Album Reviews

The story of the Kinks is truly tragic, the more I read in depth about their albums. Their preceding masterpiece, The Kinks Are the Village Green Preservation Society, made no money, in addition to their catalog classic single “Plastic Man.” This follow-up album was supposed to be accompanied by an ambitious TV play that would coincide with the album’s release, but that also fell through due to a lack of funding. Ray Davies and the Kinks just couldn’t catch a break, it seems. That still didn’t stop them from releasing perhaps a SECOND masterpiece, though. This isn’t just rock music; it’s art with political commentary. Davies based the story's premise on his older sister, who left for Australia in the early ’60s with her husband, also named Arthur. In the story, Arthur is a well off socialite that lost a son in the war, with children ready to head off to Australia. The themes dabble in nostalgia for the supposed greatness of the crumbling British Empire, and those who attempt to hold on to it, in spite as of the changing values of a modernizing society. However, the album itself ends up being much more than meets the eye. It’s loaded with anti-war themes and anti-establishment points of view, all littered with brilliant, sardonic wit yet again. One song after another touches on these themes, making the listener realize that the “greatness” of the Empire helped create many of the problems it faced in its attempts to remain “great.” How familiar this still feels today! As for the music, it’s lovely and diverse as always. The band really got so much better here: Mick Avory is pounding harder, the guitars from the Davies brothers are jangly, melodic, and noodly - those jams at the end of "Australia" and "Shangri-La" are astonishing. Meanwhile, the production allows the band to jump between all kinds of styles, ranging from classic pop rock and military marches to soft ballads, show tunes, jingles, and so much more. You never know what they’re going to throw at you—it’s like a demented television vaudeville special from start to finish. I love this album so much, and the Kinks were truly a special band at this point in their career. They deserved so much better. Take the time to listen and enjoy the ride. It’s a truly special listen, unlike most albums made in the ’60s. Post-script: given the global context today, the direct and poignant themes of this album, along with the diversity of the compositions, seems so much stronger than ...Village Preservation Society. For that, I'm going to give this the 5 instead. Just an amazing, powerful, fun album.

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Post-script: I originally gave this one the 5, but Arthur is just blowing me away more these days. This is still a near perfect album! I'm with the critics on this one. The Kinks are one of those very, very special pop/rock bands in history. The Davies' brothers wrote a ton of amazing music, with memorable hook after memorable hook, only to never really find the same financial success as their peers. To this day, I barely find ANYONE that holds the Kinks in as high regard as other more famous British Invasion bands, but they were probably the best songwriters of all. Better than the Beatles? Who knows, I love the Beatles. You have to take this album at face value. The lyrics are the stuff of brilliance. Very English in its humor, sure, but brilliant satire and observational comedy the whole way through. Some examples of this: "Picture book, when you were just a baby Those days when you were happy A long time ago" "We are the Sherlock Holmes English Speaking Vernacular Help save Fu Manchu, Moriarty and Dracula We are the Office Block Persecution Affinity God save little shops, china cups and virginity" "Big Sky looked down on all the people who think they got problems They get depressed and they hold their heads in their hands and they cry People lift up their hands and they look up to the Big Sky But the Big Sky is too big to sympathize" "People take pictures of the summer Just in case someone thought they had missed it Just to prove that it really existed" "I'm the last of the good old renegades All my friends are all middle-class and grey But I live in a museum, so I'm okay I'm the last of the good old fashioned steam-powered trains" The best part is how they are able to get such masterful prose and make it sound rhythmic, melodic, and poppy. As Belle & Sebastian would do decades later, this a thinking person's music, filled with dark humor, sentimentality, and wit that should be the makings of great pop hits. I also appreciate all of the diversity of genres explored here, amid the jangly guitars, solid bass/drum combo, melodic riffs, and pretty vocal harmonies - all towards a psychedelic sound that is vintage in a good way, not outdated at all. There are even moments of unsettling noise, such as in "Wicked Annabella" and "Sitting By the Riverside". Not much else to say here - maybe the Kinks don't have a perfect album, but I consider this to be their pop masterpiece. Baffling that it was a commercial disappointment. Too ahead of its time. 4.5 stars.

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WOOOOOO

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I think my project partner’s assessment of this one perfectly reflects my own experience. While I did think some of the songs were very solid, big step down from No Other. Our other, younger, indifferent and disengaged project partner’s also weighed in verbally that he wants to give this album one-star, and actually complained about it more than I expected. Oh well, Gene Clark. Nobody is five-star all the time.

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Oh wow ok, not crazy about these guys but I respect them

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1st time hearing this. Brilliant start. Rhythm, character, attitude & soul. More British than they normally sound. 3rd track Lady Jane is psychedelic. 4th track Under My Thumb the first track i recognize. The rhythm section on 2 different channels is amazing, Mick Jagger surfing, rapping over the top of it. Velvet Underground, Hapoy Mondays. Upbeat funky blues, wailing harmonicas, driving percussion. Going Home is an 11 minute live jam. Before this they were a covers band ? Out of Time i recognize. Brian Jones brought a lot to the table so i read. I still think better if Mick had sung in his normal British accent but i guess that's a hangover from cover band days & in the spirit of the blues. To me this is the sound of a band fully focused on making great music before they make it big & all the complications. Best LP from them i have heard so far. Paint It Black is on the US version only for some reason & is magnificent.

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Corporate slop

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The ugly face of shameless greed

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

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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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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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God bless her soul Love ❤️

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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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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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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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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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(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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(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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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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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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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 have already documented the way that I feel that the ‘world music’ albums on this list are often examples designed to be palatable to Western audiences, occasionally to the point of pandering (Ananda Shankar’s s/t album is the most egregious example). And it is true that Ry Cooder tastefully produced this album in a way that was comprehensible and appealing to Western audiences by emphasising the cognate echoes between African desert blues and the American blues tradition. Ali Farka Touré described the recording studio as having “bad energy” and that America was a “spiritual car park”. Well, I couldn’t possibly comment on that, but it worked in introducing Western audiences. Touré navigates the delicate compromises between his Malian roots and Western audiences. Unlike many world music records that feel overproduced or diluted to appeal to Western tastes, this album preserves enough authentic spirit that feels honest and grounded. This was my first introduction to desert blues, but I have since gone on to explore much of Ali Farka Touré’s catalogue, along with many other performers from similar West African traditions. Ali Farka Touré’s "Talking Timbuktu" is an album I find myself returning to, drawn into its entrancing desert blues grooves. "Talking Timbuktu" is a reminder that music can be both authentic and accessible, without losing its heart. It is a delicate balance of where African artists hear Western musical genres derived from African roots (such as Fela Kuti folding funk and jazz back into his distinctly African forms) to produce a vibrant form and where ‘world music’ influence is used as a generic seasoning to pander to Western audiences. Don’t get me wrong; I have no problem with non-Western artists finding success with Western audiences – more power to them – and the diversity of artistry keeps music fresh and exciting for me. While I have expanded my familiarity with and appreciation of artists from this part of Africa, I still come back to this album that was a gateway for me. It is a perfect listen on a summer afternoon.

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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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"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 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 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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The musical equivalent of comfort food. These three were three of the best voices in country music at the time, and they use those voices to great effect here. Trio is truly a collaborative effort, as most of the songs here feature all three singers performing some of the most gorgeous harmonies you've ever heard. To me, Parton easily has the most distinct voice and the best performances, but the thing that makes this album work is how all three work together to make something even better than the sum of their parts. Musically, this album takes a variety of different styles and merges them into a quiet, cozy country pop sound. The gentles guitars and pianos aren't the most adventurous thing in the world, but they're easy on the ears and act as the perfect foundation for the trio's vocals to build upon.

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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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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.

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.

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 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.

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

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