Album Reviews

I didn’t think I knew of Justice but I recognised at least two tracks from back in the day when this album had high rotation on Triple J. It made for some good unexpected nostalgia. I enjoyed this classic electronic offering.

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Starting to like this band

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I think I prefer The White Stripes I'm doses of single tracks rather than full albums. I like them but after a while Jack's voice begins to grate.

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Some albums you just have to be in the right mood for. This album filled with jangly sad boy songs came at a moment I could use them and the score reflects that. The vocals are a broken mess, something that in other cases would annoy me but now underscores the defeat and sadness in the music.

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Ugh metal, gross. Yeah this was horrible. Had to skip through almost every song

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This shiny diamond was not for me.

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well again something really forgettable somehow. The instrumentals are good at some times but i don't like the singer

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not bad, just unremarkable. Ig i would listen as background music at work, but not my first choice

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#180/1001 🇫🇷🇪🇸 My first listen to this record although I saw Manu Chao live many years ago at a festival. Really enjoyed it and its certainly something that i'll want to come back to. Best tracks: Luna Y Sol, Clandestino, Welcome to Tijuana, Mama Call

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For adult contemporary, this album exists! It’s not my genre. Matter of fact, I kinda’ got bored with this album about three songs in. The album is a vessel for Carey’s exceptional vocal range. After a while, though, I felt the vocal fluctuations, vocal whistles and nasal head voice singing got redundant, and paired with the lacking musical variation and lyrical prose of a thirteen year-old on most songs, this album just falls flat for me. If I was still in my player days (…imaginary, admittedly) I would have played this album as background music because it was smooth and I hopefully wouldn’t have to pay that close of attention to it. Otherwise, this is a one-and-done.

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5/5

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Absolute mediocrity.

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I knew Christina Aguilera could sing, but this was amazing. It's certainly not my favourite genre, but I appreciate the musicianship here.

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This is a bit more like it. German experimental from one of the Can mainstays.

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I’m not sure how an overproduced ‘House’ album can feel raw but this does. Tricky uses sounds and styles not common in the EDM world. Here, it works. Martina Topley-Bird’s voice is the showcase, though, a beautiful juxtaposition to the urban beats being thrown down. Key tracks for me were the nebulous Pumpkin and its successor Aftermath, both of this seemed to be a continued movement in Teicky’s techno-opus. I had to listen to this album twice as the first time it was turned off but a less than impressed roommate. The second time I listened with headphones and I thank them for the correction. It was definitely a different and preferred experience.

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Not that I would have enjoyed it that much more, but I was really expecting some perfectly fine punk music from this. Not experimental post-punkish type... whatever this is. This is a bit in line with stuff like The Idiot by Iggy Pop and Fear of Music by Talking Heads. I know this is a bit hypocritical coming from someone who likes extreme metal, but just in general this era of post-punk is just incredibly unpleasant music. Its got this sour, spoiled feel to it that I legitimately struggle to understand how anyone can enjoy listening to it. Bands like The Cure and New Order really did save this genre from itself and turn it into something good. I legitimately enjoy a lot of post-punk, but its gotta be 80s and later. Without exception, 70's post-punk always comes off as a bunch of music nerds trying to break the rules of music because they think they're smart, without understanding what the rules are in the first place. The 70's equivalent of 2000's hipsters trying to convince everyone their shitty folk music is good (and the hypocrite I am, I do like that shitty folk music, but I don't begrudge anyone who says Neutral Milk Hotel is garbage, lol). I want to go back in time and stuff them all in lockers. Maybe the embarrassment will convince them to write a decent hook for once in their life. But joking (kinda) aside, there are some tracks on this that aren't completely awful. FM and Newtown are kinda decent with a sorta reggae vibe, but again, that 70s post-punk is doing it no favors. Also Typical Girls is pretty solid. Probably the best track on the album. But yeah, not really much good here.

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7/10 Best songs: Round We Go, Wot U On? What an interesting choice of an album for this list. It's representative of such a specific genre of British music in the early 2000s (grime/hip-hop) that I'm honestly surprised to hear it here. The production is incredibly out of the box, so much so that I can overlook the lackluster recording (the album was very clearly recorded in a bedroom). The rapping is great and the sounds are really, really special - it's very unique stuff that sounds like the future even today. The album is bursting with ideas and creativity. That being said... the album is a little too long (an hour is FAR too long - 30-35 minutes would be perfect) and even though none of the songs sound alike, they do start to blur together due to similar producing choices being made a little too often - sparse, toned-back music with an emphasis on synths and a single drum beat. Also, the lyrics are... interesting: Dizzee Rascal was 15 when he released this record, and some of the lyrics make this very, very obvious. But this isn't necessarily a bad thing.

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Très énergique. Fast pace. Les transitions sont excellents, l’album est fluide. Doit être débile, en spectacle.

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ein tollrs album! endlos hörbar.

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4.5/5 stars. All the songs are super cohesive and make for a great album experience. My favourite song is the intro “What Time Is Love?”, which is a super energetic edm track.

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Having read a number of reviews that described this as the experimental and dark abba album- I was a little surprised to hear a slightly more downbeat but still essentially sparkly abba album. No obvious bangers but very well crafted songs and great vocals. Also contains possibly the cheeriest song about a threesome.

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Great album. Jennifer made me cry.

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Fun!

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Dated patchwork sample-based music with summery overtones for overenthusiastic balding men pretending to be 10 years younger while holidaying in Thailand.

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Mumble mumb oh yea, ah yeaa cotton wool fills mah mouth, oh yea-ea-eyeh

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

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Oh fuck yeah. Oh hell yeah. As much as I love the Beastie Boys, I don't believe them when they say they were making fun of "frat boys and party bros" when they performed "Fight For Your Right." It's not like they grew up right away on Paul's Boutique...there's still a lot of hilarious shit and braggadocio on that album, too...they just had an ear for immaculate sounds and producing by the Dust Brothers. I don't think they really grew up and out of the immature phase until Check Your Head. But it sounds good for them to distance themselves from Fight For Your Right and Girls as quickly as they possibly could. This album is awesome...always has been, always will be. I keep seeing mentions about how it hasn't aged well, etc...but whatever, fuck that. This past weekend, I read an article on the DMV rap scene that was on Pitchfork...because I'm from the area, I was curious. And then I listened to some of the music from that article. All that shit makes Licensed To Ill look like nursery rhymes. The production here is immaculate. The bass is awesome. Sonically, it's a masterpiece. What a great album. Fun, hilarious, quotable...just great.

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

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

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

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

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I really like Mr N'Dour's hat.

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

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

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

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

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I can’t believe the top review for this record (as of Dec 2023) is from someone trying to use their PhD in Mathematics as justification for not liking hip-hop. Weak.

Oh fuck yeah, now we're talking. Wait no, I swear I'm not being pretentious. This is the lowest rated album on this site because I guess mostly people aren't very fond of German people smashing metal plates together - who would have guessed. But halle-fucking-lujah, this is something this list needs more of. Albums that make you go "well, that was an experience and now I'm a changed man". Nobody is lying on their deathbed wishing they heard more crappy 80s post-punk or late 60s psychedelic rock. THIS is what we all deserve to be listening to as we embrace eternal oblivion. I'm giving this a high rating not only because I genuinely really love it, but also to help Kid Rock move to his rightful place as the actual worst album on this list. Together we can make a difference. Save the turtles.

Brings back vivid memories of when me and my mate Ray went on a trip to Dresden. We met this rotund goth in a bar, head to toe with tattoos and piercings, real filth and after a while took her into the disabled bogs for a spit roast. We were both pumping away in her with Napalm Death on in the background and her wailing "MEIN GOTT" at the top of her lungs. I remember spaffing all over her back just as Siege of Power kicked in. As i shoot over her, she takes Ray's cock out of her gob and says "do you want fries with that?" in a faux American accent. Anyway, we go outside and there's this gammy little geezer in a wheelchair sitting there furious, giving me daggers, because he's had to wait so long, so I lean into him and I go "I hope you have as much fun in there as we just did you little cunt".

Back when I was in college 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

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 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.”

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

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.