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: 3 hours ago).
"My favourite album of all time. Track-by-track review with a rating for each track out of 100: Star Sail: A dreamy opener with guitar that simultaneously floats dreamily and roars loudly. Ashcroft's vocals soar. 93 Slide Away: The album's first and catchiest single, though not as ambient and drea...""My favourite album of all time. Track-by-track review with a rating for each track out of 100:
Star Sail: A dreamy opener with guitar that simultaneously floats dreamily and roars loudly. Ashcroft's vocals soar. 93
Slide Away: The album's first and catchiest single, though not as ambient and dreamy as some of the other highlights. Deserved more than the mild attention it got, it's a track in awe of the endless soundscape it's perusing. 94
Already There: The album's first masterpiece and one of Verve's finest tracks, from the solitary opening strums which ooze sadness, to Ashcroft's mournful vocals edging the song to a heavenly place. When McCabe's guitar kicks in and gets the track pumping, it's like floating away to an unknown destination. And you don't want to leave. 100
Beautiful Mind: A massively expansive head-trip, a stumble into a blue abyss. A song filled with emotions fleeing and dreams fleeting. McCabe's guitar strums echo and reverberate, moving all around, bouncing off walls of sound. The final haunting strums that close the song are some of the saddest sounds I've ever heard from a guitar. 98
The Sun, The Sea: The first half of the album closes loudly as Ashcroft croons and pleads. The energy here makes the song loud and fast enough to have been a single and as the whole thing descends into a chaotic mess, saxophones sighing and Ashcroft fading away. 94
Virtual World: To me personally, the opening sounds of Virtual World are iconic. I feel like I've heard them all my life and they haunt my skull each time they float through it. It is one of the purest expressions of happiness, head out the window of a speeding car, smile brushing the breeze like old friends meeting again. 100
Make It Till Monday: An almost scary awakening from a dream within a nightmare (or perhaps the other way round), the shortest track on Storm tells of a drug-fuelled weekend burning away into oblivion and leaving behind nothing but regret. I really hope they do make it. 98
Blue: To say the lead single from Storm is my least favourite track on the album isn't really saying much because it is still a very solid track, despite the fact I'm not the hugest fan of the pre-Urban Hymns pop/rock sound (at least, not on this album where it seems curiously out-of-place) or the catchy 'swallow you' lyric. Still, it's a decent track and a brief but lovely listen. Also, it contains the fantastic lyric "You shot him down, there's blood on my face, his heart's in the right place." 92
Butterfly: What, really, can I say about what's probably my favourite song of all time? That it meshes saxophone and guitar so beautifully to describe it as anything less than orgasmic is insulting? That Ashcroft's poetic lyrics and snarling delivery are so beautifully crafted that my eyes moisten at the thought and shivers run down at the experience? That he can create one of the scariest sounds in the world simply by moaning the titular 'butterflyyyyy'? If the guitar stumbling to a halt at 1:14 isn't enough to blow your mind, listen to Ashcroft scream 'butterfly' four times at 1:46, or better yet, the countless guitar screeches around the 5-minute mark that absolutely jolt you awake and make you feel like your whole body is about to implode, the saxophone howl inviting warmly your newly freed organs to float around around the zero-gravity playground? Butterfly, for me, was a landmark musical experience, and a criminally underrated one at that. To listen is to experience musical emotion and evocativeness at its peak. It's a marvel. 100
See You In The Next One (Have A Good Time): Displaying all too endearingly keenly the sadness of saying goodbye to a loved one without being hackneyed or over-the-top, See You In The Next One expresses in bitter words the feeling of loss at its heart: "I liked the way it was. I hate the way it is now." That's really all there is to it. So sad it rips your heart open and the tears feel as if they may never stop flowing. 100
Key Tracks: Already There, Virtual World, Butterfly, See You In The Next One"[+]Reply
"Is there anything more beautiful in this world than a woman's voice? If we agree then this album is a grand exposition of female vocalising on a level that can enchant even the most skeptical listener. With Eagle Agnetha and Frida arrive from the heavens it seems bearing tidings of profound optim...""Is there anything more beautiful in this world than a woman's voice? If we agree then this album is a grand exposition of female vocalising on a level that can enchant even the most skeptical listener. With Eagle Agnetha and Frida arrive from the heavens it seems bearing tidings of profound optimism in a world grown old and cold and weary. However their stories are not all happy. They represent life as it is. Love is strange and success has its price, but its in the music itself that the beauty of living is made most apparent.
Musically this is ABBA's most artistic album. In attempting to break into the American market, they began to incorporate some american sounds onto what has been up until then a decidely european template. What could be a risk, works perfectly and as a listening experience you are carried on a journey from the magestic opening of Eagle on through a variety of styles that instead of hindering actually make the journey more interesting. The biggest risk of all is the Mini-musical of three songs, which will test the sensibilities of even the most tolerant of critics, until you see that below the "broadway" you uncover brilliantly composed and executed music. If Rock is about going against the grain and giving the two fingers while moving your soul, then this album accomplishes exactly that perfectly and as a thing of beauty."[+]Reply
"It's absolute insanity that an album this good sits so far down the charts. I can only assume it's because not enough people have listened to Ween or White Pepper in particular. This is not a couple of clowns trying to make a novelty record. This is a collection of outstanding songs by gifted son...""It's absolute insanity that an album this good sits so far down the charts. I can only assume it's because not enough people have listened to Ween or White Pepper in particular.
This is not a couple of clowns trying to make a novelty record. This is a collection of outstanding songs by gifted songwriters, that have been arranged and performed with a high degree of skill. I can see a casual listener quickly bouncing through the album and thinking that Ween were merely trying to do sendups of several musical styles, but listen closely and you'll hear that in most cases they surpass the originals. Yes, they do it with tongue firmly in cheek but that shouldn't take away from how solid these songs are.
"Bananas and Blow" is a parody of Jimmy Buffet, but I'd rather listen to this than anything in his discography; "Pandy Fackler" sounds as if it was ripped straight from Steely Dan's Pretzel Logic album; "Even If You Don't" is Paul McCartney from the Sgt. Pepper era; "Stoker Ace" is Motorhead. Throw in prog rock like "Back to Basom" and the gorgeous hippie anthem "Flutes of Chi" and this is an astounding collection of songs. At this point Ween enter the conversation of best American band ever. "[+]Reply
"It's basically a slightly more commercialized and stripped down Wind and Wuthering. By this point, Genesis were becoming stagnant because Rutherford and Banks were basically the only songwriters left, and they had been there since day one: it was probably best that they changed musical directions...""It's basically a slightly more commercialized and stripped down Wind and Wuthering. By this point, Genesis were becoming stagnant because Rutherford and Banks were basically the only songwriters left, and they had been there since day one: it was probably best that they changed musical directions with the next album, Duke, by giving Collins more to do. I don't mind Genesis going mainstream, but this album was just too romantic and mellow for my taste. I prefer the opposite kind of mainstream: upbeat, powerful, aggressive, bombastic. At its best it's intriguingly atmospheric...and not much more. It's Wind and Wuthering meets singer-songwriter mediocrity. The definition of an average album. Most of the tracks are forgettable, but I do enjoy Follow You Follow Me."[+]Reply
"This is a quintessential hard bop album. The tunes are excellent and the improvising spectacular. Lee Morgan is at his peak both as a soloist and as a leader here."Reply
"idk why early sonic youth is so underrated, i find it more amusing than the most famous albums the mixing of this album is great, though confusing as songs begins one minute into the previous one. the soundscape is genius love it, my key to be a SY fan"Reply
"If you like eccentric off-beat post-punk then check this stuff out. My reaction: "where has this been all my life!! Why doesn't this get a ton more respect!?""Reply
"This is the record that sent Biffy to the mainstream... (Puzzle already did this though, but this is the one that did it on a new level). For a lot of people this more commercial sound was a bad change, but in my opinion it gave place to some of Biffy's greatest tracks. In this record there are m...""This is the record that sent Biffy to the mainstream... (Puzzle already did this though, but this is the one that did it on a new level). For a lot of people this more commercial sound was a bad change, but in my opinion it gave place to some of Biffy's greatest tracks.
In this record there are mixes of more mainstream oriented tracks (The Captain, Bubbles, Mountains), More slow songs (God & Satan, Many of Horror, Know your Quarry), More experimentation and flirting with new styles (Born on a horse) and of course some aggressive songs (That golden rule, Shock Shock) even though there are no traces of the Post-Hardcore style that identified them in their first three records. If you're planning to give Biffy a listen, this may just be the ideal record to get into them.
Best Track(s): That Golden Rule, Booooom. Blast & Ruin
Worst Track: Shock Shock"[+]Reply