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: 6 hours ago).
"On the group's third album from 1975 Abba took a huge musical leap upward compared to their first two albums, which had been somewhat uneven, though without in any way being weak. With two of the group's biggest and most timeless hits "Mama Mia" and "SOS" is the album can only be a five star rele...""On the group's third album from 1975 Abba took a huge musical leap upward compared to their first two albums, which had been somewhat uneven, though without in any way being weak.
With two of the group's biggest and most timeless hits "Mama Mia" and "SOS" is the album can only be a five star release. On top of that are other big hits, which are almost as strong as the two. "So Long" is possibly the best rock 'n roll number ever recorded by Abba. "Bang-a-Boomerang" was only released as a single in selected countries, but it is a near perfect pop production, and quite on a par with many of the group's biggest hits.
"I Do I Do I Do I Do I Do" was also a big hit in many places. A retro-inspired number (a little Fats Domino), only to a certain extent featuring the well known, the Abba sound.
"I've Been Waiting For You" is a very nice ballad that anticipates the direction the group would explore later with songs like "Thank You For the Music", an obvious musical number.
"Hey, Hey Helen" is an attempt at more heavy tones - and for once the group is quite successful with this. A little overlooked gem.
A few numbers come slightly in the more trivial department, but you easily bear with this. "Tropical Loveland" and "Man in the Middle" I will put in this category, though I would not call any of them weak.
The instrumental "Intermezzo no. 1 "is exciting enough, but may seem a little misplaced on an Abba album."[+]Reply
"Very strong follow-up to Leftoverture, high-energy prog/hard rock all the way through save for the wonderful gentleness of Dust in the Wind. Definitely a must-listen album for prog enthusiasts like its predecessor."Reply
"CLOUDDEAD is a world of its own. The atmospheric dream-like beats flow into the album from the edges of space, slowly coming together into a loosely held congregation of the kind of hypnotic and emotionally evocative electronic twinklings and drones reminiscent of some of BoC's more spacious work...""CLOUDDEAD is a world of its own. The atmospheric dream-like beats flow into the album from the edges of space, slowly coming together into a loosely held congregation of the kind of hypnotic and emotionally evocative electronic twinklings and drones reminiscent of some of BoC's more spacious works. Before the voices of this Anticon group even come into play, you are already floating amidst this loose conglomeration of sounds, fully immersing you in cLOUDDEAD's mystical and somewhat unsettling world, just in time for the voices of this hip-hop collective to phase in and out of the album's hypnotic core; to dance across the periphery of but never quite statically settle within this dream that you are now a part of. The voice drift in and out, whispering thoughts of paranoia and regret, some concrete and relatable, some more abstract, but with an intended expression no less easy to understand. These voices soon become an intrinsic part of cLOUDDEAD's unique atmosphere. This is the album that you hear in your most worried of dreams"[+]Reply
"I don't think there's ever been a greater opening line - to anything, including books and films - than, "I just fucked your bitch in some Gucci flip-flops"."Reply
"This is a phenomenal metal album in my opinion! Frim the first 20 seconds of track one this album is pure shred, riff, and metal up the ass. It actually blew me away how much I liked this. My favorite artist is Megadeth and this album competes with their best in my opinion. Then you get to Voice ...""This is a phenomenal metal album in my opinion! Frim the first 20 seconds of track one this album is pure shred, riff, and metal up the ass. It actually blew me away how much I liked this. My favorite artist is Megadeth and this album competes with their best in my opinion. Then you get to Voice of the Soul a beautiful piece that breaks up the heaviness. So so good... If you like metal you should love this album. Sure the vocals might not be for everyone but personally I thought the fit the music perfectly and wouldn't have it any other way. Rock solid. "[+]Reply
"If you know anything about the UK’s electronic music scene from the past five years, you’ve heard of Burial. William Bevan, aka Burial, is the producer in the scene, the man that spearheaded the genre known as dubstep, with a sound that doesn’t sound at all similar to what people think of today w...""If you know anything about the UK’s electronic music scene from the past five years, you’ve heard of Burial. William Bevan, aka Burial, is the producer in the scene, the man that spearheaded the genre known as dubstep, with a sound that doesn’t sound at all similar to what people think of today when they think of dubstep. He’s beyond pointless drops. Above them. The artwork for his 2007 album Untrue, a landmark piece in the future garage music scene—which it somehow simultaneously defines and predates—gives you a good impression of how his music works. A sort of monochrome sketch of a man, with his eyes closed, sits with a cup of coffee in front of him. Grey is often associated with sadness, but black-and-white images and films—when they’re of a high quality, of course—are considered high art, beautiful. Further, Burial’s music creates an atmosphere, and a story—like the atmosphere and story in the cover art—which finds the grey area between this darkness, this coldness that he evokes with hard-hitting yet danceable drum beats, and the beauty which he juxtaposes with female vocals.
Kindred is no different. Burial has created his own immediately-recognizable style, a quality shared by many other great artists, which he revives here and continues to perfect. The title track mixes in an entrancing drum beat with female vocals, the refrain of “Baby, you…” casting a beautiful yet miserable mood over the whole piece. The song alternates between being carried by the drum beat and dropping it for several true ambient sections, with a good part of the track teasing the listener, who is just begging for the drum beat to kick back in.
The next track, “Loner”, is the baby of the EP at seven-and-a-half minutes. It moves into the 2-step direction which Burial loves to play with, and contains some obvious techno influences. Not your older sister’s ecstasy-ridden techno, though, but more of the minimal techno sound that’s being played with more in the electronic scene. Part of this track, and the previous track, is broken up by a sound reminiscent of a record player. It’s almost as if Burial wants to remind you that he’s the one creating this world for you, before thrusting you right back into it, similar to the way many directors won’t quite go the 100% realism route and retain some of the theater in film. Just like in film, and awkward ending can ruin the entire piece. Burial is reknowned for his codas; the end of “Loner” isn’t done justice by mere words, and leads perfectly into the final track.
“Ashtray Wasp” continues with the themes of Kindred and redirects the listener to outer space. All of the previous elements are here, though the second half of the track adds in some noise elements. Yet the track still creates its own unique world. The drum beat is excellent and enthralling, the vocals work. Everything works.
My only gripe is that I have to continue to wait for a new full-length album from William Bevan. Instead, I’m saddled with one of the greatest EPs I’ve ever heard. It’s much harder to write a positive review than a negative one. Thank you, Burial, for making this review difficult."[+]Reply
"A soothing, haunting sound from beginning to end. This album invokes so much feeling and emotion, and if I feel like listening to it I have to listen to it completely through every time. Songs like "Cutting My Fingers Off" and "I Would Hate You if I Could" cut deep and are absolutely gut wrenchin...""A soothing, haunting sound from beginning to end. This album invokes so much feeling and emotion, and if I feel like listening to it I have to listen to it completely through every time. Songs like "Cutting My Fingers Off" and "I Would Hate You if I Could" cut deep and are absolutely gut wrenching and resonating. In comparison to "Magnolia", their first release, you can hear their transition from alternative rock to the shoegaze genre and I think they have truly found their place. Songs like, "New Scream" seem as they're coming straight out of 90's MTV video. Anyone suffering from heartbreak or knows the feeling will definitely appreciate songs like, "Diazepam" or "Like Slow Disappearing". They hit at the soul for me every time. I can't think of a bad song on this album. I recommend this album to everyone and will continue to for a long time. If you haven't listened to it, I would suggest you really try it out if you are a fan of the genre."[+]Reply
"It's mostly average Dream Theater fare (which I consider to be a cut above the norm so that's fine with me). The lead track is balls-to-the-wall, and the second disk is a 40-minute epic. Can't go wrong there. The album has typical Dream Theater dynamics - plenty of ballads mixed in with the heavi...""It's mostly average Dream Theater fare (which I consider to be a cut above the norm so that's fine with me).
The lead track is balls-to-the-wall, and the second disk is a 40-minute epic. Can't go wrong there. The album has typical Dream Theater dynamics - plenty of ballads mixed in with the heaviness.
Each song has its moments: The Glass Prison has that killer riff, Blind Faith has a beautiful instrumental breakdown, and Misunderstood has some nice melodies. However, the songs do tend to meander a bit. The Great Debate doesn't need to be 14 minutes long; it would be fine at 6. Disappear, likewise, should be a simple 3-minute song.
Ironically, the 40-minute centerpiece is the least bloated of the bunch! It's 8 movements long, and the only piece that might overstay its welcome is the overture. "[+]Reply
"A year after his wildly successful and iconic Exodus record, Marley follows up with a warm album with some great songs, it just comes off a little too commercial."Reply