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: 5 hours ago).
"First things first: this is not hip-hop, it's grime. And it's probably not even the most necessary grime document (that title probably belongs to a pirate radio set, or maybe More Fire Crew's 'Pow'), but it is far and away the genre's best album. The production is cold and minimal, and Dizzee is ...""First things first: this is not hip-hop, it's grime. And it's probably not even the most necessary grime document (that title probably belongs to a pirate radio set, or maybe More Fire Crew's 'Pow'), but it is far and away the genre's best album. The production is cold and minimal, and Dizzee is one of the most enigmatic grime spitters to ever do it. His cadence is almost incomparable, and his innate Britishness shines through from the first minute. He offers no concessions at all, and that is why this remains grime's crowning achievement in the album field a decade on. Whereas Wiley (solo) and Kano and Ghetts and the Roll Deep collective and JME and even Dizzee himself later on (and perhaps Lethal B, though he was never quite as talented as the others) tried to polish and mold their sound to fit in with what they thought radio wanted to hear, Boy In Da Corner is just hard grime, and it has thus aged far better than any of the genre's other major album releases.
I would, however, take this opportunity to advise anybody who likes this to check out Kano's HOME SWEET HOME and Beats & Bars, Roll Deep's STREET ANTHEMS VOL. 1, P-Money's MONEY OVER EVERYONE, Trim's Soul Food series and Monkey Features, Wiley's Tunnel Vision series (or just Best of Tunnel Vision), JME's Famous, Dot Rotten's THIS IS THE BEGINNING, D Double E's ON THA DOUBLE, Skepta's Greatest Hits, and, last but certainly not least, Neckle Camp's STRAIGHT NECKLIN'. They're other great, if inconsistent, grime releases for somebody who wants to check out the genre further. The ones in CAPS come highest recommended. Enjoy."[+]Reply
"*Sigh*. This album is complete trash. I like all of the songs from 'Electric Blue' to 'We Don't Deserve Love' (the latter being a song that I love, which may be surprising given the rating that I gave the album), but the rest of the album completely fails. 'Chemistry' gets a bad rap, it's bad, bu...""*Sigh*. This album is complete trash. I like all of the songs from 'Electric Blue' to 'We Don't Deserve Love' (the latter being a song that I love, which may be surprising given the rating that I gave the album), but the rest of the album completely fails. 'Chemistry' gets a bad rap, it's bad, but it's hardly the worst on this album. 'Creature Comfort' has the most cringe-inducing lyrics of any Arcade Fire song, and takes the most immature and simplistic view of suicide and body-image issues that I've ever heard. 'Everything Now' sounds like Butler and co. listened to 'Hey Jude' once, liked the sing-along factor, but couldn't write a song that was anywhere near as interesting -- it's concert-bait at its finest. Worse yet, imagine writing a song about a bad pun, well, Arcade Fire wrote TWO SONGS ABOUT THE SAME TERRIBLE PUN in 'Infinite Content' and 'Infinite_content', it's not even f***ing clever. I have a lot of respect for Arcade Fire, 'Funeral' is arguably the best album of the 2000s. I don't know if they surrounded themselves with yes-men, but Arcade Fire have completely missed their appeal in trying (and failing) to turn themselves into the 21st century equivalent of New Order. The main strength of Funeral was the sincerity of its songs, the way that Régine belts the chorus to 'In the backseat' is utterly heart-wrenching, yet Arcade Fire come across as full of themselves when they brag, multiple times I might add, about a girl listening to said album not committing suicide. They're not sincere or relatable anymore -- they're downright exploitative."[+]Reply
"The songs, such as they are, are long and have little structure, the production is murky and raw and harrowing, the tempo is unchanging to the point of testing endurance. There is no joy or even solace to be found in this record, only unforgiving turmoil. It is a traumatic realisation of the hope...""The songs, such as they are, are long and have little structure, the production is murky and raw and harrowing, the tempo is unchanging to the point of testing endurance. There is no joy or even solace to be found in this record, only unforgiving turmoil. It is a traumatic realisation of the hopelessness of human existence, a document of fractured mentalities, the sound of four young men old before their time, scarred by life, already dead once and now desperately striving to be alive for just a moment before it all fades. Songs in the key of pain. Modern, urban, tortured psychedelic soul [...] A wall of noise, a sea of anguish, a masterpiece. On a hillside somewhere in the distance a man screams his desolation at the sky and curses his birth, overcome with fear that this emptiness may be all he can ever know. This record is his scream."[+]Reply
""Love at First Feel," "Problem Child," "Squealer," "Big Balls," the title track...this album is filled with fun, rocking AC/DC gems. You know their formula...and this album doesn't stray from it. I see that as a positive thing. Coca-Cola tried changing it's recipe and it ended in disaster. Not al..."""Love at First Feel," "Problem Child," "Squealer," "Big Balls," the title track...this album is filled with fun, rocking AC/DC gems. You know their formula...and this album doesn't stray from it. I see that as a positive thing. Coca-Cola tried changing it's recipe and it ended in disaster. Not all change is good. If it ain't broke, don't fix it. "[+]Reply
"A Salty Dog was the last Procol Harum album to feature the original 5-piece line-up. Compared to the previous two, which were very much dominated by Gary Booker's songs and vocals ( not a negative thing at all ), more space is given to guitarist Robin Trower and organist Matthew Fisher. Robin Tro...""A Salty Dog was the last Procol Harum album to feature the original 5-piece line-up. Compared to the previous two, which were very much dominated by Gary Booker's songs and vocals ( not a negative thing at all ), more space is given to guitarist Robin Trower and organist Matthew Fisher.
Robin Trower debuts as leadsinger on his own "Crucifiction Lane" and he wrote "Juicy John Pink" - both songs show the roots of Procol Harum as a tight r&b band. Trower also co-wrote the acoustic "Too Much Between Us" with Brooker - beautifully sung by Brooker, by the way.
Matthew Fisher produced the album, and arranged the orchestra for three of the songs - most note-worthy the title track, which is one of the greatest songs ever written and recorded. Compared to Brooker's Fisher's voice may appear somewhat thin, but he sings his two songs "Wreck of the Hesperus" and "Pilgrim's Progress" beautifully, and both songs fit in nicely on the album. "Pilgrim's Progress" bears big resemblance to the classic "A Whiter Shade of Pale". The charming "Boredom" with its Carribean rhythms is a Brooker/Fisher collaboration, adding to the great variety in styles which characterize the album.
Apart from the unique "A Salty Dog", the album features another Brooker classic "All This and More" - classic Procol Harum sound. Inspiration from the Band's recently released "Music From Big Pink", shines through on "The Milk of Human Kindness". The Band was a big inspiration for Procol Harum. "The Devil Came From Kansas" is one of the few tracks I often consider skipping over - too heavy and noisy; seems somewhat out of place on the album. Much better is the B-side "Long Gone Geek"; another heavy thing, which sounds inspired by The Small Faces or Humble Pie.
Among the bonus-track you may find there are four rare live-tracks from a 1969 April tour in the States. Great to hear the original band live - again their r&b roots shine through.
With this album you could say that the band scored a natural hat trick; having their debut and "Shine on Brightly" in mind. "[+]Reply
"This is one of Paul McCartney's most interesting albums. Chaos and creation, is predominantly acoustic in sound, and is much more challenging in structure than most McCartney records, maybe only his self titled albums from 1970 and 1980 compare. Having said that, the songs here are much more thou...""This is one of Paul McCartney's most interesting albums. Chaos and creation, is predominantly acoustic in sound, and is much more challenging in structure than most McCartney records, maybe only his self titled albums from 1970 and 1980 compare. Having said that, the songs here are much more thought out and focused. Opener, fine line, is okay, but it actually one of the less interesting tracks here, in fact to me it sounds like the theme tune to only fool's and horses. How kind of you, is a better example of the album, and like, at the mercy, and, riding to vanity fair, is not predictable. The strongest songs though are the blackbird-like, Jenny Wren, the rubber soul-is, friends to go, the excellent, too much rain, and the beautiful, a certain softness. The rest is fine, like, follow me, and, the slightly tongue in cheek, English tea(very twee, very me). A very good album then, definitely one of McCartney's top six or seven. "[+]Reply
"This is my favorite album by Low. Kicks off with the wonderful Sunflower before plodding along nicely. Then just when you feel the album needs a bit of an injection you get it with July which starts a run of incredible songs all the way to the end. great stuff"Reply
"Mesmerizing but the counterpoint stuff gets a bit overwhelming after a while... I feel it needs a bit of dynamic added to it by having some ambient tracks or something. Facades was kind of that, but a little late in the album. It's a very similar feel throughout the album. Rubric was impressive b...""Mesmerizing but the counterpoint stuff gets a bit overwhelming after a while... I feel it needs a bit of dynamic added to it by having some ambient tracks or something. Facades was kind of that, but a little late in the album. It's a very similar feel throughout the album. Rubric was impressive because it was more electronic, and I love sax."[+]Reply
"Much, much, much better than Bleed American. More ambitious, diverse, melodic, angsty, better sung, and in general considerably less constrained with superficial stuff like "trying to make an album that will sell". On Clarity there's the confrontational blissful opener "Table for Glasses", the ca...""Much, much, much better than Bleed American. More ambitious, diverse, melodic, angsty, better sung, and in general considerably less constrained with superficial stuff like "trying to make an album that will sell". On Clarity there's the confrontational blissful opener "Table for Glasses", the catchy as hell "Lucky Denver Mint" (catchier than anything Weezer was doing at the time this record was released, for sure), the adorable hook and bell arrangements on "A Sunday", Jim Adkins powerful vocal performance on the title track, and the imaginative sprawling beauty of "Goodbye Sky Harbor". The fact that a band like this spent so much time working on that final track in order to make a statement that deserved to be remembered never ceases to make me admire the 90's as a fantastic time for popular music."[+]Reply