Album Reviews

no better example of sugar pop drivel. How this band made so much money and sold so many albums I will never understand. As an early beatles hater this is one of the few bands worse than early Beatles music. I made it through listening to the entire album by please no more. It all sounds the same and is just awful.

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Made it to a third of the way through track 3 and had to turn it off. Just sounded like a load of bad 1970s television series sound effects. Rubbish.

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No es mi estilo de música favorito pero estuvo bien.

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A real oddity this one - I've always been aware of the Slits of course (and not just for this album cover!) but had very little idea what to expect musically. I knew and enjoyed the "I Heard it Through the Grapevine" cover but think I always saw The Slits as more punk and less dub. There's a very earlydoors DIY ethos going on here which works better in some instances than others, but I can imagine The Slits being (to the dismay of their parents) the idols of many a young person growing up in the late 70's. The somewhat unfathomable "Ping Pong Affair" is quickly followed by the great "Love und Romance" and "Typical Girls"; it's all a bit of a mishmash but I'm glad I listened.

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i was expecting more, it went places

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Overall this is a fun listen - I never really got R.E.M. but I like this. LOL ... Stand is the song for Ben Wyatt's claymation movie.

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Very nice; a lot like the Beatles if the Beatles were American and folkier.

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I vary much enjoyed this hip-hop album couple of great standout songs. The whole album collectively was great. Talked about Great social issues with amazing beats as well. The raping was masterclass

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as someone who was never a big doors or Jim Morrison fan, i enjoyed this album way more than i thought i would.

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I feel underequipped to review this album, in all honesty. But I'll try. We're here in this list to shore up some classics as well as push our boundaries, and this is certainly one that does so. The 1001 is already pretty barren of socially-forward female voices and it's good to have a modern woman running through the shades of her life so earnestly, considering it's such a different dimension of life than most listeners here are likely to have experienced. Credit where credit's due: unlike Swift's twee 'English teacher' sophomore faux-poeticism of her recent run, Heaux Tales is a truly unapologetically feminist album. It grabs the crass, honest fuck-y'all empowerment that black voices have long had in hiphop/rap/R&B and transforms it into an album of modern transgressiveness just like its forebearers. It's an interesting continued experiment in the ongoing female-led rap tradition of leaning into the sexuality and owning it as a way of claiming it. And it's a very sensuous album - it's named so. Maybe talking about female-led music and focusing on its femininity is a bit of a garden path of critique? It's somewhat of a hammy avenue of analysis to look at every album written by a woman through a purely feminist lens just by virtue of having a woman writing it. Doubly so by being written by a black woman. We rarely ever examine the reverse. It reminds me of something RBG once famously said: “When I'm sometimes asked when will there be enough [women on the Supreme Court] and I say, 'When there are nine,' people are shocked. But there'd been nine men, and nobody's ever raised a question about that.” But Heaux Tales is definitely deeply deserving of that sort of look, though. It's definitely trying to be that - it's doing that without subtlety, particularly in the monologues and the skits (could always do without the skits on these albums, though). its shameless vulgarity is the converse extension of the sort of self-activism that black women have been candidly broadcasting since Soujourner Truth's *Ain't I A Woman* and beyond. What does 'Amanda' mean when she says: "Sex has become my superpower... it's like sex is where I'm finding my worth... in one way it's empowering in another way it's sad... I feel moments of sadness knowing that, you know, just me alone and who I am is not enough"? I don't know much about it, but it's refreshing to hear somebody speaking about it amongst a throng of a million middle-class American white boys singing about underage groupies. But it's not all rainbows, because production-wise it's a little uninspired. It's clearly drawing from the more minimalist soundscapes of modern post-trap hiphop but outside of a few wider tracks (see The Other Side') it leaves too much white-box empty space. It doesn't have to do the big-band Monae thing but it probably could have tried more. Fav tracks: The Other Side

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Probably fine live in a crowded bar for 20 minutes (where they play Come on Eileen three times over). But this is a slog

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Kinda struggling to say much about this album other than it's probably my favorite Radiohead album, and one of the easiest 5/5 albums on this list. I'd list which songs are my favorite, but I'd basically just end up listing the whole tracklist. But what I like about this album more than other Radiohead albums (Although Kid A comes close) is that it retains the more alt rock leanings while excising the cowpunk, weird alt they had going on in The Bends (Honestly not a huge Bends fan). THIS sounds like Radiohead to me.

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I've gotten all dressed up black-tie for Night At The Opera a few times before, and (with much controversy) have never been particularly impressed by Queen's most revered album. I'm no Bernard-Shaw, I thought, but then neither was Mercury much of a Caruso. But Queen II is excellent! It's a bit more on the hard rock side of their discography, I assume, but it's a place where they seem to excel. Ogre Battle is, for such an odd title, a suitably epic anthem for its era. The whole suite is suitably furnished with luxuriously complex harmonies and rich upholstered of sound that give it this cathedral-esque feeling despite retaining that pub-bandroom feel. Fav tracks: Ogre Battle, The Loser In The End, The March of the Black Queen

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One of the best ever and one of the easiest 5’s on the list.

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Pretty standard hip hop stuff. At least there’s no weirdly sexual skit in the middle, so that automatically bumps it up a star.

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bit hit and miss but at its best it's up with the heights of Roxy/Bowie

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The name Deep Purple is actually a reference to the colour the average listener’s face goes as their body instinctively cuts off oxygen to the brain to provide merciful relief from hearing any more of this album after the second or third track. I liked the vocals though

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overlong but most of the tracks with Duane Allman rip, an absolute virtuoso. ignore all the brave reviewers giving this one star due to Clapton's wrong headed opinions, if you're a fan of guitar music there's a lot to enjoy here. maybe 3.5

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The album is mostly just fine, but doesn't have too much going on for me that really piqued my interest. The title track is the standout for sure.

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Really only liked 1 song :/

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White straight male music... but depressed.

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할배 신남

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Great sounds.

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What a discovery! I’d heard Five Leaves Left and thought it was painfully dull. This is a totally different vibe, the same great voice but much more passion and energy. I’ll be returning to this.

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I really liked the jazz influence on the first song but it lost me after that. Just not my genre. 2 5 stars

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Buenas Noches From A Lonely Room Dwight Yoakam 1988 Genres: Country Styles: Bakersfield Sound 1. I Got You (★★★☆☆) -Contexto: Escrita por Yoakam. Un narrador con problemas de plata (le llega un aviso de la compañía telefónica) que se consuela porque tiene a su pareja. Es casi la única canción con humor irónico del disco. Tono liviano, el "optimismo" previo al derrumbe. Single, #5 en 1989. 2. One More Name (★★⯨☆☆) -Contexto: Vals suave. El narrador escucha a su pareja pronunciar nombres mientras duerme, presuntamente de amantes. Acá empieza la paranoia del relato. 3. What I Don't Know (★★★⯨☆) -Contexto: Paranoia con batería marcada. Contiene una advertencia casi psicótica: lo que él ignora quizás no lo dañe, pero podría costarle la vida a ella. 4. Home of the Blues (★★⯨☆☆) -Contexto: Versión de una canción de Johnny Cash (Cash, Douglas, McAlpine). El narrador está solo en una casa llena de recuerdos tan dulces que lo hacen llorar. 5. Buenas Noches from a Lonely Room (She Wore Red Dresses) (★★⯨☆☆) -Contexto: Balada de asesinato. El narrador, enloquecido, reza por venganza, busca a la mujer y a su amante y dispara. Una reseña habla de doble homicidio. Cierra la historia de celos de la cara A. Single, llegó solo al #46. 6. I Hear You Knockin' (★★★★☆) -Contexto: Versión de Lazy Lester (J. D. Miller). Suena más alegre, pero según la lectura crítica su letra refuerza la tristeza del disco. No encontré dichos del artista sobre esta canción. 7. I Sang Dixie (★★⯨☆☆) -Contexto: Un narrador encuentra a un hombre del Sur muriéndose en una calle de Los Ángeles y le canta "Dixie" llorando para consolarlo, mientras los demás pasan de largo. El moribundo le dice que vuelva a su tierra y escape de lo que la ciudad le hizo. Yoakam la demoeó en 1981. Rolling Stone la puso #26 entre las canciones country más tristes. Single #1. 8. Streets of Bakersfield (★★★☆☆) -Contexto: Escrita por Homer Joy en 1972, tras una espera humillante en un estudio de Bakersfield y con los pies ampollados por botas nuevas. El estribillo apunta a quienes juzgan sin conocer. Buck Owens la grabó en 1973 sin gran suceso, y Yoakam lo convenció de hacerla a dúo en 1988. Single #1. Encaja con la independencia artística de Yoakam. 9. Floyd County (★★★☆☆) -Contexto: Relata la muerte de un hombre que era pilar de su comunidad. También viene de las sesiones de demo de 1981. Poco más pude verificar. 10. Send Me the Pillow (★★⯨☆☆) -Contexto: Clásico de Hank Locklin. Tono de anhelo y desamor. Maria McKee hace coros. 11. Hold On to God (★★★☆☆) -Contexto: Gospel escrito para su madre, Ruth Ann. Suena más a resistencia que a celebración de la fe. Yoakam bromeó sobre el disco diciendo que se pone melancólico, mata a alguien y al final se hace religioso. -TOTAL = ★★⯨☆☆ (2,91) -No me gusta el country, pero creo que a este álbum podría ponerle un 3, más allá de que no lo volvería a escuchar...

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Like all of their pre rubber soul stuff this one ultimately falls flat for me as an album. Some real high points here, and it’s really crazy that they were like 22 years old writing these songs. But a Beatles pop album will never be very compelling to me

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Sad beige songs for sad beige adults.

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This is awful. I cannot imagine listening to this by choice on a regular basis.

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Virkelig ikke min kopp med te. Og så lange alle låtene er uten at jeg egentlig skjønner hvorfor.

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I enjoyed this a lot. I can be critical of NY at times, especially his curmudgeon type attitude as he ages. The library is huge, but most of his albums have a couple great tunes and a couple bad ones and a few average one. This one was solid from start to finish. Sounded a bit like a live recording for most of it which I enjoyed. 3.75

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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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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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Greasy fat rat

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Music to listen to while your wife is fucking her boyfriend

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Low IQ theory

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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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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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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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(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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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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This might be the most developed of the 70s punk albums that I've heard. Much stronger musicianship than I would expect from British punk of the era based on what this list has handed me. I think 4 overall but a 5 in the context of its peers.

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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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(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.

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