Album Reviews

Impressively ambitious and creative, especially for a debut. Not really my cup of tea, but I have to recognize the quality of songwriting and production.

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Jävla omslag! Här ska det swingas till atomförintelse. Jag har varit underhållen och skakat på höfterna idag. Urstark 3a eller rak 4a

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Really great album. The lyrics are classic and in a lot of songs explains what it's like growing up black in Compton. There are some iconic lyrics and songs on this album that have survived the test of time. I also hear so much influence in the later 90s rap that I grew up listening to and love.

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Bij bijna elk album laat ik mijn leerlingen ook een nummer luisteren en een mening vormen bij de muziek. Eén van mijn leerlingen sloeg de spijker werkelijk op zijn kop: Ik vind dit leuk mooi, omdat de gitaar echt goed is. Maar de stem van de zanger is irritant, ook dat andere instrument, de mondharmonica, vind ik niks. Ik heb daar niks aan toe te voegen. 2.5 sterren. Oke ik zal hem afronden maar een matige nikszeggende 3 ster

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Well I guess now I know who Gram Parsons is.

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This has never been among my favorite Beatles albums and listening again today, it was obvious that wouldn't change. The title track and Can't Buy Me Love are still great though.

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Great album with all the best morrissey hallmarks both lyrically and musically. I’m gonna come out, though, and say I don’t like the cover. There’s nothing interesting about it except that he’s holding the microphone in a vaguely phallic way. This album deserves a better cover, especially with the bangers the smiths were consistently putting out. But otherwise a great album.

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Rock and roll crawling out of the cave - feral, primitive, wild, and magnificent.

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very unique and interesting

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What a voice! This is when country music was simple and could still convey genuine emotion!

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Clearly a massively influential album. Some massive songs on here. Enjoyed it, but not a favourite for me. Weirdly a few mentions of pooing during it too, which was unexpected.

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Not as good as their debut, but a thousand times better than their newer stuff. I fear Coldplay will never be as good as in their early albums... and those albums, like this one, are just peak.

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It's Blur. It is what it is, it's okay.

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Surprised to find this in this list. Steely Dan have great albums after that Aja, Royal Scam, Katy Lied and before this one Can’t buy me a thrill. This is an awkward mid-phase LP.

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The way I knew these guys were awesome and cool is that they spelled “Lincoln” as “Linkin”.

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Another boring Orbital album. First track was particularly annoying.

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rym 2.81 Contemporary R&B/Dance-Pop 这大流行，这大天后，这大一个小时的专辑。我确实不是受众，Beyonce嗓音确实好听。 pick: Perfect Man

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the second best New Order album on the list

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Феномен старого будущего, 100% ретро и это не комплимен, но обложка ничего

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What an album! It's hard and aggressive. The band is tight. I think it is shaded by Master of Puppets, but I do love this.

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Hooray for some diversity! I enjoyed this.

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Sorti au beau milieu d’une année 1974 anesthésiée par les délires boursouflés du rock progressif et les paillettes d’un glam déjà essoufflé, l'album de Richard et Linda Thompson balance une décharge d’une noirceur absolue sans concession. Et il faut bien l'avouer, avec ce I Want To See The Bright Lights Tonight, on est loin voir très loin de l’imagerie pastorale et des jolies bergères en dentelle qu’une certaine bourgeoisie britannique collait alors sur le folk. Ici, le folklore anglais sent la bière des pubs crasseux, la rouille des friches industrielles et la gueule de bois du dimanche matin. Richard Thompson, génie discret échappé du sérail Fairport Convention, s’associe pour la première fois en tête d’affiche avec son épouse Linda, et ce coup d’essai s’impose d’emblée comme une étape singulière du rock anglo-saxon. Dès les premières mesures, on est frappé par cette alliance âpre et pourtant miraculeuse entre une guitare électrique anguleuse, presque vicieuse, et une voix féminine d’une limpidité à pleurer. Richard Thompson ne joue pas de la six-cordes pour épater la galerie ou aligner les plans de bluesman héroïque ; son jeu est tout en trilles acérées, en suspensions étranges et en dissonances médiévales branchées directement sur un ampli qui crachote. Face à cette tension permanente, le timbre de Linda apporte une grâce austère, désarmante de pureté, qui refuse systématiquement le pathos ou les effets faciles. Elle chante le désespoir quotidien avec le stoïcisme de ceux qui n’ont plus rien à attendre de la vie. Quand les deux voix s’entremêlent sur des refrains bancals, on touche à une forme de solennité tragique qui fout le bourdon tout en procurant un frisson d’une rare intensité. Le propos de l’album réside précisément dans ce contraste saisissant entre la lumière trompeuse du titre et la réalité sociale glauque qu’il dépeint. I Want to See the Bright Lights Tonight ne célèbre absolument pas la joie de vivre : c’est l’appel à l’aide désespéré d’une classe ouvrière qui cherche à s’anesthésier dans la fête, l'alcool et les néons pour oublier, ne serait-ce que quelques heures, la misère et l'absence totale d'avenir. Musicalement, le disque ose des collisions curieuses, intégrant des cuivres de fanfare d’un autre siècle, des mandolines tranchantes et des percussions rugueuses qui ancrent les compositions dans un terroir brut, sans jamais sonner poussiéreux ou passéiste. Les morceaux alternent uppercuts folk-rock hantés par la fatalité et ballades d'une mélancolie dévastatrice qui vous serrent la gorge sans prévenir. Alors, pourquoi je lui colle un 4 sur 5 plutôt que la note maximale ? Parce que cette austérité finit par instaurer une distance qui ne plaira pas à tout le monde. À force de refuser le moindre compromis mélodique séduisant et à force d'enfermer l'auditeur dans une grisaille d'usine sans issue de secours, le disque frôle par moments l'exercice de style doloriste. C'est brillant, c'est totalement maîtrisé, mais cette attitude laisse sur le carreau une bonne partie de ceux qui attendent un peu plus spontané. À l’époque, Island Records a laissé croupir la galette pendant des mois dans ses tiroirs en raison d'une prétendue pénurie de vinyle, privant le couple d'un écho commercial immédiat. Grand bien leur fasse : ce retard a préservé le disque de toute compromission et l’a transformé en un trésor d'initiés avant que les exégètes ne viennent s'agenouiller devant la partition. Ce premier effort en duo ne cherche jamais à séduire les foules à coups de refrains sirupeux ou d’arrangements confortables ; il regarde la détresse humaine droit dans les yeux avec une franchise désarmante et une maîtrise technique qui force le respect. Pour moi, on tient là une œuvre d'une honnêteté brutale, un classique solide qui conserve une force d'impact remarquable un demi-siècle après sa conception. C’est rugueux, piquant, intransigeant et porté par une écriture d'une grande finesse. Si vous cherchez un remède facile contre la morosité, passez votre chemin ; mais si vous voulez mesurer ce que le folk-rock britannique a produit de plus digne, ce disque reste une étape incontournable. Un grand album tout simplement.

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Faith No More have always been hard to pin down: metal meets jazz, rap, and a medley of smaller influences. That could be brilliant - and it is - in its better moments. And so “The Real Thing” hovers almost constantly on the border between genius and madness. It’s a beautiful album, but it lacks the consistency needed to be truly top-tier.

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Great beats, great tunes, expertly performed, what’s not to love?

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I usually don't listen to music for the lyrics, which are just a plus for me. So, even though I agree that the content is gross, violent, and misogynistic, I also really enjoy the laid-back vibe and production of the music.

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I adore Dylan and this one was no exception. Until the last song idk how to feel about that one.

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Meh... Aburrido

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If Kenny G. had a mohawk, he wouldn't be punk If Yanni had dumb tattoos, he wouldn't be punk If Garth Brooks pierced his nose, he wouldn't be punk If Liberace sounded like the Green Day, he wouldn't be punk

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Greasy fat rat

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Rainwater filters through trash and creates leachate, a toxic liquid filled with heavy metals, chemicals, and microplastics that can seep into soil and groundwater. Leachate is essentially garbage juice.

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Garbage in name, Garbage in nature. DO NOT LISTEN

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Music to listen to while your wife is fucking her boyfriend

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There is a section in my record box for DJing parties called "floor fillers". They are singles pretty much guaranteed to get people out on the floor dancing. You can throw them on the deck when energy is flagging a bit or for the last set of the night when you want to leave everyone in a sweaty mess. I'm not prepared to reveal all my trade secrets, but 'Groove is in the Heart' is one of those songs. It is a fun and likeable confection, absolutely chock full o'hooks, and anyone can dance to it. Perfectly deployed guest spots in Bootsy Collins, Fred Wesley, Maceo Parker and Q-Tip. Everybody loves that track. It is one of the greatest pop singles of all time, full of nostalgic 60s and 70s references, sly jokes, soulful pop tunes, silliness and hip-hop inflections.. The rest of the album is similarly brightly coloured and camp fun, but listening through the whole thing is like eating 4lbs of candy in a single sitting. There are tracks here I would happily put on a compilation (or drop in a DJ set), but it is a bit rich as an album. Although I do admire their commitment to fun. There should be more of that. This is a solid 3 star album throughout, with one world class banger in 'Groove is in the Heart' for a bonus star.

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Low IQ theory

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One of my learning from this project has been that I don't mind a bit of outlaw country. I think Merle Haggard really hit his straps a few albums after this (and we miss the chance to grapple with Merle's complicated politics). But this is a pretty tight album.

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i can't say i'm thrilled about that f bomb unless it turns out billie joe is sucking dick more than 50% of the time

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I was more of a rock guy than dance music guy in 1990, but Pacific State (in all its versions) was inescapable at the time. It is one of the best tracks of late 80s/early 90s UK dance, no argument. It is atmospheric and catchy and compelling, and even the terrible sax playing is weirdly affecting. I have read several reviews that suggest that 808:90 proved that dance music could be an album medium, rather than just singles. Well, 35 years later, there have been plenty of acclaimed dance music albums, but I still lean towards the opinion that dance really is a singles medium. That doesn't work well for this list, as focusing on albums doesn't serve all musical genres or artists equitably and leads to some unfortunate biases. That said, I own this record and the Quadrastate EP and Ooops 12". I think I inherited them from the vinyl collection of Mark Selway (RIP), my friend and former bandmate. Mark went down a deep, dark rabbit-hole of experimental electronic music. You can hear his work on the Lecter Macabre album 13 Hobbs Lane (https://joshshipton.bandcamp.com/album/13-hobs-lane). Be warned; it's difficult listening. Now that I come to think of it, I visited the Eastern Bloc record store in Manchester in the mid 90s because I had heard about it as the early meeting place of 808 State. I bought a really nice LP bag that I still use.

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Destroy rock & roll by flailing it with wet noodles.

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It's pleasant and upbeat African pop from the early 90s. the production and cover art demonstrate the aspiration to a level of sophistication, even if the budget clearly didn't extend that far. Personally, I find that kind of fun and charming. But, not speaking French or knowing anything about Mr Koffi, I looked him up on wikipedia. The lengthy sections under 'Feuds' and 'Legal issues' have turned me off. Is his behavior much worse than any number of higher profile Western artists? Well, Koffi's crimes (most notably statutory rape, then fleeing the country to avoid imprisonment) are comparable to Roman Polanski. I think Polanski is irremediable too. The cognitive dissonance between the light and breezy cruise-liner pop (3 stars, I could dance to that) and the terrible actions of the man (no stars, would not recommend) leave me feeling queasy.

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"I won’t say anything ’cause no one ever listens to me, anyway. I might as well be a Leonard Cohen record" -- Neil, The Young Ones. This is the most Leonard Cohen-y Leonard Cohen album. Simple arrangements, mostly just guitar with tastefully restrained string or vocal backings. There are some classic songs here ('Avalanche', 'Famous Blue Raincoat'), and he is putting his back into the wordsmithing. His voice is an acquired taste, but the yelling on 'Diamonds in the Mine' is a real career low point. Cohen's songs often come alive when sung by other more accomplished singers (for example, the I'm Your Fan tribute compilation of Jennifer Warnes' album of Cohen covers Famous Blue Raincoat), so you gotta give him his props for the songwriting. But jeez, some of it makes me want to slash my wrists. 'Dress Rehearsal Rag' is one of the most depressing songs I have ever heard.

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(4/5) Yeah, Puffy was part of this.. so... It's 2026 and it's now clear that dude was the worst kind of monster. He's not ALL of the album -- it's still Biggy's album, technically -- but his nasty hands were in it.. deep. So in keeping with my (arbitrary) standards this otherwise classic hip hop album gets a star deduction for that fucker's involvement. Plus, the skits haven't aged well. I found that out when we had "Doggystyle" a few months back, but the music on that saves the day. The principle holds here too. In spite of the cringey skits and deeply troubling lyrics the music saves the day. It's just that Puffy was involved which... Eewww... Biggy was a metaphoric (and I suppose literal) giant in his brief moment in the spotlight and the production and music was top tier here. I just have a really difficult time reconciling that monster's involvement.

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Jesus, I think I've done it. I think this is album 1089 and I am done (until I start the user list tomorrow). It's actually been longer because I reviewed over 200 albums before I started a group, which meant I had to do those all again! Nearly five years, it's been a journey... Many thanks to the members of my group (especially Dave L., Peter P., Alan L. and Glen S.) who have staggered alongside me through this winter death march. A really special call out to Peter P., who really instilled a broad and unprejudiced love of music in me. He was my boss at the record store for about two years, but has been my friend for forty years. He introduced me to so many artists and records that I love. We DJ together. He encouraged me to take a more autobiographical approach to reviewing. Thanks Peter, I love you, man. Thanks to any critic who ever inspired me, especially Jessica Hopper, Bill Wyman (not the Rolling Stone), Amanda Petrusich, Simon Reynolds, Charles Shaar Murray, Robert Christgau, Elizabeth Nelson, Hanif Abdurraqib, and a plethora of others, all worth reading. But not Greil Marcus; fuck that guy. Many thanks to anyone who ever threw one of my reviews a thumbs up, I appreciate it. And a thousand thanks to Alexander for setting up this project and his technical support along the way. This project has been exciting and infuriating and exhausting, but I have appreciated the structure to my listening, and the opportunity to reflect on my musical tastes, history and the friends who helped form my tastes. In the words of the great Liverpudlian band: "All these places had their moments With lovers and friends, I still can recall Some are dead and some are living In my life, I've loved them all" And here we have Buck Owens as my final album, which is as good a place to finish as any. This project has given me an appreciation of classic country, and this piece of Bakersfield honky-tonk is a simple pleasure. I love a tight album that doesn't outstay its welcome, and this album is _tight_. I'm listening to the version with a couple of bonus tracks (including 'Act Naturally', love it) and it still only runs 32 minutes. There is not a wasted note on this album. The band is energetic and efficient, with special props to the wonderful Telecaster work of Don Rich. Could you argue that some of the songs border on being novelty tunes? Possibly, but they are fun and catchy and rollick along, so I don't care. I've spun this through three times in a row, and I am whistling along. I was going to give this a three, but I am really digging it. Call it 3.5 stars, rounding up!

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(3/5) I'm being kind and giving this a polite 3 because I liked the other album of hers we've had.. "Stories From The..". But -- full confession -- I don't get this one. It doesn't resonate with me. I understand the history of it and England's fall from grace as a colonial power and then subsequent ass kicking in the two World Wars. I'm sure the British people had (or may continue to have) a huge existential reckoning with that. Hell, I **KNOW** our number is up soon (maybe we're in the process?) with our own homegrown 'Nero' at the helm -- I'm American if you didn't catch the reference. That makes this album, however, really really insular. The music is ok. Stylistically it is all over the place but leans heavy into indie/pop rock on the slower side with folk elements. She's clearly a good songwriter, but here's another example of the Anglocentrism this list is filthy with. Sorry, lads, i don't get it. Additionally, it is another Mercury Prize winner that bounces right off of me.

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In typical fashion for this list, we just had our first PJ Harvey album (Stories From The City, Stories From The Sea) about 10 days ago, and after that introduction I really wanted to like this one. I even thought that it got off to a decent start in its first couple of tracks, which sounded distinctly different from that previous outing. But the long middle of this album took enough twists and turns that I got lost along the way, perhaps complicated by the fact that I am not British and the themes herein seemed to be directed specifically at that demographic. She's obviously intent on giving nods to every influence she's had, as it is also stylistically diverse almost to a fault. Still, I liked this slowed down version of her (closer to the Tori Amos and Fiona Apple sound that I'd expected before the last album) and will will score this one the same 3.5/5 as the last, this time without rounding up.

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I just found a post-it note stuck to the side of my head. It read: “Hi Stresshead! I just spent ninety minutes breathing, singing, playing around your ears and you barely noticed me - I totally could have killed you and stole all your bread! Lucky for you I’m Aimee Mann so all you get is this quirky note.” I am a fan of how her music was used in “Magnolia”. Maybe I was just having a bad day

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

I really don't get rap, and I am completely aware of why. I'm a STEM guy, specifically a Ph.D. student in mathematics. Although my verbal intelligence is quite high, it's still about a standard deviation below my quantitative intelligence. Therefore, it should not be too surprising that I prefer melodies to lyricism, and that a genre based on the latter doesn't wow me. I know I'm pretty far out of step with public opinion on this one, but that can easily be attributed to the fact that hipsters with humanities degrees (i.e. extremely verbal-dominant people) are considered the ultimate arbiters of taste for some reason. (Side note: this also explains why prog rock is seen as being for losers.) Best song: Be (Intro), which had a decent instrumental part at the beginning. Everything else just sort of ran together.

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

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

Back when I was in college I used to go to a bar and listen to Neil tunes and do magic tricks for women. There was a bartender there, he was the best. I loved that guy. Some of the best years of my life.

Back when I was in college, there was this dude who would come into the bar I worked at on a Friday night and play fucking 10 Neil Young songs in a row. He would also hit on girls by doing magic tricks. I remember how angry I got every time he made me listen to an hour of Neil Young because I was just trying to have a good time, and he fucking made me listen to this sad, soppy fuck who writes nothing but songs that sound indistinguishable from each other and never seemed to enjoy a happy moment in his entire like. Fuck that guy, and fuck Neil Young. 2/5

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

Shit like this on the list is both refreshing and infuriating. Refreshing because it is good, fun, interesting, and also not something I would regularly be exposed to! It's why I started this project and keeps me coming back. It's infuriating because the fact that it is included here means that Robert Dimery, the original author of the 1001 albums list is aware that music like this exists. He's clearly aware that there is an entire world of music out there. SO WHY HAVE I LISTENED TO 200 80s BRITISH NEW WAVE ALBUMS AND 200 SCOTTISH ROCK ALBUMS FROM THE 90S??!!?

Rage In Favor Of The Machine.

Music for incels to wank furiously by

Sorry Boomers/Gen X, I was like 20 when this came out so it's one of the best things to ever happen to me. Sorry it's not King Crimson or whatever.

Around 1990-91, I was a volunteer at 2SER student radio. Mostly, I did technical work helping my mate, Tim, who hosted 'Monday Night Football', a music program that ran from 1-3am on Thursday nights. Panelling, editing, that kind of thing. In 1991, Einsturzende Neubauten were touring Australia and there was an offer to do a radio interview with 2SER. I could actually pronounce “Einsturzende Neubauten” and knew a little bit about the band, so it was decided that I would do the interview. Interviewing was not really my thing, but it came with perks; tickets to their show at the Phoenician Club and a copy of the Strategies Against Architecture LP, so I said OK. I knew the legendary Blixa Bargeld has a reputation for not suffering fools, so I tried to prep questions that were interesting. So, on the day of the show the plan was to go down to the club after soundcheck and interview Blixa. It was a bit intimidating. I mean, EN were one of the world’s most dangerous bands and Blixa also played in the Bad Seeds, which made him an underground legend. Tim and I were in the equipment room gathering up a portapack and mics and whatever else we needed, when someone comes running in the room whispering “There’s a vampire in the lobby, and he’s looking for you!” And sure enough, there in the lobby, stands Blixa in full stage outfit, pale as death, six foot six in Cuban heels and his hair teased up and 100lbs wringing wet. He has a bottle of schnapps and a filthy look in his eye. He’s staring death at everyone. And then I hear my name called. Standing next to this imperious vision in black is a smiling Japanese man in bright green overalls with a flower appliqued on the front. His voice is oddly familiar; it is Rick Tanaka, former presenter of 'The Nippy Rock Shop', an experimental collage-style radio show from Triple J in the 80s. I was a fan. Turns out, he is the road manager for this EN tour, and he is asking for me. He hands me his business card: Rick Tanaka, Private Guy. We hurriedly shuffle Rick and Blixa into a meeting room and turn on the recorder, and I attempt an interview. It did not go well. Blixa did not want to be there, was much smarter than me, and was not very patient with my attempts at questions that were more engaging than the usual stereotypical “who gets to go to the junk yard to get scrap metal for your stage show?” Eventually, Blixa just started ignoring me and chatted to Rick. Tim and I kept the tape rolling for their conversation, and afterwards edited it up into something resembling proper radio. And then they left. Tim and I packed up and then walked down the road to the Phoenician Club. En route, we bumped into the Beasts of Bourbon, who were playing support. Tex and Kim were intensely focused and wouldn't say hello, but we chatted to Spencer for a bit. They clearly knew what was coming and were determined to put on a good show. They were the best I ever saw them play that night; tight, ferocious and angry, showcasing material from their Low Road album, that was not yet released. And then on came Einsturzende Neubauten. It was possibly the most intense, frightening show I ever seen. I confess I was a little freaked out by my encounter with Blixa and not really prepared for the experience of an EN show. By the end of their set, I was pressed up against a wall with my fists clenched and my eyes shut. The sound from the stage was so brutal and overwhelming. I can’t recall much of what went on, except for a bit with shopping carts with contact mikes crashing into each other repeatedly. It was really loud. I know I left the venue about 11.30pm. At 2am, I turned up at my girlfriend’s house, tapping on her window. I assume I spent the intervening hours walking the streets in a daze, but not really sure of what I did in that time. She yelled at me for a good 15 minutes for waking her up, but I was unable to put a sentence together, let alone explain what had just happened to me. It was a heavy, really heavy, performance. Ok, so given that background of my relationship with EN, what do I think about this album? I have listened to it once or twice before. EN is really influential on me. I love noisy things, really noisy things. I played in industrial bands through most of the 1990s. And this is like the ur-text for much of what industrial music became. It still sounds frightening and surprising now. That said, this is a massively difficult listening experience. I am reminded of Brian Eno talking about Steve Reich (I think), and how hearing one of his early tape pieces was massively influential, but he never listened to it again. Early EN (and this album in particular) is like that for me. It opened up a world of possibilities to explore, but I don’t need (or probably even want) to listen to it much. I certainly was much more enamored of their early 1990s material, which contains actual songs, rather than just this scary barrage of crashing rhythms and screaming. Kollaps is an important record for me, but I would not recommend it.

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.

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