Album Reviews

Not impressed. Not my jam.

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D'Angelo has a great voice and you can see the thru line from Marvin Gaye to Al Green to Prince. But it falls flat, the songs are repetitive, and the whole album is a little one-note (2.5)

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Highs and lows.

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Rating: 4.8/5 Short Review: This just feels effortlessly cool. Dreamy guitars, loose grooves, huge melodies, and Ian Brown sounding like he barely needs to try. Then I Am the Resurrection arrives and the whole thing turns into one glorious extended jam. Fantastic album. Favorite Track: I Am the Resurrection

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The Beastie Boys before they figured out who the Beastie Boys were. Brilliant in parts, but overall it is pretty juvenile. Look! The plane says EATME! Huh huh, good one.

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I really liked sailing down the tears. The rest was alright. Not bad overall.

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Easy listening, bumping delivery Highlights: "9 Milli Bros", "Whip You with a Strap", "Jellyfish"

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nice listen.

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That was a wild and unpredictable ride. Overall I really liked it. One of the better ones, so far.

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Has anyone else noticed that Neil Young songs you never really noticed are amazing when women cover them?

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It’s not terrible, but I found it very dull listening. Also, as a more than passing fan of R.E.M., just not hearing where this album/group had any influence on R.E.M.

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Not available on Spotify.

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Slow shuffle folk country. Reminded me a lame lullaby

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They say this was the first "triphop" album. Chill, lofi beats. 3.2/5 Favorite Songs: Safe From Harm Be Thankful For What You've Got Unfinished Symphony

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Pretty typical 60s stuff, didnt blow my mind but better than anything out of the 80s

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Yuck

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3.75. AM is my favorite Artic Monkeys album but this album is up there.

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Goated title for an ok album

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A compilation album made the list?

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Good album some songs got repetitive though

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This was good

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c'est vraiment une continuité de l'album scary monsters de Bowie (j'aime un peu moins je pense)

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I'm not a Country music fan, but I appreciate the All-Star level talent here. I wish they would have varied the music a bit more instead of the pretty much all straight-up country. RIP Dolly Rebecca Parton Dean (19 January 1946 - 25 August 2026) The world is definitely less bright, and sparkly, without you.

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Spoonman

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At times it felt like solid 90's alternative. At times it was less enjoyable. Overall a resounding meh.

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No one needs to hear this before they die.

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Not as annoying as I often find S&G. I think the slight departure from a totally saccharine folk sound suits them and in this album its subtly done. It has a couple of iconic tracks, like "Mrs Robinson" which gets additional marks for being in the score of The Graduate. Production wise, the album sounds awesome. Really great instrumentation and isolation between all the different elements is superbly detailed. There is still too much sickly sweet tinkling for me to truly enjoy this album, as well as some really annoying cutesy lyrics in tracks like "In the Zoo" and "Punky's Dilemma" which I find a real turn off. Definitely an album worth listening to for its cultural relevance but not my cup of tea (with or without a toasted English muffin).

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Surprisingly listenable!

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That wasn't my jam. I finished it, but I need to be more or less stoned for it to be enjoyable. It's just so mellow as to be obnoxious, alas.

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not rlly my vibe

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Genius album.

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A seemingly endless collection of, I don't know what, bad Syd Barrett Pink Floyd b-sides? On the other hand, it is also WAY TOO LONG.

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I had no idea if I'd enjoy this or not but you know what? This shit rocks. Brazilian heavy/thrash/death metal for the wind today.

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Why

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Proto-triphop that leans into the twee britpop side rather than a spooky tone. It's alright, kinda nice, the shopping mall would sound cooler with this playing.

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Cool synth work, but an oddity as a piece of political art.

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This is the fourth Björk album I've gotten. I really appreciate the creativity. Very unique...in a good way.

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Corporate slop

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The ugly face of shameless greed

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If Kenny G. had a mohawk, he wouldn't be punk If Yanni had dumb tattoos, he wouldn't be punk If Garth Brooks pierced his nose, he wouldn't be punk If Liberace sounded like the Green Day, he wouldn't be punk

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Greasy fat rat

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Rainwater filters through trash and creates leachate, a toxic liquid filled with heavy metals, chemicals, and microplastics that can seep into soil and groundwater. Leachate is essentially garbage juice.

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Music to listen to while your wife is fucking her boyfriend

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I bought this CD when it first came out, it's a lot of fun. This album was wildly over-played in the 90s, so I haven't felt the need to play it much for about twenty years, but my 18-year-old son (hey Alfie!) recently discovered this, and so I have started listening to this again with him, and it's a really fun listen. It's a damn good time and you can dance to it. As a result, when I stumbled across a reasonably priced vinyl copy just last week, I snaffled it up for my collection. There are lots of things to like and admire about Fatboy Slim. He approaches making songs like a DJ, not a musician. He builds songs like miniature sets, with breaks and snippets cut in from his eclectic but well curated collection. The songs are full of hooks and snippets, transitions and surprising changes, and, above all, those big funky breaks. He is not afraid to let a beat play out for a while, augmented with DJ tricks like big sweeping filters, drops or stuttering delays. His taste is exquisite -- wide ranging and obscure -- but not cool. Norman Cook is less concerned with 'cool' than with 'fun'. Is the hook really catchy? Is it funky? Does this drum break insist that you absolutely must dance? And I like that. His songs are fun and inclusive and catchy and easy to dance to. He has a great ear for sounds, hooks, breaks and moments from other records. His sources are often obscure, but not for obscurity's sake. Rather he chooses them because they are a great fresh sound. These tracks are more than the mere sum of their parts; it's an accessible and optimistic collage of energy and excitement. I did copy Fatboy's habit of turning up to DJ gigs with only a box of 7" vinyl singles. I like the way it forces you to only play short, poppy songs, and I use the approach sometimes when doing my own DJ sets. This is the definitive 90s big beat album. Maybe not the world's most 'artistic' genre or album, but one of the most entertaining. Let's dance!

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Garbage in name, Garbage in nature. DO NOT LISTEN

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Low IQ theory

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One of my learning from this project has been that I don't mind a bit of outlaw country. I think Merle Haggard really hit his straps a few albums after this (and we miss the chance to grapple with Merle's complicated politics). But this is a pretty tight album.

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i can't say i'm thrilled about that f bomb unless it turns out billie joe is sucking dick more than 50% of the time

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Destroy rock & roll by flailing it with wet noodles.

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It's pleasant and upbeat African pop from the early 90s. the production and cover art demonstrate the aspiration to a level of sophistication, even if the budget clearly didn't extend that far. Personally, I find that kind of fun and charming. But, not speaking French or knowing anything about Mr Koffi, I looked him up on wikipedia. The lengthy sections under 'Feuds' and 'Legal issues' have turned me off. Is his behavior much worse than any number of higher profile Western artists? Well, Koffi's crimes (most notably statutory rape, then fleeing the country to avoid imprisonment) are comparable to Roman Polanski. I think Polanski is irremediable too. The cognitive dissonance between the light and breezy cruise-liner pop (3 stars, I could dance to that) and the terrible actions of the man (no stars, would not recommend) leave me feeling queasy.

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"I won’t say anything ’cause no one ever listens to me, anyway. I might as well be a Leonard Cohen record" -- Neil, The Young Ones. This is the most Leonard Cohen-y Leonard Cohen album. Simple arrangements, mostly just guitar with tastefully restrained string or vocal backings. There are some classic songs here ('Avalanche', 'Famous Blue Raincoat'), and he is putting his back into the wordsmithing. His voice is an acquired taste, but the yelling on 'Diamonds in the Mine' is a real career low point. Cohen's songs often come alive when sung by other more accomplished singers (for example, the I'm Your Fan tribute compilation of Jennifer Warnes' album of Cohen covers Famous Blue Raincoat), so you gotta give him his props for the songwriting. But jeez, some of it makes me want to slash my wrists. 'Dress Rehearsal Rag' is one of the most depressing songs I have ever heard.

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I was more of a rock guy than dance music guy in 1990, but Pacific State (in all its versions) was inescapable at the time. It is one of the best tracks of late 80s/early 90s UK dance, no argument. It is atmospheric and catchy and compelling, and even the terrible sax playing is weirdly affecting. I have read several reviews that suggest that 808:90 proved that dance music could be an album medium, rather than just singles. Well, 35 years later, there have been plenty of acclaimed dance music albums, but I still lean towards the opinion that dance really is a singles medium. That doesn't work well for this list, as focusing on albums doesn't serve all musical genres or artists equitably and leads to some unfortunate biases. That said, I own this record and the Quadrastate EP and Ooops 12". I think I inherited them from the vinyl collection of Mark Selway (RIP), my friend and former bandmate. Mark went down a deep, dark rabbit-hole of experimental electronic music. You can hear his work on the Lecter Macabre album 13 Hobbs Lane (https://joshshipton.bandcamp.com/album/13-hobs-lane). Be warned; it's difficult listening. Now that I come to think of it, I visited the Eastern Bloc record store in Manchester in the mid 90s because I had heard about it as the early meeting place of 808 State. I bought a really nice LP bag that I still use.

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There is a section in my record box for DJing parties called "floor fillers". They are singles pretty much guaranteed to get people out on the floor dancing. You can throw them on the deck when energy is flagging a bit or for the last set of the night when you want to leave everyone in a sweaty mess. I'm not prepared to reveal all my trade secrets, but 'Groove is in the Heart' is one of those songs. It is a fun and likeable confection, absolutely chock full o'hooks, and anyone can dance to it. Perfectly deployed guest spots in Bootsy Collins, Fred Wesley, Maceo Parker and Q-Tip. Everybody loves that track. It is one of the greatest pop singles of all time, full of nostalgic 60s and 70s references, sly jokes, soulful pop tunes, silliness and hip-hop inflections.. The rest of the album is similarly brightly coloured and camp fun, but listening through the whole thing is like eating 4lbs of candy in a single sitting. There are tracks here I would happily put on a compilation (or drop in a DJ set), but it is a bit rich as an album. Although I do admire their commitment to fun. There should be more of that. This is a solid 3 star album throughout, with one world class banger in 'Groove is in the Heart' for a bonus star.

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(1/5) There are NO edges on this, is there? It's been so thoroughly sanded down there is nothing to hate -- but likewise and more damning -- there's nothing to love. I haven't been paying attention to most music from the 2010s, but everything is just coated in this slick, greasy autotune bullshit, isn't it? I can't honestly tell if she's a good singer or not. How could anyone? She's drowned out by the persistent and overpowering ambient music, and then her voice is filtered through what seems to be a dozen filters and autotune. Add to my laundry list of reasons why this isn't good -- the extremely repetitive nature of all the songs. The tempo for what seems like every song is within 10 beats of one another. MIX IT UP! What a slog of a runtime as well. I won't blame Ms. Kelela for this, because I can barely tell what she contributed. Let's blast the flattened (apocalyptic perhaps?) musical landscape of the 2010s and later when the handful of major labels and styles just sorta merged into a gooey, greasy blob of autotuned shit. This is a great example of it and could easily be placed side to side with ANY OTHER contemporaneous music and it would truly all sound the absolute same. I feel gross, and I hate what it's all become. There's a hungry totalizing algorithm that says you better not deviate from the formula because if you do the stockholders won't be rich anymore!!! Fuck them all and fuck this.

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(4/5) Yeah, Puffy was part of this.. so... It's 2026 and it's now clear that dude was the worst kind of monster. He's not ALL of the album -- it's still Biggy's album, technically -- but his nasty hands were in it.. deep. So in keeping with my (arbitrary) standards this otherwise classic hip hop album gets a star deduction for that fucker's involvement. Plus, the skits haven't aged well. I found that out when we had "Doggystyle" a few months back, but the music on that saves the day. The principle holds here too. In spite of the cringey skits and deeply troubling lyrics the music saves the day. It's just that Puffy was involved which... Eewww... Biggy was a metaphoric (and I suppose literal) giant in his brief moment in the spotlight and the production and music was top tier here. I just have a really difficult time reconciling that monster's involvement.

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Jesus, I think I've done it. I think this is album 1089 and I am done (until I start the user list tomorrow). It's actually been longer because I reviewed over 200 albums before I started a group, which meant I had to do those all again! Nearly five years, it's been a journey... Many thanks to the members of my group (especially Dave L., Peter P., Alan L. and Glen S.) who have staggered alongside me through this winter death march. A really special call out to Peter P., who really instilled a broad and unprejudiced love of music in me. He was my boss at the record store for about two years, but has been my friend for forty years. He introduced me to so many artists and records that I love. We DJ together. He encouraged me to take a more autobiographical approach to reviewing. Thanks Peter, I love you, man. Thanks to any critic who ever inspired me, especially Jessica Hopper, Bill Wyman (not the Rolling Stone), Amanda Petrusich, Simon Reynolds, Charles Shaar Murray, Robert Christgau, Elizabeth Nelson, Hanif Abdurraqib, and a plethora of others, all worth reading. But not Greil Marcus; fuck that guy. Many thanks to anyone who ever threw one of my reviews a thumbs up, I appreciate it. And a thousand thanks to Alexander for setting up this project and his technical support along the way. This project has been exciting and infuriating and exhausting, but I have appreciated the structure to my listening, and the opportunity to reflect on my musical tastes, history and the friends who helped form my tastes. In the words of the great Liverpudlian band: "All these places had their moments With lovers and friends, I still can recall Some are dead and some are living In my life, I've loved them all" And here we have Buck Owens as my final album, which is as good a place to finish as any. This project has given me an appreciation of classic country, and this piece of Bakersfield honky-tonk is a simple pleasure. I love a tight album that doesn't outstay its welcome, and this album is _tight_. I'm listening to the version with a couple of bonus tracks (including 'Act Naturally', love it) and it still only runs 32 minutes. There is not a wasted note on this album. The band is energetic and efficient, with special props to the wonderful Telecaster work of Don Rich. Could you argue that some of the songs border on being novelty tunes? Possibly, but they are fun and catchy and rollick along, so I don't care. I've spun this through three times in a row, and I am whistling along. I was going to give this a three, but I am really digging it. Call it 3.5 stars, rounding up!

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(3/5) I'm being kind and giving this a polite 3 because I liked the other album of hers we've had.. "Stories From The..". But -- full confession -- I don't get this one. It doesn't resonate with me. I understand the history of it and England's fall from grace as a colonial power and then subsequent ass kicking in the two World Wars. I'm sure the British people had (or may continue to have) a huge existential reckoning with that. Hell, I **KNOW** our number is up soon (maybe we're in the process?) with our own homegrown 'Nero' at the helm -- I'm American if you didn't catch the reference. That makes this album, however, really really insular. The music is ok. Stylistically it is all over the place but leans heavy into indie/pop rock on the slower side with folk elements. She's clearly a good songwriter, but here's another example of the Anglocentrism this list is filthy with. Sorry, lads, i don't get it. Additionally, it is another Mercury Prize winner that bounces right off of me.

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In typical fashion for this list, we just had our first PJ Harvey album (Stories From The City, Stories From The Sea) about 10 days ago, and after that introduction I really wanted to like this one. I even thought that it got off to a decent start in its first couple of tracks, which sounded distinctly different from that previous outing. But the long middle of this album took enough twists and turns that I got lost along the way, perhaps complicated by the fact that I am not British and the themes herein seemed to be directed specifically at that demographic. She's obviously intent on giving nods to every influence she's had, as it is also stylistically diverse almost to a fault. Still, I liked this slowed down version of her (closer to the Tori Amos and Fiona Apple sound that I'd expected before the last album) and will will score this one the same 3.5/5 as the last, this time without rounding up.

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I feel like much of this smart, stylish 90s electronic album is not designed for the dancefloor, but for listening in the lounge room while coming down from a big night out. It is more intelligent and varied than many EDM albums (largely attributable to the occasional use of guitar and the vocals). I have mixed feelings about the chant-like vocals -- they avoid the usual house cliche of whacking a big soul vocal over the top of an electronic track to give it some drama. The repetitive, rhythmic singing -- often just a single note -- and impressionistic lyrics make the vocals an intrinsic part of the track rather than a decorative topline. But I can't work out whether I really like that or not. Jury is still out. I assume that 'Born Slippy' was an album outtake they agreed to offer up for the Trainspotting soundtrack, which accidentally then became their biggest hit and turned out not to be on the album (oops), but belatedly added to the deluxe issues. The sound is pretty sophisticated, but of that seems to come down to the judicious use of digital delays and reverb. Better than most of its genre but still doesn't really move me.

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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.

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.

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".

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

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 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.

Around 1990-91, I was a volunteer at 2SER student radio. Mostly, I did technical work helping my mate, Tim, who hosted 'Monday Night Football', a music program that ran from 1-3am on Thursday nights. Panelling, editing, that kind of thing. In 1991, Einsturzende Neubauten were touring Australia and there was an offer to do a radio interview with 2SER. I could actually pronounce “Einsturzende Neubauten” and knew a little bit about the band, so it was decided that I would do the interview. Interviewing was not really my thing, but it came with perks; tickets to their show at the Phoenician Club and a copy of the Strategies Against Architecture LP, so I said OK. I knew the legendary Blixa Bargeld has a reputation for not suffering fools, so I tried to prep questions that were interesting. So, on the day of the show the plan was to go down to the club after soundcheck and interview Blixa. It was a bit intimidating. I mean, EN were one of the world’s most dangerous bands and Blixa also played in the Bad Seeds, which made him an underground legend. Tim and I were in the equipment room gathering up a portapack and mics and whatever else we needed, when someone comes running in the room whispering “There’s a vampire in the lobby, and he’s looking for you!” And sure enough, there in the lobby, stands Blixa in full stage outfit, pale as death, six foot six in Cuban heels and his hair teased up and 100lbs wringing wet. He has a bottle of schnapps and a filthy look in his eye. He’s staring death at everyone. And then I hear my name called. Standing next to this imperious vision in black is a smiling Japanese man in bright green overalls with a flower appliqued on the front. His voice is oddly familiar; it is Rick Tanaka, former presenter of 'The Nippy Rock Shop', an experimental collage-style radio show from Triple J in the 80s. I was a fan. Turns out, he is the road manager for this EN tour, and he is asking for me. He hands me his business card: Rick Tanaka, Private Guy. We hurriedly shuffle Rick and Blixa into a meeting room and turn on the recorder, and I attempt an interview. It did not go well. Blixa did not want to be there, was much smarter than me, and was not very patient with my attempts at questions that were more engaging than the usual stereotypical “who gets to go to the junk yard to get scrap metal for your stage show?” Eventually, Blixa just started ignoring me and chatted to Rick. Tim and I kept the tape rolling for their conversation, and afterwards edited it up into something resembling proper radio. And then they left. Tim and I packed up and then walked down the road to the Phoenician Club. En route, we bumped into the Beasts of Bourbon, who were playing support. Tex and Kim were intensely focused and wouldn't say hello, but we chatted to Spencer for a bit. They clearly knew what was coming and were determined to put on a good show. They were the best I ever saw them play that night; tight, ferocious and angry, showcasing material from their Low Road album, that was not yet released. And then on came Einsturzende Neubauten. It was possibly the most intense, frightening show I ever seen. I confess I was a little freaked out by my encounter with Blixa and not really prepared for the experience of an EN show. By the end of their set, I was pressed up against a wall with my fists clenched and my eyes shut. The sound from the stage was so brutal and overwhelming. I can’t recall much of what went on, except for a bit with shopping carts with contact mikes crashing into each other repeatedly. It was really loud. I know I left the venue about 11.30pm. At 2am, I turned up at my girlfriend’s house, tapping on her window. I assume I spent the intervening hours walking the streets in a daze, but not really sure of what I did in that time. She yelled at me for a good 15 minutes for waking her up, but I was unable to put a sentence together, let alone explain what had just happened to me. It was a heavy, really heavy, performance. Ok, so given that background of my relationship with EN, what do I think about this album? I have listened to it once or twice before. EN is really influential on me. I love noisy things, really noisy things. I played in industrial bands through most of the 1990s. And this is like the ur-text for much of what industrial music became. It still sounds frightening and surprising now. That said, this is a massively difficult listening experience. I am reminded of Brian Eno talking about Steve Reich (I think), and how hearing one of his early tape pieces was massively influential, but he never listened to it again. Early EN (and this album in particular) is like that for me. It opened up a world of possibilities to explore, but I don’t need (or probably even want) to listen to it much. I certainly was much more enamored of their early 1990s material, which contains actual songs, rather than just this scary barrage of crashing rhythms and screaming. Kollaps is an important record for me, but I would not recommend it.