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1071.

On The Corner 

 Miles Davis

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"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

- | Helpful?  (Log in to vote) | +11 votes (11 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1972

Appears in:

302 charts

Rank Score:

1,633

Rank in 1972:

23

Rank in 1970s:

219

Overall Rank:

1,071

Average Rating:

 80 (348 votes)

Comments:

16

1072.

África Brasil 

 Jorge Ben

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"Amazing album, with famed "Taj Mahal" on top of it all. A must-try for all you would-be Brazilian music discoverers."  Reply

- Norman Bates | Helpful?  (Log in to vote) | +5 votes (5 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1976

Appears in:

174 charts

Rank Score:

1,631

Rank in 1976:

17

Rank in 1970s:

220

Overall Rank:

1,072

Average Rating:

 80 (189 votes)

Comments:

11

1073.

16 Lovers Lane 

 The Go-Betweens

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"Why are all the track ratings on this so low? Normally only interludes and tracks that are actually offensively bad get as low as 73, but that's the average for The Devil's Eye, and Love Goes On, the best song on the album, only has a 77."  Reply

- Onater | Helpful?  (Log in to vote) | +4 votes (4 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1988

Appears in:

271 charts

Rank Score:

1,630

Rank in 1988:

16

Rank in 1980s:

163

Overall Rank:

1,073

Average Rating:

 79 (266 votes)

Comments:

16

1074.

Sabotage 

 Black Sabbath

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"Most probably the heaviest Sabbath album out there, serving up a plethora of quality tracks. 'Hole In The Sky', 'Megalomania', 'Sympton Of The Universe' and 'Am I Going Insane' being top of the tree in both riffery and vocal delivery. Sadly, I think the cover art is crap and I really wish they ha...""Most probably the heaviest Sabbath album out there, serving up a plethora of quality tracks. 'Hole In The Sky', 'Megalomania', 'Sympton Of The Universe' and 'Am I Going Insane' being top of the tree in both riffery and vocal delivery. Sadly, I think the cover art is crap and I really wish they had come up with something more sinnister which linked to the album title. As a vinyl collector the cover art is an equally important part of the whole experience. I can't get my head around why a member of one of the heaviest rock bands in the world at the time would want to be seen on the front cover of an album wearing red Long Johns, or am I missing something?"  [+]  Reply

- Junomoogmello | Helpful?  (Log in to vote) | +2 votes (2 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1975

Appears in:

300 charts

Rank Score:

1,629

Rank in 1975:

17

Rank in 1970s:

221

Overall Rank:

1,074

Average Rating:

 79 (500 votes)

Comments:

24

1075.

Every Picture Tells A Story 

 Rod Stewart

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"With the release of “Every Picture Tells A Story” Rod Stewart solidified his career as a solo artist. Faces would release one more album before Rod The Mod swaggered off to a very lucrative and sometimes maligned solo career. For everything we think about Stewart after 1974-ish, this album stands...""With the release of “Every Picture Tells A Story” Rod Stewart solidified his career as a solo artist. Faces would release one more album before Rod The Mod swaggered off to a very lucrative and sometimes maligned solo career. For everything we think about Stewart after 1974-ish, this album stands as an absolute classic. The covers are perfect, the originals are perfect, the band is perfect and the recording itself is perfect while all of it is completely flawed. This is the true genius of the album. Without all the gloss and perfection, with a band that used a healthy dose of bang and smash on every song, sometimes even chopping up the tempo, the album is subtle, deep and wonderfully listenable. Musically and lyrically interesting, it’s a wonderful showcase for Stewart’s voice and it’s the pinnacle of his career."  [+]  Reply

- Rochmon | Helpful?  (Log in to vote) | +2 votes (2 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1971

Appears in:

372 charts

Rank Score:

1,627

Rank in 1971:

30

Rank in 1970s:

222

Overall Rank:

1,075

Average Rating:

 78 (399 votes)

Comments:

25

1076.

Madman Across The Water 

 Elton John

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"For me this is Elton John at his peak. Tackling progressive rock, Elton John and Bernie Taupin expanded their songcraft and in doing so created my personal favourite album of all time. What helps Madman Across the Water to be so exceptional are a couple of things. Firstly, the album holds some of...""For me this is Elton John at his peak. Tackling progressive rock, Elton John and Bernie Taupin expanded their songcraft and in doing so created my personal favourite album of all time. What helps Madman Across the Water to be so exceptional are a couple of things. Firstly, the album holds some of the most incredible musicianship both Elton and his band produced. Elton John is stunning on piano as usual and he has also evolved vocally, however Elton can't take all the credit for Madman Across the Water. Drummers Roger Pope, Barry Morgan and Terry Cox are all great as well as bass guitarists David Glover, Brian Odgers, Herbie Flowers, electric guitarists Caleb Quaye, Chris Spedding and acoustic guitarist Davey Johnstone. The real standout here though is Paul Buckmaster with his soaring string arrangements on 7 of the 9 songs. This album also has 4 of not just Elton John's greatest songs, but in my opinion 4 of the greatest songs ever. "Tiny Dancer" is one of Elton's enduring classics and deserves to be. "Levon" is an epic tale which features some of Taupin's most cryptic lyrics and a sublime Elton melody transforming into a grandiose crescendo. "Madman Across the Water" is a dark, brooding portrait written from the perspective of a psychopath in an asylum - "Is the nightmare black, or are the windows painted” - which starts off quietly with Davey Johnstone on acoustic guitar and then fades into one of the greatest battles in music history between Chris Spedding (electric guitar) and Paul Buckmaster (strings). "Indian Sunset" is an underrated masterpiece which chronicles the story of an unnamed American Indian warrior on the verge of defeat from the white man and has one of Elton John's most delicate vocal performances."  [+]  Reply

- Seventiesfan | Helpful?  (Log in to vote) | +7 votes (7 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1971

Appears in:

330 charts

Rank Score:

1,626

Rank in 1971:

31

Rank in 1970s:

223

Overall Rank:

1,076

Average Rating:

 78 (453 votes)

Comments:

26

1077.

Morning Phase 

 Beck

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"I actually thought there were a few really gorgeous tracks here. Most notably Heart is a Drum. I don't know.. I don't think this is that much weaker than his "big" releases at all..."  Reply

- 19loveless91 | Helpful?  (Log in to vote) | +6 votes (6 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

2014

Appears in:

341 charts

Rank Score:

1,625

Rank in 2014:

16

Rank in 2010s:

154

Overall Rank:

1,077

Average Rating:

 75 (547 votes)

Comments:

42

1078.

You're Dead! 

 Flying Lotus

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"Genres exist because it’s human nature to want to categorize things. We want to put everything, people, art, everything that exists, into little categories with certain attributes so that we don’t have to spend all of our time examining each individual thing to observe its unique properties. It’s...""Genres exist because it’s human nature to want to categorize things. We want to put everything, people, art, everything that exists, into little categories with certain attributes so that we don’t have to spend all of our time examining each individual thing to observe its unique properties. It’s just easier that way, it’s easier to see something and say “I now know what this thing is” because of how it has been categorized, either by us or someone else. This can be problematic though, especially in the world of music genres. If any one album fits perfectly into the hole of one genre, then chances are, that album is not particularly interesting (though this is not necessarily true). The best albums, the best music, transcends genres, they look genres in the face and directly defy them. The best music is the music that, when your friends ask about it, you say “It’s kind of a mix between….well it’s kind of like….. you know what just listen to it.” That’s what “You’re Dead!” is. There are so many different genres shoved into this 38-minute, 15-second album that it’ll make your head spin. This is one of the most all-over-the-place, neurotic, chaotic albums that I’ve ever heard. It’s really hard to pin it down in words, and that’s the beauty of it. Listening to this album is like being on a roller coaster with a loose lap-bar. The whole album deals with life and death, it feels like this album is about the futility of life, the futility of what you do with your life. It’s an album that absolutely requires, and will take by force, your whole attention, and needs multiple listenings, and even then, you might not even fully grasp what has just happened, as if you just witnessed a man resurrected from the dead, this album will be swirling around in your head and you may even question whether or not it actually happened, but be assured, it happened, and you loved every glorious, frantic second of it."  [+]  Reply

- RockyRaccoon | Helpful?  (Log in to vote) | +10 votes (11 helpful | 1 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

2014

Appears in:

337 charts

Rank Score:

1,624

Rank in 2014:

17

Rank in 2010s:

155

Overall Rank:

1,078

Average Rating:

 79 (455 votes)

Comments:

25

1079.

Hey What 

 Low

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"(Total masterpiece. Genres to describe this I guess would be post-industrial, Noise, with some kind of gospel spirituality mixed in. Anyway, that doesn’t really describe this album. Not very well, anyway.) What can I possibly say that will do this album justice? I don’t think I am capable. This a...""(Total masterpiece. Genres to describe this I guess would be post-industrial, Noise, with some kind of gospel spirituality mixed in. Anyway, that doesn’t really describe this album. Not very well, anyway.) What can I possibly say that will do this album justice? I don’t think I am capable. This album is special. When I listen to HEY WHAT, it is an out-of-body experience. The detail contained within the “noise”, the way the sheer volume of the album rolls over me like waves, I feel like I am thrown into a storm in the middle of the ocean, and for a few seconds I fight it and I panic and I start to scream and cry. But then a voice reassures me that these tidal waves won’t cause me harm – not truly and not truly me -, and I am told to breathe and embrace the immensity of this place and this experience. I relax and I breathe and … I am fine, I am calm, I am free. The rest of the album is like a massive, Pacific-sized epic about modern life and spirituality. And unlike so many other unapologetically gloomy, bitter, and hopeless epics that seem to tackle this struggle, with HEY WHAT I feel love and I feel hope and I glimpse a way through this mess I find myself in. Musically, production-wise, this album makes me laugh lovingly and in awe, because I just can’t understand how humans being of flesh and blood can go and create this. Like, how? This could be called “Noisy” and “Staticy” and “Loud” but I can’t really say that those words fit to describe even the most inhuman and loud and most intense moments in this album. These scratchy, buzzing, sonically overwhelming sounds never sound harsh or hard to listen to. Again, like I said at the beginning, I have no clue how to express what this sounds like to me. The machines present on this album are simply communicating, meshing, corresponding with the human voices and harmonies. When the harmonies and the machine sounds come together, in these artist’s genius hands, what you get is transcendent music of the highest caliber. Just yesterday I was trading comments with the excellent fellow-BEA user buzzdainer. Buzzdainer mentioned about Chris Stapleton’s 2020 album Starting Over: “…for me it's the quintessential album for coping with the cruel realities of our current decade.” This description was excellent and I can see how Starting Over would have that effect. However, when I took a look and thought about what album for ME truly had such a significance in this current decade… I couldn’t think of one. The music I have loved from this decade thus far has been mostly powerful and cathartic in very different ways or, in some cases, very escapist. But no album as of yesterday had I heard that really uplifted me and helped me cope and find meaning and stabilized me in this current crazy world we live in. Then just a couple hours later I pushed play on Low’s latest. By the time I finished listening the very first time I felt emotionally satiated, understood, fulfilled. And I felt spiritually uplifted and enlightened. This is probably the most uplifting piece of music I have heard this decade so far. It for sure is. To list the specific tracks on here that I love or want to shout out seems like a silly activity. It is only silly for me because the whole album, start to finish, is the perfect example of a cohesive album experience. For example, I can point out (and – lol - I am about to) that the back-to-back majesty of the track “Hey” followed by “Days Like These” makes me legitimately weep with joy and some emotional mixing I still don’t understand. And that is true, I think Hey/Days Like These is some of the greatest music I have ever heard full stop. BUT I had heard “Days Like These” as a single and when I heard it in that out-of-context way, I thought it was a pretty song and it made me excited for the new album… and that is all I thought of it. But when I hear it now on the heals of “Hey” and also after the absolutely stunning build up to this middle portion of the album, it is cathartic, life-changing, inspiring and perfect. Every song here is special on its own but transcendent as part of the entire sweep of the album. This album expresses to me; Humanity, Human Goodness, True Affection and Love and Unity winning and triumphing in the face of inhumanity, materialism, and the bleak ubiquity of the utterly unfeeling. This album is a treasure. I actually feel a deep appreciation and an immeasurable respect for and to Mimi Parker and Alan Sparhawk and BJ Burton for creating this album. It’s just what I needed to hear in days like these. Now I know I have not really said much of anything in this “review”/rambling comment – I haven’t touched much upon the songs and the lyrics and the harmonies and the industrial manipulations and genres and all that. Well, sorry. But this album, more than any other this year (outside of perhaps By the Time I Get To Phoenix), really transcends words and clear description. "  [+]  Reply

- Mercury | Helpful?  (Log in to vote) | +9 votes (9 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

2021

Appears in:

282 charts

Rank Score:

1,624

Rank in 2021:

8

Rank in 2020s:

34

Overall Rank:

1,079

Average Rating:

 78 (202 votes)

Comments:

8

1080.

We Are The 21st Century Ambassadors Of Peace And Magic 

 Foxygen

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"Yeah, it rips off almost every great record from '66 to '70 but, boy, it's a whole lot of fun to listen to!"  Reply

- ButterThumbz | Helpful?  (Log in to vote) | +9 votes (11 helpful | 2 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

2013

Appears in:

340 charts

Rank Score:

1,623

Rank in 2013:

17

Rank in 2010s:

156

Overall Rank:

1,080

Average Rating:

 76 (532 votes)

Comments:

81

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Total albums: 10,000. Page 108 of 1,000

Overall Chart composition

Top 10,000 Top 5,000 Top 1,000 Top 500 Top 250 Top 100

Decade	Albums	%
1930s	2	0%
1940s	34	0%
1950s	302	3%
1960s	708	7%
1970s	1,424	14%
1980s	1,415	14%
1990s	1,600	16%
2000s	1,725	17%
2010s	1,967	20%
2020s	823	8%

Artist	Albums	%
Bob Dylan	37	0%
The Rolling Stones	35	0%
David Bowie	32	0%
The Beatles	29	0%
Miles Davis	27	0%
Neil Young	26	0%
Various Artists	25	0%
Show all

Country	Albums	%
	4,999	50%
	2,657	27%
	431	4%
	337	3%
	221	2%
	157	2%
	134	1%
Show all

Compilation?	Albums	%
No	9,729	97%
Yes	271	3%

Live?	Albums	%
No	9,737	97%
Yes	263	3%

Soundtrack?	Albums	%
No	9,885	99%
Yes	115	1%