Album Reviews

Some interesting worldly grooves, occasionally found myself listening, but not a lot of stick factor here. Also, this album was not on apple music

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I do love a banjo

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Beautiful and classic

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Great music but as a record it wasn't that special.

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Every song is a classic

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An all-time favorite of mine and loved it from the first listen - bought this the same day as the police slow motioned chased OJ’s white Bronco down the Los Angeles highway system.

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Powerful album, but just didn't impact me as much as I thought it might.

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Overall, I enjoyed this album. A lot of it is breezy, safe synth-pop that doesn't sound much different from a lot of the synth-pop from the mid 2010's. The first song that really caught me was Science/Visions, and I feel the rest of the album was much stronger than the early tracks. Maybe the sound was just settling in for me. But the early tracks have that bouncy, arpeggiated, dancy beat that make it sound like every other band from the time... the later ones are more retro and are more interesting to me. It would be a 4 if the whole album was like that.

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5/5 - First hip-hop album from this list I played again as soon as it was over. I don't have the critical vocabulary to describe what drew me in, but the wordplay is hypnotic. Favorite track: Swimming Pools

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Can't listen to Björk too long before I find her voice slightly annoying. Still, she's a fantastic vocalist and the production on this is insane and very unique.

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This is it - this is perfect music to work to. This is the type of thing you hear in a coffee shop and Shazam it because you know its a sample, but is well-arranged and will probably lead down a rabbit hole to other cool original material. Really nice musical collage, easy on the ears without being boring or distracting, sounds at times like the type of beats I can see MF Doom rapping over. This kind of music is so much better to me to have while working or doing an activity than electronic music, which has no dynamic range. 4 stars for sure.

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Cocaine + Infidelity = Magic, apparently

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Yeah nice!

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Message in a bottle

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Enjoyed. 4/5

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I cannot resist Mama Cass’s voice in particular and everyone’s harmonies in general.

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Hard Times 3.4 Rock Box 3.6 Jam-Master Jay 3.5 Hollis Crew (Krush-Groove 2) 3 Sucker M.C.'s (Krush-Groove 1) 3 It's Like That 3.2 Wake Up 3.3 30 Days 3.1 Jay's Game 3 Score: 3.233333333

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Can't say I've ever looked into the solo works of the other Beach Boys (non-Brian Wilson at least). You hear hints of that Beach Boys-esque production, but Dennis Wilson's voice was more gruff than I was expecting, yet somehow still soulful. It's an interesting pairing that allows this album to sort of venture into experimental territory with some tracks that were funkier than they had any right to be.

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Really enjoyed this much more than I thought I would. A fun experimental sound.

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7/10

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I don't like Marvin Gaye as much as most people but this is probably better than What's Going On for me, it's somewhat interesting and some good songs here for sure

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3.5 (with hey Jude and Revolution 4.0) (93:33, 30 tracks, 9th album, 1968) Rock (60’s pop, folk) Technically this is an eponymous album but no one wanted to call it that on their 9th album. Album is super long (double album) and has a lot of self-aggrandizing filler in my opinion. I know people want to 5 this album but it just isn’t that good - only because it’s The Beattle’s I think. They were struggling (Ono) at the time to keep the band together – weird recording in that they work largely as individuals recording at different times, sometimes same time different studios. By this point the Fab 4 was rich enough to waste a ton of time in studio – they recorded 100’s (literally) of versions of the same track until they liked one and would overlay other best tries. John and Paul were famously cold to each other (Ono) and many site this as the beginning of the end. Really it’s like 3 egos competing for time on one double album + Ringo (he gets one song.) If Hey Jude and the better version of Revolution were on this album I’d give it a 4, if they trimmed all the garbage and kept those two it would be a 5. There is just too much filler. (I gave Rubber Soul a 5.) Basically only a handful of Beatles songs and a bunch of solo project – pile on in their and say fuck it – they’ll eat it up (and oh boy did they ever . . . ) Not the best album on all time by far, not even the best Beatles album. Revolution 9 is just on their to annoy the shit out of people – they could have made it 20 minutes longer if they wanted to. Factoids – • The Maharishi album (Mahesh Yogi) – all four went to India on John’s advise to get away, a few stayed (John and George the longest) • By far the best George Harrison album – George really came into his own on this album • People criticize The Beatles for not using their platform to get more political but they snuck some stuff in here. Blackbird is an outstanding song against racism. George’s Piggies • And. . . of course Charles Manson had to and fuck up Helter Skelter but when you put Revolution 9 on the album that’s what happens Beattles Album cover – plain white sleeve, embossed with their name, number albums created a sense of value. Presses 1 – 4 went to the four members. #1 sold for a huge amount of money to Jack White. Favorite Song – Blackbird (and for Birthdays – Birthday) Glass Onion is fun, While my Guitar Weeps is a Harrison classic with Eric Clapton **Best songs 1. **"Back in the U.S.S.R." McCartney 2:43 2. "Dear Prudence" Lennon 3:56 3. **"Glass Onion" Lennon 2:18 4. *"Ob-La-Di, Ob-La-Da" McCartney 3:08 5. "Wild Honey Pie" McCartney 0:52 6. "The Continuing Story of Bungalow Bill" Lennon with Yoko Ono 3:14 7. **"While My Guitar Gently Weeps" (George Harrison) Harrison 4:45 8. *"Happiness Is a Warm Gun" Lennon 2:47 9. "Martha My Dear" McCartney 2:28 10. "I'm So Tired" Lennon 2:03 11. **"Blackbird" McCartney 2:18 12. "Piggies" (Harrison) Harrison 2:04 13. "Rocky Raccoon" McCartney 3:33 14. "Don't Pass Me By" Starr 3:51 15. "Why Don't We Do It in the Road?" McCartney 1:41 16. "I Will" McCartney 1:46 17. *"Julia" Lennon 2:57 18. **"Birthday" McCartney with Lennon 2:42 19. "Yer Blues" Lennon 4:01 20. "Mother Nature's Son" McCartney 2:48 21. "Everybody's Got Something to Hide Except Me and My Monkey" Lennon 2:24 22. "Sexy Sadie" Lennon 3:15 23. **"Helter Skelter" McCartney 4:30 24. **"Long, Long, Long" (Harrison) Harrison 3:08 25. *"Revolution 1" Lennon 4:15 26. "Honey Pie" McCartney 2:41 27. "Savoy Truffle" (Harrison) Harrison 2:54 28. "Cry Baby Cry" Lennon with McCartney 3:02 29. "Revolution 9" Speaking from Lennon, Harrison, Ono and George Martin 8:22 30. "Good Night" Starr 3:14

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see, the thing is...i just don't like kendrick all that much. like, i'm sure this is great and all, i just slightly loathe everything about it. a little bit. ok, completely. and then as a white dude in the 2020s i feel real self-conscious about not liking it, because maybe it's a race thing...but then i remember i genuinely love paris (https://www.youtube.com/watch?v=-RSQqcvvmp4) and public enemy and lord knows what all else, and i realize "ah - no, it's not race, so it's gotta be an age thing," and then i just feel like grampa simpson, and...well, i guess that's just how it's gotta be. so yeah. i don't like kendrick. and i don't like ye either, really don't give a fuck about drake...so clearly, the problem is the kids these days. that's my story and i'm stickin' to it.

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Smoooootttthh operator

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Great record. You can hear how much Nirvana had matured since Nevermind.

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I didn’t like this. I could hear a lot of familiar sounds and a few songs I was into. But for the most part this was not for me. I know what i want to sound like, but It never gets there and I don’t think it’s their fault. But I didn’t enjoy it.

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What You Want, Baby I Got It 1001 Albums Generator 217 (1/30/2025) She's the queen of soul for a reason. Starting with her signature song, a cover of Otis Redding's Respect, I Never Loved A Man etc., actually manages to follow it up. Don't get me wrong, Respect is like probably one of the 100 best songs ever, so it is absolutely the best song here, but there is also so much to love here. Baby, Baby, Baby is an original, and it shows that Aretha was just as talented a songwriter as she was a singer. I love that, although this isn't a gospel album, you can absolutely hear the gospel influence throughout it. I'm glad I can say I've heard an Aretha Franklin album now, and it's definitely worth the hype. 4/5. Favs: Respect I Never Loved A Man (The Way I Loved You) Baby, Baby, Baby Least Fav: Soul Serenade

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I feel like we should watch the movie. Last time was as a teenager

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This was fun. I’m not sure if it’s one I’ll listen to very often, but this listen was certainly worthwhile.

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Absolute game changer. Nothing touched this for at least another 10 years.

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10/10 вайбовый альбом

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Stupid. This just barely scrapes past being a 1/5.

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很有趣的声音

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Easy listening

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Loved this

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Wow! This is by far the sleeper hit so far. I remember this album coming out and being enamored of the single Take Me Out like everyone else at the time (it has over a billion streams on Spotify). But I also recall listening to the rest of the album and being frankly unimpressed. How wrong I was. Not only is this an excellent guitar rock extravaganza but I surprised to find that I now knew a lot of these tunes. It seems that in the intervening time since its release this album’s songs has been gaining traction in the zeitgeist. In this case, I’m glad to admit that I was wrong and happy to have found another audio gem to listen to.

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Lot of really great tongue-in-cheek lyrics to carry the track narrative. I love these kind of dark poetry albums.

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I enjoyed this! Big fan of '90s Britpop and '60s British Invasion music and this is a really solid album, I was kind of surprised how good it is because "There She Goes" is the big hit from it but that's like the worst song on this album? Way cool. Only not giving it a five because some of the songs felt like filler but a genuinely great and well-written album, shame it was their only album

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My only frame for Alice Cooper was the 90s Metal iteration. He was way more inventive in the early 70s. Recommend the 50th anniversary edition of this album as it contains quite a bit of live tracks and frankly sounds like Alice put on a helluva live show back in the day.

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Exquisite.

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3/5

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Thought I was gonna really like this album but it was a meh for me. Some good stand out tracks but don’t think I’d revisit. 5/10

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A very smooth listen. 3.5

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I dig PJ Harvey

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Classic. Great sound. Gives me a lot of nostalgia. A solid 4

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Meh

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I was familiar with the opening track "So Easy", but nothing else. I found the album a bit bland and boring, perfect for background music or for chilling-out.

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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

Rage In Favor Of The Machine.

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

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!