Overall Chart

Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 58,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 2 hours ago).

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3271.

Crushing

Julia Jacklin

"It's not an easy listen at first, but it rewards focused listeners. Jacklin has some astonishingly empowering lyrics here" Reply

LebowskiRams | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)

Year of Release:

2019

Appears in:

140 charts

Rank Score:

458

Rank in 2019:

Rank in 2010s:

556

Overall Rank:

3,271

Average Rating:

76 (164 votes)

Comments:

3272.

The Paul Butterfield Blues Band

"If aliens from another planet landed here and wanted to know what music from earth was like, this is what I would give them. I don't know if words can describe, but this would also serve as my desert island record. I can literally listen to this over and over with a smile on my face. I can't say ..." [+] Reply

- jlsfourth | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)

Year of Release:

1965

Appears in:

122 charts

Rank Score:

458

Rank in 1965:

Rank in 1960s:

281

Overall Rank:

3,272

Average Rating:

77 (124 votes)

Comments:

3273.

La Revancha Del Tango

Gotan Project

Share your opinion and help others discover this album. The top-voted comments are showcased in our aggregate charts!

Year of Release:

2001

Appears in:

95 charts

Rank Score:

458

Rank in 2001:

Rank in 2000s:

560

Overall Rank:

3,273

Average Rating:

75 (83 votes)

Comments:

3274.

Toto

"This album got plenty of rotation back in the late 70s and deservedly so - great tunes, production, guitar work, vocals. A real gem." Reply

- stevengnz | Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)

Year of Release:

1978

Appears in:

111 charts

Rank Score:

457

Rank in 1978:

Rank in 1970s:

573

Overall Rank:

3,274

Average Rating:

73 (132 votes)

Comments:

3275.

Cold Roses

Ryan Adams & The Cardinals

"Ryan Adams actually released THREE albums in 2005, two with The Cardinals and one solo album. My favorite of the three is Cold Roses, a double-CD showing off Ryan and the band doing their best Gram Parsons impression, with some pneumonia-era whiskeytown and faint hints of CSNY thrown in. This is ...""Ryan Adams actually released THREE albums in 2005, two with The Cardinals and one solo album. My favorite of the three is Cold Roses, a double-CD showing off Ryan and the band doing their best Gram Parsons impression, with some pneumonia-era whiskeytown and faint hints of CSNY thrown in. This is his best stuff since Gold, offering his best "magnum-opus" work "magnolia mountain" (near 6 minutes). This album often sounds like 70s country rock, and one of the best songs, including "sweet illusion" (still-in-love-post-breakup-song), "beautiful sorta", "mockingbird", "easy plateau" and "let it ride" (the hit!). The lyrics are usual Ryan Adams fare, ranging from the earnest & near-poetic like "If the morning comes, will you lie to me / Will you take me to your bed / Will you lay me down / Till I'm heavy like the rocks on the riverbed" (magnolia mountain) or "no one leaves the lights on in a house where nobody lives anymore" (when will you come back home) to cheekily-witty like "Everything you ever touched, the fingerprints like / Crime scene evidence undisturbed in dust / I don't dare touch anything of yours, because it's evidence of us" (now that you're gone) or "Sleepyhead, come on let's take a ride / To the easy plateau in the back of your mind / Up through the alley, take the door under the stairs / My head ain't feeling nothing but cats and rocking chairs" (easy plateau). Ryan Adams works the quickest for you if you're in love or just out of love, like on "cherry lane" where Ryan sings "i can never get/be close enough (to you)" repeated through to the impassioned ending yearn. There's an earned assuredness here, like in "dance all night", a simple, straight-ahead, mid-tempo acoustic number you could swear you've heard Ryan do before, but he brings renewed feeling to singing "I ain't lonely now / Yeah, I've got someone I love / Someone I think about / Someone for me to take care of " with lovely harmonies. Of course, his upbeat rockers are pretty damn good too, from "beautiful sorta", and "if i am a stranger" to "let it ride". It's a bar-room, foot-tapper, where ryan adams sings "Let it ride / Let it rock me in the arms of strangers, angels until it brings me home / Let it ride / Let it roll / Let it go" at the chorus. " [+] Reply

paladisiac | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)

Year of Release:

2005

Appears in:

114 charts

Rank Score:

457

Rank in 2005:

Rank in 2000s:

561

Overall Rank:

3,275

Average Rating:

76 (132 votes)

Comments:

3276.

Gemini

Wild Nothing

"Pretty good album...for me Chinatown is the standout track." Reply

- LittleM1971 | Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)

Year of Release:

2010

Appears in:

107 charts

Rank Score:

457

Rank in 2010:

Rank in 2010s:

557

Overall Rank:

3,276

Average Rating:

76 (107 votes)

Comments:

3277.

Night Moves

Bob Seger & The Silver Bullet Band

"The Best album from an excellent catalogue by the legendary Bob Seger! Bob Seger is simply not given enough credit on this website!" Reply

- DC9126 | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)

Year of Release:

1976

Appears in:

165 charts

Rank Score:

457

Rank in 1976:

Rank in 1970s:

574

Overall Rank:

3,277

Average Rating:

76 (177 votes)

Comments:

3278.

Scott

Scott Walker

"Once, coiled soundly beneath the kaleidoscopic cornucopia of musical excess that was the 1960's, a tidal wave which reached sacred heights but synchronically cannibalized itself ten times over, there was a man. A man who, fit with somber body language and European sensibilities, wore dark sunglas...""Once, coiled soundly beneath the kaleidoscopic cornucopia of musical excess that was the 1960's, a tidal wave which reached sacred heights but synchronically cannibalized itself ten times over, there was a man. A man who, fit with somber body language and European sensibilities, wore dark sunglasses indoors and crooned with regard to the fraudulent nature of suburban, posh societies and serial drinkers who typify carnal, animalistic yearnings on midnight pub parades. The man's name was Scott Walker and he's seemingly lived a thousand lifetimes, shuffling along in the footwear of names past and present, rich and poor, angelic and depraved in equal measure. Here, on 'Scott', Walker begins to chisel out his first, significant artistic personality, free from the restraints of the pop band expectations of the Walker Brothers and into a new era of thought-provoking, thematically challenging baroque pop. On his first solo record, the enigmatic songster registers a mere trio of writing credits, however, it's the ascendancy and grandeur of the LP that transfigures the collective into something wholly idiosyncratic. On 'Scott', a caged, creative genius breathed new air that billowed with currents of Belgian chanteurs and classical composers and laid the bedrock for one of the most beguiling careers of the modern era. The album begins with 'Mathilde', an English rendition of Jacques Brel's 1964 chanson that details an abusive, romantic entanglement that forever resurrects like a pitiful, desperate phoenix. This is an opportune time to discuss Walker's admiration and veneration for Brel's work, once even calling him the "most important singer-songwriter in the world". Brel's pension to uncover and rhapsodize on all things strange and uncomfortable in society appealed to Walker, during a period where such things weren't touched or even discussed in pop music, let alone music at large. As a result, Walker christened his exodus from the mainstream by breathing life into Brel's haunting, challenging and sunless parables. At their moral best, they're hopeless, demoralizing accounts of unrequited love and at their worst, accounts of molestation, both mentally and physically at the hands of Army officers. Despite Walker's radical and firmly adult direction, his albums began to fall on a more gradually disinterested audience. Yet, it began to plot the roadmap for a rapidly escalating sonic approach that few (if any) could find parallels to. On 'Mathilde', Walker channels Brel while proclaiming, "My hands, you'll start to shake again when you remember all the pain; Mathilde's come back to me; You'll want to beat her black and blue but don't do it, I beg of you." The track is framed within an up-tempo sheen, reminiscent of a march into battle or a swaggering anthem of boisterous victory. The subject's early indecision is apparent with his mind made up by the end of the piece. Walker employed the assistance of three composers on 'Scott', perhaps most synonymously, Angela Morley (then Wally Stott), who would go on to further heights as Walker's arranger. On track two, Montague Terrace (In Blue), one of three penned by Scott himself, Morley crafts a dizzying, yet chic sheen before propelling walls of brass that instantly unionize with Walker's baritone hollers. There's an air of satire purveying here, like a thick vapor. "The girl across the hall makes love; Her thoughts lay cold like shattered stone; Her thighs are full of tales to tell of all the nights she's known," Walker details. It's unclear if the image is one of a much yearned for, idyllic, societal upgrade or a disdain for others' possessions and dispositions. Arriving third, LP highlight 'Angelica' softly vibrates before segueing into Walker's cries for the song's titular maiden. The organ tones from the onset color the track with melancholy, conjuring images of eulogization for lost love. Walker explains, "Now in my solitude, I tend the flowers that I buy, As they slowly fade and die, watered by the tears I cry." 'Angelica' represents a landmark in the early days of Walker's solo odyssey, as an indication of his desire to routinely croon overtop pessimist anthems far before it was vogue, complete with a dim worldview that would become progressively overcast. Fourth Track, 'The Lady from Baltimore', is Walker's attempt at Tim Hardin's classic. Scott's take is fittingly folky, with the prose in lock-step with his bleak paradigm. His voice sports a twangy timbre, faintly foreshadowing his self-assessed "Wilderness Years" in the early 1970's. However, his foray into folk and flirtation with country is marvelously executed. Walker's most ardent statement on the LP is the final track, 'Amsterdam', a swooning, cinematic recoloring of Jacques Brel's famous live staple. It's through this piece that Walker proves himself to be most worthy to succeed Brel as the patron saint of fatalistic allegories. The track opens with accordion hisses that wash over the empty pockets of sonic space like a patient sunrise as eyelids softly open to greet it. Walker sets the the scene for the finale with a tale of the rawest kind of human desperation, with a pistol of willful ignorance tucked away in its holster. The tale is as much about revelry as it is despair, or maybe more astutely, how the two co-exist in the minds of the downtrodden. 'Amsterdam' steadily ascends, starting as a lone man recounting a drunken memory out loud. Soon, it seems as if others join in (characterized by the power of Walker's vocals). Finally, the collective emerges, taking the form of the swirling instrumentation that rises the tide lead by Walker's voice. It's a picture so vivid that it's hard to disassociate the visual from the track. It's a stunning statement ushered off by Walker's repeated chants. 'Amsterdam' is without question Walker's finest Brel interpretation and one of his career's most prolific efforts. Noel Scott Engel died on March 22, 2019, but the world knew him as Scott Walker. However, few people knew that he died in 1967 as well. This death did not serve as a passageway to the afterlife, but rather, a reincarnation. An invigoration. A rebirth. 'Scott' remains the genesis of a career that words couldn't succinctly articulate. The Scott Walker of the Walker brothers walked and died, dried up in a desert of creative disillusionment and disgust so that the Scott Walker that would follow could run and consequently, swim oceans fiercely cavernous and artistically unbound. The transaction included trading in a handsome, youthful face for a stern demeanor and a military cap that slumped lower and lower throughout the years, reflecting the thematic directions his music would take while hiding the weathered, hardened features of his face. The seedlings planted within 'Scott' would grow to spawn a wonderous garden whose fruits few would taste. Walker saw very little monetary success throughout the remainder of his career and by 1978, he was a recluse. He would occasionally resurface with records that would scorch earth and send those with their ears to the ground into a frenzy. By some, he is regarded as the most unheralded genius in music history. To others, he was a passing shadow of an assembly line industry of musical malaise. In 1967, with a brilliant, stark solo debut, he began a journey of endless ambition fit with thankless repercussions. It's a journey we all should take, for it is rooted in the very soul of what music should be, endlessly imaginative and unyielding. However, few have the inclination to look at the natural world as Walker did. It's a blessing and a curse. "In the port of Amsterdam there's a sailor who drinks And he drinks, and he drinks, and he drinks once again, He drinks to the health of the whores of Amsterdam Who have promised their love to a thousand other men They've bargained their bodies and their virtue long gone For a few dirty coins, and when he can't go on, He plants his nose in the sky and he wipes it up above, And he pisses like I cry for an unfaithful love." -Amsterdam Standout Tracks: 1. Amsterdam 2. Angelica 3. The Lady from Baltimore 91.6" [+] Reply

DriftingOrpheus | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)

Year of Release:

1967

Appears in:

113 charts

Rank Score:

457

Rank in 1967:

Rank in 1960s:

282

Overall Rank:

3,278

Average Rating:

75 (135 votes)

Comments:

3279.

Some Nights

fun.

"This is the type of pop music i'm into nowadays. Combine queen and elo with a geeky, beat-centric hip-hop album obsessed with lonely nights spent with friends and you have "some nights". "we are young" is great, even if janelle's vocals are rather plain and underutilized. I wish the "some nights ..." [+] Reply

paladisiac | Helpful? (Log in to vote) | +6 votes (7 helpful | 1 unhelpful)

Year of Release:

2012

Appears in:

118 charts

Rank Score:

457

Rank in 2012:

Rank in 2010s:

558

Overall Rank:

3,279

Average Rating:

62 (269 votes)

Comments:

3280.

Very

Pet Shop Boys

"Not that they had a ton of albums, but this one is the most underrated. They're at the top of their synth-pop game, with danceable beats and snarks on love all-around. Pretty dark in mood and lyrics but all songs are still up-tempo" Reply

paladisiac | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)

Year of Release:

1993

Appears in:

146 charts

Rank Score:

457

Rank in 1993:

Rank in 1990s:

545

Overall Rank:

3,280

Average Rating:

74 (155 votes)

Comments:

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Total albums: 10,000. Page 328 of 1,000

Overall Chart composition

Decade	Albums	%

1930s	2	0%
1940s	37	0%
1950s	304	3%
1960s	715	7%
1970s	1,439	14%
1980s	1,435	14%
1990s	1,616	16%
2000s	1,727	17%
2010s	1,999	20%
2020s	726	7%

Artist	Albums	%

Bob Dylan	37	0%
The Rolling Stones	35	0%
David Bowie	32	0%
The Beatles	29	0%
Miles Davis	27	0%
Various Artists	26	0%
Neil Young	25	0%
Show all

Country	Albums	%

	5,011	50%
	2,665	27%
	429	4%
	315	3%
	222	2%
	160	2%
	137	1%
Show all

Compilation?	Albums	%
No	9,721	97%
Yes	277	3%

Live?	Albums	%
No	9,727	97%
Yes	271	3%

Soundtrack?	Albums	%
No	9,880	99%
Yes	118	1%

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