There are some albums on this list that make me wonder how they justify their place on the list. The White Room is not one of them. Jimmy Cauty and Bill Drummond not only created a seminal album, but also an entire genre of music. This was one of the first pieces of performance art to crossover into mainstream music, through their clever use of pop hooks and twisting the commercialisation of music into something weird, something novel and fun, but also subversive and cool. Their use of samples, beats and synths all just works - it’s easy to dismiss it as ‘just another Brit electronica album’ but that misses the fact before the KLF they didn’t really exist as they do now - this broke the mould. The hairs on my neck still stand up when I hear the start of 3AM Eternal and What Time Is Love - powerful floor filling bangers that have stood the test of time. The KLF, also know as the Timelords, the Justified Ancients of MuMu - changed the face of music forever with one album. The White Room.
Rating Distribution
Rating Timeline
Taste Profile
Breakdown
By Genre
Tap a bar to see the albums behind it
Top Styles
Tap a bar to see the albums behind it
By Decade
By Origin
Albums
You Love More Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Antichrist Superstar
Marilyn Manson
|
5 | 2.44 | +2.56 |
|
Suicide
Suicide
|
5 | 2.46 | +2.54 |
|
Black Metal
Venom
|
5 | 2.47 | +2.53 |
|
Slipknot
Slipknot
|
5 | 2.68 | +2.32 |
|
New Boots And Panties
Ian Dury
|
5 | 2.69 | +2.31 |
|
Snivilisation
Orbital
|
5 | 2.7 | +2.3 |
|
Orbital 2
Orbital
|
5 | 2.7 | +2.3 |
|
KE*A*H** (Psalm 69)
Ministry
|
5 | 2.71 | +2.29 |
|
The White Room
The KLF
|
5 | 2.78 | +2.22 |
|
Peggy Suicide
Julian Cope
|
5 | 2.78 | +2.22 |
You Love Less Than Most
| Album | You | Global | Diff |
|---|---|---|---|
|
Back To Black
Amy Winehouse
|
1 | 4.03 | -3.03 |
|
(What's The Story) Morning Glory
Oasis
|
1 | 3.86 | -2.86 |
|
Definitely Maybe
Oasis
|
1 | 3.54 | -2.54 |
|
On The Beach
Neil Young
|
1 | 3.46 | -2.46 |
|
Frank
Amy Winehouse
|
1 | 3.46 | -2.46 |
|
Parachutes
Coldplay
|
1 | 3.46 | -2.46 |
|
The ArchAndroid
Janelle Monáe
|
1 | 3.45 | -2.45 |
|
A Rush Of Blood To The Head
Coldplay
|
1 | 3.43 | -2.43 |
|
My Beautiful Dark Twisted Fantasy
Kanye West
|
1 | 3.4 | -2.4 |
|
25
Adele
|
1 | 3.37 | -2.37 |
Artists
Favorites
Tap an artist to see their albums
| Artist | Albums | Average |
|---|---|---|
| David Bowie | 5 | 5 |
| Bruce Springsteen | 4 | 4.75 |
| The Who | 4 | 4.75 |
| Prince | 3 | 5 |
| Peter Gabriel | 3 | 5 |
| Led Zeppelin | 3 | 5 |
| Talking Heads | 3 | 5 |
| Stevie Wonder | 3 | 5 |
| Beatles | 4 | 4.5 |
| Kraftwerk | 3 | 4.67 |
| The Kinks | 3 | 4.67 |
| Public Enemy | 2 | 5 |
| Johnny Cash | 2 | 5 |
| Marvin Gaye | 2 | 5 |
| Pink Floyd | 2 | 5 |
| Kate Bush | 2 | 5 |
| Sly & The Family Stone | 2 | 5 |
| Depeche Mode | 2 | 5 |
| AC/DC | 2 | 5 |
| Beastie Boys | 2 | 5 |
| Alice Cooper | 2 | 5 |
| Orbital | 2 | 5 |
| T. Rex | 2 | 5 |
| Funkadelic | 2 | 5 |
| Creedence Clearwater Revival | 2 | 5 |
| Michael Jackson | 3 | 4.33 |
| Black Sabbath | 3 | 4.33 |
| Elvis Presley | 3 | 4.33 |
| Queen | 3 | 4.33 |
| R.E.M. | 3 | 4.33 |
Least Favorites
Tap an artist to see their albums
| Artist | Albums | Average |
|---|---|---|
| Morrissey | 4 | 1 |
| Amy Winehouse | 2 | 1 |
| Kanye West | 2 | 1 |
| Oasis | 2 | 1 |
| Coldplay | 2 | 1 |
Controversial
Tap an artist to see their albums
| Artist | Ratings |
|---|---|
| Bee Gees | 4, 1 |
5-Star Albums (163)
View Album Wall
Popular Reviews
Now this is an album. From the riffs on NWO, to the groove of Jesus Built My Hotrod, to the searing noise of TVII and the darkness of Scarecrow, Jourgensen and Barker created one of the most influential industrial metal albums of all time. Picking up where A Mind… left off, this album is a sonic soundscape of hard hitting beats. Often imitated - never bettered.
Bland, soulless music for middle class dinner parties where the food is varying shades of grey, and the conversation dull. Utterly pointless drivel.
1-Star Albums (38)
All Ratings (703)
5/5 for this absolute classic.
Classic 60’s songs, with Mama Cass’s amazing vocals. Loved it.
What a debut. Hard hitting, infectious and full of hits
Not my thing..
Pointless, self indulgent pap.
It’s Bob Dylan! It’s also… only ok? There’s a few standout tracks, but as always, I feel that Bob writes better poetry than songs. They’re more impactful on the written page.
One of the most overrated albums of all time. Anodyne, over produced, commercially cynical, not a single song on this LP even compares to the likes of the Supremes. It would be harmless pap, but the cynicism just bleeds through so much.
Overrated, overblown, ego filled shite. It was football terrace chant shite when it came out, it remains shite now. In fact, I’d say it’s now like dogshit that’s been out in the sun for too long and has gone furry - it’s mouldy, pointless Dadrock for idiots who barely scrape two syllable words together. Needs to be consigned to the trash heap along with the idiotic brothers Gallagher.
Overrated, pretentious, overblown, meandering pap. By this point the drugs had well and truly got hold of Lennon, combined with the talentless Yoko’s influence just ruined one of the countries best song writers. There’s one outstanding track which earns the one star - Working Class Hero. The rest deserve to be consigned to the bin
After Surfa Rosa and Doolittle, I did wonder whether the Pixies could pull three absolutely amazing albums out of the hat - and they did. It’s all there - the growl of Frank Black, the accompanying harmonies of Kim Deal, the guitars of Joey Santiago - and it just works. The Pixies were, and remain, the GOAT.
It’s good, but not War’s best. The title track is a banger.
Yes it’s dated now, yes it’s a bunch of cliched AOR staples, yes it has about as much depth as a summer puddle, but I defy anyone to not shout along to Livin’ On A Prayer or Wanted Dead Or Alive if they hear them in the car or in a bar. And for that it gets 3 solid stars.
Classic 60’s flower power era folksy, gentle songs.
A great piece of 90’s Britpop!
There is music before IV came out, and then there’s music after IV came out. IV set the yard stick for rock for decades - and remains a high point. Yes, Stairway has become almost a cliche, but so have sayings from Shakespeare, Dickens and Austin - they all share one thing: Our language, our culture is enriched by their existence. It’s that good.
I hadn’t heard this before, but I really quite liked it. Clever arrangements, poetic lyrics, harking back to a feeling of the Roaring 20’s in places, a quintessentially English country feel in others. A nice collection of well made songs.
I can’t fault this album at all. It’s a perfect slice of 60’s Americana, perfectly framing the time.
From the opening bars of Five Years, to the final orchestral chords of Rock N Roll Suicide, Ziggy is the perfect glam rock album.
Well… this is a strange one, and didn’t know what to expect. But crikey, what an album. Dark yet somehow airy, the harmonies the Beach Boys are famous for are there but the lyrical detail fights with the style, to great effect. It’s not Pet Sounds, but it’s a damn great album.
There are some albums on this list that make me wonder how they justify their place on the list. The White Room is not one of them. Jimmy Cauty and Bill Drummond not only created a seminal album, but also an entire genre of music. This was one of the first pieces of performance art to crossover into mainstream music, through their clever use of pop hooks and twisting the commercialisation of music into something weird, something novel and fun, but also subversive and cool. Their use of samples, beats and synths all just works - it’s easy to dismiss it as ‘just another Brit electronica album’ but that misses the fact before the KLF they didn’t really exist as they do now - this broke the mould. The hairs on my neck still stand up when I hear the start of 3AM Eternal and What Time Is Love - powerful floor filling bangers that have stood the test of time. The KLF, also know as the Timelords, the Justified Ancients of MuMu - changed the face of music forever with one album. The White Room.
What a terrible album. The only reason this ever got coverage was for the Fatboy Slim remix of Brimful of Asha. 1 star.
Not a great fan of Neil Young, so this was a bit of a slog, a few decent songs, but very nothing to light a fire.
I’d never heard of this album, but I’m glad I have now. The composition, artistry and themes are wonderful, the mix of influences just works so well. Loved it.
Hasn’t aged well - a few decent tracks, but nothing special.
Just didn’t grab me.
Eurgh, no matter how much I’m told she was a trailblazer, a wild spirit and huge influence, I just can’t abide Marianne Faithful.
It’s Kate Bush. It’s ethereal, quirky and amazing. Tempted to knock a star off for not being Hounds of Love, but holy heck it’s a stunning album.
Coming off the back of Toys In The Attic, it suffers a lot. There’s no hook song - no instant classic. It’s one of the Aerosmith albums you forget easily.
Absolute banger of an album. The title track is of course the hook, but even that is overshadowed by the likes of Cherish, Express Yourself, Dear Jessie (my favourite track on the album) and Oh Father. The segue between Dear Jessie - a pure piece of candy floss pop, perfect for what De La Soul referred to as the Daisy Age, and the deep, soulful, heart rending Oh Father just works perfectly. I love this album.
A piece of post-punk, avant-pop history. Tinny guitars, off kilter beats and anguished singing make for a curates egg of an album - not sure if I like it or not, but enough here to make me come back for repeated listens.
As with Beck, Eels have an otherworldly feel to them, one that I love.
Now this is an album. From the riffs on NWO, to the groove of Jesus Built My Hotrod, to the searing noise of TVII and the darkness of Scarecrow, Jourgensen and Barker created one of the most influential industrial metal albums of all time. Picking up where A Mind… left off, this album is a sonic soundscape of hard hitting beats. Often imitated - never bettered.
A perfect Concept album..
One of my favourite 90’s metal albums.
Bland, soulless music for middle class dinner parties where the food is varying shades of grey, and the conversation dull. Utterly pointless drivel.
Lift music. Just nothing more than that. Over rated Muzak.
Overrated, over hyped.
Nope, not giving a pedo anymore than one star. I couldn’t give two tosses how good they are.
Nope, can’t bring myself to give a racist arsehole who shat all over his legacy in the Smiths more than one star.
I know I should love this. I know it’s a classic. But I just can’t gel with Dylan’s delivery. His lyrics are amazing, the poetry unsurpassed, but his voice just grates. In the hands of others these songs would fly, so he loses a star from what otherwise would be a five star album.
It’s Geezer. It’s Tony. It’s Tommy. It’s Ozzy. Without these four Aston lads there would be no Heavy Metal as we know it. From the sound of the rain at the very start of the album, to the final chords of Wicked World, Sabbath laid down the blueprint for the next 50 years of heavy music.
It’s Coldplay. It’s bland. Not a single song stands out as memorable. It’s just… dinner party music for boring people.
Pure slice of Americana - a raw, somewhat simple record, it’s beautiful
Yet more over hyped, overblown dadrock by one half talented brother and one total idiot.
What an album. Mixing Afro beats with dub, uplifting trance and hard techno, Leftfism was such an iconic album. Release the Pressure, Song of Life, Inspection, Original, Afro-Left and the anarchic, sneer laced Open Up (with John Lydon before he became a butter advertising, stuck up arsehole) the whole album is just perfect. I’d give this so much more than 5 stars.
Classic example sample of the post-punk era. Influential even today.
The album that saw metal heads throwing shapes, and ravers jumping into circle pits. From the outrageous sample from Ultramagnetic MC’s Give the Drummer Some, hooking Smack My Bitch Up, to the literally incendiary Firestarter with the distorted guitar and pounding drum beat, via the hip hop beats of Diesel Power and the trippy Mindfields, Fat Of The Land is a landmark crossover album that Liam & the gang have never bettered. RIP Keef- the best rave dancer turned singer and the literal life of the party.
RIP MCA.
One of the most overblown, overhyped bands of the last 30 odd years. Remembered more for being drug buddies to the likes of Kate Moss and Amy Winehouse than any of their bland, posh boy slumming it less than average indie pap. Not one single redeeming feature. Would give 0 stars if I could.
Overblown, overhyped. Nothing original.
Pleasantly inoffensive, enjoyable to relax and drive to in a morning
I’ve been waiting for this… Full disclosure: I am a HUGE NIN fan, and have been since 1989. The second full length album from Trent Reznor - who wrote and performed the album with a supporting cast of session musicians, recorded (infamously) at Cielo Drive, the site of the Manson Family murders of Sharon Tate and her friends, came out at a time when music was changing once more - Cobain was dead, grunge along with it, and my-metal wasn’t yet a thing. Coming off the back of the breakout hit of Pretty Hate Machine, and a Grammy win for Wish (off the Broken EP), expectations were high from both fans and the music industry. And Reznor didn’t disappoint. From the opening whip cracks of Mr Self Destruct (sampled from THX1138) and its pounding backbeat, Reznor set the tone. The lyrics were uncompromising, nihilistic and bleak, Mr Self Destruct’s theme of internal loathing giving way to the sleaze rock of Piggy, with refrain of ‘hey pig’ evoking the murders literally, ending with ‘nothing can stop me now’ growled threateningly and with conviction. Heresy picks up the beat, declaring the death of religion over a club beat mixed with a military march, , atheism was never so danceable, flowing into the relentless drumbeat of March of the Pigs, the staccato beat just off centre, unbalancing the listener as they can’t help but move to the beat. Then there’s Closer. Ah, the NIN track most non-fans would know, thanks to it becoming a rock club dancefloor stable, the backbeat taken from Iggy Pop’s Nightclubbing slowed to a heartbeat, mixed with a sexually charged groove and lyrics, the refrain ‘I want to fuck you like an animal’ becomes its own form of religious mantra, the poetry whispered by Reznor over the electronic squarks and warbles seduces the listener into a delirious bliss. Ruiner builds on this, reaching a crescendo during the chorus of strings and fanfares, pushing the emotions to the limits, repeating the ‘nothing can stop me now’ refrain, only this time from an confidence born of arrogance rather than a threat. The Becoming evokes a sense of helplessness, of loss of self as the cogs and fears grind down the self into nothing more than a drone, helpless and alone, just another piece in the puzzle. This sense of helplessness deepens in I Do Not Want This, a sense of drowning and loss coming to the front, foreshadowing the second half of the album, giving way to anger and passion, as the song builds to the screams of ‘I want to fuck everyone in the world, I want to do something that matters’, the the serotonin hit at its highest, pushing into Big Man With A Gun, evoking feelings of stardom and excess at its worst, with no regard for anyone but the narrator, until… oblivion. A Warm Place, the lead track to the second half of the album is by contrast, peaceful, a gentle caress, an oasis of calm, the eye of the storm around which the maelstrom uproots and destroys everything around it, until… the disconcerting, menacing ticking and humming begins, heralding the start of Eraser. It starts gentle enough, ‘need you, dream you’ sings Reznor, but that doesn’t last, darkening into feelings of lust and violence ‘fuck you, use you, scar you, break you’ flipping into self hatred and loathing ‘lose me, hate me, smash me, erase me, kill me’, the sense of loss deepening even further. Reptile offers, at first, a sense of relief - here the Madonna as the whore, the object of his desire, yet he knows that to be with her spells his doom. The Downward Spiral lays that doom out - ‘so much blood for such a tiny little hole’, the inevitable happens, oblivion beckons, his thoughts bleed away, the blackness calls to him. Hurt. Ah, beautiful, melancholy Hurt. The paean to heroin, ‘my beautiful friend’, that final respite from the pain he feels, his voice cracking as he cries out ‘if I could start again, a million miles away, I would keep myself, I would find a way’, knowing that he has truly lost himself. I don’t overstate it when I say I truly think that without TDS, we would never have had the rock music of the late 90’s and early 2000’s, and come to it, the music of Lady Gaga, Halsey, and countless EDM acts, all of whom drank from the well, with TDS becoming part of their musical DNA. It’s a perfect album in so many aspects, and truly deserves it’s place on the list.
Another great album - took goth / industrial metal up a notch, building on the roots of Alice Cooper, KISS and Nine Inch Nails (Trent Reznor produced the album and co-wrote several songs) The Beautiful People’s pounding double drum beat is so reminiscent of the Glam Rock days.
Stone cold classic.
What can I say? A simpler time? Buddy Holly was a wonderful songwriter, who along with his band, the crickets, moulded early rock and roll into the shape it would become. His voice had an otherworldly feel to it. Without Holly’s ‘That’ll Be The Day’, ‘Oh Boy’ and ‘Maybe Baby’ we’d have never got the Beatles, the Stones, The Beach Blus and so many other who followed in his footsteps. Such an amazing talent taken far too soon.
Manufactured, over produced pop slop with no redeeming features.
Like it, but not as much as Surfa Rosa!
White Riot, London’s Burning, Garageland, Janie Jones… and so many more. This is such a better album than Never Mind The Bollocks, which was an overhyped piece of trash. The Clash remain, along with the Damned, THE UK punk band of note. To think they went even higher with London’s Calling and Sandinista!
I appreciate that Miles Davis is regarded as a genius, but Jazz is about the only genre I can’t ever relate to.
Nope. Zero stars for the racist.
One song, This whole album is one song that everyone knows, and that’s it. The rest is just… dirge.
Absolute banger.
Wants to be more than it is - a badly created copy of Bjork, Jewel, Fiona Apple amongst others. TL:DR what happens when corporate gets an idea to present their own female singer / songwriter.
Putting aside his MAGA stance, this is still a piss poor album that was piss poor at the time and hasn’t got any better.
Dreary middle class dinner party music.