fuck yea gay shit on this list. mint.

didn’t like this as much as i was hoping, really only vibed with the singles i already knew. eighties pop synth is fun but this was beating me over the head with it and the charm of her betty boop voice only carries so far on the record. i understand the critics who felt fatigue set in on the back stretch of born to die when it was first released more now.

probably not a great introduction to the underground. i see the vision and was partial to passages textually but wasn’t caught melodically anywhere.

……so anyways here’s [several red laser dots appear on my chest] was more into this sonically than the other two records we’ve done so far

dylan’s songwriting is incredible, otherworldly. his sound is literally unlistenable for me. he’s either yelling over a grating harmonica or just tonelessly speak singing through every track. i couldn’t actually listen to this album. i’m just gonna sit down and read it someday. no one should’ve ever given this man a guitar, stick to poetry sweetie.

"I love your hands 'cause your fingerprints are like no other" "I love your eyes and their blueish brownish greenish color" "I love it when you smile, that you smile wide" "And I love how your torso has an arm on either side"

lost track of how many times i’ve tried to play through this record and fallen asleep partway. thanks for the free ride, davis. love and respect the music.

I COULD NOT, WOULD NOT, ON A BOAT. I WILL NOT, WILL NOT, WITH A GOAT. I WILL NOT HEAR IT IN THE RAIN. NOT IN THE DARK! NOT IN A TREE! NOT IN A CAR! YOU LET ME BE! I DO NOT LIKE IT IN A BOX. I DO NOT LIKE IT WITH A FOX. I WILL NOT HEAR IT IN A HOUSE. I DO NOT LIKE IT WITH A MOUSE. I DO NOT LIKE IT HERE OR THERE. I DO NOT LIKE IT ANYWHERE! I DO NOT LIKE TSWIFTS OEUVRE!

i have fallen asleep trying to get thru this record so many freaking times it’s screwed over my listening stats for the month of july. i give up i have no opinions on this i just want to stop racking up streams of it that i’m not even conscious for.

if i could go back and change one thing in all of history i would have made it illegal for white men to use guitars or drums from 1990-2005

damn bitch what happened

the unknowable pain of a daughter for her mother. the unknowable pain of a mother for daughter. always reaching, never quite more than brushing fingertips through times cruel passage. let the music play on.

a true snapshot record, a vision of the east coast scene of ‘95. hypnotic, and i could feel their skill and clever messaging being transmitted out to me but my only satellite was facing the wrong way to absorb it, saving the extremely powerful closer. a great space to get lost in and a great literary world of power i hope to revisit when the east side hosts cooler waters for me. a masterclass in sampling and storytelling, truly a finest record throughout

literally what the fuck is this album about. outright bewildering. i have not a clue what this man is trying to tell me now i get why him and lana are friends. and honestly can anyone actually tolerate more than like ten minutes of elton john music at a time?

huh. the rolling country bears. who’d’ve thought. good pacing. actually didn’t really care for sympathy for the devil 🚂🚂. jigsaw puzzle, factory girl, and salt of the earth were the standouts to me. stray cat blues costs the record a star. hate that we can’t do half stars on this webbed site. put me in a room with a gun with two bullets john lennon kevin spacey and mick jagger and watch me shoot jagger twice.

genuine shame this was made by british people. pulls you out of the soundscape when there’s speech. a delightful charcuterie board of electronic aesthetics, but overlong in my opinion. took several attempts to finally hear the whole record at once. feels like an extremely long album, listening to it is exhausting.

like so many of these albums, i fell asleep a couple times and it took more than one try to make sure i heard it all but the fusion is outstanding and we love an instrumental moment

i’m not all the way there with the instrumentals but mother beth gibbons you have me completely the lyrics are so chefs kiss

i was so excited by the first two tracks and the wonderfully enticing tracklist before this fizzled out into ambient experimental electronica. not much substance, i thought. my quest for that perfect misty forest in early october record drives on.

the french? doing electronica in the nineties? groundbreaking.

disappointed by the absence of actual femmes in this group. false advertising. i liked add it up and kiss off, and of course blister in the sun but i think everyone on the planet likes that song i think that’s kind of their one hit wonder gone daddy gone was good too. i just think it’s so annoying when these groups do pretty solid records and then there’s a track or several that’s just like “oh and also ain’t nothin sexier than an underage girl (:” [im looking at *you* mick jagger] stunningly nineties sound for a record written in [checks notes] 83??????

better than the eponymous record

i see the influence and power this had on the punk genre, i love how tight it keeps the tracks, i love that it doesn’t feel sleazy for sleaziness’ sake. i stopped it as pulsebeat faded out bc that’s so clearly where the record should end and is a great finish. unfortunately. i’m just britishphobic.

begging this fucking webbed site for half stars options. 3.5. anyways miss deal i am on my knees pls give me one chance i’m dying here. anyways thinking about how much more complicated my children trying to get through their moms music would be than getting through my own moms music like this is. this is all raw emotion and not an endless parade of self and culture referential cryptology.

this record is fine. i have no specific beef with it. how much of this fucking list is just whiny western pop/rock/punk i don’t like The Institution Built to Cater To Me Specifically albums of the 70’s and 80’s. if i pull another fucking pixies album or whatever after this gets logged im gonna vomit.

note to self: pass along this record to boyfriend

fuck yea gay shit on this list. mint.

5.5/10. i don’t care about the british being concerned about themselves. i love the top track, it’s surfy sound and acknowledgement of near begrudging relationship between speaker and listener. i need you and you need me and we’re all the other has so let’s get going. we’ll let you know feels like a better glam glue, especially with the sonic dissonance and distortion, a feeling of only wanting to share pain with the dedicated who care about them as people, and acknowledging the pain they may inflict as a consequence of the repetition in their lives creating tension we hate it when is crabs in a bucket you’re the one for me is actively knocking the album down many pegs. these guys just can’t help themselves. the final three home stretch is a powerhouse

need more composers so invested in being so hella specific. ambient my good friend ambient.

what a wonderful find of a musician, smooth and intelligent, even if this isn’t the record where he and i were truly meant to meet, there’s not a moment of this that isn’t enjoyable, even if it isn’t in my color. getz looks like a mighty prolific artist, and i can’t wait to find him playing the stifling smoky old lounge i glimmer in and out of like a ghost in mid-september. i think we’re gonna get along.

boy do i not like coldplay. there really was a dearth of anything interesting going on in western culture post 9/11-2008 and i’m not sorry i missed it. i liked the guitar. chris martin can’t sing for shit and his casual view of women and sort of the Also Starring in his view of life in which he is The Main Character that exist solely to make his life easier is so stereotypical 2000’s man. the music’s boring and the whole record really has the energy of a straight white man who thinks what he has to say is a lot more important and groundbreaking than it really is. also hearing clocks and realizing it was That Song from the terrible disney movie from like 2006 with kiefer sutherland felt like getting punched in the jaw.

god. the power of kool thing. the gift that is my mothers music to me. hot girls named kim in punk bands. this record is a reminder that with finding music when you know you know, so if you’re asking yourself “how do you know?”, then that’s your answer, the answer is no.

hello dave navarro host of ink master (2012) that’s a cool guitar. perry farrell sucks. what is this drive rock bands have where they feel they NEED to have a frontman. if you’ve got a great bassist guitarist and drummer, i think it should be more widely accepted to not have some grating dumbass up at the front vomiting into the microphone.

this record all sounds the same i didn’t even realize it’d looped back over to the beginning. the early 2000’s are not my cultural space.

the only reason people compare GVF’s first record to this band so much is because of the guitar

partly clouded by the records fixation with the vietnam war, while i felt paranoid planet caravan rat salad and jack the stripper all carried the energy. i understand this was released in the 70’s but this is an opinion journal not a critical review so i get to say i don’t especially care for the vietnam war as a topic of mainstream art and rock

-1 star for the diversion in the middle to just be a #sadboy that’s weird about his former women lovers. and also for the women everywhere who have had music from this record played At them by a dude with a guitar like in barbie. first three are outstanding in a singles way, final three or four are outstanding in a deep cut way

me when i come and go

i’m gonna have to listen to this again at some point and start reading what the book has to say before i start each album because i did not get this. most of these songs are too long for their britches. golden years is solid.

1959’s jazz by a black woman we are living

lush vibrant and way ahead of its time. a sonic tea table i’m happy to be invited to sit down at

this album is an impenetrable wall to me no matter how or how often i try i just cannot get through even like two songs of this. i’m waving a white flag.

slayed. i see them.

i know my dad is gonna throw hands with me in heaven over this but girl i do not get U2. love is blindness is a great song but the white stripes cover is better. one and wild horses are okay. they used to play mysterious ways at work all the time so that song makes me physically nauseous to hear

some cool instrumentals now and there

cuz when you know you know 🖤

white flag, couldn’t get through it. congrats on the historical significance but this isn’t reaching me at all.

i am *really* not a hair metal girlie but there was a lot to like in here. except for the outro i can’t stand sweet child of mine. overplayed. welcome to the jungle will always be my nostalgia baby though.

well what can we say. she’s a drag she’s a bore she’s occasionally mildly offensive but she’s so boring you barely notice. occasionally, a strong guitar breaches the surface. 2/10.

can the losers on these albums get through one singular record without shoving their foot so deep in their mouth it comes out their ass? the answer when we come back. the weird horny is just so expired lol. the metal cowboy thing is cool when it works on ace of spades and shoot you in the back

the first three are lovely. every song after that…girl dump his ass

girl. listen. i understand it’s important to experiment with Noise in order to find new Sounds but Noise as a genre is not my vibe and a lot of the Sounds on this record were out and out sensory issues.

very very very VERY strange record of stranger circumstance carried by the supreme team that arrives at strange and faux-exotic soundscapes in equal measure. at least ten years ahead of its time.

jazz jazz jazz jazz jazz (: music with no words 🖤🖤🖤 there’s a very specific style of saxophone playing in this that i have mixed feeling about. i was definitely tripping the entire time this played and they sounded way too close a lot.

god when you know, you know. i’d placed my vinyl order before i even finished the record. what a sound and what a place it takes you to. this is my hozier.

i recognize how important this record is. unfortunately i am autistic and the sound of a harmonica is like nails in my ears and this record gave me a migraine

frustratingly french. D.A.N.C.E. remains a classic

mostly thought this was just. OK. jump scared a few times by songs i knew that i didn’t realize were radiohead.

some outstanding atmospheric moments and guitar lines. this record is exhausting. too british.

very strong body, some weak or overly british moments

the book™️ refers to this album as “naive” “a rocky ride” and “a load of self-indulgent high-school conceptualism”. and the book™️ has a lot more positive feelings about the records it put on this list than i do. this record is bloated lumbering and drab as all hell. just because you have a story idea and the resources and will to execute it. doesn’t mean it’s gonna be any good. and this record fucking sucks. common british L.

ferocious. wish there was more folk on this list.

it’s a revolution, it’s a revelation - come listen to this declaration.

deal with god in no way gives you any information about what the rest of the record sounds like. and that winds up being completely okay.

damn when they said funk they weren’t kidding. this stuff is so corny skdjfsk. why the fuck is le freak the track with a cultural place from this album. savoir faire is literally right over there.

oh so it’s like if prince charming from shrek 2 was a pedophile. got it. fuck this album.

DNF. officially coming out as a britphobe

truly suspected to think more highly of this record

it’s about what it says on the label. pretty groovy.

zero thoughts just vibes

groovy

enjoyed the more instrumental sections

this does what it sets out to do really well i just don’t enjoy what it sets out to do

tired of trying to listen to this. it probably played ten times through after i fell asleep bc i woke up and this shit was still looping. fuck outta here.

groovy. way way way too long. zionism? very very very 1998 soul hop.

laid back of the beat hip hop ft the skillful sampling of its era

this sounds intense. congratulations i guess? or sorry that happened?

trippy moments lots of interesting ideas here regardless of how i feel about the execution or end result. this record is so strange. i really appreciate it. little bit long for what it is. experimental. loved it.

could not for the life of me get into this

clever and emotive, if plodding. boy bands of the early sixties, this early pre-synth psychedelic falls a little flat. while i do have this album on vinyl (gift), the orange “best of” pressing that was out at target gets a lot more turntable time, and i’m happy to leave a lot of these filler tracks on the cutting room floor. but man, when the beach boys hit, the baseball ends up in the next town over. my gut says 3.5 but to list up to 4 for the cultural significance, the experimentalism, the joy the two aforementioned vinyls have provided me, and honestly wouldn’t it be nice is such a shrine to pain. there’s a difference between liking and feeling seen on a record so even if i didn’t enjoy a lot of the finer sonic structure, i saw a ghost of sincerity, at least, flickering in and out.

not necessarily anything that’s going to completely change your life, but it’s accessible and peacefully sleepy in its final stretch. i wasn’t paying attention to what many of the monologues said but they have a very soothing tone.

riders on the storm is one of the singles ever but it’s just bait for the rest of the tagged on tracks that aren’t near as punchy. disappointed, i was really looking forward to this album

kate’s lyricism and concepts and melancholy are unmatched as ever on this record of mediocre production with no true defining moment or sound. fatigue settles in over the final stretch.

DNF. not for me and i’ve tried a thousand times to listen to this record. white flag.

oh like the simpsons

overlong and frequently outright unintelligible but man is this irresistibly groovy. stellar instrumental breaks. when you know you know.

solid time capsule of the scene at the time. strong vocals from T, i thought the spoken interludes were fun and provided a rough through line for the record

i agree with Dan LeRoy of AllMusic who felt that the album combined electropop with good melodies, and that Glenn Gregory was able to deliver the "overtly left-wing political" lyrics without sounding "pretentious"

it’s a linkin park record cut in 2000. what tf else could you think this was gonna be.