Pulp is a band that instantaneously clicked with me. I have read many people criticize "Different Class," claiming all their songs about revenge, or sex, or using sex for revenge — and that Jarvis Cocker is a pervert. I can only imagine how they’d react to "This Is Hardcore" — or even better, "His 'n' Hers" ("He doesn’t care what it looks like / Just as long as it’s pink and it’s tight, it’s what he likes.") — "This Is Hardcore" is one of the most cinematic, honest, and sick album I’ve ever heard. It deals with pornography, perversion, self-loathing, and reflection. Here, sex isn’t glamorized — it’s portrayed as something compulsive, degrading, and hollow. For example, the title track compares fame to pornography. Jarvis makes you feel violated without even being explicit. My friend calls the album a mix between a genius musical soundtrack and sharp social commentary. My favourite song on the album is "Like a Friend," which thematically explores destruction, resentment, and obsession. The track bitterly critiques the idea of being just friends. That phrasing becomes a dagger when one person wants more. However, Jarvis isn’t deluded — he knows he’s being walked all over. But knowing doesn’t stop him. There’s both resignation and lividity in his voice, which makes the song damn good. "You are that last drink I never should have drunk You are the body hidden in the trunk You are the habit I can't seem to kick You are my secrets on the front page every week You are the car I never should have bought You are the train I never should have caught You are the cut that makes me hide my face You are the party that makes me feel my age And like a car crash I can see, but I just can't avoid Like a plane I've been told I never should board Like a film that's so bad, but I gotta stay 'til the end Let me tell you now, it's lucky for you that we're friends" What a bloody brilliant ending. A close runner-up is "Sylvia" — a tender, tragic track that captures a different kind of emotional decay. It’s about a woman crushed by expectations, forgotten by the world, and left wondering when it all went wrong. Jarvis Cocker is the most perverse musician alive. No one else makes self-destruction sound this seductive. God bless his filthy heart.

Recognized as among the greatest and most influential albums in music history, "Pet Sounds" is often compared with the Beatles "Sgt. Pepper’s Lonely Hearts Club Band," though I believe that no comparison can be made. Brian Wilson had made his own, extraordinary mark on musical history. The charming "Wouldn’t It Be Nice" is the album’s opener. An upbeat song with angelic vocals, complex arrangements and youthful innocence (“You know it seems the more we talk about it / It only makes it worse to live without it”), Pet Sounds starts off with a banger. Although the most obvious 'weakness' of the Beach Boys is their monotony, with most songs following the same formula, "Pet Sounds" avoids this problem. The similarity between songs only adds to the realism of the album. "You Still Believe In Me" and "That's Not Me" are achingly beautiful tracks with angelic harmonies, and "Don't Talk (Put Your Head on My Shoulder)" is a dreamy love ballad. The Beach Boys's cover of "Sloop John B" is fantastically trippy. Definitely my favourite cover of theirs. Additionally, "God Only Knows" is arguably the best love ballad ever written and a true testament to Brian Wilson's songwriting. The lines "I may not always love you / But long as there are stars above you / You never need to doubt it / I'll make you so sure about it" are simple but achingly tender. I'm glad Carl Wilson sang this number—his soft voice compliments the song exceptionally. "Here Today" is dichotomous to the rest of "Pet Sounds," as it offers a more cynical view on love. Not my favourite, but a good song nonetheless. "I Just Wasn't Made For These Times" and the title track are weaker but don't noticeably disrupt the listening of the album. "Caroline, No" is another focal point of "Pet Sounds" and a stark contrast to "Wouldn't It Be Nice." It is raw, albeit dramatic, and filled to the brim with heartbreak. Oh, Brian, you diva! "Could I ever find in you again / The things that made me love you so much then? / Could we ever bring 'em back once they have gone?" TL;DR, "Pet Sounds" makes me feel like I'm foolish and young and in love again. Definitely one of the GOAT.

Oh lord, he's one of them "misunderstood poets," isn't he? Most of Elliott Smith's songs — though unassuming and even romantic at first — carry a subtle manipulative undertone. "Drink up one more time And I'll make you mine Keep you apart Deep in my heart" C'mon! :/ Regardless, "Ballad Of Big Nothing" is beautiful and "Pictures Of Me" is full of zest. Overall, the album gave me an alluring, though icky feel: "Listen right now if you want to feel like crap and question all your life for the next two weeks!" Who needs Morrissey when we've got the original acoustic sad-boy™ right here, amiright? (I still like him.)

The Stone Roses are like The Smiths if Morrissey had discovered inner peace, a reverb pedal, and the concept of not being an insufferable twat.

Day 27 - S.F. Sorrow (1968) ⚠ Warning: Neurodivergent Yapping ahead — S.F. Sorrow is my favourite album of all time. It is also the first rock opera, and profoundly influenced The Who's Tommy. S.F. Sorrow incorporates a variety of influences, including the Beatles' superfluous chanting in "Bracelets of Fingers," Syd Barrett's psychedelia in "Defecting Grey," proto-punk in the grisly "Old Man Going," and even a hint of R&B in heavier songs like "She Says Good Morning," which dates back to the Pretty Things' early days. The triptych "I See You -> Well Of Destiny -> Trust" is probably my favourite three-song-run from any album. S.F. Sorrow chronicles the story of a single protagonist named "Sebastian F. Sorrow" and his journey towards trust to ultimate delusion. The album was inspired by "Cutting Up Sergeant Time", one of Phil May's short stories based loosely around an ordinary WWI veteran. For those who have not had a chance to read the narrative, here is a "brief" explanation (I can honestly go on-and-on about S.F. Sorrow): Sebastian F. Sorrow was born in Number 3 of a nameless town to ordinary parents. Nobody knew what the "F" in his name stood for but nobody really cared, which is how his miserable life will go. He spends the most of his childhood in the 'greys of his mind'. In other words — maladaptive daydreaming and sex. Phil May portrays him to be an alluring, though sensitive soul (much like himself.) As he grows older, Sorrow falls in love with the girl next door. The two dream of escaping the miserable town and establishing a new life elsewhere. Just then, World War I rolls in and Sorrow is drafted into the army. Once again, he tries to escape the ugliness of war via his imaginations. Unfortunately, it isn't quite as easy as it once was. "See shells whistle Let your mind drift away See shells whistle Let your mind hide away" When the war was finally over, Sorrow takes refuge in a new land called "Amerik." He sends a balloon ticket for his beloved wife to join him. Upon arrival, Sorrow watches as the balloon bursts into flames, which consume the love of his life. The narrator makes a brief remark, "In sadness, she was buried by the spade of his grief." Sorrow grows lonely as he wanders the streets of New York City. Once more, he allows his imaginations to take flight, trying to block out his grief. He dreams of being visited by the mysterious Baron Saturday, a tall man cloaked in black. Baron Saturday magically lifts Sorrow into the sky and heads towards what Sorrow believes to be the Moon (which is symbolized in the rock opera as beauty.) But the true destination was Sorrow's core itself. Sorrow reexaminines himself and sights his dead fiance for the last time. This experience leads him down to depression. Instead of continuing to fight against the world with his imagination, Sorrow resigns to a world where people have given up all emotional attachment to a belief that it would be better: "Finding that their minds are grey And there’s no sorrow in the world that’s left to trust" As he grows older, bitter Sorrow descends into insanity, blocking out light until all is dark. The album ends with the melancholy "Loneliest Person," where Sorrow sings: "You might be the loneliest person in the world Your name it would have to be me" — Sorrow realizes his destiny was implied by his name, and accepts his tragic fate. The CD reissue also includes a few more tracks, most notably "Defecting Grey" and "Walking Through My Dreams." "Defecting Grey" is particularly noteworthy since it addresses the notion that S.F. Sorrow is bisexual, which would make sense given that composer Phil May was one of Kent's rock 'n' roll bicons ("bi-icon"). The idea, however, was abandoned, and the track did not appear on the original S.F. Sorrow. However, it is up to the audience to decide whether: 1) S.F. Sorrow concludes with a disillusioned Sorrow; 2) Sorrow self-actualizing and learning to love again. TL;DR, S.F. Sorrow was well ahead of its time and remains under appreciated even today. If you enjoyed the album, I highly recommend that you listen to "Emotions" and "Parachute", both by the same artist.

Day 1 - Franz Ferdinand (2004) I genuinely don't know what's to expect from Franz Ferdinand's eponym. The album, however, is noted to have won the 2004 Mercury Music Prize whilst selling over 3.6 million worldwide, so I'm looking forward to give it a spin :> ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── Listening to "Jacqueline," my first impression of Franz Ferdinand is that it is a bit dry and monotonous. It doesn't grab at me and sounds similar to any other 2000s Indies act, let's say The Strokes, but watered down... "Tell Her Tonight" is a bit more upbeat and an overall funky song (♪ I have to tell her, you tell her tonight! ♫) - it doesn't cut it for me though and nor does "Take Me Out." I can't really decipher the vocalist's on "The Dark Of The Matinée" but it's got a good beat. And unlike its predecessors, the song is upbeat and full of life, with a groovy bass riff. Now we're talking! "Auf Achse" seems to be a more mellow, and superior, sequel to "Tell Her Tonight." It starts off with a rather cynical stream of verses ( ♪ You see her, you can't have her. You hear her, you can't hold her ♫) before suddenly exploding into an indulgent frenzy (♪ She's not so special so look what you've done ♫). I've a feeling that Radiohead fans may enjoy this song. And, oh God, "Cheating On You" heads back to the dry and repetitive formula... this time the band brings in a hint of garage rock. "Cheating On You" sounds suspiciously similar to Nirvana, if they were 2000s and nobody cared for their music. Neither "This Fire" nor "Darts Of Pleasure" are particularly remarkable, nor deserve their individual entry. "Michael" is just too much for me; ♪ Michael, you're the boy with all the leather hips, sticky hair, sticky hips, stubble on my sticky lips ♫. It's a bit sickening, really, and sounds like royalty-free rock music, although most tracks on Franz Ferdinand do. "Come On Home" is surprisingly good - the synths and distortions really add depth to the song. It's a bit similar to "Auf Achse," except more angsty, dark-tinged and heavier. If I were to pick a favourite on the album, "Come On Home" would be it :> The closer, 40', similar to most of the album, is a bit unremarkable. Overall, although they're a few bangers in the album, Franz Ferdinand's setlist are spinoffs of similar bands in the indie rock scene. They're not horrible but you won't miss much skipping the album.

Day 2 - Surfer Rosa (1988) So, the Pixies huh? I've heard that they're famous in the alt-rock scene; it wouldn't hurt to finally give them a listen although the reviews are controversial. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── I had initially done a song-to-song review but the review didn't save, so instead I'll be giving a brief overview: Alright, so many of the reviews noted that "Surfer Rosa" is straight up noise - loud, atrocious, directionless noise. And they're CORRECT. "Surfer Rosa" is not alt-rock, it's grunge: and a horrible slice of it as well. To start off, the songs are disjointed, "screamy," the harmonies are weak, no, straight-up horrible and unlistenable and if you don't believe me, just listen to "Bone Machine." A bit ironic for a band called the "Pixies..." In addition to being disordered, the album is repetitive - every song sounds the same (I didn't even notice when "Bone Machine" transitioned into "Break My Body"). By listening to "Bone Machine," you know you'll either 1) enjoy the entire album, or 2) despise it, given that every song has the same formula and arrangements. Unlike Kurt Cobain, another famous grunge vocalist, Black Francis sounds like nails on chalkboard - his vocals are slurred; the lyrics are lazy and completely unintelligible. Occasionally, if he's feeling up to it, he'll even throw in an ear-throbbing wail... Need I go in depth more? The Pixies are comparative to a group of drunk high scholars whom, after a night of partying, decided to record the album in their garage half-wasted. The only upside to the album was that it was only 33 minutes long. Had it been longer, I might've had to rush to the hospital for a cluster headache. The 5 star reviews have got to be trolling. Please, for the love of God, skip "Surfer Rosa." Unless you're INTO noise-metal... Overall, I'm unsure how "Surfer Rosa" was elected into the Top 1000 Albums. I really hope that their debut doesn't define the Pixies as a whole, that would be shameful.

Day 3 - Bat Out Of Hell (1977) Having given "Surfer Rosa," my previous album, 2 stars, I nearly cried when I saw "Bat Out Of Hell," seemingly a metal album. Nonetheless, Marvin Lee Aday, or Meat Loaf, is written as "one of the best selling music artists in history," and known for his "his powerful, wide-ranging voice and theatrical live shows." Can't lie, I'm impressed. Excited to give "Bat Out Of Hell" a spin, it seems promising. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── To start off, "Bat Out Of Hell" is very extravagant and operatic with an Elton-style piano introduction and a shredding guitar. Marvin and Jim Steinman, the composer, really outdid themselves. The song finally slows down as the vocals commence; Marvin has a surprisingly strong and rich voice. From the title and cover, I expected the album to be a lot more heavy, slurred and incomprehensible. The debut track already cements how theatrical, over-the-top and impactful the album is going to be. "Bat Out Of Hell" is nine minutes of pure eargasm: fun and futuristic, a rollercoaster of emotions. "You Took The Words Right Out Of My Mouth" is strangely theatrical: it starts off with a dialogue, "On a hot's summer night, would you offer your throat to the wolf with the red roses? Yes." Although the dialogue may seem silly at first, I've a feeling that it's a metaphor for something much, much darker. My theory is cemented as Marvin hisses, "I bet you say that to all boys." The song is incredibly solid and fun as well. "Heaven Can Wait" is a shorter, but more gentle and serene ballad whilst "All Revved Up with No Place to Go" springs back into Marvin's original, loud and pretentious sound. I'm a little disappointed at all the negative reception on the album. Seriously, people need to relax a bit. "Two Out of Three Ain't Bad" and "For Crying Out Loud" are more driven symphonic ballads. Overall, the album is a genuine rollercoaster, it has something for everybody. I'm surprised I haven't heard of this album sooner, honestly. The key takeaway is to not judge an album from it's cover! I would've never discovered this fun gem had I skipped the album, would I? :>

Day 4 - Parsley, Sage, Rosemary and Thyme (1966) 1001AlbumsGenerator.com is really recommending all the classics lately, huh? As a folk-rock fan, I've already heard "Parsley, Sage, Rosemary and Thyme," although it wouldn't hurt to relisten. I firmly believe that "Parsley, Sage..." is the best Simon & Garfunkel album. It has the famous "Scarborough Fair/Canticle," the catchy and reminiscent "Homeward Bound," and short, bittersweet tracks such as "For Emily, Wherever I May Find Her," which I've got over 100 plays on. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── What I admire most about the band is how Simon and Garfunkel experimented with layering their vocals; it's truly exquisitely beautiful and otherworldly. For example, "Scarborough Fair" paints a quiet and serene atmosphere that distinguishes the band from other folk-rock scenes of the time whilst "Homeward Bound" is beautiful and reminiscent. Even the more "vanilla" tracks, for example "Cloudy" and "The 59th Street Bridge Song (Feelin' Groovy)" add a bit more depth to the album. "Parsley, Sage, Rosemary & Thyme" nicely balanced, it has it's more mellow, vanilla tracks ("Cloudy") but also the dark-hinged and blunt social commentary that was ironically paired with the Christmas carol, "Silent Night." The juxtaposition makes the remarks and message stand out. It also contains genuinely beautiful, well-crafted songs such as "Flowers Never Bend With The Rainfall," and "For Emily, Whenever I May Find Me,"I particularly like the tension and emotion in "For Emily..." and how the chorus bursts. TL;DR, "Parsley, Sage, Rosemary & Thyme" is a diverse album that contains much more than what is initially displayed and I cannot reward it any less than a solid 5/5.

Can't go wrong with CCR!

Day 7 - Group Sex (1980) Excuse me, what? 🙂 Should I be more concerned by the album's title, "Group Sex", or the fact that a band called "Circle Jerks" was able to land a record deal? I also remarked that the album has a 2.70 star rating, placing it among the lowest ranked albums... I'll brace myself. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── Obnoxious, directionless, and ludicrous lyrics (listen to "I Just Want Some Skank"), most probably created by a group of desperate virgins. I'd like to delve deeper into the album and give it a thorough review, but there's no actual substance. Terrible record, 1/5. Save yourself.

Don't judge an album by its cover, unless it's an album by The The. Then, you should do exactly that. Deranged and uninspired, I'm convinced that the 5 star reviews are programmed robots. The only reason I'm giving "Soul Mining" 2 stars is because two of the songs are listenable!

I wasn't familiar with Rage Against The Machine before I was given this album, although I heard "Killing In The Name." I think they may be the first nu metal band ever. Onto my review, I found the album to be juvenile, as it is very angry and brash w/o real substance. No singing, only shouting, super repetitive riffs. Honestly, listening to the album made me angry because the band feels like a group of posers.

Finally another album I can resonate with! ABBA is definitely over-commercialized — they're also simply really, really good. The kings and queens of pop-rock, actually. Agnetha is a great and super versatile vocalist. In addition, I appreciate how piano heavy the band is. I think keyboards are underrated in rock music. ABBA always keeps me in a good mood.

Day 11 - Sgt. Pepper's Lonely Hearts Club Band (1967) Sgt. Pepper's is my favourite Beatles album, and although my taste has gradually shifted from classic rock / pop, it remains beloved in my heart. I have a vintage UK vinyl record of Sgt. Pepper's from the 1970s. I've listened Sgt. Pepper's Remastered and Sgt. Pepper's Deluxe so many times that I know every note, word, and arrangement. Sgt. Pepper's pioneered rock music, whether with the brilliant Lucy In The Sky With Diamonds, serene She's Leaving Home, or the ethereal A Day In The Life. There is arguably no "weak" song, and even the lesser-known tracks ("Good Morning, Good Morning") add more depth to the album. TL;DR: Sgt. Pepper's is the pinnacle of rock music, and you'd have to be blind, deaf, and even then foolish to not acknowledge its influence.

I've always found Metallica a pretentious band. Even their most popular songs, like "Enter Sandman", are boring and substanceless. Watching paint dry would've been a greater pastime than listening to the "Black Album." Both Black Sabbath and Nazareth did it better.

W̶a̶s̶h̶e̶d̶ ̶u̶p̶ ̶W̶e̶e̶z̶e̶r̶ ̶f̶r̶o̶m̶ ̶a̶ ̶p̶a̶r̶a̶l̶l̶e̶l̶ ̶d̶i̶m̶e̶n̶s̶i̶o̶n̶.̶ Warm and poppy, jokes aside. "Everything Must Go" is pretentious but not overly bearing. Great string arrangements too. I especially adore "A Design For Life" and the title track. I'll probably return to the Maniac Street Preachers in the future. Edit (07•30•2025): Thanks to 1001 Albums, I am now a Manics fan. Waiting patiently for "The Holy Bible" to be generated! I knew 1001 Albums had something in it! >:)

I daresay "A Night At The Opera" is one of the most extravagant, theatrical and brilliant album of all time, with a glamour reminiscent of Broadway. "Death On Two Legs (Dedicated To...)" is a terrific opener (and a powerful exposure of the music industry), "'39" — a song exploring the concept of time dilation in space — is compelling and melancholy (Don't you hear my call though you're many years away? Don't you hear me calling you?'), and "Love Of My Life" is particularly bittersweet. Even the less serious songs, "Lazing On A Sunday Afternoon", "I'm In Love With My Car" are fun to listen to. People need to stop taking everything so seriously. Of course, "Bohemian Rhapsody" is brilliantly crafted — beaten only perhaps by "The Prophet's Song", clocking at 8-minutes-long, and featuring Brian / Freddie / Roger's fantastic three-man-choir.

I see Nas all the time on Rate Your Music. I'm genuinely not big on hip hop, but 1001 Albums has spoken :] ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── Gah. "Illmatic" was an overall super obnoxious album. The production was repetitive, there was a use of slurs Nas can't claim, and the album was lacking dynamically and musically. Compared to something like Kanye’s "MBDTF" or Tyler’s "IGOR," which balance strong beats emotional texture, Illmatic felt extremely one-note. I think Nas was trying too hard to appear "gangsta."

Ah yes, the album that features "Hurt," which was more famously covered by Johnny Cash. Other than the aforementioned song, the album has little to offer — it's dark, angry and harsh but the songs themselves are superficial.

Not bad; classic Dad rock album. I think they should've included Aerosmith debut instead.

Powerful vocals ≠ Talent Although I appreciate Adele as a vocalist, and acknowledge that she is one of the most influential female vocalists of her time, "25" is repetitive, with Adele whining about her relationship problems in every single song. Even her most famous tracks, namely "Hello", the monotony rubs off on you after a certain number of listens. I can take on that her songs resonate with lovesick teenage girls, but I do not fall into that category.

"I know it's over, and it never really began, but in my heart it felt so real. And you even spoke to me, and said: "If you're so funny, then why are you on your own tonight?"" Upon my first listen, The Queen Is Dead torn out my heart and had me sobbing. Hell, "I Know It's Over" is directly responsible for the breakdown of my relationship. I quoted to him "Love is natural and real, but not for such as you and I, my love," and he didn't even respond. It was then I came to the stark realization that we weren't meant to be. Morrissey: Breaking up two lovers intwined since 1986. "The Queen Is Dead" is probably one of the most well-crafted albums of it's time, complete with Marr's melodic guitar melodies and Morrissey's poetic woes. An absolute masterpiece, regardless of who Morrissey is as a human being, this album is an epiphany for what I consider ultimate music: Raw and gritty, desolate, yet achingly tender and poetic.

Day 27 - S.F. Sorrow (1968) ⚠ Warning: Neurodivergent Yapping ahead — S.F. Sorrow is my favourite album of all time. It is also the first rock opera, and profoundly influenced The Who's Tommy. S.F. Sorrow incorporates a variety of influences, including the Beatles' superfluous chanting in "Bracelets of Fingers," Syd Barrett's psychedelia in "Defecting Grey," proto-punk in the grisly "Old Man Going," and even a hint of R&B in heavier songs like "She Says Good Morning," which dates back to the Pretty Things' early days. The triptych "I See You -> Well Of Destiny -> Trust" is probably my favourite three-song-run from any album. S.F. Sorrow chronicles the story of a single protagonist named "Sebastian F. Sorrow" and his journey towards trust to ultimate delusion. The album was inspired by "Cutting Up Sergeant Time", one of Phil May's short stories based loosely around an ordinary WWI veteran. For those who have not had a chance to read the narrative, here is a "brief" explanation (I can honestly go on-and-on about S.F. Sorrow): Sebastian F. Sorrow was born in Number 3 of a nameless town to ordinary parents. Nobody knew what the "F" in his name stood for but nobody really cared, which is how his miserable life will go. He spends the most of his childhood in the 'greys of his mind'. In other words — maladaptive daydreaming and sex. Phil May portrays him to be an alluring, though sensitive soul (much like himself.) As he grows older, Sorrow falls in love with the girl next door. The two dream of escaping the miserable town and establishing a new life elsewhere. Just then, World War I rolls in and Sorrow is drafted into the army. Once again, he tries to escape the ugliness of war via his imaginations. Unfortunately, it isn't quite as easy as it once was. "See shells whistle Let your mind drift away See shells whistle Let your mind hide away" When the war was finally over, Sorrow takes refuge in a new land called "Amerik." He sends a balloon ticket for his beloved wife to join him. Upon arrival, Sorrow watches as the balloon bursts into flames, which consume the love of his life. The narrator makes a brief remark, "In sadness, she was buried by the spade of his grief." Sorrow grows lonely as he wanders the streets of New York City. Once more, he allows his imaginations to take flight, trying to block out his grief. He dreams of being visited by the mysterious Baron Saturday, a tall man cloaked in black. Baron Saturday magically lifts Sorrow into the sky and heads towards what Sorrow believes to be the Moon (which is symbolized in the rock opera as beauty.) But the true destination was Sorrow's core itself. Sorrow reexaminines himself and sights his dead fiance for the last time. This experience leads him down to depression. Instead of continuing to fight against the world with his imagination, Sorrow resigns to a world where people have given up all emotional attachment to a belief that it would be better: "Finding that their minds are grey And there’s no sorrow in the world that’s left to trust" As he grows older, bitter Sorrow descends into insanity, blocking out light until all is dark. The album ends with the melancholy "Loneliest Person," where Sorrow sings: "You might be the loneliest person in the world Your name it would have to be me" — Sorrow realizes his destiny was implied by his name, and accepts his tragic fate. The CD reissue also includes a few more tracks, most notably "Defecting Grey" and "Walking Through My Dreams." "Defecting Grey" is particularly noteworthy since it addresses the notion that S.F. Sorrow is bisexual, which would make sense given that composer Phil May was one of Kent's rock 'n' roll bicons ("bi-icon"). The idea, however, was abandoned, and the track did not appear on the original S.F. Sorrow. However, it is up to the audience to decide whether: 1) S.F. Sorrow concludes with a disillusioned Sorrow; 2) Sorrow self-actualizing and learning to love again. TL;DR, S.F. Sorrow was well ahead of its time and remains under appreciated even today. If you enjoyed the album, I highly recommend that you listen to "Emotions" and "Parachute", both by the same artist.

Ah yes, Leonard Cohen, the Canadian who composed "Hallelujah," which was later famously covered by Jeff Buckley. "Songs Of Leonard Cohen" is a super chill and sparse album — I understand that his songs may be overtly dull or underwhelming for some, but personally, they were alright to me ¯\_(ツ)_/¯ Will I return to visit his works in the future? lol no.

I will start off by saying that I do enjoy electronic / experimental / trip hop (Poison Girlfriend & Portishead are some of my favourites.) As long as it's good music — I'll rock with it. Here in lies the problem: Björk's music is genuinely not good. Her over-reliance on digital tool, paired with her mediocre-at-best voice (Björk fans find her jarring vocals "endearing", I do not) makes Björk's albums feel more like an art installation than music intended for enjoyment. In addition, her albums lack cohesion and focus. Unless you're big on avant-garde, I recommend you to skip today's album.

As a former psychedelic rock music fan, I have been recommended Echo And The Bunnymen one too many times. However, I fell out with psychedelic rock a while ago. I'm actually writing my review one year later. I'm forcing myself to go back and actually listen to the albums. To begin, I would like to address a couple things to number 444 in the global reviews section. → The Smiths are not an "awful band." They're musically gifted. In fact, you spent all your reviews tearing down Morrissey w/o actually giving a reason why The Smiths are awful. It seems like it's Morrissey you despise, not the band's musicianship itself. Lyrically, The Smiths are for a special flavour of people. The sad, unappreciated, and the heartbroken have all found solace in Morrissey's gentle crooning and Marr's jangly guitar. Watch your tongue. I heard if you sh** on him too much, the ghost of Morrissey will come and haunt you /joke → Belle & Sebastian is great. → I agree that Elvis Costello sucks and I am not looking forward to receiving his remaining albums. → There's not "too many" British albums. There's simply a lack of talent in the bands chosen. There's an equal amount of crappy American bands. I feel like everybody would've been happier if we received a Geneva or Longpigs album rather than two from Everything but the Girl ("Idlewild" = 😨😰😰) → Many reviews 𝗮𝗿𝗲 underwhelming, mine included. That's why I thought I ought to write back. In addition, I agree that "Porcupine" was a mopey and miserable album. Cocaine is a hell strong of a drug. Look what it did to Richard Wright of Pink Floyd! - M

Love that guy — his solo career (outside of Wings & "Ram") is rather weak.

Although some disagree, I genuinely believe "Wish You Were Here" is Pink Floyd's best album. It was written and performed at the height of their creative power, as well as David / Roger / Rick's penmanship. "Shine On You Crazy Diamond (Part I - IX) is possibly the most beautiful Pink Floyd song. Cloaking at 25-minutes-long, every second of it is worthwhile. The song ending with Rick's organ on "See Emily Play" is an especially charming touch — bittersweet acceptance. "Welcome To The Machine" comfortably sits among my favourite Pink Floyd songs. It is a fantastic exposure of unforgiving underbelly of the music industry ("What did you dream? It's alright we told you what to dream".) In addition, there is a fantastic use of synth (unlike when synth is later reintroduced in "A Momentary Lapse Of Reason", 𝘤𝘰𝘶𝘨𝘩 𝘤𝘰𝘶𝘨𝘩.) "Have A Cigar" has among the most iconic Pink Floyd guitar riffs. Hats off to Roy Harper — one of Pink Floyd's only guest vocalists. I particularly love his delivery of the line: "We call it riding the gravy train-nnn-nnn!" Addictive stuff. The title track, while not as ambitious nor daring as its predecessors, servers as a stirring ode to Syd Barrett. It also makes a great introduction to the band and those who're intimidated by Pink Floyd's complex arrangements (it was actually my introduction to Pink Floyd.) Overall, I think everyone, regardless of music taste, should listen to Wish You Were Here at least once in their lifetime. It is an experience that has changed my — and not just mine — outlook on the world.

The album was a total let-down given it's title as 'One Of The Greatest' of all-time. There was no actual substance in the album. I'm not a fan of hip hop in the first place, and although she was spitting bars, Ms. Hill put zero effort in the actual melody.

The personal Bible of lonely teenagers in the late ‘70s, and nevertheless as relevant today, "The Wall" is the culmination of Roger Water's creative epiphany. A highly introspective album (only to be beaten by its successor, "The Final Cut"), The Wall paints an accurate — though terrifying — saga through Pink's (Roger Waters's spitting image's) psychological trauma ("The Thin Ice"), sexual repression ("Young Lust"), isolation ("Hey You"), and eventual disillusionment ("Waiting For The Worms"), due to losing his father in Anzio, being coerced to 'mask' his poetic self by his abusive Schoolmaster, and trauma sustained from his his overprotective mother and unfaithful wife. Pink is eventually placed on a mental trial for his imagined crimes (disillusioned, he holds a fascist rally in his head), with each of these people serving as witnesses. The judge (the embodiment of a literal posterior) ends up sentencing Pink to "tear down the wall" (which represents Pink's psychological barriers) in "The Trial". Pink's fate remains unknown as the album ends with "Outside The Wall". Roger Waters reminding the audience that they're loved more than they know: "All alone, or in twos The ones who really love you Walk up and down, outside the wall Some hand in hand And some gathered together in bands The bleeding hearts and the artists make their stand And when they've given you their all Some stagger and fall, after all it's not easy Banging your heart against some mad bugger's wall ..." Although many argue that the album is too "self-indulgent" or "pretentious", I believe it is an excellent social commentary on mental health, and it certainly made me (and not just me) feel less alone when I was a lonely 14-year-old.

Took me a while to actually access the album, since it's not on Spotify, but "Call of the Valley" is a relaxing and sparse album. The whole album was instrumental and there was an assortment of instruments used that I'm not familiar with. Admittedly, the album was a bit experimental, and I found the sitar to be annoying. I wasn't sure where a song ended and another began either!

I find it hilarious how dramatically other users described the album :') It's nothing remarkable but nowhere as bad as some users have portrayed it to be.

I didn't even bother today's album. It is absurdly explicit, violent and misogynistic. Shame that many "popular" hip hop albums (e.g. the aforementioned album, "The Chronic" by Dr. Dre, "Fear of a Black Planet" by Public Enemy...) are super anachronistic and do not sit well among most listeners, me included.

Akin to Leonard Cohen, Cat Stevens made slacker music with woozy guitar but surprisingly versatile vocals. His music wasn't particularly exciting, but "Tea for the Tillerman" was a perfectly fine folk album. Truth be told, I'm more-so a fan of quick, upbeat music like The Smiths, but I can imagine enjoying Cat Stevens if I'm in the right mood. Favourite songs are "Where Do The Children Play?" and "Sad Lisa." The sudden change of dynamics in "Where Do The Children Play?" was a pleasant surprise.

Something you ought to know is that I cannot stand people who are full of themselves. 50 Cent is an arrogant, tone-deaf douchbag who's so high on ego that he's practically impregnated himself. I find it funny that people love to drag Morrissey through dirt, but turn a blind eye towards the hip hop industry. Is it because Morrissey’s a white guy, so it's easier to criticize him? (/semi-sarcasm, maybe.) As far as it goes musically, 50 Cent sucks at rapping, his songs sound like parodies, and he has a sh** annoying voice. Sadly, it seems like most of the new generation has no music taste (I'm saying that like I'm not a Generation Z too.) More critical hip hop reviews coming soon (/joke, but not really.)

Not the Toy Story I remember 😞🥀 I head-canon that senior Randy Newman has the rsdb.org bookmarked on his computer.

⚠ I have heard the album before on a different occasion — rating a George Harrison album w/o actually listening to it is an unkind thing to do. Today, I had neither the time nor energy to sit through two full hours. Therefore, I will be doing a short review on "Cloud Nine" — George Harrison's superior album — instead. Shoutout to Badfinger, my favourite guest band though! When I eventually finish my project, I will be sure to add "Straight Up" to 1001AlbumsGenerator. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── To begin, "Cloud Nine" is the eleventh studio album by George Harrison, and undoubtably one of his best. Although most people remember it only for "Got My Mind Set On You", it has a wonderful assortment of tracks. "Just For Today" is melancholy and heartfelt, both "This Is Love" and "Someplace Else" are irresistibly charming and beautiful ("I need you now to be beside me while all my world is so untidy!"), while "When We Were Fab" offers an immersive dive into George Harrison's salad days with The Beatles. The whole album ties together neatly and has a familiar Beatles-esque sound, though there is less energy and more lush sophistication.

Horrible.

I kept waiting for the 'grand moment' but nothing happened. The entire album is drowsy guitars and occasionally, half-hearted vocals. What a waste of an hour.

The title was the hardest part of the album.

Underwhelming and uninspired. Sounds like a watered-down Disney soundtrack.

I thought I was dialing through the top 1001 albums of all-time, and not a $1.00 clearance bin at my local Goodwill.

"Socially conscious" my ass.

Objectively one of the "weaker" Beatles albums, inferior to it's predecessor, "Please Please Me". Not even the Beatles are foolproof. I'll give credit that it's got a few good numbers, "All My Loving" and "Till There Was You", though you won't miss anything by skipping. The second half is a difficult listen. "Roll Over Beethoven" is horrid. The people who rate this 5/5 are trolling themselves.

Extremely obnoxious album created by an empty-headed white kid who thinks raping is gangsta, and gives him a pass to being a misogynist, homophobic douchebag.

I cannot defend "Morrison Hotel" as fan of the Doors' earlier albums. It is definitely one of the "weaker" Doors albums. Other than a few numbers like "Blue Sunday", the album is skip worthy.

Jazz is an obnoxious and pretentious genre of music that only music elitists proclaim to enjoy. Death to all music elitists.

"...This boy's too young to be singing the blu-uu-ues, ooooh..." A classic. Best songs are "Funeral For A Friend / Love Lies Bleeding" (what an opener) and "Goodbye Yellow Brick Road."

05/05/2024, Berlin Note: I actually listened to the full album today though it was a DIFFICULT listen. "Berlin" (1973) is essentially Lou Reed's interpretation of "Hamlet". The songs themselves aren't spectacular but the macabre, gruesome content makes up for it. The album explores a couple's moral descent into prostitution, substance abuse, domestic violence and eventual suicide. Fuck, "The Kids" contains snippets of children wailing for their mother who can no longer provide for them. "Berlin" isn't an album anybody WANTS to listen to, it changes your perception on the world. But I believe that it is a necessary album for ANY music enjoyer.

05/06/2024 Difficult to judge, "Hail To the Thief" is less cohesive than "OK Computer" and "Kid A" and there is nothing particularly noteworthy about it. Although it was a fairly simple listen, the album drones on and on. Best songs are "2 + 2 = 5", "Sail To The Moon" and "Where I End And You Begin".

05/07/2024 Imagine Franz Ferdinand and The Strokes had a child, but the child was defected. That would be The Libertines. "Music When The Lights Go Out" is good.

Probably one of the most "iconic" rock albums! Up there with "The Velvet Underground & Nico" and "Abbey Road." Practically, "In The Court Of The Crimson King" is fantastic. "Schizoid Man" is among the most futuristic numbers at the time, and the title track contains great arrangements and wonderful vocals from Greg Lake, whom later went on to form Emerson, Lake & Palmer. "Epitaph" is mind blowing too, it is a really strong song and conveys deep meaning with simple words, "Will no one lay the laurel wreath when silence drowns the screams?" The Achilles' heel of the album is "Moonchild - Including The Dream and The Illusion", which is incohesive and drowses on. But that doesn't stop me from rewarding "In The Court..." a solid 5 star.

05/09/2024 Really brief review today. Despite their ridiculous album cover and band name, "Groovin'" is a surprisingly solid album. Very poppy and catchy, and it reminds me of the early Beatles and the Byrds. Standouts include "A Girl Like You" and "I'm So Happy Now."

Heard loads about this guy — I'm not sure why Nick is portrayed as a "tragic hero who's flame burned out too soon." I was thoroughly ennuied by "Five Leaves Less."

😴🤢😴😴

05/12/2024 D̶a̶t̶ ̶a̶s̶s̶ I've only heard their top hits, but after hearing the album, I'm genuinely disappointment at how "hyped-up" The Strokes are. Don't get me wrong, "Is This It" has got some good Brit pop. Some songs are warm and catchy, and "Last Nite" is especially awesome. My complaint though is that majority of "Is This It," excluding the 'famous' songs, follow the same arrangements. The album ends up being monotonous with little diversity.

05/14/2024 You cannot call this... monstrosity "music." It is laughably absurd and too 'experimental' for even electronic music today. What a great day to have ears! People who genuinely enjoy this album should be lobotomized.

I quite like psychedelia but Love is not my jam.

Please, please, tell me that there won't be more Pixies albums.

I was pleasantly surprised to be recommended a David Bowie album today. While most people divert their attention to "The Rise And Fall Of Ziggy Stardust and the Spiders from Mars" or "Heroes," Bowie's early work is innovative and plentiful too. "Hunky Dory" is an all-in-one package. In addition to the famous "Life In Mars", it contains the classics "Changes" and "Oh You Pretty Things." I've got no complaint about the album in general. Great piece of work.

Haven't heard any Kate Bush beforehand, but her voice is so angelic and heavenly. "Hounds Of Love" sounds like an opera.

The best part of the album is when the music stops. The songs are even cornier than the band name! What a poser band.

You can definitely hear the psych influence in the album. Grace Slick is a terrific vocalist.

I know he's popular among my generation and many of my friends consider him the greatest of all time — I still think he's full of shit.

I don't endorse the inclusion of live albums unless it is phenomenal, like "Live At Pompeii" by Pink Floyd. Johnny Cash's "At San Quentin" was pretty soulless and dreadful. The audiences cheering did not help. You've either got to be a farmer or more than 60-years-old to appreciate the album.

06/02/2024 The surprise to open 1001AlbumsGenerator.com and find that I'm already listening to my assigned album? (I’m on my way to my nine-hundredth play, actually.) ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── I'm going to say it now, loud and clear: Queen II is Queen's best album. Although Queen II is neither as glamorous nor eclectic as its successors, the songs synchronize into one another and offers the foundation of Queen's sound. Queen II is a semi-conceptual album based loosely around the theme(s) of fantasy and love: The White Side (disc 1) offers a range of melodies — the powerful “Father To Son”, the folksy “Some Day, One Day” (iirc, Brian May’s vocal debut), the stark “The Loser In The End”, and more outstandingly, “White Queen (As It Began)”, a testament to the beauty — and sting — of love: “My Goddess hear my darkest fear, I speak too late — It's for evermore that I wait! Dear friend, goodbye No tears in my eyes So sad it ends, As it began” The Black Side (disc 2) is even more alluring, featuring Queen’s six-minute-long operatic masterpiece (no, I am not referring to “Bohemian Rhapsody”.) “The March Of The Black Queen” definitely paved way for Queen’s later theatrical experimentations. The transition b/w “The March Of The Black Queen”, “Funny How Love Is” and “Seven Seas Of Rhye” is among the most beautiful things I heard, and leaves me thirsting for more. Be it "Father To Son", "White Queen" or even the ditty "Nevermore", you can distinguish Queen's later influences in Queen II. This album's rawness and imperfection is genuinely so beautiful and everything falls into place like a jigsaw.

I like Kurt — I do believe he is talented and has one of the most remarkable voices in rock 'n' roll music history. However, loud ≠ good. "Nevermind" greatly oscillates between genuine talent ("Smells Like Teen Spirit") and noise ("Territorial Pissings", sorry.) It seems that Nirvana's objective here was to give their audience tinnitus (even more prominent in "Bleach".) Not sure whether it made the 1001Albums list but "In Utero" is superior, in my opinion. 3 stars because I've a soft spot for "Lithium" and "Drain You".

Electronic and ambient-ish Bowie album. Definitely drifts away from his early work. I do enjoy it though, it brings a new angle to his music. Favourite songs include "Sound and Vision", "Always Crashing in the Same Car" and "Be My Wife" (truly catchy tunes — 'Please be mine, share my life. Stay with me, be my wife!')

I don't give a flipping fuck about the music. It could be a French sequel to Dark Side Of The Moon who all I care, and I'm still rewarding it one stars. When I was listening to 'En Melody', I did a double take because it had snippets of a young girl screaming in pain. I did a quick search and apparently this 'concept album' is about a middle aged man "falling in love" with a 14-year-old, Melody, and raping her. My adolescent ass is ASTONISHED an album glorifying pedophile made the 1001 Albums list. Serge Gainsbourg himself was probably a closeted pedophile expressing his sexual fantasies with his work. He is also a ‘neo-Nazi’? I genuinely don’t comprehend how the French people condemn his work. I’d give the album zero stars if I could.

Not sure why 1001AlbumsGenerator decided to include a one-hit wonder album. "Seven Nation Army" was great, and rightfully so, but the rest of "Elephant" was self-indulgent, pitiful and uncomfortably hollow. The website could've easily included "Meteora" instead and it would've been more meaningful.

Awful — I was introduced to the eccentric and grisly Scissor Sisters at the ripe old age of eleven by one of my childhood friends. It boils down to whether or not you enjoy listening to National Geographic™ tapes of wildcats moaning in heat, because that's about as close as I can get to describing their album in words. Also, the Scissor Sisters's cover of "Comfortably Numb" was so unholy that no amount of David Gilmour's Strat solos could cleanth my ears.

Wasn't good, wasn't terrible. The album sounds like a late 90's soundtrack music.

Oh lord, he's one of them "misunderstood poets," isn't he? Most of Elliott Smith's songs — though unassuming and even romantic at first — carry a subtle manipulative undertone. "Drink up one more time And I'll make you mine Keep you apart Deep in my heart" C'mon! :/ Regardless, "Ballad Of Big Nothing" is beautiful and "Pictures Of Me" is full of zest. Overall, the album gave me an alluring, though icky feel: "Listen right now if you want to feel like crap and question all your life for the next two weeks!" Who needs Morrissey when we've got the original acoustic sad-boy™ right here, amiright? (I still like him.)

First time hearing about the "mod revival" subculture: I haven't got much to say about the album except it's very 'safe', which prevents it from being slander-able but also from receiving a five star. I'd recommend a spin if you're a mellow gold enthusiast, or if you're drinking a beer and watching the sunset.

Exactly what you'd expect from a band who calls themselves "The Butthole Surfers"... Horrible noise music — I think there's a clear distinction between 'avant-grande' and being wasted.

I enjoy "Breakfast In America" and "Even In The Quietest Moments" but there is nothing interesting in "Crime Of The Century", sorry. If anything, Supertramp sounds like a (poor) Pink Floyd cover band in the album.

Psych and ambient - probably the earliest example of 'ambient music' I've been recommended so far. The album is relatively 'safe' for what it is, so I'm not sure how to rank it properly. It's nowhere near bad but doesn't "grab" at me and cannot be compared to similar bands of the time, like Jefferson Airplane and Strawberry Alarm Clock. Probably a good thing the band broke up when they did.

Really, really weird and funky album.

W̶a̶s̶h̶e̶d̶-̶u̶p̶ ̶T̶h̶e̶ ̶B̶e̶n̶d̶s̶ ̶f̶r̶o̶m̶ ̶a̶n̶ ̶a̶l̶t̶e̶r̶n̶a̶t̶e̶ ̶u̶n̶i̶v̶e̶r̶s̶e̶ ̶w̶i̶t̶h̶ ̶t̶o̶o̶ ̶m̶u̶c̶h̶ ̶'̶r̶a̶d̶i̶o̶'̶ ̶a̶n̶d̶ ̶t̶o̶o̶ ̶l̶i̶t̶t̶l̶e̶ ̶'̶h̶e̶a̶d̶.̶'̶ — Another really weird album; feverish. The genre was meant to be jazz? Allegedly? It sounds like something you'd hear in a shampoo commercial. I couldn't finish the whole thing. The album made me really uncomfortable. The vocalist's vocals were really obnoxious. That makes it thrice I said the word "really."

I'm surprised "Madman Across The Water" was featured but "Don't Shoot Me I'm Only the Piano Player" wasn't? "Tiny Dancer" was great, but I feel like Elton's fourth studio album is less remarkable than its successors.

All downhill after "Take On Me" — the rest of the album felt considerably lazier :'(

I'm going to be honest here — I'm not the biggest fan of progressive rock. For years, I tried to get into King Crimson catalogue but many post-1970 albums never 'clicked.' The band seemed to experience a sudden lack of creative power after Greg Lake left. While milking out on old material and needlessly extending every song might've worked for Pink Floyd and Genesis, King Crimson's "Larks" came out as unfinished melodies from earlier albums mish-mashed together. It feels quite lazy and uninspired. I believe 1001Albums should've included "Red" instead. (Seriously, why isn't "Red" on here? "Fallen Angel" and "Starless" are some of the best songs in their genre.)

S̶p̶i̶c̶e̶ ̶G̶i̶r̶l̶s̶ ̶r̶i̶p̶o̶f̶f̶s̶ ̶o̶f̶ ̶t̶h̶e̶i̶r̶ ̶t̶i̶m̶e̶.̶ If you're going to make bedroom music, at least put effort into it. This album is guaranteed to give anyone who listens to it an erectile dysfunction. I don't find slurred-rapping and making out with the microphone 'crazy', 'sexy' or 'cool.' It just makes me self-conscious.

I had a friend who's taste in music had me completely stumped. He was big on classics like The Beatles, Pink Floyd and Queen. He even recognized talent in Badfinger! Reversely, he praised garbage like King Gizzard & the Lizard Wizard and The Flaming Lips. The whiplash is unreal. "The Soft Bulletin" has no real arrangement, the vocals trip over themselves, the pacing is a train-wreck, and the band seem to be tone-deaf. I'm not sure I want The Flaming Lips to be lumped with other alternative rock acts like Neutral Milk Hotel and Radiohead.

Thom Yorke? Is that you? Other than the fact I cannot distinguish a word from Mr. Wainwright's whining, the album was surprisingly pleasant despite having a 2.9 star rating. "Want To" offers a grand assortment of genres - every song had something new for you, and the album was quite exquisite overall. Favourites include "The One You Love" and "The Art Teacher."

Soo-ooo boring. Brian Johnson's vocals are abysmal too.

Heard the album before; it is simply very mediocre. I always thought Eric Clapton was full of crap. I'm convinced most people who listen to his music are just nostalgic about The Yardbirds or Cream.

I honestly don't get the appeal. Don't get me wrong, I like folk rock on the general scale, especially Simon & Garfunkel. Sure, Nick Drake's life was tragically cut short, and he did have an alluring, mystifying charm, but too me, he is the human equivalent of a soggy slice of bread.

Doesn't matter whether or not she can sing — her music is overbearing (and boring at times), so that's that.

If Elvis's "aim" was to infuriate my ears, then he is correct. I heard they play songs like these at grocery markets to get you out of the store quicker.

The Stone Roses are like The Smiths if Morrissey had discovered inner peace, a reverb pedal, and the concept of not being an insufferable twat.

Best Stones's album, imo. Through years of gaslighting due to societal conformities (and because I own a Japanese pressing on CD), I actually don't mind, and even enjoy, listening to "Let It Bleed."

Western-ahh hippie band.

Psychedelic rock band constantly chasing the high of their debut album — and failing. (Looking at you, The Byrds.)

The album feels disjointed and Flava Flav’s interludes are deeply irritating. Not to mention, I really don't appreciate the homophobia and antisemitism (¬⤙¬ ) Public Enemy really live up to their name! Before you complain about my low ratings, go find me a hip-hop album that doesn't scrutinize minority groups!

It's Belle & Sebastian! Need I say more? Gentle, intricate and beautiful. The album probably smells like dried roses. Refreshing from the usual Britpop "cock-and-bull," eh—?

Ethereal — I love the raw passion Jeff Buckley provides in his music. The album makes me feel a series of emotions: "Last Goodbye" and "Lover..." are heart-wrenching, "Eternal Life" is raw and angry, "Corpus Christi Carol" is angelic. Even the outtake "Forget Her" was a marvelous listen. Mostly, the fact that he cemented himself into musical history with one single album (and a few compilations) is a testament to the potential Jeff Buckley had. His flame burned out too soon.

Twinkling piano, funky, distorted guitar, and earnest vocals (Especially on "Everything Means Nothing To Me.") Sounds like a windy day in November. "Figure 8" is neither as good nor consistent "Either/Or." Imo, the songs were a little same-y, but the album was enjoyable overall. I think "Pretty Mary K" might be my new favourite Elliott Smith song. I would've preferred the inclusion of "XO" too. It's a top-tier album. Elliott is an artsy man. I think I like him! (˶˃ ᵕ ˂˶)

𝘚𝘪𝘨𝘩. The Doors are one of the bands that are a hit-or-miss. Although they've created among the most catchy ("Light My Fire") and ambitious ("The End") music pieces, many of their later albums don't reach their earlier glory, especially after Jim Morrison spiraled down to alcoholism. Dismissing the essential chart-hits ("Love Her Madly", "L.A. Woman" and "Riders On The Storm"), I find L.A. Woman to be quite hollow and lacking and I'd be dishonest to reward it a high score, despite my love for the Doors.

Going to be honest here, "Heroes" was an tedious listen despite my familiarity with David Bowie. I'm aware that Bowie's experimental era is heavily acclaimed but it all sounded grayscale to my ears. Bowie seemed to have exhausted his creative power by 1974 and majority of the tracks, disregarding the title track ("We can be heroes, just for one day!") were repetitive and mundane.

Possibly the most accessible Elvis Costello album I heard. Super irritating regardless. Please don’t compare him to Weezer — Weezer at least wrote hooks people remember 😰😰😰 Elvis is correct that he gets "No Action" though.

A bit disappointing honestly — sounds like a knockoff of the early Byrds. I think The Everly Brothers' objective was to make every single track as monotonous as possible. "Love Hurts" was nice, of course, although I prefer Nazareth's cover. A lot more heartbreaking.

Is it just me — a chronically neurodivergent high school student — or does the title track's baseline sound like the Kahoot theme song? (I don't know the band, by the way.)

A wide range of ringtones trying to pass off as "songs".

As if I haven't heard enough funk already, being apart of the school's band council!

1001AlbumsGenerator, please stop recommending me an hour and half long albums :c I'm not familiar with the Yardbirds but I presume they were a psychedelic act, akin to the spinoff band Cream. The album itself is a bit dated — unalike other "famous" albums of the time which are still prevalent today — and the mixing is satisfactory. Not necessarily Merseys-esque poor, but I expect a more crisp sound. I dig the band's melodic and simple sound though. In addition, the guitar was killin' it! Sending love to Jeff Beck. Might check out other works in the future — see if I can find anything that catches my eye.

The dialogue and lyrics are abysmally, and extremely lame. "Enter The Wu-Tang (36 Chambers)" shouldn't even be in the top 1001 albums of 1993. I think 1001Albums has had a bad influence on me. If I continue to listen to these rap albums, I'm going to develop a potty-mouth! 🫢🫢🫢

Honestly wasn't half bad (That is a lot coming from somebody who's "worst" genre is hip-hop.) "Runaway" is a standout for me, featuring a twinkling piano melody and fantastic incorporation of samples. In fact, I would argue that the album was well written. That said, Kanye West is a disillusioned Nazi and antisemite. Whenever I'm listening to his tracks, I remember that Tweet of him wearing a swastika shirt and that instantly ruins the album's appeal to me. I have been called out for turning my nose up to rap music then and again. But why should I breach my own morals just to conform to self-proclaimed music elitists's standards?

I love her song "You Don't Have To Say You Love Me" but her debut lacks the density that her top hits do. She still had a lot of growing to do, and her cover of "Wishin' And Hopin'" is low-key awful.

As a Smiths fan, I tried to dig The Cure. But be it Disintegration, Wish, and well, Pornography, it all sounded the same: dreary and soulless.

As a longtime Bowie fan, I said it before, and I'm going to say it again: He should've just stuck with glam rock.

The Cardigans are a very cutesy and good band: Sanrio coded (I can't be the only one who sees that, right—?) I think The Cardigans revolutionized the J-Pop aesthetic despite being in Sweden. Love, love "Step On Me." Fantastic commentary about the disillusionment of love. Rest of the album great too. Sugary-sweet, catchy with just the right amount of unease in the undertone. ✶ Feels like a sunny day with a storm quietly building in the distance. ✶

Foo Fighters? More like, the uh, Poo Fighters! Dave Grohl's "confession" gave me yet another reason to dislike the band. I'm not big on Nirvana (the "parent" band) to begin with, and Foo Fighters is even more loud and substanceless.

Had a friend who adored Talking Heads. To me, "Remain In Light" was not a good listen (¬_¬") "Remain In Light" sounds like having your dry sock dipped in a cold puddle. Not exactly pleasant — eh? With mechanical beats and rheumy vocals, Talking Heads feels almost like a parody band.

I'm maniacally obsessed with Too Rye Ay. It's not just because of the famous "Come On Eileen" — the whole album sounds wonderfully dated.

𝘈𝘯𝘰𝘵𝘩𝘦𝘳 Bowie album? I find it absurd there's eight or nine David Bowie albums but only three Pink Floyd albums — the famous "Dark Side Of The Moon," "Wish You Were Here" and "The Wall"— made the cut. Is 1001Albums implying that "Young Americans" and "The Next Day" had a greater influence on music than "The Piper At The Gates Of Dawn" — which pioneered psychedelic rock — or is it simply arbitrary? I've heard "The Next Day" before and I can safety declare that, excluding "Valentine's Day," the album lacks basic depth, and we could've gone our whole lives without exhausting David Bowie's entire catalogue. Really makes me question the intention of whoever chose these albums.

As if two White Stripes albums wasn't enough. "Blunderbuss" was fine. Nothing remarkable though. I definitely did not need to hear what can only be deemed as the thousandth commercialized rock album though.

Super sloppy production and poor mixing—most of the songs are overtly underwhelming. Nothing against goths, but Bauhaus is definitely not 'one of the best' in its genre.

Took a look at global reviews— people seem divided on her music. In my humble opinion, she's trying to create an avant-garde, misunderstood artist persona, when reality, it's an attempt to cover up her lack of talent (her work suffers nonetheless.)

Feverish, groovy, hippy album. Surprised I never heard of Robert Wyatt before, considering I used to be huge on psychedelic rock. He reminds me of Pink Floyd circa Atom Heart Mother era. I feel shleepy now. The dichotomy b/w reviewers his hilarious. His music is definitely not for everybody though. Sometimes in the album, his tracks feels purposely low effort.

Awesome live album. Love Nirvana's rendition of "The Man Who Sold The World". Unplugged In New York 𝘥𝘰𝘦𝘴 drag on for quite a bit though!

Great album. One of the Beatles' best "early" albums, I daresay, along with Help! "In My Life" is especially beautiful and bittersweet.

Apparently one AC/DC album was not enough.

(Among) the most mundane albums I've heard up to date 😴😴🤢😴 I don't know how soul is meant to be 'nerve calming' or 'therapeutic' in any way. I felt apprehensive for a thrill that never came when listening to "What's Going On".

Finally, a psychedelic rock band I'm familiar with! "I Had Too Much to Dream (Last Night)" scared the living sh** out of me. The Electric Prunes are a very eery nightmarish psychedelic fever dream. Love their sound. I bet their music is great on mushrooms.

Noisy, raw, distorted; brilliant. Overwhelming to listen to regularly but I love blasting "Touch Me, I'm Sick" to piss people off.

Utterly offensive in the name of music. I'd chose to listen to John and Yoko's wedding album over whatever 𝘵𝘩𝘪𝘴 is eight days a week. Laughable how actual people recorded "D.O.A. the Third and Final Report of Throbbing Gristle" at a recording studio, the album got mixed and edited by professionals, and not one single person thought that it might've been a bad idea.

Less doomer psychedelic rock compared to their other album and a lot more post-punk. I agree that their album's a bit like The Cure. I don't think Echo And The Bunnymen are exceptional at the genre though. There's a hell lot of repetition, and the band still sounds miserable.

With a name like that, I was half expectant of mellow jazz. "Sulk" is feverish, experimental, pretentious and absurd new wave. I feel like the band was mentally tortured to compose the album. The vocalist's vocals are even more excessive than Morrissey's! He practically yodels the entire album: "So-ooo-O what if this party fears ᵗʷᵒ? Th'alcohol loves you-uuuuu while turning ʸᵒᵘ blu-uu-U" "Sulk" is the musical embodiment of a manic episode. I bookmarked the album, just so that I can listen to it again if I'm ever high on booze. The """best""" song, and most listenable song, is "Party Fears Two." You're welcome.

Heard it about three times in the past four year— still mostly rubbish in my opinion. 1001Albums should've included "Between The Buttons" instead (I I know it sounds like an attempt to emulate The Kinks, but it actually demonstrates how poor The Stones were in their own genre.)

An album that's even more mundane and slow than "Let's Get It On." If "Let's Get It On" was the sex scene, "Here, My Dear" would be the pillow talk. I think Marvin Gaye might've been a little depressed /s

With a name like Big Star, I expected "#1 Record" to be heavy rock 'n' roll. I was pleasantly surprised by a power pop record. Big Star is reminiscent of Eric Carmen, in my opinion, and I'm surprised the band was chosen over him, given how massively famous and influential "All By Myself" is. The album is surprisingly lush and laidback — like "Savage Eye" era The Pretty Things. Not memorable but quite good nonetheless. I think they'd be popular on r/drunkhifi, if either the record or the subreddit was more well known.

Not nearly as impressive as its predecessor.

Fuck Kanye, lol.

"Black Hole Sun" is phenomenal. Rest of the album—not so much. I honestly find most of the grunge genre to be too loud/formulaic :'( The album was also quite long; it was draining to finish it.

Oh, man. I really liked The Killers when I was a preteen but the band doesn't stick with me as a seventeen-year-old :/ Their music is really generic, and they lost relevance a long time ago, to be honest. Vocals are kinda annoying too. They're rock for the non-rock people, along with Nickelback, Imagine Dragon, and whatever-the-hell people my age listen to these days.

The Kinks are a band I actively tried to get into for a couple of years but their sound has always been a "hit-or-miss" (like the Stones.) Sometimes, they're fantastic, other times, you're wondering how they're one of the most renowned '60s acts. "Face To Face" is their most adequate album, I daresay. A bit dry at times, but fun nonetheless, with the iconic "Sunny Afternoon." Unfortunately, I never found the motivation to explore further for the band.

As plan as porridge. Tell me what I'm missing, guys.

I've heard "Tommy" three times in its entirety and I'll state my case once again that it is a hot, steaming pile of crap. No matter how much Pete Townshend has denied (and denies) it, "Tommy" is a direct copy of "S.F. Sorrow" by The Pretty Things (non-believers, listen to the riff in "Old Man Going"), which is superior.

"The White Album" is a sort of a mixed bag, in my opinion. There are songs that are simply marvelous, including but not limited to "Happiness Is A Warm Gun", "Sexy Sadie", and of course — "While My Guitar Gently Weeps", George Harrison's creative masterpiece. But then, there's other songs like "Wild Honey Pie" and "The Continuing Story of Bungalow Bill", true testaments of hallucinogens' influence on The Beatles. And who can forget the infamous "Revolution 9" (can we even call it 'music'?) I know John Lennon was trying to be "avant-garde", similar to Yoko Ono, but he should've just kept to Paul's granny music. Then there's all the numbers that are simply insignificant or downright filler. Songs like "Piggies" and "Everybody's Got Something to Hide Except Me and My Monkey" are prime reasons why I — despite my love for The Beatles — have only heard "The White Album" about 3 times in its entirety. Side C and D are a particular drowse (except for "Long, Long, Long", I love that song and state my claim that George Harrison was a fantastic songwriter), and frankly, unnecessary. The ambiguity of the album vexes me but it does bring about a level of charm. If you have an hour and a half to spare — I definitely recommend settling down and giving "The White Album" a spin. Who knows? You may be delightfully surprised, severely disappointed or maybe both!

Chicago is one of those bands who had a handful of great hits—I find their studio work to be quite lacking.

Simply a really good emo band. Sure, Green Day's overplayed, but "Wake Me Up When September Ends" is loads better than whatever-the-hell My Chemical Romance came up with around that time. The tone shift b/w "Holiday" and "Boulevard of Broken Dreams" is f**king epic. I need to listen to the band more.

Ever since I heard "Hounds of Love," I really, really tried to get into Kate Bush. I genuinely did. I appreciate her creativity with multimedia a lot and believe she's a talented musician. However, "The Dreaming" was nothing like "Hounds Of Love." Kate Bush's voice is naturally high-pitched and she shrieks throughout 𝘁𝗵𝗲 𝗲𝗻𝘁𝗶𝗿𝗲 𝗮𝗹𝗯𝘂𝗺. I'm not sure if new wave was the direction Kate wanted to take in the album but it did not compliment her well. "The Dreaming" ended up scratchy and shrill. I love Kate Bush for her soaring melodies and lush vocals but neither are present in "The Dreaming." While some people may appreciate it, I found her coquettish vocals overly performative and the unnecessary audio effects (i.e. an engine screeching) completely drove me away. "Pull Out the Pin" was particularly obnoxious as Kate oscillates b/w whispering and screeching, accompanied by clips of cats wailing, in a Björk-esque fashion. I'm sourly disappointed :c

Genesis ☑ I discovered their music around the time I was introduced to Pink Floyd and seriously getting into music, but I never really dug their deeper into their discography. "Selling England By The Pound" is a perfectly good prog album though.

I use to 'dislike' "The Velvet Underground & Nico" because of Nico's controversy and the general drowsiness of the album. However, over the years, I have acquired a taste for Lou Reed and The Velvet Underground, and I adore the nonchalant, peaceful essence of the album. "Sunday Morning" is fantastic. This is one of the few albums in the generator that I own on vinyl. (By the way, I still think Nico is crap.)

I thought John Cale and John Coltrane were the same person, and I was fully expecting polyrhythmic saxophone music, but I got imperialistic Welsh music instead. The album was surprisingly pleasant though! Super warm, melodic and daring enough to stay interesting. Apparently, John was a founding member of The Velvet Underground? Surprising, considering how upbeat his tracks are compared with Lou Reed's brooding melodies.

Oh gosh, another Stones album. Pretentious bullcrap.

Pretentious, experimental cock-and-bull. It's always the avant-garde bitches who are a little sick up in the head.

Not huge on R.E.M. but "Everybody Hurts" was really great.

Convenient that I got 𝘵𝘩𝘪𝘴 album for Christmas! ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── The album was alright — better than the usual crap they have at Macy's around the holidays, but there was nothing particularly noteworthy about it. If I were in charge of 1001Albums, I'd have included "The Beach Boys' Christmas Album" instead but to each their own. I don't think Beach Boys seem appropriate for the occasion anyways. Also, fuck Phil Spector.

Genuinely really bad, especially for Fiona Apple, and I liked "When The Pawn —" whas'it. I'm really not a fan of her vocal delivery on the album: She sounds deliberately edgy and depressed, and it feels like she's trying to stay relevant against other "emo" (?!?) musicians in the scene. That's a damn shame, 'cus I remember Fiona Apple for her impassioned vocals and raw delivery. Fiona's new music style doesn't suit her at all. Lowkey not sure what message she was trying to pass.

Although Pink Floyd was the band that brought me down the rock music pipeline, I had initially viewed "Dark Side Of The Moon" with disdain and found it to be a pretentious work-of-art. Avant-garde soundscapes did not resonate with me. It's the sort of album a music snob would claim to be their favourite. Even today, I find "Dark Side Of The Moon" to be massively overrated and subpar to "Wish You Were Here" and "Animals" but I can appreciate it for the impact it's had on musical history. The score is rewarded based on the importance of the album rather than my personal preference.

I prefer "Daisies of the Galaxy", what the fuck is this —

Bob Dylan-esque, jangly bar music. Super retro. New Order's lyrics are quite silly and their general song structure is predictable, but their sound is simple and satisfying. Vocals a little rough at times.

Although "Disraeli Gears" is Cream's most acclaimed album, it is comparable to a weak Beatles album at most. There are a couple standouts admittedly, and "World Of Pain" is a fantastic example of late 60's psyche. However, the general songwriting and musicianship of the album is overtly mundane and underwhelming. Eric Clapton has got to be among the most conceited guitarists of all-time.

Iron Maiden always struck me as a band for people who mistake loud guitars for actual talent. Fitting, since they were the favourite band of a former classmate of mine, who once tried to convince everyone she had taste. Simultaneously, she also tried to convince people I didn’t. I guess some people need Iron Maiden to feel interesting. One star for the band, and one tiny spotlight for you, my friend.

Wow, what a generic and underwhelming album for my birthday! Despite their Spotify introduction, the Yeah Yeah Yeahs are neither "alchemic," "transformative," nor "magical." Happy adulthood, I guess :/

I was wondering when I was going to receive either: 1) Another Smiths album (I received "The Queen Is Dead" nearly a year ago), or... 2) My first Morrissey album Despite the general disdain 1001AlbumsGenerator has for The Smiths in general, I 𝘭𝘰𝘷𝘦 The Smiths: I possess all their studio and compilation albums on vinyl, I've a Morrissey poster above my bed, and—gah, I'm gushing again! As I ponder about it, my infatuation for The Smiths is probably the reason why I haven't been asked out in the past two years, although I am funny, clever, entertaining and good looking. Anyways, from the lush and intense "A Rush And A Push And The Land Is Ours", to the swaggering "I Started Something I Couldn't Finish", and the devastatingly melancholic "Last Night I Dreamt That Somebody Loved Me", this album pushed me lower when I was an already lonely 16-year-old. Do I still recommend it? 𝘈𝘣𝘴𝘰𝘭𝘶𝘵𝘦𝘭𝘺. Morrissey may be a pretentious prick, but he is my pretentious prick.

2 good songs, mostly generic Stones's bullshit.

I'm not big on Michael Jackson in the first place, but as far as his music goes, "Off The Wall" is definitely not remarkable.

Heard "Blue" some eighteen-month-ago. I don't remember anything other than the album being overly underwhelming. Ironic, considering critics hail it as intensely personal and brimming with raw heartbreak and loneliness. Since "Blue" is widely regarded as one of the greatest albums of all time, I’ll give it a re-listen and see if it changes my initial 3-star impression. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── Here’s my take: For something to be truly "emotional" and "heart-wrenching," it needs a few key elements — 1) Powerful, raw vocals (think "There Is A Light That Never Goes Out" by The Smiths) 2) Heartfelt arrangements (like "Shine On You Crazy Diamond, Parts I-V" by Pink Floyd) 3) Poetic and wistful verses (see "Lover, You Should've Come Over" by Jeff Buckley); 4) A dramatic, harrowing crescendo or drop (e.g. "I Don’t Love" by Have A Nice Life or "Exit Music (For A Film)" by Radiohead) "Blue" doesn’t meet any of these standards. To start, Joni Mitchell is no Kate Bush. From track 1 ("All I Want"), her voice comes across as overly shrill, and she practically yodels through the album. The unnecessary trills, paired with the weak harmonizing on tracks like "Carey", makes the album unaccessible to most listeners right off the bat. Y'all call Mariah Carey over-the-top for her vocal deliveries when Joni Mitchell is the original exhibitionist. Even if Mitchell’s lyrics were as heavy as Shakespearean tragedy, it wouldn’t matter because I can barely understand what she’s singing. As for the album itself, calling it "melancholy" or "heartbreaking" doesn’t feel right. Sure, there are some somber moments (like "Little Green"), but the general atmosphere is more upbeat. Hell, Mitchell even sings about California in one song. If you want to hear depressing folk, go listen to Sufjan Stevens. The songwriting and arrangements are decent but simple and, at times, boring. There’s no actual passion — just Mitchell yodelling and rambling on. Honestly, I feel misled by Rolling Stone’s praise (But, then again, they've always been full of crap.) In conclusion, "Blue" definitely doesn’t live up to its "greatest album of all time" status. If I had to sum it up in one sentence, it sounds more like an indie folk demo where the singer is trying a bit too hard — and failing hilariously — to be introspective. If you're going through a tough time and you want to support woman musicians, skip Joni and listen to "Dummy" by Portishead instead.

I had a friend who was huge on Radiohead and I've heard "The Bends" 10+ times. To be true to myself, the album is honestly quite unremarkable except for the last song, which is hauntingly beautiful.

They're definitely not 𝘁𝗵𝗲 Band. They're 𝗮 band. A perfectly fine band, that is. Warm, upbeat folk music.

Two Band albums back-to-back? What are the chances! Definitely less cohesive than their self-titled. I feel like production was rushed and there's a lot of filler. The album's a little odd, that's for sure.

Simon & Garfunkel's most musically ambitious work, this album is lush with angelic vocals and piano-driven arrangements, blending elements of rockabilly (influenced by the Everly Brothers' "Bye Bye Love"), gospel ("Bridge Over Troubled Water"), and jazz (“So Long, Frank Lloyd Wright”), marking a departure from their earlier, acoustic style. The album features terrific drum work and the inclusion of horns. The title track is deeply moving and concludes with a powerful, almost gospel-like tone. "El Condor Pasa (If I Could)" stands out as my favourite Simon & Garfunkel cover, particularly with its catchy chorus ("Away, I'd rather sail away like a swan that's here and gone"). While I find Side B to be somewhat weaker overall, the songs, like "The Only Living Boy in New York," are still beautiful. What a stunning way to end their discography!

Poser metal.

More experimental than "Paranoid," that's for sure. Just really, really funky and weird music. Nice guitar riffs. Not my thing but I get the appeal.

Dusty's greatest album. Warm, rich and delicious, like honey spread on bread.

I dislike the country genre in general and Johnny Cash is no exception. Although "Hurt" was poignant, Mr. Cash's vocals suffered. Rest of the album was quite horrible, IN PARTICULAR "In My Life," which sounds like it came out of a horror monologue. Some songs are better left untouched.

One-hit wonder album.

Hey hey, my my, Rock 'n' Roll can never die!

Solid duo. Prefers "Now & Then."

Strong album. "The Rover" is my favourite Led Zeppelin song.

I'm beginning to dread receiving Bob Dylan albums, and there's still 𝗙𝗢𝗨𝗥 more I've yet to receive! That being said, "Blood On The Tracks" was surprisingly easy to listen to. I think I've began to appreciate Bob Dylan's music more since watching "A Complete Unknown" biopic. Nonetheless, I still think Dylan's a sleazy asshole. His guitar's super jingle-jangly, which is desired. Dylan's vocals are not the greatest though. He sounds like AC/DC's Brian Johnson on "Dirty Deeds Done Dirt Cheap." That was not complimentary. Akin to Nick Drake, while I can fathom Bob Dylan's talent, I simply don't enjoy his music generally speaking.

Elvis Costello's solo collection was more than enough. Clipped and nerdy vocals: Sounds like music from a kid's learning program.

Groovy, smutty, record. Had me going 😳😳🌹 the entire album. I'm not familiar with soul, but I enjoyed the album a surprising lot more than I expected 👍

Subjectively ABBA's best album: Brilliant, ethereal, youthful, and sun-kissed. "Dancing Queen" is a classic and possibly the best wedding song of all-time. ABBA feels like a shot of dopamine.

MID ALBUM. (Stairway To Heaven is terrific.)

Actual crap! Why is "They Were Wrong, So We Drowned" categorized as "rock music" when it is just noise? There is not one single good track. The album is flat out unlistenable.

Her music's icky but I don't think the entire genre should be scrutinized. There are people twenty years before her that have made very, very good bubblegum pop. >cough cough< ABBA >cough cough<

Bob Dylan is certainly a significant figure in popular culture—I cannot deny his influence on folk music. However, is his music refreshing to listen to or easily accessible? No.

Saw the reviews and thought that other people were being too harsh on 'em. Heard the album, and nope, you're all correct! The Triffids kinda suck.

The Velvet Underground's second best album. '"Candy Says" is arguably the most transgressive song they released at the time, as it’s about Candy Darling — a transgender actress and Andy Warhol’s muse. Massive respect to the band. "After Hours" is a beautiful little melody, and "Pale Blue Eyes" is simply very good. I love how melodic the album is. The Velvet Underground lowkey pioneered the development of alternative rock.

I really, really enjoy "Darklands" but The Jesus And Mary Chain's "Psychocandy" is simply too abrasive on the ears. Would rank higher but there's a line drawn b/w experimental and disruptive, and the gritty reverb crosses that line. ⚠ Would not recommend to sensitive ears and/or people with tinnitus. That goes for all shoegaze albums. Proceed with care.

I had a friend group that comprised of old souls whom were obsessed with any band that had "The" followed by an animal. The Monkees, of course, were one of those bands. I am huge on The Beatles, but that's about it. Despite their popularity, all the other "animal" bands, like The Animals, The Byrds, and The Monkees all fell short. Their tunes sound like nursery rhymes: Too simplistic and imitative. While The Monkees were seen as pivotal in the 60's, in an age where music is easily accessible and diverse (w/ genres like Japanese fusion music), this album was quite lacking comparatively.

It's Mariah Carey, of course I'm giving it two stars. I find virtually no enjoyment in her yodelling.

Although "The Headmaster Ritual" was my introduction to The Smiths, I had been wary towards the Meat Is Murder album for the longest time. For me, it was The Smiths's weakest work. It lacked the warmth and poppiness of their debut, the prominence of "The Queen Is Dead," and the melancholy beauty of "Strangeways, Here We Come." In addition, the album ends on a dreadful note with Morrissey guilt-tripping the listener into veganism while sad animal noises backed his wooing (I still hate that song.) Recently, I have decided to give Meat Is Murder a second chance, mainly because I have exhausted The Smiths's discography. I will admit that I was wrongfully judgmental to the album: The album begins with "The Headmaster Ritual," a satirical song deprecating the British education system. It is cleverly witty and relatable to all those who are victims of oppression. The beginning segment of "Rusholme Ruffians" eerily reminds me of My Chemical Romance's "Mama.." Perhaps they drew inspiration from The Smiths for their album The Black Parade? The whole album has great narration but "..Ruffians" is particularly remarkable. "I Want The One I Can't Have" is my favourite Smiths song because I do indeed want the one I can't have. It is perhaps the most distressing Smiths song. In addition to being melodious and poppy, I can 𝘧𝘦𝘦𝘭 Morrissey's desperation on a spiritual level as he cries "If you ever need self-validation, just meet me in the alley by the railway station!" His sexual frustration is astronomical: The theme of sexuality is explored later on in his solo work. For most of my time as a Smiths fan, I discarded the following songs. However, "The Joke Isn't Funny Anymore" and "Well I Wonder" are too devastatingly beautiful songs. The latter poses a question most people will ask in their lifetime: Do you hear me when you sleep? The inquiry is followed by the silent plea: "Please keep me in mind." By now, I have gone through all five stages of grief. Then of course, there's the song "Barbarianism Begins At Home," which is about abuse. It is upbeat but furious: A fantastic song, albeit Morrissey's "barking," which is unapologetically cringe. I cannot see myself listening to "Barbarianism.." on a regular basis though. Most—if not all—the album is too dark for my liking, especially "Meat Is Murder," which is almost sickening to listen to. Nonetheless, Meat Is Murder is still a great album: Definitely darker than its predecessor, as it is filled to the brim will raw anguish and quiet desperation. The album is a true work of art.

Long, uncontroversial, underwhelming, and slightly obnoxious. Definitely 𝘯𝘰𝘵 one of the "greatest." I can go my entire life without hearing "Isn't She Lovely" again.

I have officially decided that I no longer like mainstream 70's rock music. When I state "I like classic rock," I meant Pink Floyd and Queen, none of this cock-and-bull. "Van Halen" is pretentious, passionless and overblown. Even the guitar was annoying.

I use to tell people: "I am a Radiohead fan." However, I am actually not a Radiohead fan. I am an "OK Computer" fan. "In Rainbows" sounds exactly like how wet toast tastes.

The Smiths knockoff tribute with a sound reminiscent of Simon & Garfunkel.

Might've liked it back when I was fourteen, but now I find psychedelic rock/singer songwriter infuriatingly boring. Jeff Buckley is better.

Infuriatingly shallow and pretentious classic rock. I feel like the genre is too broad: Bands like The Beatles and Pink Floyd should not be categorized w/ this irritating bullshit.

Music is "subjective," but as far as subjectivity goes, I think a lot of people can agree that The Beatles's "Abbey Road" is the best album of all time. In fact, some people consider "Abbey Road" to be The Beatles's final album. It is certainly the album that yielded the most hit songs, from the tender "Something," to the bright and sunny "Here Comes The Sun," to "I Want You (She's So Heavy)," clocking at 8-minutes-long with arguably the best bass-line in rock 'n' roll history. My personal favourite song(s) in the album is the final triptych: "Golden Slumbers" → "Carry That Weight" → "The End" (I do not consider "Your Majesty" its own track). "And in the end / The love you make / Is equal to the love / You take." What a beautiful ending to the best band in history.

With its revolutionary sound and timeless production, "Dummy" has been proclaimed "the best album of the 90s." While I think "Grace" by Jeff Buckley deserves that title, I will credit Portishead for popularizing the trip-hop genre. They has a distinctive, an eery, almost desolate sound: Whenever a Portishead song comes on Spotify, I always go "Aha! This is going to be a great listen." Although I prefer "Third"—which is more polished—"Dummy" is a fantastic debut in its own right.

A succession of beautiful, mellow tunes. Dylan cover or not, "Mr. Tambourine Man" blew my little 15-year-old mind off when I first heard it. I admire how The Byrds are able to put their spin on any song in here — regardless of genre. They've got a gentle, ethereal quality to them, like a kitten curled up on an eiderdown :')

I find it both amusing and maddening that I’ve been stuck giving Bowie's albums two stars for over a year. In fact, I constantly enjoy and respect his music. Although these albums have been consistently underwhelming — not terrible enough to deserve one star, but far from good enough to rate higher — the remaining two Bowie albums are my two favourites! The tide is turning! ( ¬ᴗ¬)

I heard Nick Cave's name passed around for 𝘺𝘦𝘢𝘳𝘴 but haven't thought of checking him out until today. ── ࣪˖ ࣪ ⊹ ࣪ ˖ ── The album has an ambient bluesy sound despite Nick Cave's reputation as a gothic rock musician. I presume he drifted from his signature dark, brooding sound in later works. Admittedly, I'm not a fan of gospel/soul music, but "Abattoir Blues / The Lyre of Orpheus" is beautifully dated. I would've never guessed it was released in 2004. There is a great mashup of various genres (blues, R 'n' B and electronic) that is reminiscent of various musical legends, including Tom Waits, whose raspy and expression voice Nick Cave reminds me of, Leonard Cohen's storytelling, and Pink Floyd, with their experimental soundscapes. Overall, my favourite song is the twinkling but dark "Nature Boy," although I love aesthetic of the title track also.

I genuinely, sincerely cannot tolerate the hip hop genre: I am not a racist, nor am I a music snob. In all honesty, the album is so absurd I cannot listen to it without shaking my head and scowling ("You look so good / I'll suck on your daddy's dick"). However, as a women, I find the misogynist lyrics incredibly nauseating (i.e. "Me and My Bitch"), and I'm surprised my generation bops their head up-and-down albums that glorify sexual violence. I love provocative music but I'm going to have to draw the line at Big Black's "Songs About Fucking" 😛 Oh, and, there are more slurs in the album than times Steven Patrick Morrissey made the headlines for something controversial he said.

I had a lot of misconceptions about Buffalo Springfield. To begin, I genuinely believed Buffalo Springfield was a single person, and that he was related to Dusty Springfield. Secondly, I did not know Neil Young was in the band. I think that's the reason they're included here in the first place. 1001 Albums loves Neil Young nearly as much as it loves David Bowie. Lastly, I thought Buffalo Springfield was a country band. I suppose that makes sense, since buffalo's aren't typically affiliated with psychedelia. Also, I think 1001 Albums should've included a Mojo Men album instead: I prefer their cover of "Sit Down I Think I Love You." It sounds less beefy. That song is actually from Buffalo Springfield's debut, but I thought I'd ought to say it anyways. We need more deep cuts and the Mojo Men was a neat band.

It's not even the album with "Battle Scars" :c

I love Bernard Butler's "People Move On" album, so I had high expectations for his work with Suede. — I was not disappointed: "Suede" is very Morrissey-esque, but edgier and grittier, with wailing guitars! I enjoyed every song. Their more melodic tracks (like "She's Not Dead") compliment the album's overall edginess incredibly well. Suede is a wonderful addition to my Britpop library, alongside Gene and Strangelove.

Bless my ears, this was 𝗡𝗢𝗧 the "Greatest of All Time." It was so abysmally bad that comparing it to "Abbey Road" made me audibly wheeze. Although "To Pimp A Butterfly" is meant to be social commentary, I was unable to decipher the commentary. The album offends me in more than one way: 1. Most of the verses are incredibly misogynist ("At first, I did love you / But now I just wanna fuck") and degrade women to objects, which is a common occurrence in rap music. So much for being 'progressive.' 😛 2. The n-word is also thrown around like fireworks, which would be excusable if it was used for social commentary, but it's so randomly sandwiched b/w verses that it's hard to argue that it's here for commentary value. Kendrick even invited Dr. Dre, who composed the famous misogynist anthem "Bitches Ain't Shit" in 1992, to contribute to the album. To be frank, the sampled works were the best part of the album. All in all, "To Pimp A Butterfly" was vulgar, obnoxious, and barbaric with no redeeming qualities. It is an album that only white teenagers and self-proclaimed music elites claim to enjoy.

Two Suede albums six days of each other? I'm on. I've remarked that a lot of people called Suede unimpressive and a The Smiths spinoff band, but I adored their debut, so I have high hopes for "Dog Man Star" too. — Originally, I was going to reward it three stars. I'll be genuine with you: The production is murky, and the album is more experimental and less consistent than their debut. Although "The Power" was a fantastic song, the musicianship on the half was perplexing. Overall, the album felt underdeveloped there on out. However, the second half contains beautiful songs —akin to their debut — like "The 2 Of Us," "The Asphalt World," and "Still Life," which has gorgeous orchestration. "Stay Together" was beautiful too: I love the jangly guitar work, the harmonizing, and Brett Anderson's vocals were phenomenal. The lyrics are genuinely mind-blowing: "Come to my arms I'm lost Just you and me together in the year of the horse Single file in the nuclear night And we can feel a little closer as we tumble through the sky" I think that most people quit after the first few songs, w/o giving the whole album a chance, thus accounting for the low ratings. I believe Suede had a lot of potential, and I'm disappointed towards the lack of appreciation towards Britpop, thus I'm awarding "Dog Man Star" a solid four stars.

Zzzzz, so boring 😴😴🤢😴

I thought we left Emi—whas'it behind in 2000.

"Rumours" was a drowse. I'm not sure why it's rated so high among listeners. Fleetwood Mac is neither revolutionary like The Beatles, lush and harmonious like The Beach Boys, nor possesses The Stones's zeal.

⚠ Warning: my bloody valentine's music is 𝗟𝗢𝗨𝗗 and 𝗛𝗜𝗚𝗛 𝗙𝗥𝗘𝗤𝗨𝗘𝗡𝗖𝗬. Proceed at your own risk. So, you see, my bloody valentine is a mixed bag for me. "m b v" is my favourite my bloody valentine album. A lot of people complained that mbv is just noise and lacks any substance, but I feel like you need to be in a certain state to appreciate it. I find "m b v" soothing when I'm feel anxious or tied down despite its unsettling demeanour. There's something about its ambience and grittiness that is extremely comforting. It's a fantastic album for dissociation, or just to play on a rainy day. 𝘏𝘰𝘸𝘦𝘷𝘦𝘳, I wouldn't listen to my bloody valentine as a pastime, as the band's discography tends to be super overwhelming to my ears. Their recordings are incredibly loud, intense, and heavily processed with distortion, tremolo, reverse reverb and flanging. 𝘚𝘶𝘱𝘦𝘳 fatiguing if you're not familiar with the shoegaze genre! I would also like to mention that I find three mbv albums making the list a bit excess: Both "Isn't Anything" and "Loveless" only contain a handful of good songs and "Souvlaki" by English rock band Slowdive would've been a greater inclusion.

More Kinks! Hell, yeah.

Demonic album that obliterated my eardrums. "Kollaps" must've set a record. I had to stop listening around the 0:34 mark.

I've came to the conclusion that Kate Bush's music is actually kinda obnoxious ("Hounds of Love" was a singularity.)

Problematic album created by prickly deadbeat.

I somehow got into The Smiths after my breakup. I found comfort in their sound — brooding, bleak, and strangely healing. Morrissey, insufferable as he is, felt like he understood me. My ex, on the other hand, dove headfirst into divorced dad rock. Nirvana, Alice In Chains, all that grayscale grunge. I stand by my pick. This album doesn’t uplift — it just makes me feel emotionally constipated.

Recognized as among the greatest and most influential albums in music history, "Pet Sounds" is often compared with the Beatles "Sgt. Pepper’s Lonely Hearts Club Band," though I believe that no comparison can be made. Brian Wilson had made his own, extraordinary mark on musical history. The charming "Wouldn’t It Be Nice" is the album’s opener. An upbeat song with angelic vocals, complex arrangements and youthful innocence (“You know it seems the more we talk about it / It only makes it worse to live without it”), Pet Sounds starts off with a banger. Although the most obvious 'weakness' of the Beach Boys is their monotony, with most songs following the same formula, "Pet Sounds" avoids this problem. The similarity between songs only adds to the realism of the album. "You Still Believe In Me" and "That's Not Me" are achingly beautiful tracks with angelic harmonies, and "Don't Talk (Put Your Head on My Shoulder)" is a dreamy love ballad. The Beach Boys's cover of "Sloop John B" is fantastically trippy. Definitely my favourite cover of theirs. Additionally, "God Only Knows" is arguably the best love ballad ever written and a true testament to Brian Wilson's songwriting. The lines "I may not always love you / But long as there are stars above you / You never need to doubt it / I'll make you so sure about it" are simple but achingly tender. I'm glad Carl Wilson sang this number—his soft voice compliments the song exceptionally. "Here Today" is dichotomous to the rest of "Pet Sounds," as it offers a more cynical view on love. Not my favourite, but a good song nonetheless. "I Just Wasn't Made For These Times" and the title track are weaker but don't noticeably disrupt the listening of the album. "Caroline, No" is another focal point of "Pet Sounds" and a stark contrast to "Wouldn't It Be Nice." It is raw, albeit dramatic, and filled to the brim with heartbreak. Oh, Brian, you diva! "Could I ever find in you again / The things that made me love you so much then? / Could we ever bring 'em back once they have gone?" TL;DR, "Pet Sounds" makes me feel like I'm foolish and young and in love again. Definitely one of the GOAT.

Haven't heard "At Budokan" but I know Cheap Trick wrote "He's a Whore" so that instantly elevates them to an A-tier band. Also, the two guys look like Roger Taylor and Roger Waters, two of my favourite musicians, so more points.

Uncertain of what to expect of a band named "Elbow." I like indie rock though, so I am trying to be optimistic (The album is over an hour long though, so hopefully I enjoy it.) — To begin, the panning in "The Seldom Seen Kid" is infuriating and makes me feel physically uncomfortable. The horns comes in at inappropriate intervals. The songs themselves sound like David Gilmour's Pink Floyd. I am a Roger Waters fan :c The vocalist sounds like Gilmour too, except not the hot, sexy 70s Gilmour, but the old, raspy post-Floyd David Gilmour. A 𝗟𝗢𝗧 of people compared Elbow to Radiohead too—I can see that too. Not in a good way. I won't call the whole album ass, but it is very formulaic and repetitive. All alarms and no surprises.

Found out from r/1001AlbumsGenerator today that Brian Wilson passed yesterday and now I'm in a crappy mood. Especially since I reviewed "Pet Sounds" just two days ago and called Brian a diva lovingly. (I haven't even listened to The Beach Boys regularly in a couple of years, but he was dearly beloved.) — Now, I couldn't give the record any less than five, but I wasn't planning on that regardless. "Surf's Up" has been my favourite Beach Boys record — as well as their musical comeback. The whole mood of the album is eerie and dark — a stark contrast from The Beach Boys's bubbly and sappy earlier work. It is certainly more desolate and reflective, dealing with heavier topics than young love. While "Disney Girls (1957)" has a dreamlike, vintage quality and reminds me of Sunday drowses, "A Day in the Life of a Tree" and "'Til I Die" are haunting and f**king beautiful. "I'm a leaf on a windy day Pretty soon I'll be blown away How long will the wind blow? How long will the wind blow? (Until I die) Until I die These things I'll be until I die" "Surf's Up" (song) is a groundbreaking track. It can't get better than that. Carl’s voice carries a kind of childlike innocence that’s just gorgeous. (I was originally intending to sh** on Mike Love's infamous "Student Demonstration Time" but I'm not in the right headspace anymore. All I'll say is that you should skip that track.) Overall a ★★★★★ record. Please give it a spin. And...thanks for the memories, Brian. You shaped my early teenagehood more than you could have ever known. Whenever I listen to your music, I am brought back to that special place, where the sun shone brighter and the air smelled sweeter.

Musically repetitive with little variation, honestly garbage. There's 𝘀𝗼 𝗺𝘂𝗰𝗵 screaming — the album was not intelligible. Sounds like a pack of angry German men barking. And to the guy in my History class who wears a denim jacket with the Korn logo stitched on: your music taste? Satisfactory at best.

I don't like hip-hop, man. The only hip-hop album I enjoyed was "IGOR" by Tyler, The Creator, last September and I haven't found anything that came close since :') Please, 1001Albums, give me a Morrissey album instead.

I didn't believe a Linkin Park album would make the list — but I'm glad one did ❤︎₊ ⊹ While the rap rock genre did not age well, Chester Bennington made me feel less alone when I was a quiet, misunderstood but deeply perceptive child, and there was a time Linkin Park meant everything to me. "ROADS UNTRAVELED" brings me back to a defining moment in my life. — I stood by "Meteora" since I was twelve and will continue to stand with that album (c'mon, "Somewhere I Belong" and "Breaking The Habit" are gut-punches), "Hybrid Theory" is a close second for me. Chester put so much f**king emotion into his songs: Every word seems to be strung from the soul. The album feels very 2000s — I wasn't even old enough to consciously remember much from then, but man, it makes me feel nostalgic: "I kept everything inside And even though I tried, it all fell apart What it meant to me will eventually be A memory of a time when I tried so hard" Rest in peace, Chester.

"Safe As Milk" was strangely accessible despite Captain Beefheart's, er, ""singular"" sound. I still found the album's polyrhythmic sound and Beefheart's passionate...growls...to be deeply overwhelming though. Maybe I'll give myself another ten-or-so years to train my ears, and then, I'll return to the album.

Instant 5/5. Banger album.

Two 5/5 albums in a row! :') I have actually been listening to a lot of Radiohead lately since the YouTube algorithm is recommending me every single demo version of "No Surprises" for a reason. "OK Computer" is an achingly, hauntingly beautiful record. Radiohead's greatest work by a long stretch. "Exit Music (For a Film)" has the best buildup / momentum in musical history, "Karma Police" is cathartic and "No Surprises" might be the best song of 1997, capable of conveying feelings that I cannot write with words. Radiohead is truly a one-man experience.

As I listened to "Sound Affects," I thought, "If they were looking for more British new wave, they should've added Gene's "Olympian" instead." In my opinion, The Jam wasn't significant enough to warrant the inclusion of one album, let alone two. Actually, I don’t even recall the sound of their debut album, and I had to give it another listen for reference.

The Beatles but Hindu George Harrison took the creative wheel for 1 hour and 4 minutes.

Obnoxious ass-cheap Cuban commercial music. Definitely could've gone my whole lifetime without hearing about it.

This is my five hundredth generated album. I have been going onto 1001 Albums every day for a whole year and a half, and letting the course of my day depend on an album: → The Smiths: My day can only get better. → Johnny Cash: I break down into sobs and curl up on the floor. Admittedly, I have not been listening to the albums properly but I've had fun. I'm still determined to finish the challenge for bragging rights, and so that I can add Badfinger's "Straight Up" to the glorious catalogue of user added albums. That being said, I would rather listen to a user added album than "Heroes to Zeros" again. I've seen "Weezer" on that list, and I damn well trust your taste more than whatever ts can offer.

What the flying fuck — "Antichrist Superstar" is actual unlistenable crap. This is what an average Top 40's listener believes rock music sounds like. I'm giving the album two stars so I won't have to see the album cover in my "Lowest Rated Albums" section every time I open my user profile. Nearly sh*tting my pants once was enough.

Negative aura. No slay 🖤😞🥀⛓

Always thought Megadeth was super lame metal.

Music artists do not warrant a live album on here unless it is an exceptional or groundbreaking piece of work. Bob Dylan's record is neither exceptional nor groundbreaking.

As a devoted The Smiths fan, I am often told I should give New Order a chance, along with bands like Coldplay and Siouxsie and the Banshees: (1) Coldplay's music is dreadful. The best thing Christ Martin did was expose that company CEO. (2) I haven't heard much Siouxsie but her collaboration with Morrissey on "Interlude" is probably the most beautiful thing I ever heard in musical history. I thought I'd finally check New Order recently because I might appreciate their sound. I couldn't have been more wrong. Never compare cheap electronica to The Smiths again. Jesus Christ!

I prefer The Beatles.

I have a bipolar relationship with Radiohead in the sense that I consider "OK Computer" one of the best albums of its time but I'm reluctant to call myself a Radiohead ""fan"" when I listen to work like these. For the whole 47:57, I kept on thinking, "Man, what if they included The Auteurs or Longpigs instead?" Even Kurt Cobain's home recordings were desirable in the moment.

David Byrne doesn't sing. He barks all the verses. Instrumentals were obnoxious. Almost comedic. If you tell me "More Songs About Buildings And Food" was a parody album, I will believe you.

Rest well now, Ozzy. I'm not going to pretend I was the greatest Black Sabbath fan because just he's dead but I quite liked his solo album "Blizzard of Oz." Moving onto today's album, the title track was fantastic, of course, but I found "Paranoid" uncomfortable overall. Might be my panic disorder kicking in but the structure in certain songs was extremely irritating (i.e. "Electric Funeral's" suspense), and sucks to be me, the songs were all same-y! I didn't enjoy the album as much as I anticipated, which is a surprise, 'cus I heard the album in '23 and I remember liking it back then. Times have changed.

I thought I was fluent in French — as I grew up in Canada and attended a French immersion school — but I couldn't fathom a single word. Truth be told, I don't think it would've increased my appreciation towards the album.

I thought I finally evaded Nick Drake, only to be flashed with another one of his albums. Thankfully, "Pink Moon" is the last. Many of my friends are surprised at my "disdain" towards Nick Drake, seeing how much I appreciate similar musicians like Elliott Smith. It's not that I hate his music — my brain simply needs something more stimulating. In all honesty, Elliott bleeds through his writing, while Nick almost feels underwhelming on purpose. His tracks lack in dynamic, rhythm and tone. To test my hypothesis, I skipped to three different parts of the album and listened to a ten second snippet. If you told me it was the same song, I would've believed you. I'm sure Nick's talented and brilliant in his own right, but he's just not for me at the moment.

I remember reading Suba’s biography and thinking, almost cynically, "São Paulo Confessions better be a masterpiece — he died to save the recordings." Though I don’t understand a single word, the music feels dark, ethereal, and almost divine — a sharp departure from my usual taste. It’s hauntingly immersive, with trip-hoppy keyboards layered under restless, often unsettling sound effects: sirens, whirrs, and drones. "São Paulo Confessions" feels more like an art exhibition than regular music. Is it just me or is the album reminiscent of POiSON GiRL FRiEND's "MELTING MOMENT"? If my ears were not trained to appreciate experimental music, I definitely wouldn't of liked "São Paulo Confessions." Irrespective, I agree that the album is a bit too long, and it drones on at the end.

I personally have not heard Slint's music although I know "Spiderland" is a Rate Your Music classic. — Slint has a super sparse, fractured, atmospheric sound, that reminds me of Black Country, New Road, even though they arrived first. I couldn't hear a word from the vocalist, as his vocals oscillate b/w seamless mumbles and hoarse screams, but the instrumentation is fantastic. The songs themselves are long, moody and shift in tempo and tone. I've noticed people calling "Spiderland" pretentious, but the album is too imperfect to be deliberately trying too hard. It has an almost cultish demeanour. There's nothing wrong with enjoying popular Rate Your Music albums. They're popular for a reason.

Pulp is a band that instantaneously clicked with me. I have read many people criticize "Different Class," claiming all their songs about revenge, or sex, or using sex for revenge — and that Jarvis Cocker is a pervert. I can only imagine how they’d react to "This Is Hardcore" — or even better, "His 'n' Hers" ("He doesn’t care what it looks like / Just as long as it’s pink and it’s tight, it’s what he likes.") — "This Is Hardcore" is one of the most cinematic, honest, and sick album I’ve ever heard. It deals with pornography, perversion, self-loathing, and reflection. Here, sex isn’t glamorized — it’s portrayed as something compulsive, degrading, and hollow. For example, the title track compares fame to pornography. Jarvis makes you feel violated without even being explicit. My friend calls the album a mix between a genius musical soundtrack and sharp social commentary. My favourite song on the album is "Like a Friend," which thematically explores destruction, resentment, and obsession. The track bitterly critiques the idea of being just friends. That phrasing becomes a dagger when one person wants more. However, Jarvis isn’t deluded — he knows he’s being walked all over. But knowing doesn’t stop him. There’s both resignation and lividity in his voice, which makes the song damn good. "You are that last drink I never should have drunk You are the body hidden in the trunk You are the habit I can't seem to kick You are my secrets on the front page every week You are the car I never should have bought You are the train I never should have caught You are the cut that makes me hide my face You are the party that makes me feel my age And like a car crash I can see, but I just can't avoid Like a plane I've been told I never should board Like a film that's so bad, but I gotta stay 'til the end Let me tell you now, it's lucky for you that we're friends" What a bloody brilliant ending. A close runner-up is "Sylvia" — a tender, tragic track that captures a different kind of emotional decay. It’s about a woman crushed by expectations, forgotten by the world, and left wondering when it all went wrong. Jarvis Cocker is the most perverse musician alive. No one else makes self-destruction sound this seductive. God bless his filthy heart.

Electropop isn't a genre I'd have explored in my own time, so I'm appreciative towards 1001 Albums for pushing me out of my comfort zone. I began 1001 Albums to expand my music taste last February. Truth be told, I used to be extremely picky about what I listen to, stuck to a strict classic rock diet, and barely even tolerated The Velvet Underground. While my stance towards hip hop has not budged, I have become more tolerant of pop music. "Melodrama" is a funky, musical dream that feels like peeking through a kaleidoscope. The album cover is an accurate representation of "Melodrama's" sound. The production is crisp. Bless my ears. Although I know she's affiliated with Charli xcx, I'm not familiar with Lorde. However, I like her sound.

1001 Albums has been handing me a lot of great albums lately. I guess I shouldn't be surprised at the reception of the album. I can't wait for the people who call John a domestic abuser for hiting Cynthia once to learn about Ringo Starr and Elvis Presley. If John deserved to die, may Elvis burn in the deepest, most excruciating pits of hell /s The music itself is fantastic. I mean, c'mon, it's John Lennon. He wrote most of The Beatles's greatest hits. "Imagine" is one of the most influential songs of all-time, "Jealous Guy" is an honest but incredibly depressing song, and the twinkling piano infinitesimally improves the record. I also find it funny that people claim John's an antichrist for writing "Imagine there's no heaven," when all his songs are focused on promoting peace and unity by imagining a world without religious divisions.

I was informed that the album is satirical, but I still did a double take when listening to it. "New Boots and Panties" is ludicrously smutty, especially for its time. I have finally found a musician who's music is hornier than Jarvis Cocker's. Rhythmically, I am convinced that Ian Dury had zero experience with music theory prior to entering the recording studio. As I was typing up my review, I had a revelation that he sounds like the Britain's Got Talent's flop auditions combined. In addition, I'm astonished Pink Floyd's "Wish You Were Here" LP sleeve was packaged in a black nylon outer bag for being ""too violent,"" but "Hit Me with Your Rhythm Stick" was deemed appropriate for the 1977 radio. While Ian gave me a good laugh today, I definitely could've gone a lifetime w/o hearing "Wake Up and Make Love with Me" or "Billericay Dickie."

It's only 12:01 AM and my day is already ruined since I saw Johnny's judgmental face staring down at me. Wasn't one Johnny Cash live album enough? (/sarcasm, but also serious.) Guess who's earned his one-way ticket to my worse rated artists? ( ˶ˆᗜˆ˵ )

I was about 0:05 into "Truth" when I realized it is a Rod Stewart album disguised under the name of Jeff Beck. I'm scathingly disappointed. In my humble opinion, Stewart is probably the most obnoxious vocalist in rock 'n' roll music history. His singing is just awful. Even the guitar work on here is incongruous, and Jeff Beck is supposedly the best of the best. Expectantly, the most pleasant track was "Greensleeves," an instrumental cover song of the old English Christmas carol. "Beck's Bolero" had impressive musical arrangements, and it's the other strong song of the album. Allegedly Jimmy Page of Led Zeppelin wrote it. That checks. I'm convinced the author of 1001 Albums was conceived to a Rod Stewart album. Either that, or he thrives in mediocrity. Otherwise, there is no way he'd have included four Rod Stewart albums!

♫ As long as I gaze on, Waterloo sunset, I am in paradise ♫