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: 3 hours ago).
"While a few of these tracks go for way too long, there is enough melodic and hypnotizing tracks to keep you enjoying it. Favorite tracks: Contre le sexisme, Sunday, Female Mechanic Now on Duty, Hoarfrost, Hits of Sunshine, Karen Koltrane A- 7.5"Reply
"Another brilliant Frank Zappa when he was at his solo best. The torture never stops, is one of his all time great tracks and, wind up workin' in a gas station, is a great opener. One of Zappa's ten essential albums."Reply
"Such a fun album the year it was released. I fell in love with Edie and the New Bohemian sound. It was simple, yet some of the songs off kilter and a touch sad. It was something different at the time, and when I saw them in Toronto's Massey Hall, I threw my flip-up sunglasses up to Edie and she p...""Such a fun album the year it was released. I fell in love with Edie and the New Bohemian sound. It was simple, yet some of the songs off kilter and a touch sad. It was something different at the time, and when I saw them in Toronto's Massey Hall, I threw my flip-up sunglasses up to Edie and she put them on for half a song, and handed them back... even though I told her to keep them.
A special time and plenty of lazy listens to this album.
Stand out songs: What I Am, Little Miss S, Circle, Nothing, Love Like We Do"[+]Reply
"One of the few albums of the '80s that still don't sound ridicolous. Some of the best songs ever wrote by Paul Weller and a jazzy feeling that is absolutely fresh and enjoyable, even after 25 years."Reply
"Always found this to be a bit overrated. The first track is by far the best. It all comes across as kind of a bit lo fi. Maybe it's intentional because of the jazz thing but the beats and bass sound like they're in another room. The tone is set on track 2 when I'm waiting for a colossal bass that...""Always found this to be a bit overrated. The first track is by far the best. It all comes across as kind of a bit lo fi. Maybe it's intentional because of the jazz thing but the beats and bass sound like they're in another room. The tone is set on track 2 when I'm waiting for a colossal bass that never comes. It ok and and all but a bit underwhelming. And not as interesting as similar stuff that Ninja Tune put out in the preceding years."[+]Reply
"It should be made absolutely clear that this is bright shiny disco pop tunes, and nothing but it. If that is your kind of thing, this is a GREAT compilation from start to finish. Only a couple of tracks that could have been omitted, and really just Summer Night City mysteriously missing (probably...""It should be made absolutely clear that this is bright shiny disco pop tunes, and nothing but it. If that is your kind of thing, this is a GREAT compilation from start to finish. Only a couple of tracks that could have been omitted, and really just Summer Night City mysteriously missing (probably because it wasn't a hit in the US). If that is NOT your kind of thing, you still have to admit that Bjorn and Benny sure could pen not one but a seemingly never-ending stream of catchy little melodies."[+]Reply
"Powderfinger's 'Internationalist' is a tale of 2 sides Side A is all but perfect that crackles with energy and fizz with tracks such as "Hindley Street" , "Belter" "Passenger" and "Don't Wanna Be Left Out" Flip the record and it's as if the energy has been sucked out and feel's languid in part's ...""Powderfinger's 'Internationalist' is a tale of 2 sides
Side A is all but perfect that crackles with energy and fizz with tracks such as "Hindley Street" , "Belter" "Passenger" and "Don't Wanna Be Left Out"
Flip the record and it's as if the energy has been sucked out and feel's languid in part's being quite the let down following the Side A high . "Trading Places" , "Private Man" , "Over My Head" , "Capoicity" and closer "Lemon Sunset" some how feel out of place and brings things to a whimper close
The 2018 20th Anniversary re-issue with B-sides and bonus tracks reveals a lost opportunity as there are a handful of tracks that could have and should have been included
I would recommend the following revised track order
Side A
No change - perfect !
Side B
Maxwell's Great Mistake (B-Side)
Polly (B-Side)
Celebrity Head
Ironical (B-Side)
Corner Boy (B-Side)
That Old Trick (B-Side)
Original Issue: Side A 100/100 , Side B 40/100
"[+]Reply
"Earlier this week I was blessed with an absolutely crippling case of insomnia and, in my dazed, "can't fucking believe I'm awake at 6am" state, I figured I'd give that darned new Coldplay record a shot. "Ghost Stories" had actually landed pretty nicely on my ears just a few years prior and all, s...""Earlier this week I was blessed with an absolutely crippling case of insomnia and, in my dazed, "can't fucking believe I'm awake at 6am" state, I figured I'd give that darned new Coldplay record a shot. "Ghost Stories" had actually landed pretty nicely on my ears just a few years prior and all, so...why not give it a go? "Experimental" was a claim I was never going to buy: we all knew what this "double album" was going to be before launching in.
...Or did we?
Welp, turns out, we basically did. Everyday Life is not pushing pop-rock-anthem boundaries another band hasn't pushed (and pushed more successfully) before: U2 has been doing this shit since "All that You Can't Leave Behind." That said, after a decade of half-hearted attempts at more straightforward pop, it seems that Martin and co. have finally chosen to (belatedly) acknowledge that their strength lies in tender balladry and chorus-driven anthems. This plays to their advantage. Chris Martin, despite his desire to front a neo-disco outfit, has not lost his superhuman touch with the sentimental: "Orphans", "Old Friends", and "Champion of the World" all pluck heartstrings with greater force than any of the next-best Coldplay tracks of the 2010s (Charlie Brown, Always in My Head...Magic?). Frankly, I don't see much use in delving in to the more traditional highlights: what's to be gained from reminding you that Coldplay is really fucking good at being...Coldplay?
Except that's not really all that happened.
Oh no. Not at all.
No, this record is bizarre, and what's damn bizarre about this record is the borderline-abrasive genre hopping. Let's break down the "Coldplay-not-doing-Coldplay-shit" just for kicks:
Broken (I refuse to capitalize the E, sorry Chris): Straight vocal gospel. Like...played totally, 100% straight. This is, again, right out of the U2 playbook (everyone knows the best version of "I Still Haven't Found..." is the gospel-choir infused cut on Rattle and Hum), but still...that our British boys refrained from breaking into a reverb-addled gospel-hybrid-thing is commendable. Again, though, just...bizarre. Think about this. Then listen to it. It doesn't get any less weird.
Arabesque: It's been a few weeks, so we're used to it now...but...the Kuti family is playing on a Coldplay track. The Kuti family is playing on a Coldplay track and it's not a fucking gimmick. Gimmick-be-damned, "Arabesque" is a poorly-named heavy hitter of a song, the centerpiece of "Everyday Life", and blessed with thick-ass electric piano, horns galore, and Martin successfully writing the "we're all one" message Bono hasn't been able to string together in years. The only downside to this number is how it brings the degrees of separation between Kuti and the Chainsmokers down to one.
When I Need a Friend: I'm fucking losing my mind. Is this fucking real? Chris Martin singing with a church choir (like, traditional church choir) over found-sounds? Do I even need to talk about this? It's fucking great. Fuck. Fuck.
Èkó: Joni-esque guitar. Flower-child folk-music. They just keep hitting us with this shit, huh? It's well executed, too! I've lost the ability to speak critically about what's going on here; all I know is that the sounds aren't weird, it's just weird to hear them coming from Coldplay. It might be even weirder that it's actually good.
Cry Cry Cry: Chris Martin and the Coldtones. How long has Martin been into doo-wop and why is it just now manifesting in his musical direction? It's hard to imagine this track translating to a Coldplay show (not that they'll be playing any on an international level, I suppose), but it almost feels like I'm being toyed with at this point. "Bet you didn't know I like Dion, assholes"- Chris Martin, 2019
بني آدم: Why is this baroque piano piece on the record? Because Chris Martin is already richer than god, that's why.
What a bold, anti-commercial move from a band I had written off as selling-out harder than Tekashi69 in court. I'm not sure that this genre-hopping approach served the record's flow particularly well, but it might've been the only way the Coldplay family could challenge the ever-growing perception of the band as a brand rather than...well, a band.
How did "Cry Cry Cry" end up being good. Fuck."[+]Reply
"I read an iTunes review of this album where someone complained that Leonard Cohen was so old he was just talking through his songs now. What they must not have realized is that Cohen has always done that. In his younger days he sang a little bit, but since the late 70s, he basically talk-sings hi...""I read an iTunes review of this album where someone complained that Leonard Cohen was so old he was just talking through his songs now. What they must not have realized is that Cohen has always done that. In his younger days he sang a little bit, but since the late 70s, he basically talk-sings his way through songs. This album is no different, it’s exactly what you should expect from a Leonard Cohen album. Lyrically the album is great, Cohen certainly hasn’t lost his poetic touch. Musically the album is decent. Not amazing, but not bad. If you’re a fan of Cohen already, you’ll probably enjoy this album, it’s a lot like the stuff he’s been putting out the past few years. However if you’ve never heard of Leonard Cohen, don’t start with this album. Start with any album of his from the late 60s, early 70s."[+]Reply