about this song: I love how the intro flips their usual "power ballad" formula on its head. Normally, on songs like Fade, Sanitarium, and One, the song starts off with James playing in the lower register of the guitar, and Kirk playing a lead in the upper register. On TDTNC, however, that's flip-flopped, and that gives it a very unique sound and feel for a Metallica song. It also has a hell of a finish. Why it's not ranked higher: It's very inconsistent as far as lyrical quality goes. This song showcases both how creative James can be with his lyrics ("I'll end this day/I'll splatter color on this gray") and how mediocre he can be ("Love is a four-letter word").
  • 30. The Frayed Ends Of Sanity
What I like about this song: Frayed Ends is probably their most musically complex song to date. Chock full of crazy time and tempo changes, this is about as close to progressive metal that Metallica ever ventured. While this song is packed with fucking awesome riffs and solos from James and Kirk, Lars once again really showed his prowess on this song (especially with what may be the greatest fill he ever wrote). Why it's not ranked higher: Lyrically, it's nothing special. They also went a little too far with the extended musical sections for what the song needed.
  • 29. Fixxxer
What I like about this song: It has a loose, groovy atmosphere that also rocks. The chorus of this song is fucking excellent, it's anthemic and fun to sing along with. Coupled with a powerful vocal performance from James (particularly in the outtro), Fixxxer is without a doubt one of their best album closers. Why it's not ranked higher: As great as this song is, there's not one real iconic moment that stands out to me. No incredible riff, solo, or lyric that separates it from the pack. It also feels a little artificially extended, like they wanted to recreate another Outlaw Torn for Reload.
  • 28. For Whom The Bell Tolls
What I like about this song: Obviously, Cliff's bass intro is iconic. Even though we hever hear it again, it completely sets the tone for the song to come. The main riff is a genuine ear worm that will get stuck in your head for days, James also did a great job of adapting part of the book as the basis for the lyrics. Why it's not ranked higher: There are times when I listen to this song and I wish it had more urgency to it. Maybe it's the half-time feel of the verses, with open, spacy power chords instead of incessant chugging, but aside from the intro and the chorus, there's not a whole lot of drive to this song.
  • 27. Seek & Destroy
What I like about this song: The main riff is one of the catchiest riffs that James has ever written. This song also shows what made Cliff so great, as his bass part doesn't exactly mirror the riff, but provides just enough contrast to keep it interesting. I love the double-time bridge section, too. Why it's not ranked higher: The lyrics really aren't anything special, and come across as a little immature to me. Again, it's not James's fault, as he was practically a teenager when he wrote this song, but they are what they are.
  • 26. Spit Out The Bone
What I like about this song: Spit Out The Bone, to me, is the most brutal, unflinching thrasher that they've written since Damage, Inc., and is hands down the best album closer they've written since Dyer's Eve. You could have placed this song in Master Of Puppets and it would have fit right in. Classic Metallica. Why it's not ranked higher: The instrumental bridge section drags, and I know exactly where the cut should have been made. The slow "breakdown" part that goes from 5:22-5:44 does nothing to the song but kill its momentum. Take that part out and the song would be just about perfect.
  • 25. Disposable Heroes
What I like about this song: I find this to be the lyrical highlight of Master Of Puppets. James' use of imagery creates a very vivid mental picture of a hellish landscape ravaged by war, experienced through the eyes of a lone soldier. And the iconic scream "I WAS BORN FOR DYYYIIIIING" might be the vocal highlight of James's career. It's fucking chill inducing. Why it's not ranked higher: While the music does a great job at creating atmosphere and complimenting James's superb lyrics, there's nothing about this song from a musical standpoint that really stands out to me, aside from its breakneck pace.
  • 24. King Nothing
What I like about this song: This song has one of the most bitching bass lines ever. It's like after AJFA they really wanted to give Jason more opportunities to shine on this album, which was a great choice. Everything about it is top notch hard rock. James's vocals are absolutely killer here, as are his lyrics. Just a groovy, hard-rocking song that never gets old for me. Why it's not ranked higher: Compositionally, it's almost an exact clone of Enter Sandman, and it's pretty obvious. The "off to never-never land..." at the very end almost seems like a tongue-in-cheek reference by James to this fact.
  • 23. Nothing Else Matters
What I like about this song: It's fucking gorgeous. The clean guitar tones are fucking perfect, James's clean vocals are amazing, I don't care what anyone says. And his solo at the end is the perfect climax for a song like this. The lyrics are great too, and I think that anyone who has ever been in a long-distance relationship can relate to them. Why it's not ranked higher: It's a little too long for its own good. I think the interlude after the second chorus kind of drags the song down, and could have easily been shortened. I also think the song should have just ended after James's solo, maybe repeating the intro one more time. We'd heard the chorus refrain enough times to get the picture.
  • 22. Moth Into Flame
What I like about this song: It's the quintessential Metallica single. It has all of the elements that makes Metallica the greatest metal band of all time, and they're all executed to near perfection - awesome, thrashy riffs, great melodic guitar harmonies, great lyrics by James, and some good double bass by Lars! The highlight of Moth to me is James's vocal delivery. The way he barks out the lyrics in the verses and pre-choruses, while having a more melodic sense in the choruses is just amazing. Why it's not ranked higher: Kirk's solo is pretty "meh". The choruses, while being fun to listen to, kind of bring the energy down a bit. The only thing that I would change is that I would make all of the verses the same length (or at least make the second verse the same length as the first). It bothers me when the first verse of a song is longer than all of the others. (This goes for pretty much any genre of music).
Tomorrow’s tier: “The Cream Of The Crop"
submitted by sonickarma to Metallica