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: 1 hour ago).
"This is essential listening for any fan of either jazz or guitar. Wes was the epitome of smooth and cool, and you can hear the sheer joy of musicmaking in this recording."Reply
"This album is somewhat experimental, but in nearly all the wrong ways. The minute or so long tracks of Jack rambling add nothing to the album (they're also really cheesy and cliched). The last track "Humoresque" is a real low point, because although a lot of the other tracks don't really take off...""This album is somewhat experimental, but in nearly all the wrong ways. The minute or so long tracks of Jack rambling add nothing to the album (they're also really cheesy and cliched). The last track "Humoresque" is a real low point, because although a lot of the other tracks don't really take off, they're nowhere near as boring as that one. Tracks 6th through 9 are probably the best point on the album. I had to comment after seeing Fantano give this thing a 9 out of 10."[+]Reply
"I really enjoyed this album. It's my favourite of the year so far. The lyrics are incredible throughout, and I think there is more 'music' than on 'A Crow Looked At Me'. I'd definitely recommend giving it a listen, especially for 'Distortion' and 'Now Only' (the latter of which references late-ni...""I really enjoyed this album. It's my favourite of the year so far. The lyrics are incredible throughout, and I think there is more 'music' than on 'A Crow Looked At Me'. I'd definitely recommend giving it a listen, especially for 'Distortion' and 'Now Only' (the latter of which references late-night conversations with Father John Misty)., "[+]Reply
"I'm reviewing this album because honestly I kind of hate it and want to add a dissenting opinion to all the praise it has gotten. I think most people are of the opinion that PIL were at the top of their game on Metal Box and I can understand that. Personally I think that Album with Bill Laswell i...""I'm reviewing this album because honestly I kind of hate it and want to add a dissenting opinion to all the praise it has gotten.
I think most people are of the opinion that PIL were at the top of their game on Metal Box and I can understand that. Personally I think that Album with Bill Laswell is the best thing Lydon's ever done, and that First Issue was as good a manifesto as this band ever gave. Other people have said though that The Flowers of Romance is their best album and I don't understand this opinion at all. I think I read Jah Wobble as having said once that, looking back, he thought PIL didn't live up to their potential. Basically, I'd say that The Flowers of Romance encapsulates the wasted potential of this band.
What the hell is this album about? You've got two smart guys with good taste in music and what do they create when left to their own devices? A collection of unlistenable, anaemic, metallic-sounding songs with bad lyrics. The only listenable songs on this album are "Banging the Door" and "Home is Where the Heart is". Yes I know that the percussive element in this music shows the influence of african/middle-eastern music and german bands that are more interesting than PIL. I don't care. This album gives me a goddamn headache.
Lydon definitely has a unique vision but he needs other people around to create the actual music. Levene was already beginning to show signs of being washed up and mentally disorganized. Yes it is moderately interesting. Is it good? No."[+]Reply
"Quasimoto and Madlib's rapping are definitely a bit of an acquired taste, but if you first focus on the vintage production and appreciate Madlib's beats, the album will grow on you."Reply
"Their last really great album before becoming shadows of their former selves. Love the Brazilian tribal aspects, adds to the whole atmosphere while remaining brutally angry and pissed off throughout. Max Cavalera left some blood on the microphone making this one."Reply
""The Wind That Shakes the Barley" (a newly arranged Irish ballad from the 18th century) is beautiful because of the self-assured but modest performance of Lisa Gerrard. It is particularly deserving that music that deviates strongly from contemporary time and culture, thereby losing its popularity..."""The Wind That Shakes the Barley" (a newly arranged Irish ballad from the 18th century) is beautiful because of the self-assured but modest performance of Lisa Gerrard. It is particularly deserving that music that deviates strongly from contemporary time and culture, thereby losing its popularity and threatening to disappear forever in the past, is brought to the attention again. But at the same time DCD also challenges its listeners. This song is again very fatalistic and seen from the complete album yet another story about saying goodbye and about the sour taste of sadness about what is irrevocably lost. It is hard to argue about the beauty and symbolic emotion of the text, but the a cappella performance does oblige the listener to empathize with a ballad that originated during the earliest history of the Irish struggle for independence, and with that much is demanded of the listener.
"Yulunga" (Spirit Dance) reminds me a lot of the songs from "The Serpent’s Egg": the music is repetitive and pure, the framework for the vocal line minimal, but unfortunately here the track tends to be boring. The venous edge is no longer present. The mysterious and flawlessly performed vocals cannot save the song. The percussion that gives color to the second part of the track is rather corny. Fortunately that cannot be said of the fantastic “The Ubiquitous Mr. Lovegrove”. This song has lyrics that are about a conflict that can hardly be disentangled and an inevitable farewell, but the song is floating on a very catchy "groove" and a peculiar sound atmosphere. Of all the vocal parts on the album, that of "Mr. Lovegrove" is by far the most convincing. The narrator gives the listener a subjective insight into a relationship that has gone wrong. He places the blame on the counterparty and does not shy away from the harsh words and accusations. I have no idea if Perry refers to the broken relationship with Gerrard (or the quarrel with Peter Murphy?). There is a strong pop sensibility to the song (the track was released as a single by the way) but there is also a hard to define dark pulse to it. The choice of exotic instruments is particularly successful and ensures a wonderful, transparent balance. I think this is the song that saves the record. It abstains from sadness and fatalism and remains entertaining. "Tell Me About The Forest" unfortunately fails despite the good vocals of Perry. This song has neither the identity nor the charm that many other earlier DCD songs do have. The track “The Spider’s Stratagem” also doesn't appeal to me. The formula with repetitive percussion lines shows wear and the arrangements are skilled, but can no longer surprise. It's a shame to have to determine this, but the magic is gone and the song also lasts way too long. "Emmeleia" is a gem that strongly relies on multilayer vocals and bears witness to technical mastery, but the emotion and powerful rendition of the similar "Echolalia" on "The Serpent's Egg" are completely absent and only a cool, even uninterested kind of detachment remains. The unexpected and the sense of the experiment seem to be gone completely. "How Fortunate the Man With None" doesn't convince me either. Admittedly: the lyrics have a certain charm, but again the song falls prey to the success formula that made DCD such a wonderfully adventurous band. "The Carnival Is Over" doesn't interest me either. Perry has already composed several similar songs, but this track does not reach the high level of the previous albums. What intrigues me is the fact that Perry literally quotes Joy Division in his lyrics ("The procession moves on ..." from the song "The Eternal"). Is it a tribute or theft? No. Brendan Perry is a very honest musician and it is certainly not theft. But you never really know for sure, do you? "Saldek" is an excursion from Lisa Gerrard, but she too makes too much use of mannierist interventions that conceal a lack of originality. Again: for a fan it is painful to find out how this album only contains a few good songs. "Towards the Within" is good. Not that this track is full of inspiration and originality, because here too DCD falls back on a formula that has been used too often, but all components have a clear identity here and can convince this time. I dare not say for sure, but it is as if the record is suffering from the break between two lovers (Gerrard - Perry) who experience that it is difficult to keep everything professional and to work together as usual. However, the record company still believes in the band and although production is not really nagging, it seems that the momentum is gone."[+]Reply
"All of the critics who will call this album musical genius are probably correct. I just found myself working too hard to convince myself that I was enjoying the music when I really was not."Reply
"One of the greatest prog/post-punk albums ever recorded, with texture and invention to spare. Dark, visual, unusual and masterfully executed. An immaculate and underrated tour de force. A psychedelic masterpiece. Difficult music indeed, for people who appreciate a challenging listen over spoon-fe...""One of the greatest prog/post-punk albums ever recorded, with texture and invention to spare. Dark, visual, unusual and masterfully executed. An immaculate and underrated tour de force. A psychedelic masterpiece. Difficult music indeed, for people who appreciate a challenging listen over spoon-fed regurgitated sameness."[+]Reply