Explore the overall rankings of the best albums in history, based on over 2 million album rankings across 61,000 chartsClick to see how the rankings are calculated.
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"This is my all-time favorite album. The bass and guitar intertwine in such a way that makes butter feel out of place on bread. This is funk at its most energetic, ballads at their most beautiful, and a body of music at its sexiest."Reply
"While this album has a great reputation, I still consider it highly underrated. It says something about the quality of the songs when the covers (besides Grapevine) are the weakest part of the album and they still do them justice. Every original song on this album could have been released as a si...""While this album has a great reputation, I still consider it highly underrated. It says something about the quality of the songs when the covers (besides Grapevine) are the weakest part of the album and they still do them justice. Every original song on this album could have been released as a single and is hit worthy. It deserves the same level of recognition as Led Zeppelin’s fourth album in my opinion. My only gripe is I feel the middle of Ramble Tamble goes on a tad too long, but that’s a tiny nitpick. Truly a masterpiece."Reply
"I stand by my main assertion that if you've heard one Lana song, you've heard them all, but for the first time that's not really a problem at all. 'Cuz the strength here is actually in the songs, as they finally feel like fleshed-out ideas rather than half-baked mood pieces that feel monochromati...""I stand by my main assertion that if you've heard one Lana song, you've heard them all, but for the first time that's not really a problem at all. 'Cuz the strength here is actually in the songs, as they finally feel like fleshed-out ideas rather than half-baked mood pieces that feel monochromatic when played in successive order. And she definitely hits some all-time highs with NFR!, from the beautiful wide-screen nostalgia of the companion-pieces "Cimmanon Girl" and "How to Dissapear", how "Mariners Apartment Complex" and "Fuck It I Love You" take the once clique'd-sounding, mordant Lana Del Rey-isms into something much more aggressively confrontational, the hazy 10-minute guitar solo that somehow works beautifully on "Venice Bitch" and she even has the chutzpah to name-check the Beach Boys on "The Greatest" in a tune as lush and far-flung with a geniune sense of life-and-death danger that can actually merit it's to-the-heavens ambitions. A lot of this is really excellent stuff....
but, it also has a few misteps that kind of keep it from achieving a sense of all-encompassing atmosphere and purpose, from the questionable decision to put her cover of "Doin' Time" at the heart of the album which kind of throws the momentum off for a little while, to the somewhat flat and excessively lengthy "California" that never achieves the sense of urgency it's clearly going for, as well as the one-note, bottom-of-the-b-sides late entry "Bartender" which exists as the album's most questionable inclusion. Perhaps the album's high points make the misfires more noticeable, and indeed after a nearly flawless opening 4-song suite it loses it's vision a bit and seems to spray it's focus on more than ground than it can actually cover, more successful than not but also not quite enough dynamo to it's finish to really make me forget the parts that don't really work. The ending feels thematically effective and certainly fine on it's own, but too... straight-line-from-thesis-to-conclusion? with the rest of the album to really give this ambitious work the musical sendoff it deserves.
So what can I say. It's very, very good, at times completely outstanding, but just enough lulls that it doesn't quite work perfectly as a whole. That may seem like faint praise considering the reaction so far, but that's not really meant as a slight against a once-stodgy Artist who has really come into their own. It's a major climb for Lana as (even if it took 5/6 whole albums) she's finally realizing her well-groomed vision with NFR!, whether this is her apex or a new licence to a weird artistic detour it's quite the accomplishment in it's own right- despite perhaps being just a wee bit overpraised. "Reply
"Sometimes I forget How HEAVY this album is, then I play it and then my ears are destroyed by the first 10 seconds of Cinnamon Girl and I remember: this thing is a freaking bloodbath of fuzzy, scuzzy, grungey, rock at its most fierce and furious! Okay, how's that for a random way to start this rev...""Sometimes I forget How HEAVY this album is, then I play it and then my ears are destroyed by the first 10 seconds of Cinnamon Girl and I remember: this thing is a freaking bloodbath of fuzzy, scuzzy, grungey, rock at its most fierce and furious!
Okay, how's that for a random way to start this review of Neil's first of many Great albums? Cool.
This album is of 2 minds, the heavy, frustrated, somehow fascinating and minimalist at the same time side is where its at its best. But there is the also great Folk/Country/Poetic/Sensitive singer-songwriter side (which is fuckind great here, but taken to its zenith on the next 2 Neil records).
I love the fact that this album doesn't split the jekyll and Hyde between night and day or side 1 and 2, which is what happens on albums like Remian In Light, Low and even Neil's Rust Never Sleeps to name a very few that do this excellently. Instead, these 2 sides of Neil are there back and forth, Once you get lulled into a chill and peaceful place with say "Round and Round" you are rudely reminded of the ugly, angry side of Young's mind with "Down By The River". There is a weird rhythm to this album. It doesn't seem like this kind of loud quiet loud sequence would make for a totally satisfying experience, but it does.
Lyrically, Neil is great throughout. He just paints vivid scenarios with few words like almost no one else in his time could do. And his voice, all quivery and lovable and classic, while not yet in peak form (again, just wait a year) is alrady just hypnotically brittle and inviting.
But really, if I'm being honest, the strangth of the album is the HEAVY parts. Specifically the far and away best song of the album (and maybe of the year) "Down By The River". Don't get me wrong "Cinnamon Girl" is crunchy excellence and a great opner. And "Cowgirl In The Sand" would be the highlight of 99.9% of all albums, with its fierce, screaming leads from Neil and its rock solid bass grooves which rattle me brain. But, BUT, Come on, "Down By The River". Down By The River!
From the first strutting, menacing, scowling strums, with the cascading slack lines from guitar two and then that bass, which leads straight into the most stunning melody on the album, from that start to the end of this 9 minute piece of art, the song has you by the throat. And its a Jam tarck. But its weirdest, most illogical jam track I've maybe ever heard. The guitar is at times right on the cusp of being laughable in its frustrated "WHY CAN'T I MAKE THIS PIECE OF SHIT SING?!? COME ON! WEEP, YOU MOTHER%$#@er!!!", but it never makes you laugh. Not me anyway. Instead I sit stunned, and yet my head bobs along with the band and the bass in particular. I am stunned because I hear something. I hear Neil in there, I hear what he is implying and what he is feeling, I am right there. I am in awe for some reason at these hypnotically ugly, ferocious at times 1 note "solos". And then it just builds and builds. And then the solo, counter-intuitively cuts off right when it may be about to soar, and then Neil sings again with the voice of a cooler than cool, nonchalant Hero. Later on he croons and really starts to emote those words. And so on and so on. The track is 9 minutes of miraculous music. How is this song so freaking good? Like, perfect?
Songs, The Losing End, and The title Track, are great folk country songs too.
Anyway, I like the whole album. It features maybe the best song of the 1960s, and only one song I'm not big on - "Running Dry". Its anchored by 2 classics and it has the greatest classic in the middle, with some delicious bread filling in the gaps. This album is like a delicious inverted sandwich! There ya go. I coulda said that and that would have summed up the excellence of this album in a few words and I could have avoided the weird impossibility of describing with words the most physical of songs.
Grade: 9.3/10"Reply
"Horribly underrated, probably because its more folky and less "Zep-y" than their other albums. But if you set aside expectations of what you thing Zeppelin *should* sound like, you may find this to be a real gem. It remains by personal fave. The best song is the completely ignored album cut "Out ...""Horribly underrated, probably because its more folky and less "Zep-y" than their other albums. But if you set aside expectations of what you thing Zeppelin *should* sound like, you may find this to be a real gem. It remains by personal fave.
The best song is the completely ignored album cut "Out on the Tiles."
"Reply
"After a few listens, I noticed that it's their second best album if not their best. Yeah, it's slower than the others, but please, 'Do I wanna know?', 'R U Mine?', 'Nº1 party anthem', 'Arabella'... The songs in this album are prettty good, and the full album is better (in my opinion) than the oth...""After a few listens, I noticed that it's their second best album if not their best. Yeah, it's slower than the others, but please, 'Do I wanna know?', 'R U Mine?', 'Nº1 party anthem', 'Arabella'... The songs in this album are prettty good, and the full album is better (in my opinion) than the others because there's not any bad song. Every song is one of their best! This is the album of the year (maybe after Daft Punk's one). Forget about 2006. People change and music changes. They won't be fluorescent adolescents anymore."Reply
"This is to Radiohead what Exile on Main Street is to Revolver. It's slightly less perfect, but it's edginess goes and still puts it in a league of it's own. This album isn't overrated. At all."Reply
"Had no clue what to expect, thought it would be a band similar to AC/DC for some reason....Well, I was surprised. Fantastic album. A mixture of Folk and Punk, which I've never heard before. Probably go in my top 100 one day soon."Reply
"Well it's certainly a success, but only marketing wise. It seems Columbia records put a lot of effort and money promoting and hyping this to heavens but it worked, seeing all the rave reviews the album is getting. As for me, it's one of the worst record I had the displeasure to listen to in recen...""Well it's certainly a success, but only marketing wise. It seems Columbia records put a lot of effort and money promoting and hyping this to heavens but it worked, seeing all the rave reviews the album is getting.
As for me, it's one of the worst record I had the displeasure to listen to in recent years. Even as a pop album with a retro disco feeling it falls flat on it's face. There is nothing here even remotely memorable besides the single Get Lucky which is surprisingly catchy despite Pharrell's subpar vocal performance. Other than that we have a lot of tunes ranging from unlistenable to simply annoying. But hey what do I know, I'm just a random dude stuck in '97.
I won't put anybody down for thinking this is the best thing since sliced bread, but I urge anyone who liked this album to try some disco acts they took influence from, (Chic, Change, Giorgio Moroder, ...). It's worth it!"Reply