Truly enjoyable display of Kanye’s abilities combined with great preformances from all involved
Not appealing to me. Maps is good.
Was rock never cool in the first place?? Truly horribly tasteless
Tidal is slow, and I'm glad I gave it the time it needed to stick with me. It's the kind of album you listen to from start to finish. Some really strong tracks stands out, particularly the high point Never Is a Promise.
Medium 4
Did not like it when it came out. Good songwriting and excellent production. Romy’s vocals is it’s weakest point, at points tarnishing the product quite a lot.
As good as the hard rock genre gets. Stick to side 1
I prefer music where «rock n’ roll» is never mentioned in lyrics. The best thing about this album is the relatively short playtime.
I have always felt like people who like the black keys have never really heard good music, and just like the idea of rock music still being cool.
I don't care much for the sound of this record. The songwriting is not very interesting to me, and does not justify the long runtime. The single Tighten Up is the most memorable track, yet the 2010 twee ass whistling hook has not aged well. After almost one whole hour of very distorted mid performances of bland rockisms, the cover of Never Gonna Give You Up stands out. I can, however, not understand why anybody would listen this version rather than to the original.
2
It makes sense that a lot of people has a favorable memory of this album. The opening track is super strong, and I guess the album appeals to the youthful feeling of hearing new sounding music and finding your own aesthetics.
Walking on The Moon has some good parts, but is boring overall. The way the sting sings is embarassing when you take a break from accepting sting as an internationally lauded phenomenon.
The sting is and will forever be boring parent music to me.
I have really tried with this album in the past. He's so great at playing bass guitar and making me not remember his songs.
The album sounds very washy and dated. I do not enjoy the humor.
I'm tempted to rate 3 purely on technical ability, but hell, I do not enjoy it. 2.
This is good rock and roll music. I had forgotten how good it is
Finally one of my all time favorites! Strong 5
To me, the prodigy has always seemed like joke music for speed freaks. Giving it a chance, I found that it actually slaps pretty hard. Some of the vocals are still embarassing to me though. Strong 3.
A few songs are so saturated in popular culture, that actually listening to them is impossible. Everybody Hurts is one of those songs. Man on the Moon suffers some of the same fate, but is better to begin with.
The third and last song of note, Drive, is memorable but just ok. The fact that they managed to squeeze six singles from this album amazes me.
Like so much rock music from the early nineties, it sounds horrible and lifeless. The drum sound is the worst offense.
I get the impression that this album is a huge deal to a lot of people. I have no idea why.
2.2
My biggest issue with concious hip-hop, is the bar it sets for itself. Even good lyrics fall through when delivered with the sufficient level of importance.
I prefer her mellow tracks, and Selfish is the by far best track on this album. 101 FM has a fun beat, which I like quite a bit. Aesthetically, Venom is not really my thing, but I have to say the track is well executed and successfull. The other tracks I either don't care for or don't care about.
This album being essential listening is a stretch, and I don't think any of the tracks even reaches the heights of her catalogue (which is Two Worlds Apart from Sometimes I Might Be Introvert).
2.4
This could be vastly improved by sheer subtraction. I invite you to join me in considering Blur a pretty great 8 track 34 minute album, rather than than the 56 minute sprawl that it actually is.
Track listing (rating 4.0):
Beetlebum
Country Sad Ballad Man
M.O.R.
On Your Own
You're so Great
Death of a Party
Look Inside America
Movin' On
Actual rating: 3.4
Listening to canonized classic rock music through this project is really interesting. As it turns out, a lot of it is not very good at all. I'm sure this album can be seen as part of rock music as a massive cultural force in the late sixties. It's just not as good as the Beatles or the Rolling Stones, as interesting as The Kinks, nor as charmingly dated as the many one hit wonders of the time. It's just an album of bluesy filler tracks of the type that is commonly found on rock albums from the late sixties and early seventies. This album deserves to be forgotten.
The drumming is kind of good, but when has that ever saved an album with nothing else going for it?
I will need to see verification of those citations on the wikipedia page
This album has a good groove. The title track is a classic, but none of the other tracks bring anything new, really. I'm glad it's only 36 minutes long.
It's pretty good but I don't think an album is this genre can be truly great to me.
3.2
This album was added to the 1001 albums list merely ten months after being released, a bold choice to be sure. While sceptical of it's inclusion at first, I was won over by reading some of the reviews on here. Among the many positive ratings, a number of reviewers simply did not accept anything other than canonized white male rock music from the sixties and seventies being on the list. Being of your time is no bigger a sin than being of a time long passed.
By mistake, I first listened to the extended version, which I found to be interesting, yet a little long. The "tales" ask you to accept bold, flawed women, adding a lot of challenging interest to the songs. On my second listen, I went for the pure musical experience, listening only to the songs. Whitout the interludes, the album loses most of it's ability to challenge the listener, leaving a musical experience which is pretty good, yet decisively not of my typical taste.
I can see this album being a really big deal to some people, thanks in no small part to the statement it makes. For me, it's not quite it. I'm glad I listened, but I don't think this is a stayer in my library.
3.2
Rating this feels like doing a Letterboxd review of that 50 second 19th century film where the train comes straight at the audience.
I enjoy the textures of the music. I enjoy Shankar’s explanations of the music. I’m just not sure listening to an album of ragas makes sense to me.
2.4
Very cool production heavy on FM synths and crunchy samplers. The programmed triplet fills and vocals that fit akwardly in the mix, I struggle with. This is well executed, and was proabably extremely fresh in 1989. Just not for me. 2.3
Idk man how can I ever find the confidence to really rate this. Enjoyable at times, but mostly beyond me. I don’t feel like knocking in but I definitely don’t understand it. Likert neutral 3
DB is one of those artists whose name I have known forever, but have never checked out (other than that one good Arthur Russel cover). Maybe my good intuition has stopped me.
Stripped down folk music is very intuitive; if it doesn’t click instantly, it probably never will. This album does not click. Something about it seems disingenuous to me, which is an instant disqualification in this genre. 2.2
Charmingly dated, and a way more fun listen than I expected, having previously only heard a couple of the tracks. While it's mostly remembered for the couple of hip-hop tracks on here, most of the songs are decisively not hip-hop, but rather funk, rnb or even soul. While it's an influental, fun and goofy album, impossible to dislike, I'm not sure it's strong enough to be a proper classic that you would listen to regularaly.
2.6
I love the smiths, and this sounds good. It just doesn’t stick with me like some of their other stuff. the headmaster ritual is the only track I really really like. 2.8
The songs are not good. It’s not really funny. It’s not really shocking for 1987. I always try to understand why people like the albums on the list, but I have a hard time cracking this one. I guess people have fond memories of using this album to set themselves apart from the normies in high school. 1.5
This one goes out to the gatekeepers in the back! Released at a time when rumors of the death of the album format was starting to circulate, I have no problem understanding why conservative rock critics at the time were mostly positive towards Seventh Tree. It sounds expensive, and is partly recorded in Abbey Road. The use of the Mellotron is very sgt. peppery, yet the modern touches of electronics sets it apart from the classics. Surely an appeal to older rock gatekeepers, eager to see albums as big cultural moments, and lacking the vision to see that music was flourishing in new forms.
To me, this sounds okay, but I doubt I will remember any of the songs. 2.4
Not Dark Yet and Make You Feel My Love are superb tracks. A couple of the other tracks are vibey, but long. Otherwise this is a true test of patience. I would have no problem with 30 minutes of old man blues being cut.
2.7
Aesthetically unappealing to me. I don’t love the songwriting. BHS and the day I tried to live are the only tracks that really feel like well thought out songs to me. 2.1
With the history of the Sex Pistols being what it is, the music feels like a secondary reason for their fame. I was familiar with a few songs, and did not expect there to be any hidden gems. I was right. The singles are actually kind of good, but I don’t need a full album of this music. 2.6
5 absolute classics
5 pretty good songs
1 inexplicable live Everly Brothers cover
4.3
Classic, iconic and not as good as I remembered. A lot of good ideas, but the execution feels a bit rough and repetitive. Polishing it, however, would probably subtract from its energy. A Gordian knot, really.
3.2
Peter Gabrield is a confusing album. Partly very cool experimental music, partly the worst kind of pompous prog rock, common at the time of it's release. This duality is contained inside of almost every track on the album. As such, I can easily acknowledge the album, but it's not easy for me to enjoy it. Solsbury Hill deserves all the radio time it has gotten.
2.8
Blue Lines starts off pretty bad for me. On the first few tracks, I feel like the beats don't fully support the quite expressive vocals. Luckily, it picks up. Unfinished Sympathy is of course a classic, and I found myself enjoying the album towards the end.
3.3
Cool and boring. Influential I’m sure. 2.8
Very good vibes and I want to like it. Sorry to say it doesn’t really stick as a whole.
3.4
Are we listening to the same music???
1.6
As it turns out, dads are right some times.
I vibed out to dark side of the moon in my teens. In my twenties, the concept of the very serious rock band was entirely unappetizing. Now in my thirties, having not listened to this in maybe 15 years, I once again vibe out.
I still feel like I would find some of their later work (the wall) self serious, or even pompous. I guess I will find out sooner or later.
4.6
Cool sounds and all, it’s just that I don’t want to listen to it too much.
2.8
Kendrick Lamar has the sad tendency to tie absolute bangers to homework-music (not the kind you study and relax to). This tendency made this album immensely well received, yet I (maybe falsely) remember critics at the time discussing how they only listened to it a very few times. As a result, only a few of the tracks go in to high rotation, while the rest of the album is consumed just once. More like a book, really. The peaks are so very good, though.
3.5
The wiki mentioning rockabilly and RHCP set my expectations as low as can be. The album is just fine, but Ithink it’s hard for me to get excited about this kind of music. Very cool cover though.
2.4
Great if you like Daft Punk but think it’s too good.
2.4
Heroes is David Bowies' best song. The rest of side A is kind of forgettable. Side B is good, but it doesn't make sense listening to it on it's own. The comparison to Low is inevitable, and "Heroes" doesn't quite stand up.
Conclusion: It's good but I kind of expect it to be better
3.6
Music for not stealing cars, handbags or televisions
2.7
The runtime, title and the contents of this album would have me thinking it was a rarities compilation released for the hardcore fans only. Suffice to say, I do not find it essential or even good.
2.1
So it turns out Eric Clapton (very bad) has contributed to something good (this album) after all. Good vibes all over, and powerful performances. Unlike so many of the other albums on the list, it respects my patience.
4.2
Really good songs produced in a charmingly dated way. Being of your time is not a bad thing.
4.4
Eric Clapton’s standing in culture is truly a glitch in the matrix. The original tracks are so fucking bad with embarrassing lyrics and forgettable melodies. The covers/traditionals on this album are really absolutely bland, compared to versions recorded by other artists. On some of the tracks, EC is even credited with arrangement. Translated from megalomaniac, this means dragging his junkie ass into the studio and farting out a low effort blues version of the song. No shame at all.
I do not as much care about Clapton being a vile racist, as I want to use it against him, so that we can all collectively move on and forget about his existence. We deserve it.
0.0
Yep, this is really very good.
4.5
Business proposal: Let's make a pop album, but without hits or any catchy songs. Are you in?
The sequencer work is really rough, is that on purpose? Is this technology disguised as art?
2.3
47 minutes of pajama doing her best patty smith. Not bad, but not that good either. the last song is good.
3.1
Sundance 2009 coming of age trailer ass music. I used to be into Arcade Fire, but this album never sat right with me. Criticizing AF for being too grandiose is kind of like saying butter is too fatty, but at several points, this album is beyond what I can stomach.
2.8
More of a promising debut, really. Psycho killer and pulled up are absolute classics. The other tracks are enjoyable but not as memorable.
3.4
I’m a jazz pleb; I like some of it, but it has to be pretty immediately memorable. This just sounds like… jazz to me
2.4
I'm guessing the author of 1001 albums was reading at the university of Glasgow in 1984.
2.6
This is probably very good, but I just can't sit through it. Sorry
One of few albums where every song is very good.
4.7
This project's insistence on the album format is sometimes fatigueing. Some of the best songs in the history of recorded music, are found on albums that are not really that notable.
Ramones deserves a spot in musical history. This is, however, not a very good album. Listen to Blitzkrieg Bop and Havana Affair, and take the rest of the day off.
2.1
I have always thought of Marley as sort of an island Eric Clapton; boring as hell but somehow extremely well respected. The comparison is not quite accurate, some of this actually is pretty good. I find that the fun that makes reggae music so good, is somewhat lacking, though.
3.2
There’s a lot to be said about the limitations of studio recordings. My limited knowledge on this band’s reputation indicates that people feel like their studio albums don’t fully showcase their abilities. It’s easy to see how this can fertilize the soil for the idea mythos of a live album to grow. As far as I’m conserned, this sadly isn’t a very good listening experience.
1.8
Another example of one good song not constituting a noteworthy album.
Saved: I wanna destroy you
2.2
Disarm and Today are good.
As I’m not into grungy and grungy riff rock the rest of the tracks are not so good
2.6
I don't really know what to make of this
The problem of Amnesiac is the curve on which it is graded. There are plenty of good music on here, but within Radiohead’s catalogue, most of the tracks struggle to really stand out.
That being said, I enjoy it very much.
4.3
Not a genre I would be interested in listening to
There are five kinds of HN songs, each corresponding to the stars of the scoring system:
1. The boring as hell rock song (down)
2. The borderline novelty song (coconut)
3. The good rock song (gotta get up)
4. The quirky pop rock song (together)
5. The grandiose pop ballad (without you, all I think about is you)
This leaves this album at the score of 2.6
Taxman is one of the funniest songs of all time. A filthy rich financial imbecile crying about having to pay for the streets on which he is driving, all to reach a target audience of youths. I’m glad there weren’t podcasts for them to guest at the time.
4.6
In 2000 there were any number of bands recording catchy pop rock produced in the style of ok computer. I don’t really find that parachutes make Coldplay stand out from that crowd. The album is just perfectly fine. Yellow is good, and probably made their career.
2.5
A cool album but not a really good one. Like so many albums on the list, it’s way too long.
2.6
Not their best, but an essential part of their catalog.
4.1
I used to love Arcade Fire. Some of their songs are still good, but it has become abundantly clear that they are U2 for millennials.
3.3
There’s a lot of good things to be said about this, but I could easily shave off half of it while improving the end result.
3.2
I know the hits and I cannot imagine it gets better from there. I’ll take the day off
2.3
Music for depressive pixie boys. Quirky and fun but somehow also boring??? Not the kinkies at their best
3.3
A beneficiary of NME’s lust for hype. The album is a perfect mean of oasis, blur and broadcast. It’s not as interesting as the latter, and lacking the charisma of Gallagher, Albarn or even Chris Martin.
2.8
I would be pretty impressed if my friend recorded this album in their home studio. What am I missing?
great artist, good album
3.7
Partly good. I’m no fan of the prog style of singing and lyrics. 3.2
Before we go all reverend and respectful, let’s remember that the Beatles released revolver the same year.
1.4
“Doing” an ollie in front of the garage on the skateboard you got for your 11th birthday original soundtrack. It’s more or less like including Baby Shark on the list, as this is not for adults.
Taylor Swift probably deserves a spot on the list, but including evermore feels like flanneled gatekeepers lecturing it's "actually a pretty decent album".
Don't hate it, but didn't bother listening to all of it.
Expected incredibly boring post rock, but this was interesting at times.
This, somehow classic, album starts of rough for me. After a couple tracks of rock-rock, it turns to some kind of kitschy medieval knight-rock. This includes STH, which is admittedly kind of good, but also corny as hell. Luckily it picks up a bit towards the end, and the last couple of tracks are pretty good.
2.2
This is like rating the Lascaux cave paintings in context of modern art.
Totally overblown boogie rock, as expected. Musical theater. Don't hate it, but will not listen.
I can only take so many straight forward 3/4 tight harmony country tracks in a row thanks
Some really cool stuff on here, but eventually too meandering for me.
3.2
Very much a guy fucking around by himself in the studio. Many tracks have promising vibes, but end up being either too cheesy or not really working out. At several points, Winwood adds unintuitive progressions to otherwise straight forward tracks. Steve Winwood is however no Stevie wonder, and these attempts at musical interest do mostly not really serve the track they’re on. Second-hand woman is the best track.
1.9
There are some true high points on Bug (Freak Scene, Budge), yet, in spite of it's quite limited play time, I find myself getting impatient while listening.
3.4
This was a singles only listen for me. One Day is a non-song and the fact it was released as a single amazes me.
TAS is a truly unfortunate exploration of genres. Fun music genres are drained of life by the production choices very much of its time. The heavy guitars are totally misguided and really subtract from the tracks they are featured on.
0.6
They got a lot better later on
2.6
Some obvious skips (pleasure machine, McNamara), but enough solid short songs to be very worthwhile
Don’t see what this adds sorry
2.5
Aesthetically strong, but I was not able to vibe too much with it.
My favourite book, you ask? Well that must be the collected works of Goethe. Next question.
Is this an album? Is this the best way to enjoy Ella Fitzgerald? Gershwin? Does anything make sense?
This entry hits at my main qualm with the 1001 albums book/project. The completist insistence on the album format is quite rock centric, and simply does not work within a lot of other genres, or really before the rock album became a thing.
I could just skip this one, but felt like writing, so had to rate.
There are a lot of chill vibes on this album, yet I feel like it lacks the songwriting to back it up. At points the faux interesting psych attempts to make it interesting reads more like self sabotaging than real artistry (guitar solos on Tribal Gatherings is one example).
While Goin' Back is an absolute gem, it's pretty much the only track on the whole album that really works as a whole.
2.2
Well it turns out circus prog with a kind of proto pearl jam 90's rock vocals is not for me.
1.4
I think I like Stevie Wonder, but I just don't really want to listen to this
I could probably grow to like this record very much, yet placed between it's very clear influences, I don't find the motivation to really get invested.
Functional music for doing your thing (drugs) in 1990. Not music for listening in 2024.
2.2
Intro music to the dark crime miniseries of my childhood.
This album was released on the very tail of trip hop. It's extremely dated, not definitive of any new subcultural movement and, as far as I can tell, not really a huge thing back in the day. I have a hard time considering it essential.
That being said, I did enjoy the album somewhat.
Weak 3
I started with I Don't Mind and got my hopes up. It went down hill from there. Not my genre I guess.
Strong 2
As always with George Clinton - there is so much to like, but ultimately it's not focused enough to serve well as album listening experiences.
3.3
I get that the fans enjoy this one, but this is not a valid list entry.
Protest 1 star
Pretty cool album. I had heard some of the tracks before, but did not know Si Tu Dois Partir was written by the old Dyldo himself. Who Knows Where the Time Goes is another (obvious) standout.
A Sailor's Life is not bad, but leaving it out makes the album a more pleasant listen. On the face of it, I should not enjoy Cajun Woman, yet it has enough personality that it actually works.
I'm going to go ahead and give this thing 4 stars
This feels like musical theater rock
Expecting a rough listen, I tried to tease out which tracks to prioritize listening to. As it turned out, these were the worst and most boring tracks of the album. For some reason I kept listening, and was rewarded. A mixed bag for sure, Legalize It has a handful of good songs:
Burial, Why Must I Cry, Ketchy Shuby, Till Your Well Runs Dry, Brand New Second Hand
Weak 3
Iron Maiden is corny as hell but you will not hear me say that it's bad. Must have listened to the title track at least 666 times back in the day. Torn between a 3 and a 4, but honestly, I can't really defend a 4, as I don't really see myself listening very much to it as an adult. strong 3 it is.
Sadly couldnt get into this
There are three good-ish songs on this album and they're all written by Stewart (Gasoline Alley, Lady Day, Jo's Lament). Otherwise it's all less-than-the-original covers and bland rockisms, occasionally great instrumentation (you're my girl).
Doesn't quite cut it.
Is it my speakers or is he singing out of key?
Better than expected.
I don't really enjoy this. Sorry.
It's fine, we can forget this
Going in to this album I was skeptical to be honest. Little wing has been butchered with taste and endless guitar solos so many times, it's easy to forget what a magnificent song it really is.
Baba O'Riley is really great. Won't get fooled again is pretty good.
The rest of the tracks are very mid. Poor vocals.
3/5
Dunking on U2 is too easy and not cool, but all I hear is
NEXT GENERATION AUTOMATED SOLUTIONS
AWARD WINNING 24/7 TECHNICAL SUPPORT
SCALE YOUR BUSINESS WITH SEAMLESS CLOUD TRANSITION
This is of course a result of U2s massive success and distinctly unoffensive sound. Hits are not too bad to be honest.
Good vibes, but the genre had not really matured at the time.
Singles only. This sounds like 1000 other 90s bands. Would be a good local band but is entirely non essential.
Finally some silly circus music!
Does anybody know if this album was released in 2009?
Some good vibes but overall I'm not too hyped on listening to a british man singing in a creepy whisper voice about taking someone from behind
Fifth grade music in the best sense
