Album Reviews

This is what The Atlantic has to say about the American tour that followed this record: "Live recordings included in the box set give a good sense of what an Armed Forces–era Attractions concert was like: Every song seems about 15 percent faster and 30 percent more punk than the album version. To an unsympathetic listener, Costello can sound twee in studio, especially surrounded by Nieve’s filigrees. These tapes show that the concerts were rougher affairs." Man, oh man, I wish Elvis Costello had used a producer who could understand the point of making these very formated songs rock HARDER than they do here, just like the live versions. You can't believe Nick Lowe produced the Damned debut when you're listening to *Armed Forces*. Don't get me wrong: the Attractions were a great backing band for Costello, and all of the songs are at least interesting. "Accidents Will Happen", " Senior Service" or "Goon Squad" all have amazing chord progressions and lively performances going for them ("Oliver's Army" is a more famous cut, admittedly, but its rococo piano flourishes are quite annoying and predictable in comparison). I also understand that what Costello fans like about this record is the contrast between the mellow sounds (even poppier than the ones of the previous LP "This Year's Model") and the snarling lyrics... But if you start listening to Costello fans, they'll tell you that seven or eight of his most cheesy-sounding records deserve to be on this list anyway (and I think Dimery listened, unfortunately--if he is not one of those guys himself). So maybe we should all remain cautious here... Besides, and this is something that already rubbed me the wrong way for *This Year's Model* (as smartly-written as its lyrics were--just like the ones here, generally speaking), I think there is something deeply flawed in the borderline-incel energy Costello displays in some of his lyrics. That strange congruence between takes on personal relationships and political references is indeed very awkward stuff (that congruence can be mostly found on "Chemistry Class" and "Two Little Hitlers"--the latter clearly inspired by another tune with a very close title written by producer Nick Lowe for his own *Jesus Of Cool*). Here I disagree with The Atlantic, whose writer sees those lyrics as prophetic genius. Nah, it's not. They just prove Costello was way over his head and didn't really know what he was talking about, and this whether it's about the personal and the political. When you're only equating love and dysfunctional romantic relationships with the dynamics of fascism or unmitigated capitalism, I think you're missing many important points about all of those things... And in any case, it shows how lost and cynical you are as a person. Therefore, I'm not surprised Costello then somewhat ruined said American tour with those awful drunken racist "jokes" about James Brown and Ray Charles, ones that went from private to public to everyone's outrage (thanks to Stephen Stills and his entourage--by the way, check out Ray Charles' high class reaction to the news, the man just saved Costello's sorry ass, and this without pandering to his slurs either). The question is: was Costello's passing confusion such a big surprise after all? In a way, it could already be sensed in some of *Armed Forces*' lyrics. Maybe that "new wave Bob Dylan" thing hurled at the British singer thing made him lost all sense of perspective and restraint... What really matters is that Costello apologized for the racist slurs right away and said there was no excuse or cohesive explanation for them. Astonishingly, he had played a Rock Against Racism concert right before the tour--so he *really* looked stupid, to boot. I guess he was lucky that this incident occured during pre-internet times, otherwise *more* than the tour and his charts ascent in the US would have been compromised. Costello now seems to consider the whole situation as a case of hubris, a case of ambition-going-dead-wrong. He says that he had it coming somehow, and that the setback such a public revelation triggered was actually beneficial to him in the end, both as a person and an artist. But one can sense this strange "hubris" of his was already doing weird things in this particular record, both musically and lyrically speaking. And for one, *I* could sense it before I even knew about this particular incident. It's like an elephant in the room, clearly. Number of albums left to review or just listen to: 826 Number of albums from the list I find relevant enough to be mandatory: 95 Albums from the list I *might* include in mine later on: 44 (see explanation below) Albums from the list I will certainly *not* include in mine (many others are more important): 37 Note to myself -- I remember giving a harsh 2/5 grade on *This Year's Model*. Or was it a 3? In any case, I've taken some time to reconsider the overall artistic and mostly *musical* intents of this other Costello record, and I get them a little better now, in spite of my early reservations (some of whom I still agree with). So I can bump up that grade to a 3 or a 4 now, and include the album in my own list of potential contenders. Costello is weird in many ways to me. My personal experience of his songs is that they are *always* slow growers, even if a lot of them are worth it in the end. That's why I'm gonna stay cautious with *Armed Forces* too. I still think the man's whole career is a little overrated. But I can be reasonable, contrary to some of his most hardcore fans... Sorry for the long rant. At the end of the day, *Armed Forces* is still a pretty good record. But I found the contextual story around it, related to Costello's hubris, quite fascinating. It's that sort of rock and roll you want pass on to the next generations, which is why I wanted to share my thoughts on it with you, kiddies... Number of records left to review or just listen to: 920 Number of albums from the list I find relevant enough to be mandatory listens: 42 Albums from the list I *might* include in mine later on: 20 (including this one) Albums from the list I will certainly *not* include in mine: 19⭐

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me ha gustado aunque estoy segura de que este hombre tiene mejores hits. tampoco le ha ayudado haberlo tenido de fondo trabajando, siento que no le he hecho justicia pero mira, es lo que hay

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This was fun and not what i expected. Everybody knows is cracker

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I enjoyed this a lot more than Number of the Beast for some reason. It's both more proggy and more punky than the fully formed Iron Maiden we would come to know (and love, in some cases). Maybe the vocals also sound less cliched to me, being used to Bruce's over-the-top stylings on most IR tracks I've heard over the years. As my 1001 colleague said, you can hear the building blocks of Metallica here, especially on the softer parts. I'm also a big fan of the band name being the name of the album and the name of a track on the album - triple threat.

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It's a cool thing that we eventually got to hear something approaching the original vision for Smile. If it had been finished in 1967 and to it's full potential we may have got an even better album than Pet Sounds In and if itself this is still a very fun listen and bears the hallmarks or Brian Wilson's best writing. We get Beach Boys style harmonies and quaint jolly songs about vegetables. It's definitely quirky and quite unique It's a bit odd to hear a lot of tracks like Surfs Up, Good Vibrations and Heroes and Villains which are better known as recording for earlier albums like Smiley Smile. I also can't quite shake the feeling this was more of a dug up relic than something cohesive. Still, it's good and it definitely belongs in the book for it's story even aside from the music

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Listened before?: nope Pretty Green - 3/5 Monday - 4/5 But I'm Different Now - 3/5 Set the House Ablaze - 4/5 Start! - 3/5 That's Entertainment - 5/5 Dream Time - 3/5 Man in the Corner Shop - 4/5 Music for the Last Couple - 3/5 Boy About Town - 4/5 Scrape Away - 4/5 Average score: 3.6/5 ⭐️⭐️⭐️

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Pas mon style au moment de l’écoute

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This is just a classic rock album with some fun moments but for me it does get too typical sometimes.

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Fun blues song

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It's a classic and not just for the art

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Blends jazz, rock and prog but in such a way as to suck out the feeling. There’s the odd decent tune but what there is gets undermined by extended navel-gazing. It might have scraped a second star if it didn’t drone on for 78 over-indulgent minutes.

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Safe indie rock. Low 3

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such a great record, stands the test of time

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Energisk og gøy, men skiller seg ikke ut fra andre utgivelser innen samme sjanger fra 90-tallet. Sterk 3'er.

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7/10

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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, her megalomaniacal turn in 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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Ist ja nicht so meines die 70er. Und ja Drogen helfen nicht.

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Number: 187 Familiarity: None (1) Rating: 2 ======= I might have liked this in 1982. I don't like it now. I found it very difficult to listen to and had to skip through most of the tracks. I'd give them an A for effort but a D- for execution unless they were actually trying to make the worst possible music in this particular style.

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Fantastic trip hop album

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Erikoinen levy, välistä vähän jotain folkkia, mies ja kitara -hommia, sit joku ihme hillobiisi?? Taustalla meni oikein mukavasti kuunnellessa, ei myös kolahtanu mikään kovin ihmeellisesti. Keskivertoa taas pukkaa, tylsää arviointia.

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Fuck yeah

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So... the remaining members of Joy Division got together to form a disco band? Cool. 4 stars.

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Very cool distinctive sound!

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It was decent but nothing special about it for me

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Sorry Madge, I love you, and Confessions II is the album of 2026 so far, but this album has not aged well at all. It feels like more of a relic than most, and its a struggle at times. American Pie is great though, you can suck it.

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So many bangers. Some things stick out in a bad way, but super solid.

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Dreamy, Loungy, sehr cool!

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Really good energy! Wouldn’t mind a bit more melody and a tad less buzz.

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Ok pop album, does what you'd expect

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Never heard of Gram before. Sounds a lot like the Country (& Western) I heard growing up in the 70s in rural East Scotland, but with more serious/contemporary lyrics.

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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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Quintessential slop

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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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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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"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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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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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 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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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.