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: 6 hours ago).
"In the '90s I might've given it an 8/10 with a healthy dose of shame, but after having experienced the '00s, I have no doubt this ripple caused a tidal wave. The pop dilutes the country into something that is digestible for non-American listeners too, but that's not to say I like it despite the c...""In the '90s I might've given it an 8/10 with a healthy dose of shame, but after having experienced the '00s, I have no doubt this ripple caused a tidal wave. The pop dilutes the country into something that is digestible for non-American listeners too, but that's not to say I like it despite the country influences; rather, the combination seems to create something new. It's a good example of how mixing genres should go: unnoticed."[+]Reply
"This wasn't nearly as bad as I had hoped it would be. In fact, there's a few songs I actually liked. I actually repeated Iced Honey twice and caught my head bouncing around a bit. But one question still lingers. Between this album and Tyler The Creator's Goblin, why is everyone suddenly proclaimi...""This wasn't nearly as bad as I had hoped it would be. In fact, there's a few songs I actually liked. I actually repeated Iced Honey twice and caught my head bouncing around a bit. But one question still lingers. Between this album and Tyler The Creator's Goblin, why is everyone suddenly proclaiming themselves to be a table? Weird.
Also: SMALL TOWN GURRRRRRRRRRRRRRRRRL"[+]Reply
"The influence that this record would have on later artists is very clear but the music itself doesn't really hold up. The record feels very bare and not a lot really happens on most of the songs. There is only a couple of tracks that I would pick out and listen to again after this record and most...""The influence that this record would have on later artists is very clear but the music itself doesn't really hold up. The record feels very bare and not a lot really happens on most of the songs. There is only a couple of tracks that I would pick out and listen to again after this record and most of the other ones are pretty pointless. It is just quite a boring release and it is very hard to stay focused on the album. It isn't because it is just him and a guitar either because that has been done before on a record to a very interesting and entertaining degree but on here it just doesn't click for me. However, the way he plays guitar is very impressive as you can tell he has a very soft and smooth approach to playing his music. Overall, an influential album doesn't always mean it is good and I think this is one of those records as there is no reason to really revisit this release for me. "[+]Reply
"Here we go, J. Cole, everyone has something to say when his name is being brought up. Where does one even begin? He’s been one of the biggest names of hip hop for a decade now, probably the most polarising rapper of his generation. There’s a good chance someone will tell you he is better than Ken...""Here we go, J. Cole, everyone has something to say when his name is being brought up. Where does one even begin? He’s been one of the biggest names of hip hop for a decade now, probably the most polarising rapper of his generation. There’s a good chance someone will tell you he is better than Kendrick (or even sidestep any comparisons and proclaim him the G.O.A.T) or that he is worse than Drake ( no offense to Drake, it’s just that a surprisingly large amount of people that take part in such debates barely know another rapper, so these two are the most common points of reference, lol). As it happens more often than not in similar cases, in my opinion the truth lies somewhere in the middle - boring, I know. He is a good rapper, I wouldn't call that in question, but hardly anything beyond that, the word bland perfectly characterises him. I’d go as far as to say he’s been constantly deteriorating in that regard and here he may have reached his peak. Allow me a couple of flashbacks, In 2014 Forest Hills Drive he opened up, showing a vulnerable side of himself, using his own journey as a means to deliver some universal messages. It wasn't hard to spot some flaws, in an attempt to become relatable he did get too personal in an awkward way, but at least he tried – and the jazzy laid-back sound was ear-pleasing if nothing else. 4 Your Eyez Only saw him getting more ambitious, both in terms of production, where some modern touches were added to his typical sound, but mostly in terms of the narrative, featuring story arcs that don’t restrict themselves to one song, but unfold over the entire album. Again, saying he fell short of creating a masterpiece would be an understatement, but you couldn’t blame him that much. And then (fast forward to the present , conveniently skipping some of his "lesser" albums) came The Off-Season. The basic premiss of this record is obvious simply by looking at the title: he took his time during the off-season (it's noteworthy that the sport references remain a thing throughout the album, which are almost always a positive in my book) to prepare, improve, focus on his goal and come back better than ever. Well, after listening to this, it’s fair to say it did him more harm than good. Production wise, he’s fully immersed in a modern, kinda generic trap based sound, while his performance is also dangerously close to forgettable when it comes to either rapping or lyrics. So, yeah, all this quite possibly unnecessary and undoubtedly overly long introduction just to say that his previous albums displayed some effort, no matter how the final product sounded like, while this is disappointingly indolent."[+]Reply
"Spencer Krug's projects just keep progressing better-and-better. Once again he has bested himself. The guitar playing and arrangements are deep but yet these songs and his delivery make these his accessible songs yet. "idiot heart" is one of those multi-sectional songs I love to sing along with, ...""Spencer Krug's projects just keep progressing better-and-better. Once again he has bested himself. The guitar playing and arrangements are deep but yet these songs and his delivery make these his accessible songs yet. "idiot heart" is one of those multi-sectional songs I love to sing along with, especially the line I attribute to george w bush -- "I hope that you die / in a decent pair of shoes / you've got a lot more walking to do / where you're going to". "apollo and the buffalo and anna anna anna oh!", expansive "dragon's lair" and "black swan" (with its grinding, fuzzed guitar) also share a broad prog-like scope and indie rockin' hooks. The female vocals add a nice touch."[+]Reply
"Glitch Princess is one of the most varied, creative and well structured pop albums I've heard. The PC music adjacent release, which sees production credits from Danny L Harle, Mura Masa and Yeule herself among others, contains a set of distinct and eerie tracks, with vocals and lyrics from Yeule ...""Glitch Princess is one of the most varied, creative and well structured pop albums I've heard. The PC music adjacent release, which sees production credits from Danny L Harle, Mura Masa and Yeule herself among others, contains a set of distinct and eerie tracks, with vocals and lyrics from Yeule that present and build on downbeat themes as the record progresses. My Name Is Nat Ćmiel is a fantastic opener. With its minimalist sound and direct approach in its lyrics, it sets up the emotional core that the record builds from. I'm amazed it's so low rated on here, the distorted vocals and withdrawn background electronics might have a repetitive feel to them, but they bring to the foreground lines like "I like to eat, but I don't like when it lingers on my body, I like to take up as little space as possible". From here the production gets much bigger, but Yeule's personality and struggle remain at the centre of the music. 'Don't Be So Hard on Your Own Beauty' and 'Bites On My Neck' stand out as the albums highlights. The former is built around an acoustic guitar, helping the track find a strange kind of peace as the vocal delivery sees one line come quickly after another, almost turning into a blur, the latter is one of my favourite tracks of the year, the euphoric feeling as the instrumental builds is phenomenal and they manage to pull it off twice. However, between these big tracks, you get something like 'Fragments', a track whose emptiness and distortion slows the middle of the album. These frequent changes of pace allow the individual tracks to shine for their own qualities without any risk of becoming overpowering or samey in the tracklist. Ending with the repetitive and dissonant 'Mandy' lets the album finish with a driving non-conclusion and is the loud and unsettling opposite of the opener. In a thought provoking and sometimes harsh album it refuses to offer an ending that neatly ties everything together."[+]Reply