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:
“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)
“Satire is a sort of glass, wherein beholders do generally discover everybody’s face but their own; which is the chief reason for that kind of reception it meets in the world, and that so very few are offended with it.”
—Jonathan Swift (1667–1745)