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: 5 hours ago).

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361.

Future Days

Can

"While I have to give Tago Mago and Ege Bamyasi at least one more listen, I still think that this album is better than both. Future Days (the song) is really sth special. I can't quite explain it, but I've listened to that song about 20 times today" Reply

- 19loveless91 | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)

Year of Release:

1973

Appears in:

535 charts

Rank Score:

4,621

Rank in 1973:

Rank in 1970s:

Overall Rank:

361

Average Rating:

82 (602 votes)

Comments:

362.

In The Wee Small Hours

Frank Sinatra

"if you ever do LSD, listen to this album. even though the lyrics are depressing, the mood it creates is a wonderful air of chill nostalgia. i can only compare it to a 3 year old on christmas morning" Reply

- Fox John | Helpful? (Log in to vote) | +10 votes (10 helpful | 0 unhelpful)

Year of Release:

1955

Appears in:

505 charts

Rank Score:

4,620

Rank in 1955:

Rank in 1950s:

Overall Rank:

362

Average Rating:

80 (650 votes)

Comments:

363.

Document

R.E.M.

"REM's fifth album, sees the band starting to lean towards the mainstream, at least in terms of commercial success. Document, is similar to predecessor, life's rich pageant, in that it's predominately a rock album, but this record has a bigger, fuller sound. It kicks off with an REM classic, fines..." [+] Reply

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

Year of Release:

1987

Appears in:

707 charts

Rank Score:

4,576

Rank in 1987:

Rank in 1980s:

Overall Rank:

363

Average Rating:

80 (932 votes)

Comments:

364.

Double Nickels On The Dime

Minutemen

"One of the most brilliant punk records- or just any record, ever. It's hard to comprehend how expansive of a reach the trio of D. Boon, Mike Watt, and George Hurley on this album. Stretching across many fields to create some of the most creative, energetic, and flat line rockin'. After listening ..." [+] Reply

- | Helpful? (Log in to vote) | +9 votes (9 helpful | 0 unhelpful)

Year of Release:

1984

Appears in:

586 charts

Rank Score:

4,575

Rank in 1984:

Rank in 1980s:

Overall Rank:

364

Average Rating:

80 (645 votes)

Comments:

365.

The Stooges

"Lot of filler on here but the stuff that's not is landmark stuff. Think they were rushed into the studio when they were famously signed after having only four or five tracks. Which is why some stuff is weak. The foundations of funhouse and punk rock." Reply

Graeme2 | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)

Year of Release:

1969

Appears in:

707 charts

Rank Score:

4,558

Rank in 1969:

Rank in 1960s:

Overall Rank:

365

Average Rating:

80 (787 votes)

Comments:

366.

The Colour And The Shape

Foo Fighters

"Dave's 2nd album is more elaborately fleshed out both musically and lyrically. This album really bridged a shift in style from the 1st album to the rest of their output. (i felt subsequent albums just haven't been as good, and i just found out that dave grohl created most of the songs of the 2nd ..." [+] Reply

paladisiac | Helpful? (Log in to vote) | +3 votes (4 helpful | 1 unhelpful)

Year of Release:

1997

Appears in:

707 charts

Rank Score:

4,554

Rank in 1997:

Rank in 1990s:

Overall Rank:

366

Average Rating:

78 (1,005 votes)

Comments:

367.

The King Of Limbs

Radiohead

"I've read some reviews describing this album as lacking in warmth, or too distant from their roots as a 5-piece rock outfit, or too much of a Thom Yorke project. Yet, I truly find KoL to be an incredibly intimate album that rewards full immersion with headphones. It is also a real tribute to the ..." [+] Reply

Strangel | Helpful? (Log in to vote) | +8 votes (8 helpful | 0 unhelpful)

Year of Release:

2011

Appears in:

885 charts

Rank Score:

4,540

Rank in 2011:

Rank in 2010s:

Overall Rank:

367

Average Rating:

75 (2,061 votes)

Comments:

230

368.

98.12.28 男達の別れ [98.12.28 Otokotachi No Wakare]
Live

フィッシュマンズ [Fishmans]

"On December 28th, 1998, enigmatic frontman Shinji Sato gazed upon a vigilant crowd gathered lovingly at the Akasaka Blitz in Minato, Tokyo. It was here that his band, Fishmans, was prepared to bid adieu to their bassist, Yuzuru Kashiwabara, who was set upon leaving the group. Little did anyone kn...""On December 28th, 1998, enigmatic frontman Shinji Sato gazed upon a vigilant crowd gathered lovingly at the Akasaka Blitz in Minato, Tokyo. It was here that his band, Fishmans, was prepared to bid adieu to their bassist, Yuzuru Kashiwabara, who was set upon leaving the group. Little did anyone know, the amount of finality and reverence this performance would carry would forever bathe the band in a balmy luster of posthumous praise. As the first reverberations of guitar are heard, a docility seems to rain over the multitude, almost entranced in a spiritual, reverent manner. Such things happen without warning, yet, when they do, they have the tendency to stifle the passing of time and render the present moment motionless. What happened on that December evening in Tokyo is exalted for the transcendent-nature of the musicality and Sato's passing in the months that would follow. What many don't perceive, is that it wasn't just Sato's passage that galvanized those proceedings. Every single soul on stage and in attendance would take part in the ascension to a higher state of musical consciousness, now permanent, invisible residents of both the Akasaka Blitz and another heavenly dimension. Sato and company begin with the pleasantries and with 'Oh! Slime', which bestows respective introductions to each of the band's players. This preamble progressively evolves from a spacey, serene whirring into a bouncy declaration of jubilee. It's clear that the forthcoming ceremony isn't going to be colored by solemnity, despite it being Kashiwabara's swan song. The chants of "Are you feel good?" further blur the collective reality and affix the qualities of a fragmented dream. The band slips back into serenity with the arrival of their legendary cut, 'ナイトクルージング (Night Cruising)'. This 'Night Cruise' is more tranquil than its studio album doppelganger, exercising more force and dramatic heft. Sato's presence seems to emanate like vapor through the bright, twinkly guitar chords. The track unfurls at a measured tempo, conjuring images of summer-swept, evening car rides with the windows at half mast. Distorted guitar clangs charge into Sato's banshee wail which fuels the burgeoning sense of grandiosity as the track fades from view. Next in queue, is a revisitation of the band's sophomore effort, 1992's King Master George. The cosmic, percussive 'なんてったの (What Was It)', materializes in a form seemingly untethered and which could fly away at a moment's notice. It's Honzi's work at the keys that colors and elevates the track, as her exploits attach a perceptible sense of melancholy to the song. The bittersweet sensations persist as Fishmans slip into 'Thank You', a explicit championing of life and an unbridled expression of gratitude for its peaks and valleys. The track's somber essence is one of hindsight, as Sato's screeches of life pre-date the ending of his own just months thereafter. It, at times, seems like a conscious goodbye, adding to the mystical gravitas of the band's live farewell. The band ceases to drag their feet as they decide to live within the present with 'Shiawase-mono (A Happy Person)', a bassy, simmering concoction of placid guitar tones which are ushered away gracefully by Honzi's egressing, endearing keys. The pace lounges more evidently with 'Tayorinai Tenshi (Unreliable Angel)', which shimmers like a calm before a storm, despite its aesthetic allure. Carrying distinct reggae and ska sheens, Fishmans re-enliven their dub roots with pastoral, matured sensibilities. The velocity does resurface, however, the piquancy remains with 'Hikōki (ひこうき; Airplane)', a noticeably more rosy affair fit with phosphorescent guitar and jovial vocals. The infectious guitar solo marks a triumphant break within the track, providing a raucous, screeching wall which firmly divides the two melodic sections. After a brief exchange, the mood swells, the crowd loosens and the stage at the Blitz is now shrouded. The band recrudesces with a signature composition, 'In the Flight', off of 1997's 'Uchū Nippon Setagaya (Space Japan Setagaya)'. The track is rife with gradual escalation, with a dream pop alpha flowing into a brief but elastic, omega. Often cooing as gently as a dove, Sato's vocals on the track are befittingly avian, fragile and susceptible to a soft breeze. Honzi's violin passage weeps softly and elegantly acting as the perfect placeholder and compliment to Sato's own delicate offerings. An arresting symbiotic relationship carries 'In the Flight' into the ether. With a pivot from one legacy-defining track to another, 'Walking in the Rhythm' manifests. This 'Rhythm' is not as melodramatic as it dutifully chugs along before cascading overtop of itself with an assortment of varying guitar sections. The eponymous chants have never sounded so weighty as the track spirals into a cosmic cauldron of intergalactic synth and dueling guitar before crescendoing with labored exaltations from all parties. It's an incredible, stream-of-consciousness adaptation of the band's original masterpiece. Another trans-dimensional odyssey takes place with the subsequent, 'Smilin' Days, Summer Holiday'. This voyage is powered by guitars that swirl and circulate like maelstroms, but without carrying a semblance of menace or ill-will. They gleam brightly from portion to portion as a cluster of voices flow out, tucked in snugly beneath the ever-advancing strings. After a particularly upbeat, punchy rendition of 'Melody' off of 1994's 'Orange', the stage darkens once more and the disposition becomes one of voiceless consideration. Fishmans begin to perform 'Yurameki in the Air (Flickering in the Air)', a composition that brandishes the same genetic makeup of slow-developing staples such as 'Night Cruising' and 'In the Flight', but stretched out to infinity. It's here that they return to music so gauzy and ethereal that, if you adjust your gaze or shift too brashly, it may flee from view, like innocent fauna of the forest. This intimate mind-meld between artist and audience for 16 unbroken minutes is pure bliss. Penultimate effort, "Ikareta Baby (いかれた Baby; Crazy Baby)", uncoils in a very disparate fashion than its studio counterpart. Here, the piece prefers to wander amidst the expanded acoustics of the Blitz and ride a persistent tempo into the final act of Fishmans' final hour. So, Fishmans and Shinji Sato offered their parting gift to the world and it began with a cosmic whirl which bleeds into the unforgettable keyboard centerpiece. 'Long Season' was now in full swing, and experiencing it in its fully-realized form makes it easy to forget that the project was once a microscopic idea. This idea continued to propagate from the original six-minute version to the now towering, 41-minute monolith of musical perfection. Albeit tragic, it seems utterly apt that this composition would be the last thing the first iteration of the band would perform. Sato's guitar solo creates the proverbial shriek of a imploding star, a ball of gas which burns so bright that it collapses in on itself by way of its own brilliance. This final 'season' is one which seemingly endures the changing of the leaves, the shifting of tectonic plates and causes the earth, for a brief moment, to cease its rotation and stand still. The Akasaka Blitz was closed in 2020, now a musical tomb, further painting a picture of a night more reminiscent of a mirage than a historical event. Its memory remains eternally imprinted upon the site and in the hearts and minds of those who witnessed this performance. Until recently, few outside Japan knew of the majesty Fishmans could conjure, but their creative tree fell in the woods in December 1998. Few heard it's alluring reverberation then, but now, finally, all can take part in its auditory luster. You see, as the tree collided with the Earth below, its descent and demise fertilized a beautiful garden which blooms more vividly each day and remains an idyllic place to sit, listen and ponder the radiance of life itself. "I hope you don't fade away today" - ゆらめき in the Air Standout Tracks: 1. Long Season 2. ゆらめき in the Air 3. ナイトクルージング (Nightcruising)" [+] Reply

DriftingOrpheus | Helpful? (Log in to vote) | +6 votes (6 helpful | 0 unhelpful)

Year of Release:

1999

Appears in:

285 charts

Rank Score:

4,525

Rank in 1999:

Rank in 1990s:

Overall Rank:

368

Average Rating:

86 (369 votes)

Comments:

369.

The Head On The Door

The Cure

"The Cure can go two ways: either very gothic or extremely pop sounding. The Head on the Door is the latter and it's the best Cure pop album. I once read somewhere that every song in this record could easily be a single and I strongly agree. Every time I listen to this my love for it only deepens...." [+] Reply

lleon79 | Helpful? (Log in to vote) | +7 votes (7 helpful | 0 unhelpful)

Year of Release:

1985

Appears in:

641 charts

Rank Score:

4,508

Rank in 1985:

Rank in 1980s:

Overall Rank:

369

Average Rating:

81 (811 votes)

Comments:

370.

Nowhere

Ride

"After careful listening and consideration, I think this is my favorite shoegaze album. Loveless is great, but it just doesn't have that energy. Where Loveless is a brilliant wall of sound, Nowhere feels more like a warm mid-spring day with the wind blowing in my hair. For me, that means more in m..." [+] Reply

- tonagamu | Helpful? (Log in to vote) | +5 votes (6 helpful | 1 unhelpful)

Year of Release:

1990

Appears in:

574 charts

Rank Score:

4,500

Rank in 1990:

Rank in 1990s:

Overall Rank:

370

Average Rating:

81 (700 votes)

Comments:

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Total albums: 10,000. Page 37 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	1,434	14%
1990s	1,616	16%
2000s	1,728	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%
	430	4%
	315	3%
	222	2%
	160	2%
	137	1%
Show all

Compilation?	Albums	%
No	9,724	97%
Yes	276	3%

Live?	Albums	%
No	9,729	97%
Yes	271	3%

Soundtrack?	Albums	%
No	9,882	99%
Yes	118	1%

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