Come And Get It

This one must have been a joke addition to the list. Very entertaining. Beatles, beach boys and Rachel Stevens

This is appeal to the masses pop music. Not for me.

nah my dude

Nothing good about this: Goodbye

I'm starting to think that the user submitted albums need some explainer why they selected it. I mean, I'm sure someone fancies the pants of Rachel Stevens, but I can't see much beyond manufactured bubble-gum pop here.

I didn't get it, neither the album nor why it deserves to be here.

Yeah, I’m not falling for that one. We all know it’s shit without listening to it! Hard to believe anybody would put this forward, over thousands of other brilliant albums! Weird! It’s lucky there isn’t a 0 star option.

Wrong list

When supposed "positive" 4/5 reviews left in this generator are using words like "disposable" and "no soul" to qualify the music on this record, how can you expect the latter to be worthy of your precious time? This thing recycling tropes that pop divas like Madonna, R'n'B acts à la Destiny's Child and easy-listening stalwarts such as The Cardigans had already pulled off BETTER a decade earlier is just... awfully formulaic. In fact, it already sounded dated as f*ck in 2005, and yet was also too early to catch the poptimism wave somehow. Tough luck. Not that such later poptimistic wave has released a lot of good LPs in the long run anyway-- far from it, actually. But maybe *Come And Get It* would have found a far larger target audience if it had appeared in the *late* noughts at least. Yet even if it had done so, there's nothing that could have redeemed this epitome of fakeness and style-over-substance in my eyes. Commercial pop albums can be excellent. But to repeat what I have already said about the Carly Rae Jepsen LP that appeared in this generator a couple of days ago, those albums need to have flair and a strong identity. Which, once again, I can't find here. So let's explore why this pop album doesn't work. Opener "So Good" is somehow catchy yet it also sounds like a William Orbit-produced track Madonna could have recorded for *Ray Of Light* ten years earlier or so. "I Said Never Again" comes off like the result of a collab between Shania Twain and Robbie Williams' producing teams, here on a budget -- with the second British team ultimately having the upper hand. Gosh, I can already smell the fish and chips from here. Yet there's not even genuine English charm in that song, just strategic ornaments sounding way too cold and calculated to elicit any emotional response from me. "Crazy Boys"'s vocal performance, tight instrumentation and dreamy arrangements sounds far more promising at first -- as if Britney Spears sung over a Cardigans track. But when your pre-chorus comes off as catchier than the particularly bland chorus it leads to, you have a huge problem on your hands. The track never delivers on its initial promise, clearly. Go back to pop songwriting school, for crying out loud! And oddly enough, "I Will Be There" has the *opposite* problem: its chorus is evocative, but there is not much substance to the music in the background, only surface effects going from spacey (those nice-sounding synth layers) to hackneyed (that inert slow disco instrumentation). Things get even worse after that. "Negotiating With Love" thinks of itself as a cheeky bop whereas it is absolutely grating and terrible. Appalling stuff, period. "It's All About Love" is a slow R'n'B cut that's 100% predictable -- except for that Cure sample in the intro, a flourish that was most probably added at the eleventh hour so as to salvage the song from utter oblivion, to no avail. For all their "technical" skills, you can easily sense those producers clutching at straws so as to find *one good idea* for each of their compositions. But that Cure sample only appearing once during the course of the song is just pointless and useless. It neither rhymes nor reasons. After that debacle, "Secret Garden" is to eroticism and sensuality what plastic is to a wooden shed. Then "Nothing Good About This Goodbye" returns to Cardigans turf -- albeit with far less interesting chord sequences. "Some Girls" is basically a second-hand "Womanizer", and its background vocals going "hey" in the verses sound stupid and flat. They're supposed to bring energy to the whole thing, and yet only underline how out of breath Stevens often sounds compared to Britney. Next, "Je m'appelle" apes early Beyoncé without leaving much of an impression. Amazing how Stevens' producers circle back to the same three or four influences all over again, never really finding a way out of the ready-made formulas... I'm gonna stop here with the list of the songs. After "Je m'appelle", it's only more of the same variations exploring the same styles and influences listed up there without putting much imagination or striking harmonies to them. It's competently produced and performed. But there's no real spark. I will only mention closer "Dumb Dumb" as it's slightly more memorable than the vast majority of the songs displayed here. Yet even if those producers had written more memorable tunes, they would have probably failed making them sound one-of-a-kind anyway given what we can already hear in the actual "product". So few risks were taken for this thing. And consequently, It's just derivative dross that aged like milk from my current vantage point. Reading myself again, I'm wondering about something... How many times did I use the word "producers" in my tentative review? Well don't blame me, blame this album, because it's actually quite hard to use Rachel Stevens as the grammatical subject of my sentences when she's just one formulaic ingredient among the others. Because yeah, as you have probably already guessed, she didn't even write her own lyrics (bar one single exception), not to mention the music. You may as well think that this review is repetitive and goes into circles. But it can't be worse in that regard that the sort of "dumb dumb" pop I had to deal with today, you know. 1/5 for the purposes of this list of essential albums. 6/10 for more general purposes (5+1) Number of albums from the original list I find relevant enough to be mandatory listens: 465 Albums from the original list I *might* include in mine later on: 288 Albums from the original list I won't include in mine: 336 ---- Number of albums from the users list I find relevant enough to be mandatory listens: 14 Albums from the users list I *might* select for mine later on: 27 Albums from the users list I won't select for mine: 50 (including this one) ---- Émile ! J'ai répondu à ton message. Regarde environ douze reviews au dessus ! Pas de nouvelle réponse de ta part, mais c'est pas un souci, je compte juste vérifier toutes les deux semaines environ. On est pas aux pièces, comme on dit sur le vieux continent. 😀

What? No.

Are these quilty pleasures or a p*sstake to put these albums forward? To go through 1001 albums over the course of almost 3 years surely would teach you the wide range and breadth of music and expand your appreciation? Obviously not.

Obviously Come and Get It isn't good at all, it doesn't even strike the right notes for early 2000s pop (although this is 2005 which I can barely believe). There are times where it comes across like she's trying to be the UK's version of J-Lo but it's such a poor effort, doesn't stick the landing even with hits like Some Girls. I did like It's All About Me (has a massive Sugababes sound to it) and Secret Garden (would pass for a decent radio hit these days) but I don't think either of those are strong enough to lift this from 1/5. I reckon whoever submitted this to the list was doing it to take the piss.

Horrible.

I can't get Lullaby out of my head on the song 'it's all about me'. Overall it's not a very good album. These lyrics... Oh, I let you in my back door You're the one who's creeping Rough love's so deceiving ... Anyway, I like the Cheryl Cole album much more than this one. It's better than gris gris... is that saying a whole lot?

uh, no!