Album Reviews

Es okay

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This album is such a 70s vibe! Definitely more of an atmosphere than something I feel compelled to listen to super critically. But everything is varied enough that I can listen and enjoy and tune in and out and not feel like I've missed something. Love Disney Girls Looking at the track list, I'm not sure that I've heard any of these songs before, which is super fun. I feel like The Beach Boys are one of those groups that I know who they are and I can name a few songs, but I haven't listened to a very large chunk of their discography. A Day in the Life of a Tree is a weird song. Till I Die is also pretty weird. Overall thoughts: I think I liked the sound of this album, but didn't actually enjoy listening to it all that much. I like the front half much better than the second half. Once again, I'm not familiar enough with The Beach Boys to know if this is typical or if this album is more the exception.

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Don't know much about the band. This album feels a bit like smooth jazz. I see connections to Sade (Smooth Operator was 4 years earlier). "I don't want to talk about it" is the top song, and it's a cover. Besides that, the only song that stood out to me is "The Night I Heard Caruso Sing", which is interesting because in general I love her voice but that particular song is led by the guy (but has fantastic harmonies).

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The vibe is similar to early Beck, but it's not as good as early Beck. Pretty good 6/10

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Surprisingly very enjoyable. High energy music earlier on and then slows down to a chill groove.

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It didn’t leave me with any strong impressions. But a nice sound

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This was....fine. Better than expected. Learned know does indeed rhyme with blow.

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Listen to the first and last songs. If you don't like them, you can move on. Me, I love this album. It pulled me in the first time I heard it more than 30 years ago. The story I make up is that a country singer wanted to do smoky jazz lounge numbers, so she brought her steel guitars and fiddles into the studio, played them slow and sweet, and came up with the perfect accompaniments for her gorgeous, languid voice. I've never heard another album quite like this one, and it's hard to imagine anyone other than k.d. lang doing it. The critique that a lot of the songs are similar and not excellent on their own is valid. But I think it works on this album, which maintains a quiet, yearning, vulnerable mood throughout. It's beautiful, at times achingly so.

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Decently enjoyable, but I feel like it's lacking some oomph. Not particularly memorable.

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I do enjoy this sort of thing every now and again. Got to be in the right mood, but it's the sort of thing I'll listen to if I'm cooking something low and slow. Half decent and the list needs more of this sort of thing.

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Just another boring Britpop band!

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It’s a good album, but not on the daily for me. Good record for a chill day on the background or Christmas season.

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There sure are a lot of bands I've never heard of! I guess I appreciate a rock(?) band with a female singer, and also a song called 'Charlie Big Potato' with some strings in. When I was a kiddo I had a book with some Anansi stories in it, so I like the band name too (and that they apparently added "Skunk" to "make the name nastier". Poor skunkos.) Slur count = 9. Apparently 'Secretly' was in Cruel Intentions, which I've seen 8 million times, and yet it did not sound at all familiar. But hey, 2 adverb songs in a row! I don't know if this album got more mellow as I was listening, or if I just got sleepier, but it ended up being on the good side of average for me. We're on a solid streak here! Not quite a 4 though, I think. Highlight: 'Cheap Honesty' (very 90s)

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Never been a fan of this but listening again it actually sounds a bit dull. Maybe is been influential, but if so it's been done better and there's really no need for this

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It’s just so boring lowk, I’ve never really heard a band quite as aggressively mid as Coldplay

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surprised myself enjoying this as much as i did. this is the era of rap i grew up with, so that might be part of it. has great melodies and choruses.

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Fun, fun, fun. Really enjoyed this one. Great start to the album with Buffalo Sauce and the good songs keep coming. The Next Generation was another favourite. Looking forward to more Neneh

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Never heard of Hawkwind before or this quote on quote "epic journey across space and time". Turned out to be a very long and dull journey. One where I constantly found myself asking, "Are we there yet?"

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All the hits here hit, but some of the lesser known (to me) are pretty good too. But not at the level of his other stuff.

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EDP445-says-I-mean-it's-alright-.gif Locomotive Breath notwithstanding, this to me sounds like Ren Faire music. Which is great if that's what you're into but it's not classic prog rock to me like it's advertised to be

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I'm not joking when i say this, S&M is not only my favorite Metallica album but also my favorite live album period. I always knew going into this album that it was going to be something really special since i love the combination of metal and orchestral music but this album managed to surpass even those lofty standards. This is a show that starts explosive and remains explosive throughout all of it's 2 hour runtime. I genuinely can't think of anything that this album does wrong as it executes everything so perfectly. This is definitely a huge favorite of mine and is 100% going into the top ten of the albums i have done here. Best Song: No Leaf Clover Worst Song: Hero Of The Day Side note: Last Metallica album, here are the rankings: 1. S&M 2. Metallica (Black album) 3. ...And Justice For All 4. Master Of Puppets

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I guess making good music that goes on for too long runs in the family

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I mean, not my thing. Trying not to trash albums just because they're not my thing. This is really quite solid at doing what it's trying to do. It's not nearly as hard to listen to as a lot of other albums of its type. The playing is really solid. Very good metal guitar and some solid melodies here and there (I can't connect with the rapid kick drum shit and never will). So, not my thing, but it had some surprises and it's good for what it is.

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Ugh, I kept expecting him to breaking into Quando, Quando, Quando and to tell me not to go changing. This is lounge music/soft rock in a form that I found uninteresting and tedious

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This was pretty great. Some great guitar bits and vocal moments. Not that familiar with thrash metal and I might need to expand my repertoire some.

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this is torture to me, respectfully

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Yesterday I reviewed Lou Reed, and Giant Sand strike a very similar note, at least musically. However, Lou Reed was around 30 years earlier and was therefore something of a pioneer of his style. Giant Sand, on the other hand, take a different approach to individual songs, which makes “Chore of Enchantment” reasonably varied. Nevertheless, there are only a few moments that give an impression of inspiration, independent creativity, or even innovation. Overall, it's an unremarkable album.

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Some sick instrumentals and Winehouse's singing voice is pretty good, but most of the lyrics on this just bounce right off me. "Stronger Than Me" is an absolutely baffling fucking pick to open your album with. I could only hope to write a "relationship problems" track with such banger lines as "are you gay?" and "feel like a lady, and you my ladyboy". 7/10.

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Very dated techno. I mean, Pretty Hate Machine already existed by the time this came out, right? Kraftwerk, Pet Shop Boys, Depeche Mode, and the whole Detroit house scene? I guess this was before the internet, so a year back then was like a week now, but still, it seems weird considering that Aphex Twin, Daft Punk, Primal Scream, and Prodigy were right around the corner. Not a lot of very good songs, but after about 15 minutes, the vibe does come together. I don't know. It's not that good but it's still a decent listen. It's the strongest 2/5 I'm giving.

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Listened on the way to work. Went into this one expecting a snooze fest and was blown away with how good it was. It has intimate acoustic songs and sprawling epics. Incredible song writing and musicianship. Legit shocked how good this one was!

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Favorites: The Stranger, She's Always a Woman Really nice, solid album with several classics. Some were new to me, like The Stranger, but I've liked She's Always a Woman since I was a child. I don't see myself actively replaying this album, but it was a good listen.

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I don’t understand the Swifties. Not for me. I’d be happy never hearing Shake it Off ever again. I’ve never purposely listened to a TS album. Not surprised by how many tracks I recognised - she’s inescapable at the gym, on radio, in tv shows… I desperately want to give this a 1 star before listening, but the production saves it from being the worst of the worst. 2/5

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Banger intro that leads into my favorite song on the album, Into The Light. It's an underrated and creative riff in my opinion, and its atmosphere perfectly swells into the next song, Arabian Nights. It unfortunately kinda drags, after this though. But it has an awesome front half.

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Sounds like the same song done 8 very similar ways. Fast,Faster,Slower…Jeez.

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BuT iT's CuLtUrAL aPpRoPriATiOn!!!!!111 Does anyone fucking think on here? Does anyone know what they're talking about? Does anyone know anything about music? There's a certain type of idiot on here (and in life) that hears something like Graceland and sprints, whistle in mouth, to declare Paul Simon guilty of "cultural appropriation." These are the people who were hall monitors in high school and continue to look for infractions anywhere and everywhere in life. According to these assholes, Paul Simon didn't collaborate with musicians in South Africa, he only extracted their music and their culture. And they constantly ignore (or don't want to bother to look) that the music that's on this album shined a light on artists like Barney Rachabane, Ladysmith Black Mambazo, Hugh Masekela and Clifton Chenier. They don't want to take a minute to understand that this album brought these artists some notoriety and that these artists were appreciative. They don't want to admit, by these artists accounts, that the album was a joy to make. And these assholes just never want to acknowledge the most obvious point, that music has always been a conversation across cultures. Genres exist because cultures collide...rock music exists because of Black Americans. Elvis didn't appear out of thin air fully formed, he was drawing from Black gospel, blues and R&B. The Beatles were borrowing Chuck Berry riffs, girl group harmonies, basslines from Motown, American R&B, Indian sitars and the list goes on and on. Jazz is a mix of african rhythms, european brass band instruments, carribean influences and blues scales. Country is a blend of scottish and irish ballads, Black blues structures, mexican influences on Western swing and African banjo classics. Hip Hip was built on sampling funk, disco, rock and whatever else they could find. But the "cultural appropriation" assholes never worry about nuance. As long as they can plant their flag on some moral hill, they'll ignore everything else. They'll ignore the musicians that wanted to work with Paul Simon, the breaking of a cultural boycott in an effort to collaborate on music and the positive feedback from everyone involved. These "cultural appropriation" assholes have one argument, and it's this: Paul Simon shouldn't have made one of the best and most innovative albums of the 80s because it violates my sensitivities. In doing so, these "cultural appropriation" assholes flatten the South African musicians into props for a moral lecture. And in thinking they're somehow protecting them, it reduces them to passive objects rather than creative artists who wanted to collaborate with Simon and brought the world some fucking awesome music. The "cultural appropriation" assholes just ignore that music isn't pure and it's not supposed to be. Humans borrow from each other and cultures mix and to ignore it is to willfully ignore the way culture actually works. They want rigid boundaries when it suits them and they want rigid boundaries in art when art doesn't obey boundaries. So fuck the cultural appropriation warriors, this album absolutely slaps. If you want to downgrade it for farty bass lines and lyrics you don't like, that's fine. But if you want to get on your high horse and write a review about "cultural appropriation" while ignoring all the music you've 5 starred on this site and think you're some sort of a fucking genius you might want to sit this one out.

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I guess I just don't get it. I don't know why we have so many Nick Cave albums on here. Is he interesting? At times. Murder Ballads was ambitious and intriguing, a worthy inclusion. That said, he is very far from great. Want proof? He is revered by a good amount of critics (mainly English), as evidenced by having 5 albums on this list. And yet, here in the States, he has had one album that has sold more than 100k copies. One. That's incredibly hard to accomplish. Is he a complicated artist that is just misunderstood in the US? Perhaps. Or maybe, just maybe, he's a relatively uninspiring/bad signer, who is a lackluster song writer. Some examples, just from this album: "We'd buy the Sunday newspapers and never read a single word." "I don't believe in an interventionist God but I know, darling, that you do." "In a colonial hotel, we fucked up the sun and then we fucked it down again." He's incredibly trite throughout this record. Him trying sing layers about a "twinkling cunt"? Huh? Worse yet, this collection of songs are very basic with zero real musicality to them. The only bonus is that I've now burned through more than half of his albums on this countdown. Only two more to get rid of. While he hasn't supplanted Amy Winehouse as my least favorite artist on this countdown, I realize now I would rather listen to her than him. At least Amy had an excellent voice and talent, even if she totally wasted both. This dude is predominantly just a waste of time.

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When this came up as my album of the day I was less than thrilled. This isn't what I want for Sunday morning dog walking in the cold rain and snow. Well, I couldn't have been more wrong. This is outta sight. Who knew I would enjoy downtempo electro dance pop so much? Quick aside, I try to not call people out for their reviews but come the fuck on, comparing her cover of American Pie to war crimes and human rights violations. It's a 4 minute version of a folk rock classic, not dropping bombs on women and children. Criminy, take a breath and actually listen to what you're saying. But anyway, this is another prime example why Madonna has been one of the most successful artists of all time.

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I’m vibing with the lesbian twang

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This shit slaps, just like I heard it when I was in high school. I remember I had a cassette tape someone burned for me, it was like 74 minutes on each side. One side was this album, the other side was Evil Empire. But plant me smack in the middle of the group of people that didn't pay attention to their politics or care about them. I just liked the anger, the guitar...it is music to have on while you're lifting and working out. It's just hard to take their politics seriously and it was hard to take their politics seriously back in the day. I remember some magazine article where these guys were out golfing...the hypocrisy was just evident from the start. And while I'm sure these guys really believe the shit they're yelling about, they're just cartoons, especially Morello and De La Rocha. They built their identity and messaging on anti-capitalism and anti-corporate power while becoming hugely profitable, major label stars that sold out arenas. They Raged Against corporate exploitation and then sold tickets through Ticketmaster and Live Nation at prices that the working class couldn't afford. Yeah, they've donated money, yeah they protested Ticketmaster at one point but at the end of the day they used the system. They signed with a massive corporation in Sony and always claimed some bullshit along the lines of "we're using their money to spread anti-capitalist ideas" which was just fucking hysterical. Sony didn't sign these guys because of their ideological messages, they did it cause RATM made them a shit ton of money and you don't subvert capitalism by becoming a platinum selling band inside of it. Morello lives a really comfortable, elite life. The rest of the band members do, too (De La Rocha's house that went up for sale a few years ago is very nice but not over the top extravgent, I will give him that, but it was still 3 million) but Morello's a bit above the rest. It doesn't invalidate their beliefs but it's hard to take their moral high ground seriously. There's no personal sacrifice here. In their own way, they're completely safe. They felt somewhat dangerous in the 90s and were always loud and angry about US imperialism, capitalism and policing. They are consistently quiet on authoritarian left-wing regimes, labor abuses in countries that are aligned with their preferred politics and censorship when it comes to their side. I will admit that they've donated millions to activist causes they believe in, they've platformed radical politics since the start, they've never pretended to be neutral on anything and I think they've read the books they put in their albums instead of pretending to have read them. That all said, the self awareness is lacking. They exist inside of capitalism but they think they're morally superior while they rage from the penthouse that overlooks the machine. It's a band that rallied around being dangerous to power but always embraced it, especially when it suited them best. Now... what they should have done was adopt the philosophy of Ian MacKaye. MacKaye didn't just say anti-corporate things, he designed his entire life and career around never having the message and behavior be in question. MacKaye is the anti-RATM. No major labels. Ever. He never had to explain that contradiction because he never got there to begin with. He capped ticket prices for decades. Never gave in to festivals...it was always 5 bucks. It was a moral obligation and he never strayed from it....and he never needed Ticketmaster. Yet, he still sold hundreds of thousands of records. Toured a shit ton. Influenced a lot of bands. He never went to sell out arenas, he never made the luxury leap, he never bought the big house and the fancy car. MacKaye's politics weren't slogans that he tapped into whenever he felt like he needed to...it was DIY or don't do it, keep prices low for all ages shows, no corporate sponsorships, no gouging on merch. He just opted out of the system/machine instead of trying to play some sort of a game that RATM did. RATM chose maximum exposure, mass culture reach...MacKaye chose sheer autonomy and limits. Neither of these ways are invalid or bad, but one avoids hypocrisy completely. If RATM went the MacKaye way, fewer people would have heard them, they might not have been icons and they wouldn't have filled arenas. But no one could roll their eyes at them. So...yeah, I hate their politics. I'm not reading Howard Zinn, I'm not reading Marx, or Guevara or Alinsky or Chomsky. And a big reason why I never wanted to, even as an idealistic teenager, is that in 1996 when I saw RATM's reading list inside of Evil Empire, I just rolled my eyes. So why am I giving this a 5? It's music to lift weights to. As much as they don't want to be lumped into this category, it's music for football players and they had to have known that when they were making it but they did it anyway. It's great rock music, maybe even slightly innovative rock music, it takes me back to a time where I'd blast this album, not give a shit about their politics, understanding that the guys were making the music were hypocrites and realizing that most people are. And that's the lesson to be learned from RATM, it's not revolution, it's not anti capitalist politics...the lesson to learn from RATM is that most people are hypocrites.

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Based Oliver Cromwell.

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Fuck this rapist midget and every scumbag who enabled him.

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"I started to play the song yesterday, and stopped myself. Again, I was angry. Again, another story about the blues of Pharaoh, and the people are invisible. The people are always invisible. "These motherfuckers," I mumbled to myself." -Ta-Nehisi Coates, about 'The Night They Drove Old Dixie Down'

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This is a really great album. Frank has a lot of really great albums. Music is magic. Back in the days of paper maps me and a buddy would go find undeveloped hot springs in northern Nevada. I drove, he navigated. Lots of road trippin' listening to Van Morrison, Tom Waits and Frank. If you're ever around Austin, NV and you're so inclined, take an evening to visit Spencer hot springs, crack open a Sam Adams Summer Ale, light up a cigar and listen to Frank's Summer Wind for me. Like I said, music is magic and this album swings.

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The most widely misunderstood, and overrated, Beatles album. Something I think captures Abbey Road in a nutshell... They originally wanted to name this album Everest, and the cover photo was going to be the foursome on Mt Everest. Instead they named it Abbey Road and took a photo outside the front door of their studio. Despite its recent critical reappraisal, Abbey Road is not the sound of the Beatles at their creative peak. It's the sound of a band running out of gas, suing each other, and lowering their standards. The Beatles were not trying to make any profound artistic statements, they were trying to fulfill their contractual obligations as quickly as possible so they could move on. All 3 songwriters released better solo albums a year or so after this album came out and, clearly, they were saving their best material. I should mention I am a Beatles fanatic (not a hater) and can acknowledge the positives here. There are a handful of remarkably great recordings on this album, best of which is "Something." "Something" is an all-timer love song and one of the most mature, elegant miniature morsels the band ever made. "Come Together" is also quite unique -- a post-psychedelic reinterpretation of 50s rhythm and blues with a signature rhythm track unlike anything the band (or really anyone else) had ever done. But alongside these merits are serious problems. "Because" is a virtuosic piece of work, overshadowed by the corny Moog sounds. (The Moog generally does not work on this album, in my opinion.) Similarly, "Here Comes the Sun" is a great song at its core, but it gets bogged down with its overblown prog rock arrangement. The B-side medley is probably the best example of their misfire and it still shocks me to read reviews from people who think it's some kind of masterful experiment in songcraft. They took unfinished scraps of songs that might have really had an impact if they took the time to work on them (e.g. "Golden Slumbers," "Mean Mr. Mustard"), threw them in the pot with a bunch of other crap, added a Moog and an orchestra, served it up and said bon appetit. John acknowledged many times in many interviews that the medley was pure lifeless junk. And there's a scene in the Anthology documentary where they are re-listening to studio masters of some of the medley orchestration; Paul is absolutely high on his own farts and George looks straight into the camera to say "a bit corny, init?" Yes! It is very very corny. When the theme to "You Never Give Me Your Money" returns as a horn section during "Carry That Weight," I get a full body cringe. John is only half-present on this album and it clearly shows. There are a number of songs he didn't touch, and he didn't even bother showing up to the final recording sessions. He's also, clearly, not sharing his best work -- most of what he wrote on this album had been kicking around since the band came back from India, and Plastic Ono Band (which is a MUCH better album than Abbey Road) was recorded shortly after this. "I Want You" is the closest thing to a proto-Plastic Ono song on Abbey Road, and it pales in comparison to others in its style (like "Yer Blues" or "Don't Let Me Down"). What we're left with is Paul's ego unchained. The medley has his fingerprints all over it, and "Maxwell's Silver Hammer" is legendary in how badly it pissed off the rest of the band. "Oh Darling" is fine, but it's a weak pastiche at a time when a zillion musicians (including John) were doing a much better job of playing with roots rock n roll revival. It's been quite surprising to see this album get reevaluated in the past couple decades by younger audiences who have elevated it to "masterpiece" status in the same way the Boomers latched on to Sgt. Pepper. I'm not entirely sure why this is the highest rated Beatles album on this site, but it probably has to do with the cleaner production standards compared to their earlier 60s albums; in the end, I think most people just want easy listening. All in all, Abbey Road showed the way to the future in 70s rock radio, but mostly by influencing its worst tendencies, i.e. corny prog pop and soft rock. This doesn't sound like a band at the cutting edge of popular culture, it sounds like ELO or Wings or any number of yacht rock bands. But hey, I suppose that's also why a lot of people like it -- ELO sold a lot of records.

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Murderer, rapist turd.

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Album No. 0125 on my list. There it is. Pink Floyd's "The Dark Side Of The Moon". THE album. My hypothesis is that if you ask people to think of a music album, this may well be the one that's mentioned the most. It is certainly one of the most iconic albums of all time, and possibly the greatest rock album there is - certainly the greatest progressive rock album, and maybe the greatest album of the 70s. I have to admit that it's also one of my favorite albums (what a cliché, I know). It's just not possible for me to judge this objectively in any way, but I guess based on the other ratings of this album on this page, many others seem to like the album as well. I guess "The Dark Side of the Moon" perfectly hits the sweet spot between a complex, progressive, artsy work on the one side and a groovy, catchy, enjoyable album on the other side. It is more than a collection of 10 songs, they all fit together just so nicely. And even more than 50 years later, the album still sounds incredibly great! For nostalgic reasons, I didn't even listen to any of the remasters but to the original, and it still sounds very good. The prodcution was really aehad of its time. The album really has everything. You've got some or Roger Water's greatest lyrics on this ("Time", "Money", "Brain Damage"), some of David Gilmour's greatest guitar work ("Time", "Money"), and singing ("Breathe", "Time"), some of the greatest Pink Floyd atmospheric sound layers ("Time", "Us And Them"). In addition, you got one of the greatest album covers of all time, possibly even the most iconic one ever made. You got some progressive elements (odd time signatures, some extensive instrumental parts), but it really never gets boring. Everything is perfectly nuanced, everything is timed to perfection. To avoid adding the full album to my playlist, I'm leaving out the instrumentals, but will still add "Breathe", "Time", "The Great Gig In The Sky", "Money", "Us And Them", "Brain Damage", and "Eclipse" to my playlist. If any record is a hallmark record, it's this one. I can't praise this enough, would have given 50 stars if I could. 5/5 stars - of course!

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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 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??!!?

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

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.

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

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.

Music for incels to wank furiously by

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

Rage In Favor Of The Machine.

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

The only reason this is here is because it’s from before streaming, when if you bought a shit album you had to convince yourself you liked it.

Most 60's groups had three choices: copy the beatles, copy the beach boys, or sexually abuse minors. These guys changed the game and did all three- Four stars!