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).
"Etta James is a gutsy and versatile singer ranging across the styles popular at the turn of the decade: blues, R&B, doo-wop, gospel, jazz, and the emerging soul. After some success in the early 60s, though her work continued to attract critical attention, she stopped being popular, and by the lat..."" Etta James is a gutsy and versatile singer ranging across the styles popular at the turn of the decade: blues, R&B, doo-wop, gospel, jazz, and the emerging soul. After some success in the early 60s, though her work continued to attract critical attention, she stopped being popular, and by the late 70s she was struggling with drug addiction. She re-gained public attention in the 90s, largely due to a 1996 Pepsi advert. She has a long list of singers who admire and respect her singing, including Diana Ross, Janis Joplin, Mick Jagger, Joss Stone and Adele. This is a great album"[+]Reply
"I really don't understand people saying this album only has Walk this Way or Sweet Emotion, and lacks consistency. IMO this is a very consistent album, with only Round and Round and Big Ten Inch not grabbing me in some way (although 10" is pretty amusing). While all the songs are hard rock (cept ...""I really don't understand people saying this album only has Walk this Way or Sweet Emotion, and lacks consistency. IMO this is a very consistent album, with only Round and Round and Big Ten Inch not grabbing me in some way (although 10" is pretty amusing). While all the songs are hard rock (cept You See Me Cryin), none of them sound like duplicates, each song having a distinctive feel. The title track is almost proto-thrash in its tempo, and also highlights one of the two main things that I think makes Aerosmith special: the guitar interplay between Whitford and Perry. Adam's Apple (among other tracks) highlights the other thing: Steven Tyler. While his style is certainly a matter of taste (no one would call him the most talented vocalist around), I find his shouts and yowls and general high energy level to be very entertaining to listen to.
While the lyrics on this album are certainly not 'deep,' I think it would be a mistake to call them bad. Adam's Apple may just be about sex, but I think the metaphors and whatnot are entertaining.
Honestly, I think my overall point here is that this is a very entertaining album if you like hard rock. It may not be groundbreaking or particularly deep, but it has some very strong songs played by one of the most distinct rock groups ever. Sometimes, that's all you want to listen to."[+]Reply
"I hope I'm not committing any form of blasphemy by encouraging this, but considering the fact that Big Star's third album was ultimately abandoned due to lack of interest by the band members, I believe this creates a rather interesting opportunity for us fans to create the track listing however w...""I hope I'm not committing any form of blasphemy by encouraging this, but considering the fact that Big Star's third album was ultimately abandoned due to lack of interest by the band members, I believe this creates a rather interesting opportunity for us fans to create the track listing however we see fit, in terms of both the amount of songs, and the order. Now, I know what you may be thinking, perhaps it's perfect the way it is, and yes, perhaps that is the case. But we all know there are many different track listings, all trying their best to create that 'flow' all musicians want. Personally, I've found this track listing to be the best (See Below). And with it, I think it ultimately stands as becoming the strongest Big Star album of the lot - that is, of course, if that wasn't already the case.
SIDE ONE:
1. Stroke it Noel
2. For You
3. Nightime
4. Blue Moon
5. Femme Fatale
6. Thank You Friends
SIDE TWO:
7. Jesus Christ
8. Big Black Car
9. Dream Lover
10. Holocaust
11. Kangaroo
12. Take Care"[+]Reply
"Cohen returns with a gem. The first four tracks are pure perfection. This adds to his canon as much as his first three albums do. Don't dismiss Cohen as simply a 60s songwriter. His later work has nuggets of perfection as well."Reply
"'Scott 4', by far Scott Walker's best album, maintained the Brel influence of his previous three, but now the material (a decadent mileu of prostitutes, gansters and misfits) and his operatic vocal style, was all his own. Whereas the arrangements on his previous albums were influenced by Bacharac...""'Scott 4', by far Scott Walker's best album, maintained the Brel influence of his previous three, but now the material (a decadent mileu of prostitutes, gansters and misfits) and his operatic vocal style, was all his own. Whereas the arrangements on his previous albums were influenced by Bacharach and Spector, here Morricone shines through. Walker's significance is he managed to transcend the up-dated but essentially old fashioned easy-listening sound of the ballad, to something altogether deeper and philosophical in a manner that not only predated, but was superior to, the work of somebody like David Bowie. Key track: The Old Man's Back Again. "[+]Reply
"After hearing the live versions of these songs I was just grateful that Jonny and Thom were able to come together and have fun collaborating again with so much passion, creativity and energy. Now, listening to the recorded version, I’m reminded that Nigel Godrich is that extra element that always...""After hearing the live versions of these songs I was just grateful that Jonny and Thom were able to come together and have fun collaborating again with so much passion, creativity and energy. Now, listening to the recorded version, I’m reminded that Nigel Godrich is that extra element that always ties the genius’ together. Tom Skinner also holds his own amongst the highly esteemed company he keeps. There is haunting beauty, political cynicisms, electronic and percussive tinkering, and garage rocking, making it a very eclectic mix. Does it make it a less than cohesive album? Maybe, if you’re picky. This and the fact that 6 songs were drip-fed to us prior to release make it have the feel of a compilation album in some respects. I’ve always preferred an album have one single prior to release, as a taster, before immersing yourself into the full experience of fresh songs and letting that album experience grow on you with repeated listens. This doesn’t detract, however, from the fact that there is a collection of songs here that are all absolute crackers and will keep Radiohead fans content for a while longer until that deeply desired next LP comes around."[+]Reply
"A chore to listen to in its entirety but what an original debut! Muse might possibly have been the most interesting act to follow since Radiohead's "OK, Computer" (1995). As a mediocre three-chord-guitarist, I humbly take off my imaginary hat to pay respect to Matthew Bellamy's obvious guitar vir...""A chore to listen to in its entirety but what an original debut! Muse might possibly have been the most interesting act to follow since Radiohead's "OK, Computer" (1995).
As a mediocre three-chord-guitarist, I humbly take off my imaginary hat to pay respect to Matthew Bellamy's obvious guitar virtuosity and general inventiveness and capability when it comes to conjuring soundscapes that seem otherworldly.
Bellamy isn't probably the greatest lyricist alive, but then again, I think his aim lies elsewhere to begin with."[+]Reply
"I don't know if two albums were really necessary for this release, but it's still a good debut for James Murphy's popular project. I love his faux Beatles tune on track five, Daft Punk... is a classic hit, and Tribulations is an outstanding dance smash. It's just too much for me by the end. It's ...""I don't know if two albums were really necessary for this release, but it's still a good debut for James Murphy's popular project. I love his faux Beatles tune on track five, Daft Punk... is a classic hit, and Tribulations is an outstanding dance smash. It's just too much for me by the end. It's like in the kids book/movie Matilda where that fat kid has to eat that giant cake."[+]Reply
"This surprised me a lot, after following up her critical breakthrough Norman Fucking Rockwell with a couple of substantially weaker albums I figured that Lana's music had peaked and that the still quite decent standard of Chemtrails and Blue Banisters would be the new normal. I think I was about ...""This surprised me a lot, after following up her critical breakthrough Norman Fucking Rockwell with a couple of substantially weaker albums I figured that Lana's music had peaked and that the still quite decent standard of Chemtrails and Blue Banisters would be the new normal. I think I was about a couple of tracks into this record when I realised that wasn't the case, Ocean Boulevard isn't just a great piece of work but one that elevates the rest of Lana's discography. The opening run of tracks is just as good as on NFR, the effortless emotional build of The Grants, the full production of the title track and the lyrical directness of the second half of Sweet work incredibly together. They also set the stage for Lana's most contemplative and thoughtful album, breaking into new ground while drawing on the fear of being left in the past. This is most successful on A&W which mirrors the lyrical themes of her earliest records but adds some depth to them with its downbeat frustration as she tries to trace the roots of the unfulfilling and demeaning relationships that she used to only cover at a surface level.
For me Ocean Boulevard matches NFR in its earlier tracks but it's deeper into the tracklist that it starts to pull away from it, it stays compelling to the end. There are some especially strong melodies on tracks like Paris Texas and Candy Necklace and a warmth to others like Let the Light In. Each of the tracks I've highlighted has a really effective feature on it, Lana's sense for collaboration is at its best here, we're a long way from unnecessary rap features being stuffed into dull tracks. Only Bleachers doesn't quite pull his weight vocally, but his involvement in Margaret feels fair considering his personal connection to the track. It sets up a great finale as things come full circle with the looseness of the first few seconds of the album being mirrored by the almost conversational conclusion to Margaret.
Except the album just keeps on going and this is still what really confuses me. Fishtail, Peppers and Taco Truck are all really good but they feel like bonus tracks within the structure of the album. I really enjoy the switch up in sound towards something more hip hop influenced, Peppers especially is one of the catchiest tracks of the past year, it's a shame that it just doesn't fit. I think these songs could have made for a really good EP instead of being grafted onto the end of the record, it's a bit annoying though the fact that it stands out so clearly as an issue shows how well the rest of Ocean Boulevard is structured."[+]Reply