Reviews by fing2112

I like Dexys Midnight Runners, however this album has never stuck with me. I know a lot of fans consider it a misunderstood masterpiece, and there is good songwriting here, but Dexys seems to do everything they can to sabotage the album, such as songs being far longer than they should be, random pauses, and of course the spoken word segments.

There is a good album in here but it's trapped under all these bafflingly poor choices.

Adele is obviously a talented singer, but her music is melodramatic and overly sentimental to an annoying degree, and it's at its worst on this album. The song lyrics are predictable, I think "looking back on someone that they loved that they don't love anymore" could be used to describe half the songs on the album. There's one song that sounds like corporate music you'd hear for an IT company.

I'm not a big fan of Adele to begin with, but I have heard much better from her than anything on this.

One of the best breakup albums, full of energy instead of wallowing in self-pity. You do have to have a tolerance for 80s cheese to appreciate this, but if you can you'll find that you have one of the most consistent albums of the 80s.

Superb hooks, superb basslines.

A lot of these early 90s hip-hop albums feel like they're here under obligation to give rap more representation, rather than because of the quality. This is one of them.

There is absolutely no reason this should be over an hour long, it gets repetitive by the second song. In fact, you could half the runtime on all of these songs and have a superior album. Title track is genuinely good though, only positive thing about the album.

Great example of how to combine abrasive elements with catchy and accessible rock music. For the heavy amount of noise used it still sounds great.

New Wave gets an unfair reputation for 80s cheese when bands like Def Leppard exist. They have all of the inspiration of 70s hard rock and metal with none of the substance.

My first thought was "Oh god this is the album with Pour Some Sugar On Me" swiftly followed by "Oh god, it's 62 minutes long". You will definitely feel those 62 minutes, and somehow Pour Some Sugar On Me is the best song here. The rest of the songs for the most part feels indistinguishable from one another, if you've heard any mid-late 80s glam metal then you've heard this entire album.

Interesting and unique sounds for a pop album, not something I'm particularly into but I am glad to have listened to it. Sounds similar to The Beta Band.

Despite being an 80s album, this is one of the best aged hip-hop albums I've heard, it doesn't sound like proto-90s rap, nor does it feel like a collection of 80s cliches like so many of their contemporaries. I feel like De La Soul have fallen out of favour compared to many of the acts from the 90s, which is unfortunate because I feel like this is some of the best you'll hear in the genre.

I've heard an album by this band before (the one after this, the one with the big hit on it) and I'm a bit surprised this one made it in over that as that one was more successful and gets more plaudits.

This is American Britpop, and this is the only American band I've heard that goes for this kind of sound. They obviously took a lot of inspiration from bands like Spiritualized and The Verve, because it sounds exactly like them. I'm ambivalent, like The Verve and Spiritualised when they're good they're good but many of the songs are more drawn out than they need to be, and the album ends up being far too long as a result.

Chaotic explosion of different sounds and genres from across the world, for someone less talented then M.I.A. this would have been a trainwreck, however the result of this album is something which is as equally accessible as it is experimental. 2000s hip-hop was starting to get stale midway through the decade, this helped revitalise it.

It is definitely ahead of it's time, a lot of the hip-hop from the 10s and even hyperpop from this decade can trace it's roots back to M.I.A.'s 2000s output.

This album was disappointing, it starts off with some good potential but quickly devolves into 80s dance cliches.

I recommend you replace "Back to Life" with the single version of the song (subtitled "(However Do You Want Me)") as it fits better and is also probably the best song on the album.

Obviously not as talented in terms as songwriting like his contemporaries like Bob Dylan, but I liked the intimate vibe of the album.

I really don't like Taylor Swift. I expected her foray into folk to be a novelty, but this album was a pleasant piece of folk pop. I fully approve.

EDIT: I actually take back my review, this blows

Aged like milk. I get that Britney was a significant figure of the late 90s and early 00s, but aside from the title track (which holds up quite well) this is forgettable cookie cutter R&B pop which dominated a large portion of the 90s and 00s. It shouldn't be on the list.

One thing I've learned from this project is that I don't like jam bands. I imagine this is what prog music sounds like to people that don't like prog.

This one is a classic, The KLF were kings at catchy and danceable electronica. It seems like their reputation nowadays is entirely based around their story rather than the music, which is disappointing to see because I think their music holds up, and they were insanely influential for the modern EDM scene.

For Spotify users, they've released all the songs from this album on different compilations, searching The White Room should get you a playlist with the correct tracklist. Just cross-reference it with the original tracklist to ensure it's correct.

Interestingly the worst part of this are the hit singles.

I really don't understand why this is on the list, it adds nothing that wouldn't be added by any other mid-10s trap album. The songs are average at best and downright cringey at worst. I don't usually agree that albums get added to the book purely because they're British, but I can't really disagree in regards to this album.

I'm probably biased because I don't like the Roadman subculture which, to me, just seems to be British youths pretending to be what the American gangsta rappers of old actually were. "Trying to not get killed by police" bruh you live in London, not fucking LA.

Highlight of this album is a couple of songs around the middle that made me think "hm, maybe this isn't so bad", before promptly being remembered exactly why I wasn't enjoying this. It sounds like Motorhead if Lemmy was slightly more incomprehensible.

Surprisingly accessible, I was expecting something weirder and unlistenable but these are really just pop songs when you get past the banging and the angry German screaming.