Come Find Yourself

A surprising four.

Really liked this, has a vibe all its own

Aldrig hørt om det. Vil næsten gå så vidt, at jeg vil påstå, at jeg aldrig har været tæt på at have hørt om det

Lidt weird

Godt nok nogle laid back produktioner, må man sige

Overvejer lidt, hvorfor det er på listen, men altså

Det er ikke mig, det bliver lidt for beastie boys, hvis beastie boys var kedelige og forudsigelige

1.9

Does not bring anything unique to the table. It does not feel as anthemic and meaningful for the culture as other records of its era.

6/10 [DROP]

It’s an ok listen but am unsure of what specific songs I would come back to. 6/10

Solidly boring.

My brother once tried to convince me that A-ha weren’t really Norwegian - it was just a marketing gimmick to make them seem more exotic. He should have told me the Fun Lovin’ Criminals were Brits pretending to be from New York instead, as I might have believed that. There are some fun tracks here, but it’s not just the Tarantino samples that make it feel like they cobbled their whole schtick together from gangster movies and lad mags.

Couldn't wait for this to end. The ballads were bad, the rap was boring, the samples were uninspired.

So, the rapping and songwriting, maybe hasn't aged that well. A couple risks were taken that don't pay off. But, the music part of it is not that bad. Real instruments, who woulda thunk?

I saw this band open for U2(!) in a football stadium. The 90s were a weird time.

Hip hop isn't music! But for me, this is pretty much the first album in the genre that I actually enjoyed. It was fun. Cool rhythm and sound. Maybe I'll actually listen to it again. 3/5

Pretty catch but it didn't stick with me.

'It's the Fun Lovin' Criminal out to represent / I know it's tough being hard & politically correct'; 'I'll break into your house & I'll smell your bed.' This is not as bad as I thought it would be, mostly b/c it's got at least some of the elements that make House of Pain a classic group, but it's still a lazy record that's committed to a musical style that was always inevitable but often too corny & really, really boring. It's not the rap-rock thing that's the problem, it's too-smooth-for-school aesthetic that (white) interpreters of blues & hip-hop get so wrong, it's Huey Morgan's insouciant & featureless voice. I dislike it even more knowing that Reasonable Doubt, The Coming, It Was Written, Stakes is High, & Ridin' Dirty were released in '96. This ain't that.

I was 12 when this album came out and if I had encountered it then, I could imagine maybe giving it a 2 for nostalgia value or all-around attitude. You can hear maybe a trace of a soul in it. But almost everything in it is a watered-down copy of something better. Like you might as well have Bloodhound Gang on the list. Or swap it out with Sublime -- not my favorite group, but I'm sure it's a better representative of whatever this is meant to represent.

My test for giving something a 1 ("no way this should be on the list") is comparing it with Rihanna (who is not on the list). Again, not my favorite artist, but someone who is so accomplished and influential that it's hard to see why she isn't there. Am I offended that this is on the list and not Rihanna? Yes, it's criminal.

eh isso aí, concordo com o amigo
eh um puta desperdício de instrumental prum rap rock meia boca. mas tbm mto bizarro o quão CHARLIE BROWN JR algumas músicas são, doideira demais
achei um album mei perdido. tenta ser 1000 coisa e num consegue nada, sei lá

I didn’t mind it when I was listening to it but trying to write about it now, I realise I remember basically nothing about it

This record hasn’t aged very well and that’s probably why you haven’t heard it for twenty years unless you’ve happened to hear “Scooby Snacks” during a ‘way back’ radio block along the way.

But here’s my thesis: it wasn’t all that outlandish in 1996. Some of the top reviews reference Beck, Everlast (House Of Pain), and Beastie Boys, and I hear those elements in addition to things like Sublime, Cypress Hill, TLC (compare the guitars on “Passive/Aggressive” to TLC’s “Waterfalls), Kris Kross, and plenty others. My main thought during the album opener, “The Fun Lovin’ Criminal”, was about Sheryl Crow and how much pop music was dabbling in country crossovers in the mid-90s. My point is, this isn’t/wasn’t super weird if you consider the broader music landscape of the time. Sadly, a lot of the mid-90s experimentation feels a little cringy now.

Boycotting, rap rock is criminal

Better than Coldplay

This was fun. Quite enjoyable all the way through.

Still fun.