Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 59,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 1 hour ago).
"(Avant-Prog, Prog rock, Jazz rock, noise rock, ooooh babayyyy! Prog is back! - for a more cogent statement I’ll say that this is the best Prog rock album I’ve heard that’s been released in years. And it’s bloody brilliant almost the whole way through.) What a rock solid album. Feels like somethin...""(Avant-Prog, Prog rock, Jazz rock, noise rock, ooooh babayyyy! Prog is back! - for a more cogent statement I’ll say that this is the best Prog rock album I’ve heard that’s been released in years. And it’s bloody brilliant almost the whole way through.)
What a rock solid album. Feels like something significant. But maybe that is just the hype and me getting swept up in it. I have been delaying and delaying on writing any sort of comment on this beast. I have listened to it a dozen or more times. And I notice my opinions change with almost every listen. Sometimes I feel like saying hyperbolic things like “This is this generation’s In The Court of the Crimson King”, and sometimes I feel like this is a bit of an uneven and yet vibrant and exciting avant-Prog album for a new generation. I switch between feeling effusive love - and merely feeling strong, healthy respect. Haven’t landed yet on what my final thoughts are. Maybe only time can tell, after we have seen the progression of black midi, that Windmill scene, and underground rock in general over the next 3-10 years time. I don’t know.
I do know that “John L” is my song of the year so far. Something special it is, indeed. I know that “Marlene Dietrich” is gorgeous and features a brilliant subdued groove that I adore. I know that the 1-2 punch of “Chondromalacia Patella” and of course the masterpiece that is “Slow” never fail to blow me away, and sweep me up and away somewhere fresh and new. I’m confident that “Diamond Stuff” is beautiful if a bit too slow in its development and a bit anti-climactic. I know that “Dethroned” is very solid but one that hasn’t yet clicked with me fully. I know that “Hogwash and Balderdash” is excellent and the closest to the sound of “John L” that this album ever comes back to and I know it’s too short. And, finally, I think “Ascending Forth” is… a bit lost on me and for some reason, despite most people considering it a stand out track or even THE standout, I think it’s my least favorite song here. Of course “Ascending Forth” is still like, idk, 70% incredible. That is an indicator of how much I like this album through and through.
I also love that these songs do flow. Like, this feels like a concise yet complete album statement, where each track logically rolls to the next despite at times featuring INSANELY massive changes in tone and style. Not sure how the guys in black midi pulled that off but they did.
I’m closing, I have a feeling this will be one of those memorable albums for years and decades to come. I hope it does become something of a classic as time goes on. For now, it’s too new for all that. But it is for sure amd without a doubt one of the few albums that managed to fully live up to my expectations (hopes more like) and, I think, the music fandom’s as well.
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"There is truly no more saccharine, lovely pop album than The Ronettes' debut. As far as per-minute sweetness, excitement, earworminess, and fun, this might be the most technically perfect pop album ever constructed. If you've met a person who dislikes The Ronettes, you've met a person who a) hasn...""There is truly no more saccharine, lovely pop album than The Ronettes' debut. As far as per-minute sweetness, excitement, earworminess, and fun, this might be the most technically perfect pop album ever constructed. If you've met a person who dislikes The Ronettes, you've met a person who a) hasn't heard them, or b) is a dick."[+]Reply
"I usually prefer instrumental bop influenced jazz, finding the pop influenced vocal jazz music to be lacking in much depth, bu this album is definitely an exception. The interplay between the two voices and between Ella's singing and Louis' trumpet are exceptional. As well, the backing band does ...""I usually prefer instrumental bop influenced jazz, finding the pop influenced vocal jazz music to be lacking in much depth, bu this album is definitely an exception. The interplay between the two voices and between Ella's singing and Louis' trumpet are exceptional. As well, the backing band does a terrific job, particularly Oscar Peterson on the piano. An excellent and smooth pop album from the jazz era."[+]Reply
"I'm going to tell you that this is The White Stripes' best album so hang with me. I get that you all are attached to White Blood Cells. I get the appeal of that album, it's a jolt of rock. This album is not White Blood Cells. It requires an acquired taste, an open mind. The White Stripes fan base...""I'm going to tell you that this is The White Stripes' best album so hang with me. I get that you all are attached to White Blood Cells. I get the appeal of that album, it's a jolt of rock. This album is not White Blood Cells. It requires an acquired taste, an open mind. The White Stripes fan base expect rock, which is why this album is often cited as their worst.
From a songwriting standpoint, this is their best. I like to start the album off with "The Nurse" and not "Blue Orchid" because I feel like "Blue Orchid" was slapped in there at the last minute just so this album could have a single. "The Nurse" sets the correct tone for the album, it is also the best track. I understand why some people do not like "The Nurse", but keep in mind that "The Nurse" is a song about murder (at least from my interpretation), so it should be uncomfortable to listen to. It really gets me into the right frame of mind for the rest of the album. So for the sake of being a snob, I'm going to pretend like "Blue Orchid" doesn't exist.
Get Behind Me Satan explores many themes, but the one that stands out the most for me is how to overcome seclusion. Every track represents a different scenario that deals with the issue. One of the more stunning tracks, "White Moon", is about a soldier who carries a photograph of Rita Hayworth to symbolize his "girl back home" that he never had. In this album, Hayworth represents the unobtainable dream, which grows obsessive in "Take, Take, Take", a song about seeing Hayworth in the flesh.
Another standout track, "Little Ghost" is about still being attached to the memory of a dead spouse.
"Every morning I awoke
And I see my little ghost
Wondering if it's really her that's lying there
I lean to touch her and I whisper
But not brave enough to kiss her
When I held her I was really holding air"
What makes a song like this so great is its devastating lyrics being accompanied by one of the most joyful melodies The White Stripes ever created. The White Stripes use this trick throughout most of the album.
The final track "I'm Lonely" is a heartbreaking ending to the album. This song tells the listener that there is always love in family, even though the family is out of reach in a place far away. Which may be about Jack's own feelings about touring. In any case, it's still an amazing song.
Overall, my interpretation of this album might be different from your own. This is one of the many reasons why this album so unique. In the end, I feel satisfied, which is what really counts."[+]Reply
"Ah back when country music had some class. Songs about something other than the pap crap that passes for country today. A classic and classy record in every sense of the word."Reply
"Is this the greatest country rock album of all time? There are so many nights I feel that way. The songs are simply majestic. The type of songs that make me feel like I can take on the entire world no matter what the odds. And I need that kind of music in my life. Songs that make me want to shirk...""Is this the greatest country rock album of all time? There are so many nights I feel that way. The songs are simply majestic. The type of songs that make me feel like I can take on the entire world no matter what the odds. And I need that kind of music in my life. Songs that make me want to shirk off the shackles of my self destructive ways and once more reach for something bigger than myself. Plus, the guitar on this just destroys me and the lyrics are second to none.
The only problem with this album, and it's a big one, is that it peters out towards the end on those last two songs. Considering the album's only 8 tracks long that's kind of lame. But those first six tracks? Totally essential, mind-blowing stuff that fires me up like little else.
Grade: A. Cosmic Country Rock at it's best. Since it's a tad inconsistent at the end, it's not ever going to get top billing. But these are my fighting songs right now so I'm going to slide it into the number two pole at least for now. "[+]Reply
"Gotta disagree with earlier comments... Fiona Apple's sullen face and lack of drama does not mean she's without emotion. Should she scream like Fugazi or Alexis on Fire? Should she emote like Neutral Milk Hotel or Jeff Buckley? That's not done by everyone. She has thoughtful lyrics, an expressive...""Gotta disagree with earlier comments... Fiona Apple's sullen face and lack of drama does not mean she's without emotion. Should she scream like Fugazi or Alexis on Fire? Should she emote like Neutral Milk Hotel or Jeff Buckley? That's not done by everyone. She has thoughtful lyrics, an expressive voice, and rolling melodies. Don't hate her because she's young. She's what Liz Phair could have been. Should be top 1000, but too bad..."[+]Reply
"If you're a rock fan and haven't listened to this yet, do so as soon as you can. At times, this almost sounds like a documentary on African music- just listen to "Hush Your Mouth". But this is also the origins of hard, garage, and psychedelic music we all love, and much of that has to do with McD...""If you're a rock fan and haven't listened to this yet, do so as soon as you can. At times, this almost sounds like a documentary on African music- just listen to "Hush Your Mouth". But this is also the origins of hard, garage, and psychedelic music we all love, and much of that has to do with McDaniel's creative lyricism."[+]Reply
"Fucking Miles Davis. Just when you thought he'd already broken more new ground and created more timeless masterpieces than could ever be matched, he drops this piece of fusion genius, which is probably the most ambitious thing Davis ever released in his career. And I mean this is fucking Miles Da...""Fucking Miles Davis. Just when you thought he'd already broken more new ground and created more timeless masterpieces than could ever be matched, he drops this piece of fusion genius, which is probably the most ambitious thing Davis ever released in his career. And I mean this is fucking Miles Davis we're talking about. Made really just as an attempt to reconnect with a younger audience who had strayed from jazz, Davis ended up crafting what would later be seen as an important forerunner of everything from post-punk to drum'N'Bass. He played with weird structures and repetition and all kinds of avant-whatever else he felt like screwing with because he's Miles fucking Davis. He mastered the electronic music aesthetic before electronic music was really even a thing. As "out there" as all this sounds, throw in some funk and still maintain some jazz, and what could have been a Stockhausen tribute instead becomes a funky as fuck Stockhausen tribute album. The avant-garde has never been so catchy.
It’s not surprising that, upon its initial release, On the Corner was met with not only critical scorn projected by those who just really didn’t get what they were listening to, but with a massive backlash from anyone who had been a dedicated fan of Davis’ jazz for any great amount of time. To them, this album must’ve felt like a complete abandonment, a monstrosity that marked the fall of a giant. But really it was quite the opposite; Miles Davis had hit a point where his artistic ambitions required him to advance sonically, and so advance he did. Fuck anyone who didn’t like it. Oh and I’m sure the shocking offense which was the actual music of this album was only worsened by those who cared to look into those credited, because holy shit what a lineup. Prominent featurings of everyone from Chick Corea to John McLaughlin to Herbie Hancock (just to name a few), what could possibly go wrong? Well in the eyes of the 70s jazz community, everything. In actuality, not a goddamn thing. No matter how many unexpected sounds are thrown at you, not matter how unfamiliar this album is from most anything the average listener is likely to have heard, its “weirdness” is the furthest possible thing from a hindrance on what is, in the end, an album without fault. Though I can’t really make statements like that when On The Corner doesn’t exactly have any peers to which I should be comparing it to judge its relative awesomeness. Though I’m sure if it did, they would all fall flat.
tl;dr I agree with Borve"[+]Reply