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: 2 hours ago).
"We Shins fans all wait for the next impeccable Chutes Too Narrow-type album release to come from Mercer and are ultimately left a bit disappointed because of it. Such expectation is completely unreasonable because I believe Chutes is in the best cluster of albums ever made. I have chosen to liste...""We Shins fans all wait for the next impeccable Chutes Too Narrow-type album release to come from Mercer and are ultimately left a bit disappointed because of it. Such expectation is completely unreasonable because I believe Chutes is in the best cluster of albums ever made. I have chosen to listen to Heartworms without expectation and so far it's been an enjoyable listen. I'm actually really taken by the diversity of sound on this album and the fact that it isn't relying on a tried and true Shins formula. There are certainly signature Shins-style melodies and there is a touch of Oh Inverred World coming through in Dead Alive that will please the 'nostalgics' amongst us but it is a fresh sound for the most part. There is definitely enough nuances within the composition and lyrics to want to return to the album for more listens. Therefore it has room to grow on you further. It does lack a killer punch and an edginess though to ever make it a classic but is nonetheless a very likeable album. 78/100"[+]Reply
"One of the better black metal records I've tried to endure. I actually enjoy this one quite a bit. Bathory is one of the best names in the black metal game, if you're going off of my opinion. Enter the Eternal Fire, Call from the Grave, and Massacre are all really good songs, the rest aren't very...""One of the better black metal records I've tried to endure. I actually enjoy this one quite a bit. Bathory is one of the best names in the black metal game, if you're going off of my opinion. Enter the Eternal Fire, Call from the Grave, and Massacre are all really good songs, the rest aren't very notable but still good."[+]Reply
"The Move were one of the most talented bands of the British pop-psych-era in the late 1960's. The original line-up only recorded one album along with a string of catchy and inventive singles during 1966-69. The original album which was originally delayed several times contains their two big hits ...""The Move were one of the most talented bands of the British pop-psych-era in the late 1960's. The original line-up only recorded one album along with a string of catchy and inventive singles during 1966-69.
The original album which was originally delayed several times contains their two big hits "Flowers in the Rain" and "Fire Brigade" along with at least 4 other potential hit-recordings; "Walk Upon the Water", "Yellow Rainbow", "The Lemon Tree" and "Useless Information" - all great orignal songs from guitarist and songwriter Roy Wood. Moreover it has three slower melodic; almost folky, tracks in "Kilroy Was Here", "Mist on a Monday Morning" and "The Girl Outside" - the first two really outstanding.
There is also the controversal "Cherry Blossom Clinic", was at a certain point was planned as their fourth single - but was dropped due to scandals in connections in the promotion of "Flowers in the Rain" - the band could not afford more scandals. The B-side "Vote for Me" was not even included on the album - fortunately it has now found its place on the album.
The least interesting tracks on the album are the three covers - "Hey Grandma", "Zing Went the String" and "Weekend" - though none of them are bad at all. The two early singles "Night of Fear" and "I Can Hear the Grass Grow" along with their B-sides are also found among the bonus-tracks - both great of course, as is the weird "Disturbance".
The extended remastered version of the 1968 album contains some of the most interesting music of that era. Besides the the original 13 tracks of the album 22 extra tracks have been added - the early pre-album singles, and handful of outtakes, and newly created stereo mixes of most of the album tracks. To my ears they have never sounded better than on these newly remastered tracks.
On the 2 cd deluxe version there are also alternate stereo mixes, along with the never before released outtake "Don't Throw Stones" - all great stuff in some cases markedly different from the mono-mixes. Later incarnations of the Move recorded 3 more albums and though they were all good in their own rights, none of them has the excitement of their debut. This is really a "Classic Improved" "[+]Reply
"I like it much less than the first one. That said, the bonus re-issue is worth a solid 4, if only for "Dream Baby Dream"; and the album ends gloriously anyway."Reply
"SOUNDS LIKE A stressed out drunk Australian slurring his grievances It starts with a noisy 30 second eruption, embraces a brief gasp for breath, and then unloads again. A deep roaring bass and slow smash of the drum kit sets the foundation while the vocals and guitars present an unnerving bit of ...""[Maniacal Aussie rock]
SOUNDS LIKE
A stressed out drunk Australian slurring his grievances
It starts with a noisy 30 second eruption, embraces a brief gasp for breath, and then unloads again. A deep roaring bass and slow smash of the drum kit sets the foundation while the vocals and guitars present an unnerving bit of chaos. As Gareth Liddiard pleas for a free private execution, the furious noise of the guitars could potentially let loose at any given moment. “Private Execution” is a demanding re-introduction to one of Australia’s finest rock bands, and everything that makes them tick.
The tension continues on “Tamad Shud”, which has a dance pop vibe in the type of way Deerhoof does it. Less dense and threatening than the lead track, it unassumingly becomes more and more demanding as the pace gradually increases, and open space constricts.
A shift occurs with “Then They Came For Me”. It begins minimally, relieving some of the preceding tensions. Over the plodding bass and drums, Liddiard sounds relatively relaxed and reflective. Waves of guitars sweep through occasionally. Over the course of the song, that sense of relaxation gives way to frustration. Everything comes crashing together, no longer speaking with predictability.
It gives way to scorned ballad, “To Think I Once Loved You,” a genuinely biting tale of broken heartedness. Opening with a transitional electronic hum, “Tailwind” follows with further contemplation. It’s an exploration of the aftermath of prior devastation. The song ends with an odd little aching piano and organ.
“Boredom” restores the energy, delivering the closest thing to an infectious Drones pop song. It’s virtually new jack swing, highlighted by Liddiard’s paranoid political rants. On “Sometimes” Fiona Kitschin takes the lead, singing the dreamy ballad about witness protection. Liddiard returns to front the powerful finale “Shut Down SETI” which builds its way towards a loud cataclysmic end.
Following their tremendous 2013 release I See Seaweed, The Drones sound even more ambitious on Feelin Kinda Free. Gareth Liddiard remains a central focus with his volatile vocal presence which often commands with an air of “Shut the fuck up! I’ve got something to say!” And he does have something to say. Liddiard holds nothing back, setting sight on his targets and then unloading with the unhinged attack that makes The Drones such a rare presence. While it’s not the conventional fast paced three chord rock we often think of with punk, this is punk rock as it should be. The Drones are dynamic, noisy, impassioned, and threatening in all of the right ways.
FAVORITE SONGS
Boredom, Shut Down SETI, Tailwind"[+]Reply
"Recalling his streamlined synth-driven masterpiece Kaputt, as well as his dreamier guitar work on Trouble in Dreams, Ken is a consistent and concise record with no obvious standouts. Sounding like an amalgamation of his previous records, Ken displays no real musical progression or growth for Dest...""Recalling his streamlined synth-driven masterpiece Kaputt, as well as his dreamier guitar work on Trouble in Dreams, Ken is a consistent and concise record with no obvious standouts. Sounding like an amalgamation of his previous records, Ken displays no real musical progression or growth for Destroyer (besides a surprising power-pop cut with Cover From The Sun) but nonetheless is another very satisfying outing from one of the greatest artists of the past thirty years."[+]Reply