Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 58,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 1 hour ago).
"This a criminally underrated album, and an underrated band in general. As a big fan of new wave, this is one of my favorite albums in the genre. Best tracks: Under the Milky Way, Reptile, Destination, Spark"Reply
"I always feel grateful to hear John Martyns voice. He shares a lot of himself. This album is both deep and playful and somehow manages to comfort my emotions and then rip them apart again. Solid Air is like an old friend. It never fades. Everyone should own this"Reply
"An absolutely stunning record. Eli, is constantly overlooked and underrated, it is simply one of the greatest albums ever. Fusing pop, jazz, folk, and, soul, Nyro creates something wholly original and continually uplifting. Every song is a mini masterpiece, including, sweet soul picnic, and my fa...""An absolutely stunning record. Eli, is constantly overlooked and underrated, it is simply one of the greatest albums ever. Fusing pop, jazz, folk, and, soul, Nyro creates something wholly original and continually uplifting. Every song is a mini masterpiece, including, sweet soul picnic, and my favourite track, sweet blindness. Nyro's voice is excellent throughout, as is her piano playing. This is an excellent album that deserves way more attention than it has now. Everyone should have a copy. Brilliant. "[+]Reply
"I had high expectations for this album and it's even better than I hoped. The jamming nature of opening track Rattlesnake sets up the album allowing the listener to adjust to the microtonal sound and from then on it's a lot of fun. Immediately wanted to listen to it again after first listen."Reply
"They never did anything like this before, nor after. Many say, and I agree to a certain extent, that this was an attempt to match 'Sgt Peppers Lonely Hearts Club Band' by The Beatles. There may have been some self-inflicted peer pressure to do something psychedelic but I don't see 'Sgt Pepper' as...""They never did anything like this before, nor after. Many say, and I agree to a certain extent, that this was an attempt to match 'Sgt Peppers Lonely Hearts Club Band' by The Beatles. There may have been some self-inflicted peer pressure to do something psychedelic but I don't see 'Sgt Pepper' as that psychedelic, apart from a few exceptions. This album is more in the realms of 'We Love You', The Beatles' 'Strawberry Fields Forever', 'All You Need is Love' and generally early Pink Floyd and The Incredible String Band. What this album doesn't share, is the characters of Ray Davies, Syd Barrett, early Bowie and The Beatles' 'Mr Kite'.
Instead we have a full immersion into trippy and exoctic instrumentation and songs set in a dreamworld. This album could only have been released in 1967.
Is it any good? Does it deserve the bad press it got? I think the decades have been kind on this album and it is generally well received now and features in most YouTuber's top tens.
I love this album. Being born in 1970, I could not hear it on release, I first heard it when I was 15 and it was a total surprise. There was no internet to warn me of what to expect.
It's got a hazy, druggy vibe but the songs are a mix of excellent pop and 60's rock with eastern and psycadelic touches.
We have the beautiful 'She's a Rainbow', the spacy '2000 Light Years From Home', the country tinged but poppy '2000 Man', the music hall pastiche of 'On With the Show' and the rest is fairly psycadelic. Some excellent moments with the latter but a stinker with the over long 'Sing This All Together (See What Happens)'.
An artefact of it's time but thoroughly enjoyable generally.
I have commented on each individual track, if you have the time. "[+]Reply
""Dig Your Own Hole" is a masterpiece. Why ? The answer in 10 points: 1) This is the best big beat album ever made. We have never heard such a powerful mix of electro-hip-hop-rock. 2) You can dance without stopping on the first 8 tracks. 3) My body temperature rises to 39 ° when I hear the intro o..."""Dig Your Own Hole" is a masterpiece. Why ? The answer in 10 points:
1) This is the best big beat album ever made. We have never heard such a powerful mix of electro-hip-hop-rock.
2) You can dance without stopping on the first 8 tracks.
3) My body temperature rises to 39 ° when I hear the intro of "Electrobank".
4) "It Does not Matter" is the best tribute to Daft Punk.
5) It's a real electro record. Not a pop album, like the excellent "Surrender", released 2 years later.
6) You can also choose to listen to it sitting on your rockingchair.
7) This is a real album designed in its entirety.
8) The last two songs are more psyche things, in a 1967 mode.
9) Noel Gallagher participates in a song.
10) This album is just perfect.
9/10
Best track: "Setting Sun""[+]Reply
"For a while, The Money Store was Death Grips' best album. But The Powers That B (TPTB) is really contending for that spot. It's a bit of an unfair competition considering the fact that TPTB's two sides give it great variety. One really interesting pointer is that both sides feature someone who ha...""For a while, The Money Store was Death Grips' best album. But The Powers That B (TPTB) is really contending for that spot. It's a bit of an unfair competition considering the fact that TPTB's two sides give it great variety.
One really interesting pointer is that both sides feature someone who has not directly worked with the band before. On the first part, Niggas on the Moon (NOTM) it's Icelandic singer Bjork. On the second half, Jenny Death (JD) it's guitarist Nick Reinhart of Tera Melos. While all the songs on NOTM feature Bjork's vocals (in fact, it features none of Flatlander's abrasive synths. Replacing that is Bjork's heavily edited vocals), only tracks 3, 4, 7, 8 and 9 feature Nick's guitar.
NOTM is another foray into the experimental side of Death Grips, more or less continuing on from the path they took starting from No Love Deep Web. While not nearly as abrasive and in-your-face as, say, Exmilitary and The Money Store, NOTM is still an entertaining listen, with Zach really pulling of some great drumming in each of the 8 tracks. However, NOTM's variety is, unfortunately, a bit too homogenous. Each track sounds very similar to the last, and none of them have MC Ride's infamous yelled vocals (although several songs hint at it). To put simply, all the songs are far softer and less abrasive. Instead a lot of the real content is in the lyrics, which thankfully are far more understandable due to MC Ride not shouting (this may possibly be the explanation for the lack of his shouted vocals). The songs' themes range from racism (Black Quarterback, Say Hey Kid) and paranoia (Up My Sleeves) to the lifelessness of modern sex (Billy Not Really, Have a Sad Cum, Fuck Me Out) and the idolization of celebrities (Voila). Either way the lyrical content on here is, as always, cryptic but has some sort of meaning behind it.
JD, the much hyped second half, is quite literally the culmination of everything they've done. From the extremely loud, harsh and unforgiving I Break Mirrors With My Face in the United States to the almost ballad-like instrumentation of On GP (which stands for On General Principle by the way. It has absolutely nothing to do with their previous album Government Plates), this side has far more variety and content than the 32 minute NOTM (JD is 50 minutes, in comparison). It opens with the I Break Mirrors With My Face in the United States, which as I described earlier, is extremely loud, harsh and unforgiving. It features MC Ride's infamous yelled vocals, something which was completely absent from NOTM. The track is so quickly paced and short that despite how much there is going on, it goes by in a flash, as if it never happened. Then we get Inanimate Sensation, which is probably the most progressive song Death Grips has ever written. Although following the old "verse-chorus-verse" structure, each verse is drastically different from the other. The track opens with a chorus of voices ascending pitch. It's quite difficult to explain, really. The first verse is your average Death Grips verse, opening with the line "IN-ANIMATE SEN-SUH-A-TION", in MC Rides typical yelled rapping style. Then we get the chorus "BLOWNOUT, BASE", which leads to the second verse, which is rapped entirely in MC Ride's whispering voice, with the exception of the line "I'M NOT WITH YOU". Then we have the chorus again, and we move on to the third verse, which is rapped entirely with MC Ride's shouted vocals pitch shifted down. The third chorus continues with these pitch shifted vocals, and we have the fourth verse, where MC Ride makes multiple references to classic rock and popular music in general. Then we have the chorus again, and we have a miniature fifth verse which is quite similar to the first verse. And then we finally end with the chorus. Either way the entire 6 minute experience is extremely thrilling. The next song is Turned Off, which really does sound like a nu metal piece. Thankfully, it isn't terrible, in fact it's one of the best songs on the album. Then we have Why a Bitch Gotta Lie?, which follows the same nu metal style that Turned Off had. Although this song is less accessible than Turned Off due to the strange digital manipulation on MC Ride's vocals, it's actually pretty good once you get used to it. Then Pss Pss plays, a song about the lifelessness of sex. This song, quite interestingly, also references Have a Sad Cum early on. After that we get the title track, which is easily the loudest, sludgiest, heaviest, and most brutal thing Death Grips has ever put out. It's quite the experience, and really is quite indescribable. Then it's Beyond Alive, which would probably be my least favorite track on here if not for the final track (I'll get to that one later). It retains the nu metal style from tracks 3 and 4 but simply does not have the same magic that the aforementioned tracks have. Then we have Centuries of Damn, which, while good, has nothing too special about it to make it stand out. After this we have On GP, which in my opinion is one of the best tracks on JD as a whole, alongside Inanimate Sensation. Nick's guitar is extremely prominent on this track, and he really adds on to Flatlander's sound. It's also probably the closest Death Grips will be to a ballad or anything of the sort. The track glitches into the final (and most disappointing) track, Death Grips 2.0. From its name you'd expect some sort of amazing and revolutionary piece that will mark a complete change in Death Grips' style. But unfortunately, it isn't. It's just a repetitive instrumental track which was stretched out for way too long.
Either way, the LP is abso-fucking-lutely phenomenal, perhaps even better than 2012's critically acclaimed The Money Store. Only time will tell if Death Grips can continue their streak of amazing albums. "[+]Reply
"I hate that I like this so much. I mean, as I was reading the lyrics on spotify, I got a "wonderful" picture of a girl in a unicorn costume holding a tiny yippy dog- also in a unicorn costume. But theey have brilliant sporatic songwriting (Kinda reminds me of the Microphones "the glow, pt. 2"), b...""I hate that I like this so much. I mean, as I was reading the lyrics on spotify, I got a "wonderful" picture of a girl in a unicorn costume holding a tiny yippy dog- also in a unicorn costume. But theey have brilliant sporatic songwriting (Kinda reminds me of the Microphones "the glow, pt. 2"), but do it in a very poppy, yet also not poppy way. I don't know if I'm actually making sense or not here- so just listen to it yourself."[+]Reply