Album Reviews

Ha chli müesse ine cho

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Probably the most quintessential Beatles album, for better or for worse. A sprawl of thirty tracks, ranging from half a minute to nine minutes long, covering more genres than many bands do in their entire career. For some people, this would be an incoherent slog, but it just works; each song provides a break and new persepctive frmo the last one, and flows really well into each other, even when there are no sonic similarities. I think this album probably proves that Paul McCartney was the centre of the Beatles, as for better or for worse, his songs are the most representative and central to the album's identity. I never get bored of this album, and on a good day, beats Abbey Road as my favourite.

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ничего особенного. Обычный Нил Янг

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Two blur albums in a week! And this was the worse of the two

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Singer can't sing, instruments are annoying. Why is this album here?

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wasn't that great

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Some legendary stuff in this! However a bit repetitive.

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I am not a fan of electronic music or hip hop in general. This is a decent record, although I find it boring. The beats are good, the lyrics are alright, but it doesn’t speak to me. I suppose it’s worth the listen, but I won’t be back. 3 stars

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Not for me

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Yep, this is just "the Byrds but later". Psychedelia after the craze had come and gone a decade prior. And these boys have the guts to act surprised when its commercial performance was pretty poor. People aren't as moved by music that doesn't push boundaries. The production here is also pretty sloppy, especially in the drums, which sound like they were recorded in a cardboard box. Compare this to Steely Dan's Gaucho, an absolute masterpiece of production value that released the same year. The number of perfect professional ratings on Underwater Moonlight is pretty staggering. You give music like this a 5- or 4.5-star review, and then turn around and give Muse's incredible new album The Wow! Signal a measly 2 stars? For shame. I Wanna Destroy You starts off the album catchily enough. Not a big fan of the messy vocal interaction – that was a fad for a few years in the early 60s, before musicians (correctly) realised it sounded bad. Fortunately, Kingdom of Love presents a pretty solid turn into punk territory, and the guitar part features some great melodies. I'll allow Positive Vibrations even if it's kind of an extended (and disconnected) outro for I Wanna Destroy You. I Got the Hots... wow. Who let the blues into the room? Great groove. Great riff. Absolutely godawful vocal performance – so jarringly bad when it comes in that I had to pause the song to take a breather. At least it's followed by the relatively solid Insanely Jealous of You, featuring a mildly improved vocal performance (Bowiesque) and a good build-up in the instrumental. Side 2 begins with Tonight, which is pretty unremarkable apart from the explosion of energy in the last minute or so. Disappointing to end with a board fade instead of having a solid ending. It suggests low effort on either the band's or the production team's part. You'll Have to Go Sideways uses a 7/4 time signature and again features this slowly rising tension that never really goes anywhere. At least this time, the song ends instead of fading out. Old Pervert is absolute hogwash. The only interesting element is the cowbell. Everything else is messy and completely forgettable. At least Queen of Eyes continues the album on a decent note, even if the sound has somewhat regressed back into Byrdian (Avian?) territory. Finally, we have the finale/title track. Some cool trilled notes on various instruments (synth and strings, I think) in the background, and one of Hitchcock's strongest vocal performances to date. 3/5 Key tracks: I Wanna Destroy You, Kingdom of Love, Underwater Moonlight

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A lot of the same, didn’t really grab me at all

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Liked this album alot

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Trying too hard to be dangerous, innit? Her flow is wack. This Brigga rap sounds inauthentic more often than not. Kate Tempest knows how it's done.

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With the placement of this album here today, I am officially halfway finished with the madness that is the staggering 8 The Byrds albums on the list, including solo albums by members of the band. This marks the second and final Gene Clark solo album, and I can’t believe I’m actually saying this, but it’s actually pretty great. I never thought I would see the day. 4 aggressively mediocre Byrds albums, and a multitude of terrible Country albums, and I feel like I’ve finally found something bearable. More than bearable, I’d actually return to this!! Now I just have to figure out what this specific style is, and maybe check out more of it to see if I’ve actually found Country I can truly say I enjoy. I’ve just spent the better part of 2 weeks dogging on Country music for sounding so bad, noting that not only is it my lowest rated genre on the site, but every album except for a sole Johnny Cash album has been a 3 or lower, with Cash getting a 4. Both of the solo Gene Clark albums on the site were monumental commercial failures, and apparently this one almost didn’t see the light of day at all. Let me seriously ask you something, because I’ve never been this confused in my life. Of all the shitty, terrible Country albums I have had to endure, the album that is UNQUESTIONABLY the best of all of them, was a failure???? How???? This one is incredible. I almost want to give it a 5. It’s trippy, has some unconventional guitar playing, a really cool singer (Unlike on his other solo album, imo), an immaculate group of backup singers, and is truly just something special. If you can actually call this album Country, then god damn. It took me a long time, but I really, really enjoyed this, practically from top to bottom. That being said, the top is quite a bit better than the ladder half of the album. I’d say you only really need to listen to the first half, the second half is nothing special. Mostly just filler, and closer to what I’d expect of a Country album, and yet still much better than I’m used to. The first 4 songs though, rather, songs 2-4 are maybe worthy of calling 5 star songs. This is the first Country album on the site in which I actually don’t know how to pick a favorite. “Silver Raven”, “No Other”, and “Strength of Strings” are all good enough to add to my regular rotation. I don’t know what Gene was smoking in the 3 years between his other album on the site White Light and this, but it helped make something truly special. Man, to hear a Country album this good after all the bad things I’ve said about the genre just truly and utterly has me baffled to near speechlessness. What baffles me the most though, is how the hell this album went unnoticed for so long. It might just be my favorite Country album I’ve ever listened to. That’s not saying a lot really, but I would return to this, and honestly probably will. Of all the albums to surprise me, this may be the one to surprise me the most. Another example of “Don’t judge a book by its cover”. The other Byrds albums have all largely been mediocre at best, and if I was a better man, I’m guessing that the next 4 I’ll have to listen to are all probably going to be fairly middling as well. This one though?? Shit. Good job Gene. I like it. I like it a lot actually. No Other by Gene Clark is going to get a 4/5 from me. Good Country does actually exist. Here it is. This is the proof. On an album that by all metrics was a complete failure. Make that make sense, because I’m unable to do so at all.

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Was fine! 3.5

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Nyt ei saa ymmärtää väärin: Carole King on upea artisti. Musta on vaan uskomatonta, miten niin upeaääninen nainen onnistuu tekeen niin pintapuolisia rakkauslauluja. Olisin kaivannut enemmän menoa, samanlaista jolla levy alkaa. Sanoitukset eivät oikein sävyttäneet ja jossain kohtaa rupesi ihan naurattamaan, että kierrättääkö hän samoja sanoituksia joka biisissä. I fell the Earth move on erään rakkaan ystäväni karaokebravuuri, ja olen kuullut sen 8 vuoden aikana hyvin usein. Sille en voi olla hymyilemättä. Jotenkin kokonaisuus jätti vähän kädenlämpöiseksi.

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Fun stuff, we were dancing in the office. Very easy to listen to but not something i am going to reach for again that often

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# Led Zeppelin III: A Comprehensive Review Released in 1970, *Led Zeppelin III* stands as one of the most pivotal and misunderstood albums in rock history. Following the earth-shattering success of their first two heavy blues-rock masterpieces, the band took a sharp left turn into acoustic folk, Celtic mysticism, and experimental textures. Initially met with confusion and critical dismissal, it has since been re-evaluated as a vital artistic statement and a crucial bridge to the legendary *Led Zeppelin IV* . --- ## Background and Recording: A Retreat to Wales The story of *Led Zeppelin III* is inseparable from its place of creation: the remote Welsh cottage, Bron-Yr-Aur. After two years of relentless touring, Jimmy Page and Robert Plant retreated to this 18th-century farmhouse, which had no running water or electricity . This isolation was a creative necessity. > "When they finally got to take stock in such tranquil and picturesque surroundings, they got to explore exactly what it was they wanted to get out of their music." Free from the constraints of amplifiers and the pressure to replicate their previous sound, Page and Plant wrote much of the album in this pastoral setting. The lack of electricity forced them to focus on acoustic instruments, fundamentally changing the album's sonic DNA. As music journalist Jonathan Wingate noted, the album's "folky" feel could only have been created at Bron-Yr-Aur . Robert Plant later called this period a "great rupture" that allowed the band to move beyond the blues-rock formula of their first two albums . --- ## Music and Production: A Tale of Two Sides The album is famously structured as a "Tale of Two Sides"—Side One leans into electric rock, while Side Two is predominantly acoustic . The production, handled by Page, marked a shift from the raw, live-in-the-studio sound of the first two records. It is noticeably cleaner and more polished, emphasizing clarity and texture over sheer heaviness . | **Track** | **Style / Themes** | **Key Highlights** | | :--- | :--- | :--- | | **"Immigrant Song"** | Viking heavy metal anthem | Thunderous riff, Plant's iconic war cry, explosive energy | | **"Friends"** | Eastern-influenced psychedelic folk | John Bonham's tabla, Middle Eastern orchestration, exotic drones | | **"Since I've Been Loving You"** | Epic, slow-burning blues rock | The definitive blues-rock song; Page's masterful guitar, Plant's raw vocal, Jones' Hammond organ | | **"Gallows Pole"** | Traditional folk-metal adaptation | Builds slowly, adding instruments like banjo and mandolin; frantic conclusion | | **"Tangerine"** | Sweet, dreamy folk rock | Saccharine, emotional, psychedelic guitar solo, one of their most dewy-eyed songs | | **"Bron-Y-Aur Stomp"** | Upbeat, country-side acoustic jam | Inspired by Plant's dog; foot-stomping, hand-clapping energy; feels like a rowdy gathering | | **"Hats Off to (Roy) Harper"** | Experimental acoustic blues | Odd, psychedelic mishmash; Plant's vocals through a vibrato effect; considered the album's weakest track | --- ## Lyrical Themes The lyrics on *Led Zeppelin III* are a departure from the blues-rock swagger of their predecessors. The album is drenched in themes of mythology, history, and pastoral romanticism . - **Mythology and History**: "Immigrant Song" famously recounts Viking voyages, a theme that would become a Zeppelin trademark . - **Tradition and Folklore**: "Gallows Pole" is a direct adaptation of a traditional folk song, exploring the themes of bribery and execution . - **Love and Emotion**: "Since I've Been Loving You" is a beautiful, sincere plea of heartbreak, while "Tangerine" and "That's the Way" showcase a softer, more emotional side of the band . Jimmy Page considered "That's the Way" a breakthrough for Robert Plant as a lyricist . --- ## Influence and Legacy Despite its initially lukewarm reception, *Led Zeppelin III* has had a massive and lasting influence. It pioneered the "unplugged" genre, inspiring artists like Peter Gabriel and Crosby, Stills, Nash & Young to embrace more acoustic and folk-inspired sounds . The album was a necessary artistic evolution. "It was a very necessary turning point for the band... where they leave their raw sound behind," one reviewer noted . Page himself reflected on the album's ambition, stating, "We were so far ahead that it was difficult for people to know what the hell we were doing" . The critical backlash also affected the band deeply, leading Jimmy Page to refuse press statements for over two years and fueling the mystique surrounding their untitled fourth album . --- ## Pros and Cons ### Pros - **Artistic Evolution**: A bold and necessary shift that prevented the band from becoming one-dimensional . - **Musical Diversity**: Showcases the band's immense range, from the bombastic hard rock of "Immigrant Song" to the delicate folk of "Tangerine" . - **"Since I've Been Loving You"**: Widely considered the band's definitive blues track and a standout in their entire catalog. It is a masterpiece of slow-burning emotion and musicianship . - **Masterful Acoustic Work**: Jimmy Page's acoustic guitar playing is virtuosic and pioneering, changing how the instrument was used in a hard rock context . ### Cons - **Inconsistency**: The album has some of Zeppelin's greatest tracks but also some of their weakest, making it their most inconsistent record up to that point . - **Weak Closer**: The experimental "Hats Off to (Roy) Harper" is a universally criticized, odd, and empty-sounding end to an otherwise strong album . - **Initial Misunderstanding**: The shift to a cleaner, more acoustic sound alienated fans and critics at the time, who were expecting "Whole Lotta Love 2" . - **Dragging Tracks**: Some tracks, like "Bron-Y-Aur Stomp" and "That's the Way," can feel monotonous or drudge along, especially compared to the energy of Side One . --- ## Conclusion *Led Zeppelin III* is not their greatest album—it's too uneven for that—but it is arguably their most important. It was the album where Led Zeppelin shed their skin and proved they were more than just a heavy blues band. While it features the explosive energy of "Immigrant Song" and the gut-wrenching emotion of "Since I've Been Loving You," it is the quieter, folk-infused tracks that defined its legacy and paved the way for the acoustic odysseys that would dominate their later career. It is an album of risk, reinvention, and rural magic, and its influence on rock music is undeniable .

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good harmless fun, actually liked it more than i thought

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masterpiece damn. My girl is insane, rock me baby crazy guitar and overall just a vibes album. I think it might take the 5 stars,everything was great. what a voice as well

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I don't mind a song or two of this style, but definitely not a whole album

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Yesterday I went into the Cantina at the new Star Wars land at Disneyland and the bartender leans over, sneakily gives me this, and whispers, “It’s not often we get a Resistance General in here. Thank you for your service.” I almost cried.

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Once upon a time, there was a beast named Muhammad Who legalized rape, polygamy, pedophilia, and shamelessness The beast Muhammad wrote the Quran, the Muslims' book of hate A manual of terror, wrath, and pedophilia First-degree murderers, terrorists in a world like no other

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to the guy who said "Me and my girlfriend did interesting things in the back of my car to this" it's MY GIRLFRIEND AND I dumbass

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(4/5) Rock classic by a legendary band. It's good and I love the hits, but they always struck me as a bunch of hyperactive kids running around yelling "Watch this!". It's fine and it might even be fun (or funny) at times, but I don't have the patience for it *ALL* the time. That level of energy is unsustainable for me. I haven't snorted enough (or any) cocaine to keep up with that pace. It's over as quickly as it started, which makes this a quick 'shot' of rock.

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Quintessential slop

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"California Dreamin'" is the highlight here. That opening acoustic guitar is immaculate. For me it is in the pantheon of songs of the Mythological California of which there are many. California loomed large in the psyche of 20th century America and beyond. I love the song. The remainder of the album is quite pleasant in its own right. Right in the wheel house of that 1960s folk rock sound. These tracks are full of harmonies and the right blend of pop sensibilities. Mama Cass and Mama Michelle outshine the guys for sure, in my opinion. In the end though it does all come together for a light 35 minutes. Just stay here though, stay with the music here on this album. There is tragedy on the horizon for this band. Their run was short but sweet. Don't go reading on how the story ends. The music is pleasant enough. Let's let the music be enough. Just keep dreaming of California. We'll get there one day. Promise. 3/5

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I remember this one being a HUGE album until it wasn't. I remember the song (and that Prince wrote it), and I remember the tearing of the picture and the backlash afterward, but I'd honestly never had an opportunity to hear the rest of the album, and was a little flummoxed when it came up on this list. And when I listened to it, I was a whole other kind of surprised. This is a good album. Maybe not a damn good album or a wonderful album, but much different and more interesting than I'd expected. Way more Tori Amos/Fiona Apple/Bjork adjacent and less Dolores O'Riordan than anticipated (and I am at least a casual fan of all of the above). It may not be a blind 5, but it does round up to a 4/5, and intrigued me enough to search out some of her later work to see where she went creatively after her public ostricism.

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To quote Willie Nelson "There are two kinds of men; those who are in love with Emmylou Harris, and those who haven't met her." I only know Emmylou Harris through her records, but that's enough to be madly infatuated. Emmylou Harris has built an incredible body of work as a harmony singer, collaborator and interpreter of songs. But this is one of her rare albums of original songs. Spaciously recorded by Malcolm Burn using a crack band and a host of A-list guests with that atmospheric Lanois-style production, it is spooky and spacious and hard to pigeonhole exactly. It's not the classic country-folk sound of most of her output, but it's classy and sophisticated. But there is no mistaking that Emmylou is the star of the show here. I would listen to her sing the phone book, but this is even better.

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Nina Persson’s cool, almost innocent delivery, the bright melodies, the elegant arrangements, the polished pop shape. Underneath that, a lot of these songs are sour, passive-aggressive, wounded, or emotionally evasive. That contrast is the whole trick. The album sounds sweet without actually being naive.

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By the time of his final album, Invincible in 2001, Michael Jackson had lost his way trying to recapture past glories. But there was still life left in the model, which Justin Timberlake was happy to step into the vacuum created by Jacko’s abandonment of the field. The singles are outstanding – Timberlake is a charismatic singer with a sexy confidence with some outstanding production from some of the best RnB producers of the day (Neptunes, Timbaland). The album is overlong, as was the fashion in the late 90s and early 2000s, and I would happily trim 20 minutes of filler. Time has not been kind to Justin’s public image, especially his apparent willingness to throw Britney Spears and Janet Jackson under the bus to further his own ambitions. And this album is Exhibit A in those crimes, which leaves a bit of a bad aftertaste. Cry Me A River and Rock Your Body are bangers, but it is difficult to listen to them without thinking about the reputational aftermath for Britney and Janet, two artists I greatly admire. So, this is really a better-than-most Michael Jackson album, released at a time when Michael’s musical output was irrelevant and his public persona unpalatable. Nothing wrong with that, although hard to hold up as particularly innovative (Neptunes’ production aside). There are some great songs here, but they do give me a bit of the ick. 3.5 stars, rounding down for the ick.

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I am reviewing ‘Ray of Light’ days after the release of ‘Confessions II’. Reviews are everywhere, people are talking about it as her best album in 20 years. But her albums always get reviewed -- they are always an event -- which is extraordinary for someone more than 40 years into a pop music career. Not even Paul McCartney really managed that. Pop music is a genre fickly obsessed with youth and novelty, so the idea of anyone remaining an important and relevant pop artist after 40 years is one of the most monumental achievements in popular culture. I mean, here is an artist who has had 38 US Top 10 singles and 50 US Hot Dance chart #1s. Fifty! So, amongst her long and illustrious career, there are a few albums that stand out above the others. ‘Ray of Light’ is one of those career peaks. It showed that, at the age of 39, she could produce a relevant, exciting and contemporary dance pop album. It also has some of her strongest songwriting, in the title track and Frozen especially. Ray of Light is, to my mind, a song that captures the ecstasy of the dance floor better than almost anything else ever written. She continues her history of working well with cleverly chosen collaborators; kudos to William Orbit for constructing a fascinating, warm, spacious and not over-polished backing track that complements but never overpowers Madonna’s singing. Unlike much electronic music of the period, it has aged well. Orbit was everywhere in the 90s, remixing and producing. He had a distinctive and tasteful sound, but I don’t think he ever really topped his work here (with the possible exception of the Bass-o-matic ‘Fascinating Rhythm’ single, but never for a sustained album). I have always found Madonna to be a _believable_ singer, which makes her a surprisingly good ballad singer given her technical limitations. That said, her work on Evita had left her voice stronger and more controlled than ever at this point. I would argue that Frozen is one of her greatest performances. Even the faux-spiritual content here is tolerable because of that credibility. The lyrics occasionally verge on yoga-mama religious dilettantism, but Madonna sings every word like it is important and she believes it with all her heart. This is ironic, because I never believe a word she speaks in interviews (or, worse yet, the Truth or Dare documentary, where she comes across like a constantly calculating mean-girl control freak). She often comes across as performative and provocative and boorish but not credible when speaking. But when she sings, she seems like the real deal. It’s a paradox. Minor nitpicking; the mastering on the streaming version I listened to today was weirdly inconsistent. Also, this suffers from the late 90s trend of albums that fill CD capacity. There is some filler here; Shanti, The Power of Goodbye, or Little Star. Personally, I'd like to see this trimmed to a more focused 45 minutes. But these are minor quibbles and this album is a monumental highlight in Madonna's extensive and extraordinary career output. She is at her best when she leans into a slightly more experimental dance sound, as she does here. Madonna is one of the greatest pop artists of all time, never better than on this record, and you can dance to it.

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I played in a local (and staggeringly unsuccessful) industrial band during the 90s. Don't bother trying to look it up, it has been consigned to the memory hole. We played on the edge of a number of local scenes, but never really fit anywhere. The metal guys didn't like that we didn't have a real drummer. The goths thought we dressed in too many bright colours. The indie/alt scenesters thought it was just a horrible noise. In many ways the electronic/dance people were the most welcoming, although they did look askance at the long hair, guitars and Marshalls. But we played quite a few shows at warehouse dance parties and electronic nights and they were amongst the best shows we played. I hung out with a few people from the Clan Analogue collective (look them up, they are still active https://www.clananalogue.org/), and so was familiar with what was influential in the scene in the early 90s. Orbital were certainly big amongst that crowd, but frankly, it wasn't _that_ different from many of those Clan Analogue acts. This type of electronic dance music sounds awesomely great played through a big PA accompanied by flashing lights in a dark warehouse at 2am in a crowd of dancers while chemically enhanced. But out of that context, I find it all a bit dull. I just don't travel in those circles anymore. Orbital is rightfully one of the great 90s dance acts -- their stuff is clearly head and shoulders above the average, and the appearance of Alison Goldfrapp is always welcome -- but it doesn't feel relevant to me these days. I quite like 'Sad But True', 'Crash and Carry' and 'Are We Here?' and (PS - What is with that terrible cover art?)

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I really like Mr N'Dour's hat.

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Listened to the whole thing and now I can honestly say, this album is complete ass and Kendrick Lamar deserves zero praise for this lazy edgelord garbage.

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It’s telling that this album appealed to a younger self. But as an adult, the "edgelord" posturing is hard to look past and made this a real struggle. The album leans heavily into an "only joking (or am I?!)" defence to mask its more offensive instincts, obviously exaggerated for shock value. But this isn't the problem - it's the emotional void. The record constantly pivots between a whining, "poor me" narrative about a difficult childhood and the pressures of fame, while simultaneously offering zero empathy to anyone else. It's the emotional depth of an angsty teenager acting out. In hindsight, he seems to lack any self-awareness when he complains about parents worrying he’s a bad influence. Does he ever stop to ask why his material appeals so heavily to children in the first place? (Note: On a relisten, he does actually state that it's for middle schoolers multiple times. But whether he's joking or serious, it's still true.) It feels too "try-hard" and self-absorbed, and it honestly left me with second-hand embarrassment. I'm sure at the time it was outrageous and fun, but by today's standards, it sounds like stuff an incel would say for attention. It's all just too juvenile. The track "Stan" deserves a call-out for its innovative concept and exploration of parasocial relationships, but the nuance and insight there seem almost accidental compared to the rest of the record. That is the real shame. I think there are interesting ideas that could have been explored well if there were less cringey acting out and a bit more maturity. "Stan" proves he is capable of more, which makes the rest of the album feel even more disappointing and performative. Beyond that, while the production is solid and he possesses a distinct style which he's perfected, it’s telling that the standout track was one he wasn't really on. A lot of the featured artists offered a well needed break. In the end I'd rather just listen to Del Tha Funkee Homosapien and enjoy life. 2/5

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(2/5) Thanks. I don't get it, but it was fine as a cultural artifact. The album was an interesting listen. It wasn't aurally offensive, but it didn't ignite anything either. It all kinda felt the same from track to track, but that could be my lack of understanding and I'm not afraid to admit that. I wouldn't mind some more (not a *lot* more) of this in the list. World music is a blind spot for me and I actually expected more of it. Instead, it's endless amounts of electronic/Britpop bullshit. This is -- by my count -- the second truly "World" music album and is likely just a 'check box' (i.e. quota) addition. We're only a hundred or so albums in.. that's 2%.

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Boy, there's a struggle in my head on this one.. Clapton and Baker absolutely slay the guitar and drums, respectively, but damned if I can't stand Bruce as the singer. "Strange Brew" and "Sunshine.." of course are great, but all the other songs aren't great mainly because of Bruce. I'm taking a knee on this one out of respect with to Clapton and Baker and just give it the average treatment. (3/5)

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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".

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

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.

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??!!?

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.

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

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.

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.

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.