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: 4 hours ago).
"A buffet of music. Some really good stuff, some strange stuff, some fluff, some stuff that really grows on you. I can understand all the crap this album got back in the day. Realeased today it would be called a masterpiece. And, in many ways, it is."Reply
"black midi is not just a hype, for several months, I promise a bright future for this new English band. The four musicians have risen with ridiculous ease to the rank of the most exciting band of the UK underground scene, claiming their outsider status by an incredible stage presence. Everything ...""
black midi is not just a hype, for several months, I promise a bright future for this new English band. The four musicians have risen with ridiculous ease to the rank of the most exciting band of the UK underground scene, claiming their outsider status by an incredible stage presence. Everything starts with a live recorded in the studios of the KEXP radio. They become the ones we expect, they intrigue the specialized press and remain however in a virtual silence. And after months of waiting, the time of the first effort has finally come; "Schlagenheim" is released. The first impression must always be the strongest; and that, black midi understood it well. The visual and musical chaos offered by the quartet is in fact perfectly controlled. Architects of anarchy, black midi also know how to slow down the pace. Schlagenheim has just closed the question that burned the lips of all music lovers: black midi are not just a hype. They are reinventing guitar rock with one of the most dazzling debut album of the decade.
9/10
Best track: "Near DT, MI""[+]Reply
"Released as an Outkast album, it's the Boi on one disc and Andre on the other. And while Andre scored the biggest hit "hey ya!" that everyone from your grandma to your grandson loves, Boi delivers the most consistent goods throughout his disc. Favorites on disc 1 are the hyper-frenetic "ghettomus...""Released as an Outkast album, it's the Boi on one disc and Andre on the other. And while Andre scored the biggest hit "hey ya!" that everyone from your grandma to your grandson loves, Boi delivers the most consistent goods throughout his disc. Favorites on disc 1 are the hyper-frenetic "ghettomusik", the soulful "the way you move", the snaking "tomb of the boom" with its bevy of guests. His flow is tough and the backing beats are pretty tight throughout. Outside of the aforementioned "hey ya!" (THE party jam), the other highlights are the sexy, near-lude "spread" and the beat-funky "roses" (with chorus "i know you like to think your sh"t don't stank, but lean a little closer, see, roses really smell like poo poo poo" and adlibbing around "crazy bitch" at the end). He evokes prince often, like on "she lives in my lap" and its finale. But a lot of songs overstay their welcome. (i'm looking at you "pink & blue" and "vibrate".) An what's with that "Dracula's wedding" song? (it's kinda bad in a kooky good way.) The ending of "prototype" with its "stank you smelly much" is juvenile but cute. i like the quick keys all over "my favorite things". Overall, my feeling is this would've been a huge album if they brought their ideas together, culled the best and put out one album of THEIR stuff on one ~15 track CD."[+]Reply
"Although I prefer Veckatimest just a marginal fraction more, this - in terms of quality - is every bits equal. It's essentially the same formula except this time around they have an eye for more expressive lyrics and ambient details (an aspect not picked up on first listen). Just when I thought t...""Although I prefer Veckatimest just a marginal fraction more, this - in terms of quality - is every bits equal. It's essentially the same formula except this time around they have an eye for more expressive lyrics and ambient details (an aspect not picked up on first listen). Just when I thought they couldn't get more tumultuous, they release this. "[+]Reply
"Getting used to her voice takes a lot of time, but when you do, it's well worth it. (Don't play her in front of your friends unless you want to cop a lot of grief...)"Reply
"Father John Misty’s “Pure Comedy” serves as a reminder of the artist’s unique voice in the field of modern folk rock. He delivers a blend of humor and retrospective sadness into a package that demonstrates how he—and at least, I—view the world in its present state. Clever songwriting with an impa...""Father John Misty’s “Pure Comedy” serves as a reminder of the artist’s unique voice in the field of modern folk rock. He delivers a blend of humor and retrospective sadness into a package that demonstrates how he—and at least, I—view the world in its present state. Clever songwriting with an impassioned message, melded with prime production and instrumentation, creates a project which has grown on me with each subsequent listen.
Josh Tilman, Misty’s “man behind the mask”, has no qualms with questioning and criticizing the problems of society, through his fictionalized perspective of a man wandering through a barren city proceeding the collapse of humanity, to his blunt summarization of the whole of humanity in the titular track. One of my favorite tracks from the album, “When the God of Love Returns There’ll Be Hell to Pay”, Tilman assumes the role of a defender of mankind’s mistakes and flaws to a metaphorical “God of Love”.
The instrumentation of the album is strong throughout, with the exception of a few tracks. In what will likely be the most divisive track on the record, “Leaving LA” is a sprawling, thirteen minute self-reflection by Tilman, reviewing his grievances with the music industry, his pseudonym and himself. While the track has plenty to chew on, narratively speaking, it lacks a sense of progression or complexity in its sound, which Tilman addresses in the lyrics of the actual song, aware that the extensity of the tracks runtime, paired with a lack of resolve, may lose him a number of fans. The only other track I find personal flaws with would be “Smoochie”, which has a tasteful Southern twang and an enjoyable performance by Tilman, but lacks the same snappy lyricism that permeates the rest of “Pure Comedy”.
The track “Total Entertainment Forever” is a stark observation of the presence of media in our lives with a backing band reminiscent of Billy Joel. “Ballad of the Dying Man” is the perfect summarization of those who dedicate their lives to plaguing internet message boards with negativity or unnecessary “white knighting”. “Two Wildly Different Perspectives” and “Birdie” utilize a more technological soundscape, differentiating the tracks from the rest of the album’s folk rock vibes. The former addresses opposing views (political, social or otherwise) which may be perceived as highly contrasted, but hold similar values at their core. The latter holds a strong political message while providing an excellent crescendo, musically, which is a welcome commonality of the album. “The Memo”—a track which required a number of listens for myself to appreciate—contemplates perception and advertisers, and an audience which may believe to understand an artist or their work, but in truth, knows nothing. “So I’m Growing Old on Magic Mountain” and “In Twenty Years or So” finally address death and the future, where Tilman expresses the importance of acceptance in the way things are, and stresses that we enjoy life as it happens, no matter the outcome. Both of these final tracks contain gorgeous orchestral movements atop the soothing croons of the masked Misty.
Tilman’s personality is very much a part of his music. Should you disagree with his views, or what may occasionally come across as patronizing, there is plenty to enjoy sonically. Personally, I adored the album, and will likely rank it as one of, if not my favorite, albums of the year. 9/10
"[+]Reply
"Maybe it's the addition of the horn sections, but almost all songs on this album sound so damn funky. They're still proponents of the 3-minute-ish, concise indie-pop-rock song. There's some air of danger ("Clubs and sticks and bats and balls / For nuclear dicks with their dialect drawls") with op...""Maybe it's the addition of the horn sections, but almost all songs on this album sound so damn funky. They're still proponents of the 3-minute-ish, concise indie-pop-rock song. There's some air of danger ("Clubs and sticks and bats and balls / For nuclear dicks with their dialect drawls") with opener "don't make me a target" and it's cameo clanging guitar and its extended bridge with play-along-at-home hand claps. Love the horns and cymbals in "you got yr. cherry bomb" and its perpetual drumming motion and cooing vocals near the end. Love the horns and melody of "the underdog" and its built-up ending, with snappy lyrics like "You got no time for the messenger, / got no regard for the thing that you don't understand. / You got no fear of The Underdog, / that's why you will not survive.". The guitar-work in "don't you evah" is funky and the background faint vocal plays are fun. You'll find yourself singing along to the chorus of "finer feelings". The only track that doesn't fully-sit well is the echoey, piano-monotoned lead single "the ghost of you still lingers". I like the song, but i probably missed the point of the vocal and other FX and it feels like a run-on sentence with no chorus and that piano. But that's a minor quibble -- i'm still ga ga over ga ga ga ga ga. These guys sound cooler than that Michael J Fox character tried to sound at the end of Back to the Future. See "eddie's ragga" and its groovy bass. See the acoustic guitar and rawk attitude in "japanese cigarette case". Or maybe they're the indie version of prime huey lewis & the news crossed with early inxs (and a pinch of the clash) on this album. (i'm sure the indie kids love that analogy.) Whatever the magic behind GA5, this is the culmination of spoon's talent."[+]Reply
"i count this as 3rd generation radiohead via piano. The choruses are majestic. The statements are more simple (than radiohead). 4 of the first 5 songs are grand, knockout pop songs -- "somewhere only we know", "this is the last time" ("you fall on me for anything you like"), "bend and break" ("If...""i count this as 3rd generation radiohead via piano. The choruses are majestic. The statements are more simple (than radiohead). 4 of the first 5 songs are grand, knockout pop songs -- "somewhere only we know", "this is the last time" ("you fall on me for anything you like"), "bend and break" ("If only I don't suffocate / I'll meet you in the morning, when you wake ") and "everybody's changing" ("Trying to make a move just to stay in the game / I try to stay awake and remember my name / But everybody's changing / And I don't feel the same."). But the rest of the album is good too. The desperation at the chorus of "we might as be strangers" feels palpable in a melodramatic way. i love the tinge of beautiful sadness in "she has no time". "bedshaped" is a powerful (for them) closer."[+]Reply
"During most of my four years of college, I worked in a record store. (In truth, by that time we were selling mostly CDs and cassettes, though we did carry some vinyl.) This album, perhaps more than any other, got constant attention from us employees--it's just so immediately likeable, so filled w...""During most of my four years of college, I worked in a record store. (In truth, by that time we were selling mostly CDs and cassettes, though we did carry some vinyl.) This album, perhaps more than any other, got constant attention from us employees--it's just so immediately likeable, so filled with hooks, so bouncy. "There She Goes" is the song everyone knows, but I invite you to check out "Liberty Ship," as well."[+]Reply