Perceptions
1.) Yellowcard Ocean Avenue review by Stephen Haag
“But here’s the mildly astonishing part about Yellowcard: They’d be a solid band even without their calling card/gimmick (and let’s be honest; that’s what Mackin’s violin is, even if it is entertaining and well-played). Maybe it’s a product of the band being slightly older than many of their contemporaries on the scene — guitarist Ben Harper is the baby at 22 — but it’s refreshing to hear an album that’s not bogged down with party odes and rants about mean girls.”
2.) Yellow card review by Ashley Rigazio
“Unlike many other singers on the scene lately, Ryan Key’s vocals aren’t whiny and his lyrics aren’t frivolous. Instead, Key writes introspective lyrics relevant to his life and sings clearly in an unoffending voice. Despite the inevitable pop-punk tag, there is nothing irritable about Yellowcard.”
3.) Negative review for Yellowcard by Matt Aucoin
“…is it just me or is Yellowcard’s album Ocean Avenue a perfect summation of how bland and just plain bad that the pop-punk (some may say “emo”) genre has become?
Let’s start with the single that has helped this band break into the top 40 and score a gold certification in the process, the title track. The song’s arrangement finds simple rippling chords being played over a simple drumbeat and a lack of bass that rips the underbelly of the song out from under itself. This is followed by a breezy chorus that is delivered with “passion” and lyrics that are about as deep as President Shrub when he doesn’t have a script in front of him.
But wait, this band is different say the usual defenders of crappy rock music. They have a violin in their songs, that’s so punk rock, because after all, what’s more punk rock than having a violin?”
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8.) Review for Elton John by Jon Landau, Rolling Stone, 7/17/75
“First things first. This is one of Elton John’s best albums. He hasn’t tried to top past successes, only to continue the good work he’s been doing. And he’s succeeded, even taking a few chances in the process. The record is devoid of the gimmicky rock numbers from Don’t Shoot Me, I’m Only the Piano Player phase. It isn’t weighted down with the overarranging and overproduction that marred so much of Goodbye Yellow Brick Road. It sounds freer and more relaxed than Caribou. His voice sounds rough, hoarse, almost weary. But that only helps make him sound more personal and intimate than in the past. ”
9.) Review for Elton by Billboard, 1975
“The pleasant surprise, however, is that, as always, the artist continues to change and progress. Lyrical content here is primarily autobiographical (the music careers of both John and lyricist Bernie Taupin) with stories centering around difficulties with publishers, life on the road, good and bad reviews, writing and so forth. Musical content is more varied than the last few LPs, with countryish flavoring here and there, one cut with soul/disco type strings, more emphasis on solos (particularly some rock items from guitarist Davey Johnstone) from band members, and a strong classical feel on several of the cuts. Majority of the set is self-contained (handled by Elton’s band) and the music itself is of a simpler structural nature than the past few LPs. One grows to expect a lot from an artist the stature of Elton John, and there is no disappointment here.”
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