Album Reviews

Apparently these guys burned a million quid in the back of some boathouse as an artistic statement about how wealth controls people more than people control wealth. That's a million pounds that could've gone to any charity. Sure, it's not as bad as anything the billionaires are doing, but it's still pretty damn morally objectionable. As for the music... it's pretty bad. There's a reason people say EDM aged poorly – today's audiences want intense, complex, catchy material – though frankly I can't even understand what the appeal back in the 90s was. There's extremely little to absorb in each song, hardly any chord progressions or melodies of interest, hooks that technically exist on paper but are just bland and annoying in practice, close to zero musicianship, weak lyricism... Be honest, would you want to go to a KLF concert? Or perform a cover of a KLF song? Yeah, figured. I can't imagine these are very fun songs to perform as a musician. My attempt at a track-by-track breakdown, as you'll see below, was kind of futile, because the tracks sounded pretty similar. The Spotify version is missing most tracks, so I listened to the 1991 North American release on YouTube instead. That's the one that starts with a Justified And Ancient excerpt, a somewhat lacklustre electronic dance piece that shifts directly into the similarly uninteresting What Time is Love?. That's about all the duo has going in terms of intrigue and originality: song transitions. You can tell this was intended to be played as a cohesive piece of art. Another solid transition brings us into Make It Rain, where we at least get a melodic instrument other than the weak club-shouty vocals. It's a sax. Decent, although only nominally, because something about its recording makes it sound... inorganic. Almost synth-like. After the completely forgettable 3 AM Eternal, we get some nice high synths in both Church of The KLF and Last Train to Trancentral. The latter definitely gets a shoutout, for having the first instance of ear-catching lyrics and some legitimately pretty cool synth SFX. Then Build A Fire gives us some actual physical instruments to work with. You're telling me these guys have heard of lead guitar, bass, and drums? I wouldn't have guessed. This is the first song I'd actually be willing to listen to again without compensation. Though The White Room drops most of the better, more human-like textures, it still has a decent groove. Solid vocal line in the chorus especially, and those low bass synths also contribute a lot to the song's danceability. (Man, could side 2 really rescue this record from the fiery depths?) No More Tears finds a reasonable, if ridiculously clichéd, chord progression. Coupled with the bass and (mixed down) guitar rhythm, plus the free, happy vocals, it sounds kind of like electronic reggae. I enjoy the piano instrumental in the latter half too. Justified And Ancient – the full version – sends us off on a decent but cheesy note. I like the line "They don't want to upset the apple tart". (Looking it up, it's actually "cart", but I like my version better.) Still, that first side of music is so horrendous that I can't give this more than a 2. 2/5 Key tracks: Last Train to Trancentral, Build A Fire, No More Tears

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Wow ... so the only ELP on this list is Tarkus (thank you at least for that) and a Live album. Shame. Also ... if you are going to have a Live ELP album, dont you think it should be longer than 38 minutes? A bit disappointed.

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definitely has some of the tinny warbly harmony energy of Trafalgar, but also pulls some cool shit. also didn't hate the tinny warbly harmonies this time, nor the weird majestic operatic instrumentals. it's funny that history may well remember them as the disco guys. favorite song is Suddenly or Whisper Whisper. solid 4

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Comedy. Though it may not be my vibe, I can imagine times when it would be, and also Jordan reminded me of the (irrelevant to this album) perfect music video with Christopher Walken dancing

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#63. I quite like Radiohead, but this particular album isn't their most interesting. 3/5: acceptable *this is the fourth album I purchased from this list. Mostly just because it was the only Radiohead album I didn't already own, so I figured why not complete the set. Song added to playlist: Knives Out I've created a playlist on Spotify that consists of the best and/or my favorite song from each of the albums in this book. This list can be found here if you are interested: https://open.spotify.com/playlist/7MAXDGLWlwLkFLb8veGfkA?si=FqkQQPgZTFWG0jAUJXLFZA&utm_source=copy-link

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Very run-of-the-mill country songs. I thought Fly By Night was alright.

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Album 312. Raw Like Sushi — Neneh Cherry (1989) Terrible pop album that adds hip-hop and electronica to the album just because it feels cool. Albums like this are the reason why hip-hop is not my favorite genre in summary stats of the challenge. Total shit 2/5 No liked songs

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Game changer

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Unsure why the fairly low rating. It's fine background music.

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Sworn and Broken is one of my top 20 songs of all time. Who knew harpsichord and grunge mixed well. A couple songs were a bit more 60's psychedelia coded than I like. RIP Mark Lanegan.

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Highlights: Hanging on the Telephone, One Way or Another, 11:59, Heart of Glass. 3.4

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This is peak Steely Dan in my opinion, I know many people love Aja but to me this album eclipsed Aja. The song writing and the overall feel of this album just do it for me.

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It's ok. I am not a fan of the slower work.

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Perfectly fine arena/pop metal album. Has a nice energy and does a good job of hitting catchy grooves. Very derivative, but good for what it is. Top tracks: Wild Flower, Peace Dog, King Contrary Man

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Fun and funky

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There is far too much Joni Mitchell on this list. One album was too many, let alone FOUR.

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Given the genre, I liked this more than I expected, probably due to Scott Litt’s production. Sometimes the words fail me when they sound less like lyrics and more like sentences from a journal. A bit reminiscent of the band Live, but I like Live much better.

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cool

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Only listened to it less than 10 hours ago and can't remember it. So meh

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Solid listen. Obviously black hole sun and spoonman are familiar. Let me Drown, 4th of July and Head Down stood out on first listen, with the back half of the album seemingly more entertaining. But definitely need to give it a few more spins

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okay this one i do know. did these absolute mad lads really name their first three (maybe four) albums as numbered self-titles? how did i not know that? anyway i've loved Immigrant Song since i heard it as a kid but don't recognize anything else on this album christ was Immigrant Song really 1970? that's even crazier, tbh; that feels early. song still fucks hard i might have heard Friends? this kind of jangly proggy guitar rings a bell. and it's good Since I've Been Loving You goes some PLACES i think i've heard Gallows Pole? it's awesome even if i'm not entirely sure how i feel about the banjo Hats off To (Roy) Harper is WEIRD. in a way i'm not sure i'm into. i don't like it when things are mixed all in one ear, generally. my left ear hurts. i'd like it a lot more if not for that there's more, like... almost bluegrass influence here than i was expecting? which is to say, not a ton, but not zero. i don't think this is a perfect album; i think it meanders a little. the highs are very high, though

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It's good to hear them at their perhaps worst. There are some bangers on here but this is the first Beatles album I've heard that just feels like a collection of ideas that they pressed record on. Could be much better. Til there was you, postman, all my loving all great; then there's perfectly fine fodder like Beethoven and you really got a hold on me; and then a lot of this really does feel like they had 20 minutes to record a song and got it out and moved on. She's got the devil in her heart but she's an angel sent to me? Not a second time is maybe the most uninspired Beatles song I've ever heard. DOG YOUR LOVING GIVES ME A THRILL BUT IT DOESN'T PAY THE BILLS? Ass. At least they buried these last three songs at the end.

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Y to the awn.

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This took me by surprise somehow. I’d never heard it and knew I’d probably like it but I didn’t know it would be so good. One to hunt for on vinyl for sure.

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It took me three tries to get through this and it is only about 45 minutes long. I am doing this to get a better understanding of music but I just don’t understand why albums like this are on the list.

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Really fun and weird record.

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(3/5) This was a fun, high '3' listen. I'd only known "Coconut" before this and I appreciate the goofiness of it, but "Gotta Get Up", "Early..", "Without You", & "Let the Good.." all stood out as well. Just a quick, enjoyable listen overall. Someone compared him to Billy Joel (as in Nilsson influenced Joel), and I could totally see that. I have a love/hate relationship with Joel's stuff, as in I love some of it, and hate the rest. I could see that sort of dynamic with Nilsson as well. I guess the album made the list because of its awards? While I enjoyed it, it didn't shake the earth, so it's inclusion is a bit of a head scratcher? Ok.. I'm here for an experience and this wasn't bad as those go, so.. ok..

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Too loud. Not for me

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Favorite track(s): Take On Me, Hunting High and Low, The Sun Always Shines on T.V.

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This is less of an album as it is an experience. I’ve heard it before, and on this listen I grooved to the early songs and endured the later, longer ones. The impact and influence of this band and album deserves respect. Many of my favorite artists and genres trace their origins from listening to music like this. Post rock seems to be greatly indebted to this. It’s an amazing album, one that despite having known for years, I rarely listen to again. But I’ve listened to a lot of other Can songs and albums. It’s a big ask to digest this in a 24-hour period, so 4 stars I guess.

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When this popped up on the list today, I didn’t recognize the name. But the album cover definitely looks familiar; given the genre, I’m guessing this showed up on Pandora as something that algorithm thought I might like. I enjoyed it OK, but not as much as I’d hoped.

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For lovers of Celtic punk, you will be very pleased with this one. For everyone else, buckle up. This is a very in-your-face record that I wouldn’t expect to be blended with an Irish sound, yet it works most of the time. However, it was a bit too much for me at certain points in the record. The highlight of the album is when they finally allow the sound to breathe a bit on Fairytale of New York. They craft a beautiful song that perfectly encapsulates the feeling of standing in Central Park on Christmas night with a fresh layer of new-fallen snow blanketing the surrounding environment.

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certainly a respectable effort to do something different from a group who by this point had more than enough old material to coast on for the rest of their lives. however, it's not particularly a style for me - there's some good lyrics writing and some decent jamming but that's about it.

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Fatigue

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it's good. didn't take listening notes. some serious songs, some sillier songs. weird choice following coat of many colors with traveling man. i would put this more in 'collection of songs as album' category than in 'total unit as album' category. which, the songs were good so really i'm just splitting hairs. EDIT I listened to this on Aug 24, 2026, and Dolly Parton died Aug 25, 2026. To pay my respects, I am changing my rating from a 4/5 to a 5/5. - 8/25/26

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Rest in peace queen, you were one of the greats and will never be forgotten.

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I think it‘s not up to debate that Dolly is one of the best people to ever be alive. AND she‘s a great musician! This album is just lovely. She is really good at story telling in song. Songs like the title-track, Traveling Man or She Never Met A Man are such great character pieces that paint detailed pictures of their subjects. All that performed by a sweet and string voice that‘s full of emotion. Musically, it‘s a bit monotonous for me but i guess that‘s also a question of genre preference. All in all, how can you not love Dolly?

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The soundtrack that is playing in the robot factory whilst robots are making new robots (whilst humans starve and burn in wildfires outside the factory). After their week-long shift (without breaks), the robots take their Royksopp CDs home and place them carefully upon their coffee tables next to Moby and the Buena Vista Social Club, dusting and polishing the plastic cases so that when their robot friends come for dinner, they can admire their impeccable taste in music. A heartwarming view of the future - and possibly the only realistic scenario in which the world hasn't actually been destroyed by rogue AI by 2030.

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God bless her soul Love ❤️

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I was recently watching an episode of Ted Lasso (s3e6 if you need receipts) that ended with the team leaving Amsterdam by bus, tired but in high spirits, all singing 'Three Little Birds'. Or, more accurately, the same two lines of 'Three Little Birds' over and over in terrible faux-Jamaican accents. You can't pick your fans. Bob Marley had the ambition to take reggae -- a very specific and marginal musical genre -- and become one of the biggest artists in the world. I admire the chutzpah. Marley did great work in presenting reggae to American and European audiences in a way that highlighted the genre's strengths without diluting the music or message _too_ much. Unfortunately, I just can't shake the feeling that Marley's music is often reduced to a feel-good caricature, as in that regrettable episode of Ted Lasso. Marley's friendly "peace, love, and ganja" aspects were readily adopted by Western audiences who conveniently ignored many of Bob's less comfortable political and cultural messages. I'm sure that Bob would find those audiences ridiculous, but he was happy to sell records to them. Exodus a pretty schmick production -- a crack band in an expensive studio, using recording techniques common in rock -- and it sounds really great. This is the reggae album that even people who don't like reggae can happily listen to. I just find it hard to get past the cultural baggage that has accumulated around Bob Marley since his death. The weird hagiography seems out of kilter with the man and the artist. I need to do more investigation. But this is a fantastic sounding album. 3.5 stars, rounding up.

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When i first listened to this album about 12 years ago (15 year old me decided to start seeking the good music, Nice Try Iggy Azalea!), my mind was blown and genuinely, this was one of my favorite first listens ever to this day. The main critique is Billy's voice, or just his overbearing fingerprints on this album in general (Band was obviously a mess behind the scenes). And there's no doubt that later on it was just too much to overcome. But Their first 3 albums are 3 of the absolute best. So as far as this one goes? All these years later, this still holds up for all the right reasons for me. Cherub Rock, Today, Disarm, Mayonnaise, Rocket, Soma are all still unskippables to this day. The depth beyond the big hits still really holds up as well, Geek USA being a prime example of that. Most will say Mellon Collie was their best, some will even argue Gish. But to me, this was the best of the bunch. Siamese Dream has the best guitar work, the most polished and focused record, an absolute emotional roller coaster and in my opinion, the perfect pace for the average listener to appreciate. No doubt in my mind, 5/5 (P.S, this is album 5/1089 for me, and ive gotten Thriller, 2 Beatles albums and this, does this mean im about to get some absolute bizarre records going forward? oh goodness)

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Eric Clapton would never let a bag of cocaine fall out a window.

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Great rock music (and I am taking a broad definition of ’rock’ here) is a balance between smart and dumb. And The Prodigy really understand how that works. Liam Howlett told SPIN that “I have a philosophy that our music works on a really dumb level, which is the level that most people understand.” Well, mission accomplished; he took the most exciting aspects of techno and rave, mashed it with rock guitars, hip hop beats, volume and distortion, and a brace of charismatic front men to create an exciting and powerful hybrid that really gets the blood pumping. It’s aggressive, sure, but this record sounds bucking great and really gets me hyped up! It’s got a great beat, and I can bug out to it! Banging tunes! Five stars! Let’s get munted and dance! But I think Mr Howlett is being disingenuous when he claims his music operates purely on the ‘dumb’ level. He is a smart and sophisticated musician, and this album didn’t come together by accident. There are deliberate ambition and craft here. And this is where is becomes necessary to discuss That Song. I don’t even want to type the name out in full because it contains a misogynistic slur that I won’t use, in a violent context that is just inexcusable. The band’s claims that “oh yeah, it doesn’t mean that, it just means we’re really hyped up!” is absolute bullshit, and a prime example of Schrodinger’s Asshole (a person who says racist, sexist or out of pocket shit and acts like it’s a joke or not based off the people’s reaction). I am not sure I would go as far as Jesse Dorris’ retrospective review in Pitchfork that describes the whole album as the national anthem of the toxic masculinity backlash, but I am certainly giving her arguments a lot of serious consideration. (Let’s not forget that this came out on Madonna’s Maverick label, yet more evidence that Madonna may be an icon of female agency, but not necessarily a feminist role model). Personally, I find most of their aggression cartoonish and relatively harmless – but I can certainly understand being upset and freaked out by That Song. To paraphrase Jessica Hopper in her massively insightful book 'The First Collection of Criticism by a Living Female Rock Critic'; how are we supposed to feel about the loooooong history of popular music that we think is awesome, but _hates_ women at the same time? That Song is another vivid but sadly commonplace example of a catchy song that misogynistically threatens and condones violence against women. What is that like for female music fans to live through? This makes me – a straight, white, male rock fan – pretty uncomfortable, so I can imagine it would be very unsettling for many women. So, five stars for the banging tunes, 1 star for obnoxious misogyny that leaves a terrible taste in my mouth, averaging out at an uncomfortable 3 stars, subject to further review.

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Getting a Dolly Parton album on the day of her passing is crazy. I honestly really enjoyed it and her voice is so soothing. I think this album is def at least 4 stars but personally I just don’t see myself playing it that much. Despite that I think the vocals and instrumentation speaks for itself. Fav Song: Rosewood Casket

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RIP DOLLY PARTON

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Makes me want to go fishing. Huge shout to the person running this site giving everyone this album today

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Mind blowing

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I can remember exactly where I was the first time I heard Portishead. I was at the Valhalla cinema when their short film 'To Kill a Dead Man' came on (unannounced? I can't remember expecting to see it) before the feature. I got the references to 60s spy films and Goddard and John Barry etc. I appreciated the low budget, homespun scrappiness of it, even if it is not the most compelling thing I have ever seen. It's an interesting artefact, full of retro references and throwbacks. The soundtrack is more sound design than music and only necessary listening if you're a mad Portishead completist. But then they played 'Sour Times' over the credits. "Woah" I said to myself "what's _that_?" It was mesmerizing and instantly grabbed me. I could immediately grasp what they were presenting. Languid down-tempo hip hop beats, cheesy 60s soundtrack guitar and smoky torch song vocals. It was a simulacrum of 60s torch song or soundtrack, like it was from a crackly vinyl record found in the back of a charity shop or grandparent's collection, but a world where hip hop beats were around in 1965. Or even the samples they created as if they were from (non-existent) old records. I chased the album down and it did not disappoint. 'Sour Times' wasn't even the best song on the album; 'Glory Box' gets the guernsey as best track, in my opinion. It was moody and sad and spacious and artful and different and stylish and gritty and cool and had a consistent and compelling worldview throughout. I was obsessed and listened to it a lot, nearly always as the whole album each sitting. It is one of the core foundational texts of trip hop, although I can see why the band distance themselves from the label. The signifiers of the sound were easily replicated and quickly established a clichéd genre of largely interchangeable moody wine bar background music. Some of it was not bad -- Morcheeba, Sneaker Pimps -- but a lot of it was really forgettable. Portishead shouldn't be blamed for any of the bland dross that copied their formula in the following years -- that is just Sturgeon's Law in action. What the imitator rarely understood is that it isn't about the signifiers -- the samples, the slow beats, the vinyl crackle, the smoky vocals -- it's the visionary _space_ that Portishead created that makes this so special. But I can see why Portishead's subsequent records are a reaction against the production hallmarks of Dummy. Personally, I really like the deliberately fucked up production aesthetic, but it is the songs and Beth Gibbons vocals that really make this album special to me. Moody torch song wasn't really much of thing in the 90s, so this album really stood out on release. I haven't listened to this in a long time -- possibly a result of me over-playing it in the 90s -- but it has been a pleasure to listen to this again today. It still stands up. (And now I confess; earlier in this project, when reviewing Isaac Hayes' Hot Buttered Soul, the track 'Walk On By' triggered a memory for me. "Oh, that's in a Portishead song" I thought, and scrubbed through Dummy about 4 times trying to find the track. Only to then realize the song I was thinking of was '2wicky' by Hooverphonic. Which is a pretty good song but stylistically ripped off from this album).

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Australians fuckin' love ABBA. ABBA, at their best, are much like Australians; big, dumb, mostly harmless and a lot of fun. It's a recipe for a damn good time. But this more mature, sophisticated, moody, and refined ABBA is not what anyone really wants. Where's the fun? Where are the good times? The crazy outfits? The big catchy hooks and choruses? The ridiculous lyrics? Even the big single is somewhat melancholic. The _joy_ of ABBA is missing in action. While clearly a band at the height of its powers in terms of its craft, nobody is enjoying the process, including the band and this Australian listener. The break-up of the band was inevitable. 2.5 stars, rounding down.

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First thing I thought was, jee what a coincidence that this album was picked for me the day after she died. But it turned out that the randomizer was a bit less random today and every active user got this or another Dolly today. And I really like this gesture. I never listened to her really but are aware of the big hits like Jolene etc. Also I am not a huge fan of traditional country music, but I like a lot country influenced music like what we label these days as Americana, roots or alt.country. But this album is really pretty. She is a great storyteller, if I am correct this is her first album full with her own compositions. I listened to it a few times and especially liked the title song, Travelin Man and Early morning breeze . 4/5

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Damn she passed away right after I listened to her for the first time, RIP

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I am only a few weeks from finishing this project. The end is in sight, and it can't come fast enough. I found this album absolutely exhausting. It's like a cross between Daft Punk and the Chemical Brothers (both of whom I really dig), so I can't explain why I find this so wearying. It's shiny and loud and funky and a bit noisy and energetic, but I just want to put my fingers in my ears and gently beat my forehead against the tabletop. Please make it stop.

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(sigh) This album confirms to me that Dimery knows NOTHING about non-Western music. Yeah, it's a got a sitar in it, but this isn't a meaningful fusion of Indian and Western music; it's a fucking joke. It cheapens and demeans traditional Indian music. It's a novelty record, akin to Moog Plays Bacharach or the Beatle Barkers. And it wasn't even the first to try this concept; Harihar Rao's Raga Rock (an equally terrible record) predates this by 4 years. I wonder about Dimery's 'world music' inclusions on this list. They often seem to be the examples most geared towards Western audiences, often to the point of pandering. The most extreme examples are a world music mélange, whipping a random combination of disparate influences together over some canned beats into an indistinctly tasteful 'international blend' suitable for a dinner party or an afternoon set at a Womad festival. I can only see this record on this list as an example of an 'exotic' novelty album, a genre commonly found in bargain bins, charity stores, and your grandparents' record collections. As an example of shit novelty records that you will commonly see in your travels as a vinyl collector, this rates two stars for being vaguely listenable (the covers, at least, which are kind of funny). But as serious music? Get real, what would be next? James Last? Klaus Wunderlich? Hammond A Go Go? The Baja Marimba Band? Fuck off! 1.5 stars, rounding down.

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Now THIS is how your rebound from a bad record! Bringing the funk, the soul, and a marvelously extended version of Papa Was A Rolling Stone (over a third of its overall run time), this one was a breathe of fresh air that didn't overstay its welcome and left plenty of time for a repeat performance. I'm going out on a strong limb saying that the mentioned track alone earns this one three stars, but the remainder (while groovy and eminently listenable) doesn't quite garner it two more. Still manages a very respectable 4.5/5 that I'm hesitant to round up without a good deal of revisiting and an improved estimation of its other tracks.

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(sigh) This is a very intimate and personal album, and I am sure that, if it connects with the listener on that personal level, it is profound and meaningful and delicately beautiful and emotionally resonant and blah blah blah. But this does not speak to me. It's not bad -- it's smartly written, tastefully arranged and played -- but Mr Callahan's laconic, deadpan vocal stylings annoyed me more and more as the album progressed. I find his disaffected, enervated drawl emotionally alienating. I can't help but imagine what it would be like if we just replaced all the vocal tracks with a good singer; Phoebe Bridgers is the name that immediately springs to mind because her material is not a million miles from this, but if we're playing fantasy-casting here, what about Emmylou Harris? Shit yeah, now we're talking! That could potentially be a 4-star album. But that final song, 'Faith/Void' has no business being nearly 10 minutes long. That is just taking the piss.

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Dimery is pushing up against his own 'no compilations' rule. He obviously and desperately wants to include 'Legend' on the list, but can't, so has included three of Bob Marley's strongest 70s albums to cover the spread. I would argue that one is sufficient ('Exodus' would be my pick), but this is an admittedly pretty strong album, and it has a few classic tracks, 'Concrete Jungle' and 'Stir It up' immediately spring to mind. The inclusion of two Peter Tosh songs helps add some variety to the album and reduce the filler quotient ('Kinky Reggae' is the most egregious filler track). And the band is certainly _tight_. The groove is always in the pocket, and the band sounds great. Even Chris Blackwell's overdubbing interventions don't ruin the core performances.

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This album gets a lot of props for being 'politically aware'. I will concede that it is relatively socially conscious by mainstream pop standards, but Ms Jackson's "violence, drugs and bigotry are bad, education and getting along are good" is hardly a controversial or nuanced platform. And, when married to the fascism-lite imagery of the title track (check out the video!), it becomes a bit... confusing. Maybe "fascism-lite" is a bit harsh; maybe this is more "sparkling authoritarianism". There is a youthful optimism here that borders on naivety and strays into unsettling conclusions if you really think it through ("we can be our own nation and we will all agree and the world will be a better place if we all listen to Janet! We are all individuals!"). But you can't deny that Janet -- young and naive as she was -- was speaking with her own voice and presenting a powerful and multi-dimensional image; strong, sexy, smart, informed, aware, sensitive. Janet had found her own voice on the 'Control' album (which probably also deserves a spot on this list) and follows the approach through to an ultimate conclusion here. And you can dance to it. Jam & Lewis' mechanical funk is very of its time but still sounds awesome. I could live without the interludes (which come across as a bit pretentious and preachy) but they are mercifully brief, and the songs proper are nearly all bangers. Seven top five singles! I do get pissed off when people describe any pop music with a hard edge and strict beats as 'industrial' -- it's really not, people -- but this is an uncompromising sound. There are plenty of references to the history of funk here - notably the Sly sample in the title track or Lyn Collins sampled on Alright - but this is reconstituted into a new and powerful form. This album really established Janet Jackson as an iconic artist. But, as Michael also discovered, it can be difficult to follow up this kind of iconographic success (let's not speak of the 32 foot tall HIStory statues he floated down the Thames). Janet's 90s albums are, I would argue, a return to more human-scale concerns (and better for it, even if less singular than this album) But this is a manifesto for a world view, for Janet as an iconic artist. for socially aware pop. And you can dance to it.

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Miss you,.Dolly :/

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Got this one on the day Dolly Parton died, which gave it a particular meaning to me.

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Dolly Parton’s Coat of Many Colors has such a warm, nostalgic feeling that it feels less like simply listening to an album and more like stepping into a collection of memories. I really loved how heartfelt and comforting the songs felt, with stories about family, childhood, love, hardship, and finding beauty in simple things. This was actually my first time listening to a full Dolly Parton album, and I honestly regret discovering her music so late. There’s something incredibly genuine about her voice and storytelling that makes even the simplest songs feel deeply personal. The album has a wonderful balance of tenderness, humor, sadness, and hope, and you can really feel the importance of her Appalachian roots and upbringing throughout it. The title track, “Coat of Many Colors,” especially stood out to me. Its story is simple but incredibly moving, turning something born out of poverty into a symbol of love, pride, and family. That ability to find warmth and meaning in ordinary experiences is probably what I appreciated most about the album. I’m really glad I finally gave Dolly Parton a chance. Coat of Many Colors feels timeless, sincere, and deeply human—and now I’m definitely curious to explore more of her music.

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I am going to take a minute to talk about Dolly Parton. I am assuming I got this album today due to the news that shocked the world yesterday, that Dolly Parton passed away at 80. There are so many things about Dolly that make her a legend and icon, a warrior and champion of charity. She tried her darndest to do good in the world, and it showed. This album was pretty good. Easy listening, nice harmonies between the three icons. Nice to get a county album instead of the usual british punk album.

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Oh, 1001 Albums Generator Dot Com. While the passing of a legend is certainly a good time to listen to their music, it is perhaps the worst time to actually review it. How can you expect me to dry my eyes, put on my scholarly glasses, and look at this through a critical lens? Does anyone dare have a stony enough heart to rate this four stars or less? Lucky for me, then, that it's undeniably great. Material that could have been saccharine or morose in someone else's hands is given a heartfelt, joyous presentation. Dolly sings everything earnestly and with her whole (renowned) chest. I'm not one for lyrics 99% of the time, but Dolly's here are beautiful and uncomplicated, not needing a Genius translation. "Coat of Many Colors" and "A Better Place to Live" are the world in the exemplary way that Dolly saw it. "Early Morning Breeze" is the joy of being alive (and accompanied by a very slinky bassline). "Traveling Man" is a cautionary tale with a hilarious twist ending. "My Blue Tears" is a lovely bit of poetry. "The Mystery of the Mystery" is about Dolly's faith and her willingness to accept that which she can't understand. "Here I Am" is my favorite song on here, an ode to self-fulfillment sung with fervor of a gospel preacher. If the rest of album has more well-worn material of the cheating heart variety, the delivery is still as good as it gets and the accompanying music and production serve their roles nicely. Whether you're listening with a critical ear or not, it's a great album from a great lady. So long, Dolly. See you on the other side.

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🕊️ I I I I I I I I 💩

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great stuff. rip to a legend.

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Surprised to see this on here. I say this as someone who bought this as soon as it came out and probably listened to it 1500 times. But Nonsuch is the late period XTC album that should be on this list. Go listen to that. A lot. That record deserves A LOT more attention. The world would be a better place if everyone spent more time with it. Go. Now! The musical craftsmanship here is stunning. Truly. Rewards a close listen. Listening to it again today on headphones, my mouth is agape. And Colin Moulding's musicianship particularly should be claimed by UNESCO as a world cultural heritage site. But the content here was not worth breaking up the band to bring it to life, as was the case here, with much budget induced stress. Fuck capitalism and the horrible forces of reality! But real they are, and if your art requires a big budget, you are making a choice to prioritize that and I'm not sure I agree with the decision here. This gets four stars from me because it is in the top 40% of albums, but it isn't in the top 60% of XTC. My friends and I used to jokingly, and lovingly, spread a rumor that Dave Gregory is living above a laundromat in our hometown. I will still get the occasional text. "I think I just saw Dave G at the Big Y deli counter." I pray those messages outlive me, and I pray XTC's music outlives its makers.

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Gave up midway through paranoid android. Might be one of the worst things I've heard in my life

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Meh. Add in the pedo shit and I'm gonna go ahead and give this zero stars.

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I can’t believe the top review for this record (as of Dec 2023) is from someone trying to use their PhD in Mathematics as justification for not liking hip-hop. Weak.

Oh fuck yeah, now we're talking. Wait no, I swear I'm not being pretentious. This is the lowest rated album on this site because I guess mostly people aren't very fond of German people smashing metal plates together - who would have guessed. But halle-fucking-lujah, this is something this list needs more of. Albums that make you go "well, that was an experience and now I'm a changed man". Nobody is lying on their deathbed wishing they heard more crappy 80s post-punk or late 60s psychedelic rock. THIS is what we all deserve to be listening to as we embrace eternal oblivion. I'm giving this a high rating not only because I genuinely really love it, but also to help Kid Rock move to his rightful place as the actual worst album on this list. Together we can make a difference. Save the turtles.

Brings back vivid memories of when me and my mate Ray went on a trip to Dresden. We met this rotund goth in a bar, head to toe with tattoos and piercings, real filth and after a while took her into the disabled bogs for a spit roast. We were both pumping away in her with Napalm Death on in the background and her wailing "MEIN GOTT" at the top of her lungs. I remember spaffing all over her back just as Siege of Power kicked in. As i shoot over her, she takes Ray's cock out of her gob and says "do you want fries with that?" in a faux American accent. Anyway, we go outside and there's this gammy little geezer in a wheelchair sitting there furious, giving me daggers, because he's had to wait so long, so I lean into him and I go "I hope you have as much fun in there as we just did you little cunt".

I really don't get rap, and I am completely aware of why. I'm a STEM guy, specifically a Ph.D. student in mathematics. Although my verbal intelligence is quite high, it's still about a standard deviation below my quantitative intelligence. Therefore, it should not be too surprising that I prefer melodies to lyricism, and that a genre based on the latter doesn't wow me. I know I'm pretty far out of step with public opinion on this one, but that can easily be attributed to the fact that hipsters with humanities degrees (i.e. extremely verbal-dominant people) are considered the ultimate arbiters of taste for some reason. (Side note: this also explains why prog rock is seen as being for losers.) Best song: Be (Intro), which had a decent instrumental part at the beginning. Everything else just sort of ran together.

Back when I was in college I used to go to a bar and listen to Neil tunes and do magic tricks for women. There was a bartender there, he was the best. I loved that guy. Some of the best years of my life.

Back when I was in college, there was this dude who would come into the bar I worked at on a Friday night and play fucking 10 Neil Young songs in a row. He would also hit on girls by doing magic tricks. I remember how angry I got every time he made me listen to an hour of Neil Young because I was just trying to have a good time, and he fucking made me listen to this sad, soppy fuck who writes nothing but songs that sound indistinguishable from each other and never seemed to enjoy a happy moment in his entire like. Fuck that guy, and fuck Neil Young. 2/5

Rap isn't my preferred genre of music. But I'm a shitty mathematician so I enjoyed this.

Shit like this on the list is both refreshing and infuriating. Refreshing because it is good, fun, interesting, and also not something I would regularly be exposed to! It's why I started this project and keeps me coming back. It's infuriating because the fact that it is included here means that Robert Dimery, the original author of the 1001 albums list is aware that music like this exists. He's clearly aware that there is an entire world of music out there. SO WHY HAVE I LISTENED TO 200 80s BRITISH NEW WAVE ALBUMS AND 200 SCOTTISH ROCK ALBUMS FROM THE 90S??!!?

Rage In Favor Of The Machine.

Music for incels to wank furiously by

Sorry Boomers/Gen X, I was like 20 when this came out so it's one of the best things to ever happen to me. Sorry it's not King Crimson or whatever.

The beauty of music is that it is subjective. It’s typically great for a certain group of people, though it’s never right for everyone. Some for the masses, some more niche, but it all has its place. Meanwhile, with lists like this, there’s always artists or records that anyone would have put on in place of what actually made it. Personally, I would have included Queensryche’s Operation Mindcrime, Live’s Throwing Copper, Joe Satriani’s The Extremist, Sara Bareilles’ Little Voice, or John Mellencamp’s Scarecrow album on a list of must hear records. Others would put totally different albums on and that's awesome. What someone likes vs. dislikes is truly subjective. Again, that's the beauty. With that said, this album objectively sucks. I mean truly horrible. Something had to be the lowest rated album on the list, and this was a place well earned. There is nothing redeemable about this record. To quote my wife, “they should have stopped at 1,000.”

i ain’t listening to all that i’m happy for u tho or sorry that happened

The only enjoyment I got from this was reading the review about the brothers in Dresden and their lovely and talented tattooed friend.

I am definitely not the target demographic for this album, but I still thought it was very good. There's a lot of skill and artistry put into these tracks, so much so that it is almost invisible. 4 stars for me, plus an extra star just to spite the mathematics PHD guy.