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: 5 hours ago).
"My personal AOTY. I also think that this has been the best year for Damon ALbarn. I feel like everything that he did with all of his projects this decade were buildups to The Now Now and this album. Everyday Robots was pretty substantive. Filled with political, personal, and emotional themes. How...""My personal AOTY. I also think that this has been the best year for Damon ALbarn. I feel like everything that he did with all of his projects this decade were buildups to The Now Now and this album. Everyday Robots was pretty substantive. Filled with political, personal, and emotional themes. However, even though the themes were strong and distinct and the album was consistent, was it really that memorable, unique, or interesting? I don't think so. That album had a very dull aesthetic, and the musical style was clear but it was so BORING and didn't have any replay value. The Magic Whip felt more emotional, memorable, and catchy, but it was still more of an album focused on themes and lyrics rather than creativity. It had a nice aesthetic, but the songs were quite plain at times. Lots of emotional tracks, though, and some of them were absolutely beautiful. Then there was Humanz. Extremely catchy, energetic, lots of replay value, blending of genres, and it felt like the songs had more character and emotion than the other projects. But the themes and lyrics were WEAK. The album wasn't musically coherent. It barely had a direction. It's OK to experiment, but Humanz REALLY had no fully realised elements to it even if it had more standout tracks. Also, the production was really simplistic and it sounded to basic and bare than the eccentric and intricate instrumentals on Plastic Beach. The Now Now. A stronger direction, more intricate instrumentals, strong and direct lyrical themes, some of Damon's most genuine and heartfelt lyrics, a really authentic yet creative and fun project that has tons of replay value. It's such a great blend of what Damon had done in the 2010's. The strongest tracks are easily the last four, being some of Damon's most beautiful, moving, and emotional tracks that summarize his career as a musician and he really reflects on his whole life in such an outstanding way. This album feels like those four tracks brought into the length of a full album. It's so seamlessly incredible and it has Damon ALbarn's most well-written instrumentals ever. This band seem like the best musicians to bring out the best of Damon ALbarn's vocals. The best songs are by far the more emotional/political/personal tracks such as Merrie Land, Lady Boston, Ribbons, and The Poison Tree, which is a BEAUTIFUL track that feels like it's dedicated to everyone that Damon Albarn has lost in his musical career. I know why ALbarn thinks this is some of his best music ever, because it truly is incredible. Lyrically and musically it's a flawless project. It has such distinct themes yet it experiments in different genres. It's like Everyday Robots but this time around it's truly Damon ALbarn doing everything that he does best as a songwriter. "[+]Reply
"With 'Boces' (the follow-up to their debut masterpiece, 'Yerself Is Steam') Mercury Rev's Dave Fridmann and Jonathan Donahue have proven to be arguably the most creative artists to have emerged on the scene since Mayo Thompson. Beautiful pastoral sounds of the flute merge with sonic collages, fre...""With 'Boces' (the follow-up to their debut masterpiece, 'Yerself Is Steam') Mercury Rev's Dave Fridmann and Jonathan Donahue have proven to be arguably the most creative artists to have emerged on the scene since Mayo Thompson. Beautiful pastoral sounds of the flute merge with sonic collages, free-form jazz elements and guitar distortions underpinned by Fridmann's directed orchestration, to create a unique surreal dissonant fairytale atmosphere. Mercury Rev have produced some of the most imaginative music of all-time. "[+]Reply
"Good rock and roll/hard rock/punk rock album. Best 10 songs average is 79,7/100 and the album can get good 80/100. Album has some lows, especially in the middle. Best songs are "Candy" and "Pussy power" both 85/100, followed by "Home" and "Livin' on the edge..." both 80/100."Reply
"This is a massive work - clocking around 6.5 hours! - by improvisation master Jarrett. It is hard listening to it in one go due to its enormous length but the music in it is all worth it, so go for it. I've been listening to this throughout the week - one or two tracks per day - usually at nightt...""This is a massive work - clocking around 6.5 hours! - by improvisation master Jarrett. It is hard listening to it in one go due to its enormous length but the music in it is all worth it, so go for it. I've been listening to this throughout the week - one or two tracks per day - usually at nighttime and I found the work pretty impressive. One of the best 1978 releases (record in 1976)."[+]Reply
"Track listing on this is different to the original copy I have. Left off this are two fantastic key tracks 'Choppers' & 'Mr Moon'. But apart from that, this is a great band and album. A style all of there own with dual vocals of Chris Matthews and Fiona McDonald giving it a wide range of variety....""Track listing on this is different to the original copy I have. Left off this are two fantastic key tracks 'Choppers' & 'Mr Moon'. But apart from that, this is a great band and album. A style all of there own with dual vocals of Chris Matthews and Fiona McDonald giving it a wide range of variety. 'Gaskrankenstation' being the ultimate pick of the bunch"[+]Reply
"On this website, Counting Crows album's get ranked progressively worse in chronological order and it completely makes sense. Each album sounds like the last in it's instruments and vocal delivery. This Desert Life has a similar spirit as the debut and is a tighter album than Recovering the Satell...""On this website, Counting Crows album's get ranked progressively worse in chronological order and it completely makes sense.
Each album sounds like the last in it's instruments and vocal delivery.
This Desert Life has a similar spirit as the debut and is a tighter album than Recovering the Satellites. That is why I consider it better than Satellite's personally.
But grand scheme, bigger than just my opinion review it lands 3rd best
Colorblind is classically depressing. Hanging Around is memorable single.
Amy Hit the Atmosphere is a better Counting Crow ballad. All My Friends is good.
Mrs. Potters Lullabye is in the vein of other road tripping 5 minute Crow's songs.
Only dud for me is I Wish I was A Girl because I don't wish that and don't relate. And the lyrics are kind of condescending to the gender just because Duritz is complaining he can't do what they do. Poor him
It's a good album but fans like me start to realize that Duritz doesn't want to help himself around his fears of loneliness and depression. He isn't getting any wiser around his place in the world and the music isn't either.
The band doesn't grow and neither does he. Which is sad because in his younger days you relate to his struggles in his lyrics. More than the average rock star you want to root for him to be happy and figure it out.
All the more tragic that he doesnt't, and worse, sounds like he exploits it all to make successful music around his brand he has created."[+]Reply
"There is something just really mesmerizing about this album. It has moments of being pretty straight forward rock. There are also a lot of really emotional and gorgeous atmospheric parts. There is something so gorgeously sincere about Jenn Wasner's vocals. I just feel like I know and understand h...""There is something just really mesmerizing about this album. It has moments of being pretty straight forward rock. There are also a lot of really emotional and gorgeous atmospheric parts. There is something so gorgeously sincere about Jenn Wasner's vocals. I just feel like I know and understand her when she sings so plainly and beautifully and naturally. This is just a record I really love and relate to. Nothing about it seems overly conceptualized, nor does anything here seem superficial. It's just the perfect balance of the elements of the upfront and the introspective.
Highly recommended. "[+]Reply
"Unlikely to be the AnCo album to convince non-fans, and probably won't be a personal favourite for many fans either, but it contains loads of what the band had done well in the past. How much you will enjoy it, probably depends on a few things. One, what you think of that recurring vocal trick th...""Unlikely to be the AnCo album to convince non-fans, and probably won't be a personal favourite for many fans either, but it contains loads of what the band had done well in the past. How much you will enjoy it, probably depends on a few things. One, what you think of that recurring vocal trick that's used on several tracks. Two, what side of the band you preferred in the past. If you like the band for the energy, melody, playfullness, there's plenty to go around here. What this album's lacking in is the experimentation, or any longer instrumental buildups and passages. Those final 30 seconds on Lying in the Grass are already a step away from the norm, while most songs keep it pretty tight. Not necessarily a bad thing, but you may find yourself thinking that there is just something missing from a lot of these tracks which don't really expand on any ideas that may be present, and even these ideas aren't necessarily anything that the band wouldn't toy with since at least Strawberry Jam. I suppose this is why Painting With was met with pretty mixed reviews - while every album of theirs had a pretty distinct sound, Painting With mostly seems to distinguish itself from others only by how its songs maintain a pretty basic structure and don't exactly explore any previously untapped territories.
But, as I said, this is still an album that's brimming with that AnCo energy and is most of all FUN. One thing they haven't forgotten is how to write a goddamn tune, and this results in some wonderful moments across the 12 tracks here. Golden Gal may be one of their finest pop songs yet, On Delay has also become another personal favourite, particularly love how it utilizes the piano. Other highlights (for me at least) include the bouncy lead single FloriDada, and the more peculiar choice for the second single, Lying in the Grass, which is one of those tracks where you'd hope they would expand their ideas a little bit, but still manages to work in its short running time - featuring a nice cameo from Colin Stetson, and is a good example of that "hocketing" vocal trick they do throughout on the album, with its 30 second instrumental release at the end being one of the rare moments like that on the album. All the better for it..."[+]Reply
"Many fans of metal, myself included, see an obvious connection between metal and orchestral music. This is a great experiment in actually merging the two. It doesn't always work, but when it does it's fantastic. "Outlaw Torn" and "Bleeding Me" are two that standout as working especially well. The...""Many fans of metal, myself included, see an obvious connection between metal and orchestral music. This is a great experiment in actually merging the two. It doesn't always work, but when it does it's fantastic. "Outlaw Torn" and "Bleeding Me" are two that standout as working especially well. The highlight for me is "No Leaf Clover," which was written for the show and accordingly has the best interplay between the symphonic and the rock."[+]Reply