Reception
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- Spin (5/01, p. 112) - Ranked #46 in Spin's "50 Most Essential Punk Records" -"Fresh Fruit scans like an old anarchist newspaper. But 'Kill the Poor' sounds perfect for Dick Cheney's America."
- Q (5/02 SE, p. 136) - 4 stars out of 5 - Included in Q's "100 Best Punk Albums" -"One of the most fiery, politically explosive diatribes you are ever likely to hear..."
- Uncut (p. 120) - 4 stars out of 5 - "Dead Kennedys could echo both the weirdness of Beefheart and the sort of spectral pop that came off Spector's production line. Still fresh. No rot."
- Alternative Press (11/00, p. 144) - Included in AP's "10 Essential Political-Revolution Albums" - "...Biafra takes on the monied classes and the government, and the songs become almost too intricate for punk. Massively influential."
- Magnet (p. 90) - "Dead Kennedys brought a horror-show vibe to punk that remains more unsettling than the Misfits' comic-book core and battier than My Chemical Romance's make-up."
- Kerrang! (p. 52) - "ne of the finest slabs of rant 'n' roll ever made."
- Mojo (p. 114) - 4 stars out of 5 -- "he shrill, nervy majesty of FRUIT remains unblemished." Mojo (3/03, p. 76) - Ranked #9 in Mojo's "Top 50 Punk Albums" - "Singer Jello Biafra's vitriolic, merciless verbal lambasting set to a musical backdrop of fervid punk."
The album is included in the book 1001 Albums You Must Hear Before You Die.
Read more about this topic: Fresh Fruit For Rotting Vegetables
Famous quotes containing the word reception:
“I gave a speech in Omaha. After the speech I went to a reception elsewhere in town. A sweet old lady came up to me, put her gloved hand in mine, and said, “I hear you spoke here tonight.” “Oh, it was nothing,” I replied modestly. “Yes,” the little old lady nodded, “that’s what I heard.””
—Gerald R. Ford (b. 1913)
“Aesthetic emotion puts man in a state favorable to the reception of erotic emotion.... Art is the accomplice of love. Take love away and there is no longer art.”
—Rémy De Gourmont (1858–1915)
“To the United States the Third World often takes the form of a black woman who has been made pregnant in a moment of passion and who shows up one day in the reception room on the forty-ninth floor threatening to make a scene. The lawyers pay the woman off; sometimes uniformed guards accompany her to the elevators.”
—Lewis H. Lapham (b. 1935)