Best Ever Albums

Re: Forum Regulars' +500 Chart

alelsupreme — Thu, 1 May 2014 15:17:31 GMT

Author: alelsupreme

Posted: 05/01/2014 19:17

Assuming this is still going...

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The Electric Lady by Janelle Monáe

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Same Trailer Different Park by Kacey Musgraves

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Torres by Torres

Re: Forum Regulars' +500 Chart

Anonymous — Wed, 30 Apr 2014 20:18:51 GMT

Author: Anonymous

Posted: 05/01/2014 00:18

I would like to change this

Islands by King Crimson

with this:

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The Virgin Suicides by Air

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 19:20:36 GMT

Author: Anonymous

Posted: 03/21/2014 23:20

My noms

Future Days by Can

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Music From The Unrealized Film Script Dusk At Cubist Castle by The Olivia Tremor Control

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Masterpiece Created By Andrew Weatherall by Various Artists

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 18:53:15 GMT

Author: Anonymous

Posted: 03/21/2014 22:53

tekin wrote:

Listened to it once, one of the tracks was extraordinarily good. Second or third one I assume. I remember it having 4 tracks, right?

yeah 4 tracks. Listening to it again and realizing I really need to move it up on my 2014 chart

Also wait, so are we supposed to post our accompanying album notes here in the thread? In that case I'll just copy/past from my chart...

dividesbyzero wrote:

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Olivier Messiaen Quatuor Pour La Fin Du... Barenboim

The classical world of the 20th century was such a different universe from any earlier period of classical composition. All over the place you had passionately forward thinking composers who were more than happy to say “fuck all” to the rules, and either rewrite or just completely abandon the idea of “rules”. Olivier Messiaen was not one of these rule abandoning composers, not because he wasn’t a forward thinking composer, but because the idea of “rules” for how music is to be composed was foreign to him from the start. Messiaen had no rules to abandon because he never had any concept of “rules” to begin with. All he had was his own intuition. All he had was a natural affinity for sounds and makeshift structures. All he had was his own ideas to work upon, and that was all he ever needed, and it easily placed him above even the most progressive of the era’s composers. As for Messiaen’s aforementioned musical intuition and “natural affinity for sounds and makeshift structures”, well, these are the traits that were to define Messiaen as, well, as indefinable. Structure-wise, one Messiaen piece could be the counter-opposite of another. It wasn’t so much the specific structure or dynamics that made a piece recognizable as “a Messiaen piece”, but rather the nature in which the piece was composed. No matter how specific the scoring may be for a piece, there has always been a sort of raw humanity, a sense of freedom and varying degrees of unpredictability to many (if not most) of his pieces. Olivier Messiaen was a composer who always saw the beauty of the inherently imperfect. The “ugliest” or most chaotic moments in a Messiaen piece are also quite frequently the most moving. Of all of his many masterpieces, I don’t believe selecting any single one does any sort of justice to his vast career, but were I left to choose, I suppose the stunningly beautiful and wildly ambitious "Quatuor Pour La Fin Du Temps" ("Quartet For The End of Time") gets the nod. Quatuor Pour La Fin Du Temps, in addition to exhibiting the bits of deliberate chaos and consequent beauty that we have come to expect from this composer, also succeeds in creating its own unique atmosphere, pulling the listener into a world of bent ideas, of a vast sense of timelessness, of infinite space. It is a piece that feels alive, responding to its own actions the way any living creature would. When it tears into space with raw tension, a moment of bliss is found at its climax, just it collapses in on itself, slowly regaining breath and pulsating new life into its being, creating something entirely new (with entirely new behaviors) from the entity that proceeded it, but no less awe-inspiring than its predecessor.

And it is, in my opinion, the finest music ever composed.

(Practically any professional performance of this piece is bound to be worthwhile. The specific recording which I have on my chart has changed before and is likely (well... not that likely at this point) to change again. Right now it's between this one and this one: http://www.besteveralbums.com/thechart.php?a=42846. Both are remarkable takes on the piece, and I highly recommend each)

The Hissing Of Summer Lawns by Joni Mitchell

Nominally, Joni Mitchell is Folk. This is really only true insofar as it indicates where she began as a songwriter. Mitchell's career quickly evolved into something far greater, and progressively harder to define. The Hissing of Summer Lawns is not only the greatest example of Joni Mitchell's creative individuality as a musician, but is also arguably the point at which all of the disparate pieces that comprise the woman who is "Joni Mitchell" came together in perfect harmony. Her impeccable skill as a songwriter, her unique guitar style, her jazz influence; on the Hissing of Summer Lawns, all of these pieces come together into a whole that is far greater than its individual parts. These “parts” have all been around Joni Mitchell at various points in her career; her songwriting and guitar skill were there from the start, but even from her beginnings of a masterful folk storyteller, she was to go in a slightly different direction with each coming album; toying with and sometimes fully implementing, at various points in her career, everything from pop-melodicism to African rhythmic structures. But the most important influence that hovered around Mitchell’s work, (and which had been since the early 70s) was that of jazz. By the time her massive commercial breakthrough came 1974’s “Court and Spark”, her folk origins were all but absent. In their place stood melodic and thoughtful pop-influenced ballads of the kind of self-expression that we had seen in her confessional masterpiece “Blue”. It would appear that no matter what kind of music Mitchell is delving into at any given time, her songwriting skill (which, by the way, easily matches if not trumps the likes of fellow lyrical geniuses Bob Dylan and Neil Young) is always present, but with every new album, there is always a twist in the way with which her words are displayed. Mitchell’s lyrical prowess, along with her mature vision of pop song construction, may have taken the forefront of Court and Spark, what is often overlooked is what may have been the beginning of what was to define Joni Mitchell’s most ambitious and most artistically rewording period as a musician, and that is that “Court and Spark”, behind it’s romantic orchestration, actually exhibited a substantial jazz influence. Of course, that did nothing to prepare Mitchell’s fan base for what was to come. In 1975, Joni Mitchell releases “The Hissing of Summer Lawns”, an album where the jazz that was hinted at in its predecessor takes full form, just as the folk that defined her early career makes a reappearance, and fuses itself with her love for the likes of Charles Mingus and Jaco Pastorius into an album that can only be loosely defined as “Jazz-folk”, but that contains a degree of ambition and sheer unexpectedness far greater than such a narrow genre pigeonholing would suggest. In the end, The Hissing of Summer Lawns exists outside of the realm of normal classification or judgment. Further description would do this album no justice. Joni has crafted a world that is entirely her own, and to which no parallels can or should be drawn.

That was too analytical.

I want to give this album a hug.

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Bricolage by Amon Tobin

Bricolage opens pretty simply. A neatly arranged slowly paced track based around a smooth as fuck jazz baseline. The neat and laid-back nature of stoney-street lets you know that Tobin is into jazz, and that he's just as happy to make use of cool-jazz and smooth jazz as he is to implement the intensity of bop and post-bop, but this hardly prepares you for what is to come. I guess this get classified as drum'n'bass with heavy influences from elsewehre, but with that influence coming from everywhere from nu-jazz to hip-hop to classical, Bricolage doesn't really function as a masterwork of melding together different genres so much as it does as a piece of music with its foundation laid in a plethora of genres but that amounts to something entirely unique form (and far greater than)any of the individual cogs from which it is composed. Easily sliding from a hypnotic cool-jazz melody to an erratic onrush of perfectly placed beats and noises, Bricolage seems to run across the mind of the listener, ravaging every synapse and almost immediately recreating the mental apparatus into something greater, just in time for it to repeat the process with an entirely different approach, and with and entirely different end result on the listener (though with the same lasting impact) as each previous time. At times, relaxing, romantic, energetic, smooth, frantic, organic, distorted, blah blah blah Bricolage is a symphony of paradoxes that not only flow into each perfectly, and with remarkable ease (defying whatever I used to think logic was). But as I said, this isn't an album made singular just for it's ability to make the juxtaposition of what one would think to be harshly opposing or just entirely unrelated elements seem completely natural, but for it's ability to take each of those individual elements and derive from them something peerless; something to which no accurate parallels can be drawn, and in the end, something that is just massive fun to listen to.

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 17:42:00 GMT

Author: Anonymous

Posted: 03/21/2014 21:42

The Opiates by Anywhen

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The River by Ketil Bjornstad & David Darling

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Renaissance Of The Celtic Harp by Alan Stivell

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 17:34:47 GMT

Author: Anonymous

Posted: 03/21/2014 21:34

dividesbyzero wrote:

Nice one. Have you heard their latest? It's really good
EDIT: posting that made me realize I added them as a dupe artist... should probably go and fix that...

Listened to it once, one of the tracks was extraordinarily good. Second or third one I assume. I remember it having 4 tracks, right?

Re: Forum Regulars' +500 Chart

meccalecca — Fri, 21 Mar 2014 17:31:32 GMT

Author: meccalecca

Posted: 03/21/2014 21:31

Boogn1sh wrote:

Big Star: Third/Sisters Lovers
Overall #553, was shocked this wasn't in the top 500, shame on you all
http://www.besteveralbums.com/thechart.php?a=36

Low- Things We Lost in the Fire
Overall #1929
http://www.besteveralbums.com/thechart.php?a=11029

Tha Alkaholiks: 21 & Over
Overall #32,550
http://www.besteveralbums.com/thechart.php?a=43646

Great picks. I thought about that Big Star record too. And my love for Low is well known around here.

Re: Forum Regulars' +500 Chart

NickVolos — Fri, 21 Mar 2014 17:26:56 GMT

Author: NickVolos

Posted: 03/21/2014 21:26

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Holderlins Traum by Holderlin
"This absolutely delightful record is an incredibly successful mix of medieval ambiances, stunning 60's folk rock, slight Indian music influences, the whole thing sprinkled with a tad of hippy idealism and great progressive arrangements including the odd Mellotron. From the opening Waren Wir to the closing Traum (dream), the album is invitation fly out of our realm and head for Nirvana, paradise, Eden, Babylon, with flaunts of flutes, loads of Hamonds, Trons of Mello, guitars strings by the dozens and superb vocals both male and female. If you cannot find a suitable album to get comfy and shag the partner, try this one and do not forget to put the repeat (the album is fairly short), and the trick is half-done. To name a highlight would be quite difficult, as you'd be doing injustice to the other non-mentioned tracks. Not a weak note on this album. Nanny de Ruyg's voice is right up with the cannons of the genre and the German lyrics are simply heavenly music for the mind." (progarchives.com)

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Four Letter Monday Afternoon by Out Of Focus
""Four Letter Monday' was the third album by "OUT OF FOCUS" and in sharp contrast to their previous two, expanded to an 11-piece group, adding an extra guitarist as well as a full brass section. This double album features the 2 side long epic track Huchen 55 (parts a, b and c) which is an amazing track and worth the admission alone. The rest of the album plays out covering quite a range (at times I hear early CHICAGO and sounds of BLOOD SWEAT & TEARS). This wild album really hits all the right buttons for me and covers quite a nice large geography. from psychedelic moods to all out krautrock instrumental excursions to Canterbury jazz rock to dark minimalism. The band sound very progressive and this is a highly experimental album full of great guitar, drum , bass and organ with a wild mix of brass thrown in. This album is somewhere in the SOFT MACHINE - NUCLEUS - CARAVAN - COLLOSEUM school of prog rock, but stands out for me as a great album." (progarchives)

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2nd by Agitation Free
"Agitation Free's 2nd stands as one of Germany's finest instrumental rock albums of the 1970s and a classic for fans of progressive rock and Krautrock. Despite the fact that the group had problems keeping its cohesion at the time, these troubles never affect the music. 2nd presented a daring blend of Krautrock-type extended jams, laid-back attitude, and experimentation. The music remains very psychedelic in nature, more early Can than Faust. The presence of acoustic guitars and bouzouki emphasizes the easygoing nature of the music, along with Stefan Diez's elegant guitar soloing, while occasional free-form passages keep things on the edge. The opener, "First Communication," is pure Krautrock and the hardest-driving tune. It belongs on every anthology of German rock. Michael Hoenig's synthesizer experiment "Dialogue and Random" provides an interlude before the two-part "Laila" kicks in. The latter juxtaposes prog rock and fusion jazz sections with beautiful audacity. Side B of the original LP is a lot quieter. Birds chirp at the beginning of "In the Silence of the Morning Sunrise" and the pastoral mood carries over to the nine-minute "A Quiet Walk." "Haunted Island" ends with a midtempo rock number featuring a recitation of Edgar Allan Poe's "Dreamland." Filled with Mellotron and guitar jamming, it has often been hailed as a highlight by prog rock fans who had a hard time digesting the less immediate material, but it's actually weaker than what came before it -- without lessening the appeal of this album." (allmusic)

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 16:34:51 GMT

Author: Anonymous

Posted: 03/21/2014 20:34

sp4cetiger wrote:

You can duplicate artists if you want. It's up to you, really. Just can't duplicate albums.

No I mean I erroneously added them into the BEA database when they were already there 🫢

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 16:30:03 GMT

Author: Anonymous

Posted: 03/21/2014 20:30

dividesbyzero wrote:

EDIT: posting that made me realize I added them as a dupe artist... should probably go and fix that...

You can duplicate artists if you want. It's up to you, really. Just can't duplicate albums.

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 16:23:32 GMT

Author: Anonymous

Posted: 03/21/2014 20:23

tekin wrote:

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The Empty Hollow Unfolds by Raison D'etre

Nice one. Have you heard their latest? It's really good
EDIT: posting that made me realize I added them as a dupe artist... should probably go and fix that...

Re: Forum Regulars' +500 Chart

Boogn1sh — Fri, 21 Mar 2014 15:59:37 GMT

Author: Boogn1sh

Posted: 03/21/2014 19:59

Big Star: Third/Sisters Lovers
Overall #553, was shocked this wasn't in the top 500, shame on you all
http://www.besteveralbums.com/thechart.php?a=36

Low- Things We Lost in the Fire
Overall #1929
http://www.besteveralbums.com/thechart.php?a=11029

Tha Alkaholiks: 21 & Over
Overall #32,550
http://www.besteveralbums.com/thechart.php?a=43646

Re: Forum Regulars' +500 Chart

camsh — Fri, 21 Mar 2014 13:05:00 GMT

Author: camsh

Posted: 03/21/2014 17:05

Costello Music by The Fratellis

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England Keep My Bones by Frank Turner

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Jake Bugg by Jake Bugg

Re: Forum Regulars' +500 Chart

Anonymous — Fri, 21 Mar 2014 12:47:16 GMT

Author: Anonymous

Posted: 03/21/2014 16:47

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Raw Cuts Vol 1 by Motor City Drum Ensemble

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The Empty Hollow Unfolds by Raison D'etre

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Oneirology by CunninLynguists

Re: Forum Regulars' +500 Chart

SingingPeasant96 — Fri, 21 Mar 2014 02:49:26 GMT

Author: SingingPeasant96

Posted: 03/21/2014 06:49

Tigermilk by Belle & Sebastian
It's currently at 501

Distant Plastic Trees by The Magnetic Fields

Night Falls Over Kortedala by Jens Lekman

Re: Forum Regulars' +500 Chart

Anonymous — Thu, 20 Mar 2014 21:50:44 GMT

Author: Anonymous

Posted: 03/21/2014 01:50

Can this discussion go somewhere else? The longer this thread is, the harder it will be for people to check the previous responses. Thanks, guys. 😄

Re: Forum Regulars' +500 Chart

Anonymous — Thu, 20 Mar 2014 21:35:35 GMT

Author: Anonymous

Posted: 03/21/2014 01:35

dividesbyzero wrote:

Probably because the Beatles/Beach Boys influence was immense and immediate, whereas other bands like the Velvet Underground started out as nobodies and retrospectively became worshiped as one of the most influential bands as artist after artist starting mentioning their influence. The Ronettes, despite their fair amount of influence and having been fairly popular, achieved neither the immediate mass exposure of the Beatles nor the retrospective cult following of the Velvet Underground, and thus haven't achieved the same disproportionate love within music enthusiast communities. At least that's my hypothesis. I don't really know.

i completely agree, but my question gets to the heart of why their retrospective cult following never blossomed. i'll assume you mean among music fans and not among musicians, and that's what i mean. is it because pop deserves to have venom spit on it? is it because the girls didn't write their own material? is it cause Phil Spector killed someone? i guess i'll just throw up my arms and call it an accident of history.

Re: Forum Regulars' +500 Chart

mickilennial — Thu, 20 Mar 2014 21:33:15 GMT

Author: mickilennial

Posted: 03/21/2014 01:33

The Ronettes, The Supremes, etc. were all more sophisticated and important than contemporary R&B (Brandy, Mya, etc.)

Re: Forum Regulars' +500 Chart

GeevyDallas — Thu, 20 Mar 2014 21:31:26 GMT

Author: GeevyDallas

Posted: 03/21/2014 01:31

lol lets not get it twisted, the same reason the ronettes don't get cited as influential or whatever you want to say, is the same reason the likes of beyonce, aaliyah, brandy, etc. aren't loved on sites like this. people see pop music/r&B as an inferior 'art form', we all know so called highbrow white males couldn't be seen to like the music created by black girls now

Re: Forum Regulars' +500 Chart

Anonymous — Thu, 20 Mar 2014 21:27:34 GMT

Author: Anonymous

Posted: 03/21/2014 01:27

First off,

meccalecca wrote:

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An Electric Storm by White Noise

satiemaniac wrote:

it pisses me off a lot that The Beatles' music (or, to use an example of a band I really, really love - The Beach Boys) is pretty easy listening now, doesn't readily scream "innovative," and is somewhat predictable because of its influence but people are quick to point out that it started those trends and thus rate it highly where The Ronettes, despite being one of the centerpiece bands for what was really a major innovation and influence, Spector's wall of sound, don't get the same respect. not accusing you of this, or anything, of course. do people have opinions as to why the former band(s) gets so much leeway on that and the latter doesn't in music nerd communities?

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Olivier Messiaen Quatuor Pour La Fin Du... Barenboim
(what a surprise)

The Hissing Of Summer Lawns by Joni Mitchell

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Bricolage by Amon Tobin