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371.

Nowhere 

 Ride

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"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...""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 music than just having an awesome wall of sound. Great music should make you feel like you're in a certain place of which you are currently not existing in. And that's what this album does for me."  [+]  Reply

- tonagamu | Helpful?  (Log in to vote) | +5 votes (6 helpful | 1 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1990

Appears in:

575 charts

Rank Score:

4,479

Rank in 1990:

3

Rank in 1990s:

68

Overall Rank:

371

Average Rating:

 81 (702 votes)

Comments:

54

372.

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

 フィッシュマンズ [Fishmans]

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"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) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1999

Appears in:

285 charts

Rank Score:

4,471

Rank in 1999:

4

Rank in 1990s:

69

Overall Rank:

372

Average Rating:

 86 (370 votes)

Comments:

32

373.

Skylarking 

 XTC

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"There is no doubt that this is their most accomplished album, in my mind, and as has been said already the track flow seems almost, if not, perfect. Individually all the tracks are 85-95, apart from "Dying", but as a whole it comes into its own and is an album everyone should try. Having said tha...""There is no doubt that this is their most accomplished album, in my mind, and as has been said already the track flow seems almost, if not, perfect. Individually all the tracks are 85-95, apart from "Dying", but as a whole it comes into its own and is an album everyone should try. Having said that I don't love it quite as much as I do their debut album, two totally contrasting styles, the best of their melodic pop versus the best of their punk pop, and, old bloke that I am, my heart goes with the early one."  [+]  Reply

- Rich150 | Helpful?  (Log in to vote) | +6 votes (6 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1986

Appears in:

601 charts

Rank Score:

4,453

Rank in 1986:

5

Rank in 1980s:

52

Overall Rank:

373

Average Rating:

 80 (646 votes)

Comments:

38

374.

Takk... 

 Sigur Rós

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"I'm seventeen, and I've cried four times in the last five years that I can remember. Twice was over girlfriend stuff, once was when my dog died, and once was the first time I heard Glosoli."  Reply

- JulianR | Helpful?  (Log in to vote) | +15 votes (15 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

2005

Appears in:

616 charts

Rank Score:

4,440

Rank in 2005:

5

Rank in 2000s:

60

Overall Rank:

374

Average Rating:

 82 (853 votes)

Comments:

37

375.

The Age Of Adz 

 Sufjan Stevens

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"I'm never sure about this album. Sufjan Stevens, previously a melodic, mostly acoustic christian folk song writer takes a five year hiatus and then comes out with this cacophony of an album. Bizzarre detours, mad orchestration and unpredictable electronics all barge at you at once as Sufjan Steve...""I'm never sure about this album. Sufjan Stevens, previously a melodic, mostly acoustic christian folk song writer takes a five year hiatus and then comes out with this cacophony of an album. Bizzarre detours, mad orchestration and unpredictable electronics all barge at you at once as Sufjan Stevens, for the first time, really screams his most personal and effective lyrics yet - even exclaiming multiple times in "I Want To be Well", 'I'm Not Fuckin' Around' - when that's exactly what he's doing on this album. What this album suffers from is filler. At least 20 minutes of the album is barely cohesive and not enjoyable - when the madness comes together magic is really created, but it doesn't always happens. It makes me smile though, when at the end Sufjan Sings solemny - almost returning to his previous style "Boy, we made such a mess together" - you sure did Sufjan, you made a complete mess of an album that no sane person would call music, and that's why it's so fantastic. "  [+]  Reply

- | Helpful?  (Log in to vote) | +8 votes (10 helpful | 2 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

2010

Appears in:

581 charts

Rank Score:

4,438

Rank in 2010:

9

Rank in 2010s:

45

Overall Rank:

375

Average Rating:

 80 (846 votes)

Comments:

56

376.

Van Halen 

 Van Halen

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"It's very difficult to describe "Van Halen" (1978) via precedents: there's the unselfconscious attitude of The Ramones and virtuosic musicianship of Led Zeppelin, but it's filtered through blaxploitation films, Southern California skateboarding culture, and P.T. Barnum's Circus. The bottom line i...""It's very difficult to describe "Van Halen" (1978) via precedents: there's the unselfconscious attitude of The Ramones and virtuosic musicianship of Led Zeppelin, but it's filtered through blaxploitation films, Southern California skateboarding culture, and P.T. Barnum's Circus. The bottom line is: "Van Halen" sounds like nothing that came before it. Its impact on rock and roll (particularly on rock guitar and the role of the frontman) is seismic, but to this day, misunderstood. Blame a generation of hapless imitators, (which is not the "sincerest form of flattery" when the imitators adopt the trappings rather than the substance;) or a decade of high profile music released under the name "Van Halen" that bears only slight resemblance to innovative original songwriting team's; or spandex made out of women's' undergarments. Regardless, "Van Halen" is one of rock n' roll history's game-changing debuts, indelibly - on par with the influence of "The Ramones," "Led Zeppelin," or "Are You Experienced?""  [+]  Reply

- JuJu83 | Helpful?  (Log in to vote) | +4 votes (4 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1978

Appears in:

690 charts

Rank Score:

4,434

Rank in 1978:

5

Rank in 1970s:

92

Overall Rank:

376

Average Rating:

 80 (890 votes)

Comments:

69

377.

Out Of Time 

 R.E.M.

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"What to make of Out Of Time? As an R.E.M mega fan I’ve grappled with this question for 25 years & TBH I still don’t know & may never fully understand. The 1st 4 songs in Radio Song , Loosing My Religion, Low and Near Wild Heaven are average to say the least before Endgame , Shiny Happy People ( y...""What to make of Out Of Time? As an R.E.M mega fan I’ve grappled with this question for 25 years & TBH I still don’t know & may never fully understand. The 1st 4 songs in Radio Song , Loosing My Religion, Low and Near Wild Heaven are average to say the least before Endgame , Shiny Happy People ( yes I love this song even though the band doesn’t) Belong and Half A World Away ( am I the only one who thinks their unplugged version is better than the album version? ) stops the rot and resumes regular transmission . Texacarna is a misplaced inclusion & should have been a B Side . Then we close with the magestic Country Feedback Song with may well be the best R.E.M track period leaving me breathless to this day and incredible Me In Honey. All up it’s a real mixed bag of The Good, The Bad and The Kinda OK . I’ll be listening to the 25th Anniversary Edition wire to wire as per every 25 year release but I recon I’ll be skipping a few tracks to get to the good ones "  [+]  Reply

- Brad1770 | Helpful?  (Log in to vote) | +6 votes (8 helpful | 2 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1991

Appears in:

693 charts

Rank Score:

4,427

Rank in 1991:

12

Rank in 1990s:

70

Overall Rank:

377

Average Rating:

 78 (1,074 votes)

Comments:

54

378.

Getz/Gilberto 

 Stan Getz & João Gilberto

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"Fantastic album! :D Great for a sunday morning with coffee."  Reply

- Hayden | Helpful?  (Log in to vote) | +9 votes (9 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1964

Appears in:

527 charts

Rank Score:

4,391

Rank in 1964:

2

Rank in 1960s:

51

Overall Rank:

378

Average Rating:

 82 (554 votes)

Comments:

36

379.

Crosby, Stills & Nash 

 Crosby, Stills & Nash

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"What an incendiary listen. It’s as much a great album as it is a blueprint to the present and nearly next decade of popular music. In this record I hear influence on Yes, Genesis, Fleetwood Mac, Eagles, Steve Miller.... the list could go on. This is a great album held up by the pillar of sound cr...""What an incendiary listen. It’s as much a great album as it is a blueprint to the present and nearly next decade of popular music. In this record I hear influence on Yes, Genesis, Fleetwood Mac, Eagles, Steve Miller.... the list could go on. This is a great album held up by the pillar of sound crafted by those damn harmonies, and lets not forget some memorable melodies and thought-provoking lyrical content. "  [+]  Reply

- AAL2014 | Helpful?  (Log in to vote) | +2 votes (2 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1969

Appears in:

667 charts

Rank Score:

4,390

Rank in 1969:

16

Rank in 1960s:

52

Overall Rank:

379

Average Rating:

 81 (666 votes)

Comments:

34

380.

Die Mensch·Maschine 

 Kraftwerk

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"My favourite Kraftwerk album. The man machine, features beautiful soundscapes combined with a pop mentality. The model, even became a no:1 hit in the U.K. a few years down the line. Perfect late night chill out music. They were so ahead of their time."  Reply

- garycottier | Helpful?  (Log in to vote) | +3 votes (3 helpful | 0 unhelpful) A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.

Year of Release:

1978

Appears in:

642 charts

Rank Score:

4,386

Rank in 1978:

6

Rank in 1970s:

93

Overall Rank:

380

Average Rating:

 83 (741 votes)

Comments:

29

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Total albums: 10,000. Page 38 of 1,000

Overall Chart composition

Top 10,000 Top 5,000 Top 1,000 Top 500 Top 250 Top 100

Decade	Albums	%
1930s	2	0%
1940s	34	0%
1950s	302	3%
1960s	710	7%
1970s	1,424	14%
1980s	1,414	14%
1990s	1,600	16%
2000s	1,725	17%
2010s	1,964	20%
2020s	825	8%

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

Country	Albums	%
	5,002	50%
	2,655	27%
	431	4%
	336	3%
	221	2%
	157	2%
	134	1%
Show all

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

Live?	Albums	%
No	9,737	97%
Yes	263	3%

Soundtrack?	Albums	%
No	9,884	99%
Yes	116	1%