Overall Chart

Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 58,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 5 hours ago).

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861.

Selected Ambient Works Volume II

Aphex Twin

"This album is one of the most haunting experiences of my life. It's like listening to a secret, intensely alien conversation between inanimate objects, and being driven mad by the omnipresent vibrations of the universe. "The most merciful thing in the world, I think, is the inability of the human..." [+] Reply

SquishypuffDave | Helpful? (Log in to vote) | +17 votes (17 helpful | 0 unhelpful)

Year of Release:

1994

Appears in:

263 charts

Rank Score:

1,984

Rank in 1994:

Rank in 1990s:

157

Overall Rank:

861

Average Rating:

79 (388 votes)

Comments:

862.

Section.80

Kendrick Lamar

"A little inconsistent, but it's first and last third are nothing short of stellar. The second third is rather good, but for what Kendrick would come up with next, it doesn't fit into his master-class catalogue that would come after Section.80. Key Cuts: A.D.H.D, Hiiipower, Rigamortis" Reply

- Yipyapper | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)

Year of Release:

2011

Appears in:

360 charts

Rank Score:

1,984

Rank in 2011:

Rank in 2010s:

124

Overall Rank:

862

Average Rating:

79 (736 votes)

Comments:

863.

The Psychedelic Sounds Of The 13th Floor Elevators

13th Floor Elevators

"Raw, edgy garage with a queasy, malevolent psychedelic gleam. A glorious atmosphere and great, robust songs throughout. I personally love the electric jug, but I see it's not to everyone's taste! A crucial record for more reasons than just being the first to have the word "Psychedelic" in the tit..." [+] Reply

- RhymeDragWiDrag | Helpful? (Log in to vote) | +8 votes (8 helpful | 0 unhelpful)

Year of Release:

1966

Appears in:

428 charts

Rank Score:

1,983

Rank in 1966:

Rank in 1960s:

Overall Rank:

863

Average Rating:

78 (503 votes)

Comments:

864.

Ghosteen

Nick Cave & The Bad Seeds

"It pains me to rate this album so low. Not only is it a heartbreaking, deep look at loss and mourning, but it's also really beautiful. The shimmering synths sound just like the cover looks - alive and crisp. But there's just too much here, and there's not enough variety. The first couple songs ar..." [+] Reply

babyBlueSedan | Helpful? (Log in to vote) | +7 votes (7 helpful | 0 unhelpful)

Year of Release:

2019

Appears in:

386 charts

Rank Score:

1,978

Rank in 2019:

Rank in 2010s:

125

Overall Rank:

864

Average Rating:

79 (348 votes)

Comments:

865.

Only By The Night

Kings Of Leon

"The run from Sex on Fire till Revelry is a relentless flawless streak of mad genius. I dont know how/why i ended up loving those 4 songs so much, but they havent aged a day after all this time and i only love them more with every listen. The rest of the album has eventually grown on me, notion an..." [+] Reply

Vatsal | Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)

Year of Release:

2008

Appears in:

431 charts

Rank Score:

1,978

Rank in 2008:

Rank in 2000s:

141

Overall Rank:

865

Average Rating:

72 (763 votes)

Comments:

866.

Safe Mode: On

This Is Hardcore

Pulp

"The follow up to the mega successful, different class. This is hardcore, is a darker twin to the more optimistic predecessor, but songwise it's just as good. The title track is amazing, one of Pulp's greatest songs. Other highlights include, the fear, a little soul, and, Sylvia. This is hardcore,..." [+] Reply

- garycottier | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)

Year of Release:

1998

Appears in:

357 charts

Rank Score:

1,976

Rank in 1998:

Rank in 1990s:

158

Overall Rank:

866

Average Rating:

78 (444 votes)

Comments:

867.

The Real Thing

Faith No More

"One of the most creative, interesting and ambitious rock albums of the entire decade, this basically sticks a middle finger up at the conventions of both glossy glam rock and mopey indie college bands that were popular at the time. It doesn't really fit in with the metal genre either, nor the gru..." [+] Reply

capkronos | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)

Year of Release:

1989

Appears in:

332 charts

Rank Score:

1,972

Rank in 1989:

Rank in 1980s:

132

Overall Rank:

867

Average Rating:

78 (503 votes)

Comments:

868.

This Is The Sea

The Waterboys

"It has to be one of the all-time best albums ever in my book. The anthemic quality of the songs from start to finish might be derivative of U2, but that is where the similarity ends. The imagery of Mike Scott's lyrics, particularly on "The Whole Of The Moon" and the title cut, are completely capt..." [+] Reply

TheDude85 | Helpful? (Log in to vote) | +4 votes (4 helpful | 0 unhelpful)

Year of Release:

1985

Appears in:

298 charts

Rank Score:

1,971

Rank in 1985:

Rank in 1980s:

133

Overall Rank:

868

Average Rating:

79 (305 votes)

Comments:

869.

John Wesley Harding

Bob Dylan

"It's funny that most of the comments here allude to this being below par for Bob, and not on the same level as some of his other recordings. Personally I think that's absolute hogwash - this is Dylan at his very best; Dylan the mythologiser, Dylan the storyteller, Dylan the philosopher. Beginning...""It's funny that most of the comments here allude to this being below par for Bob, and not on the same level as some of his other recordings. Personally I think that's absolute hogwash - this is Dylan at his very best; Dylan the mythologiser, Dylan the storyteller, Dylan the philosopher. Beginning with the opener and title track, Dylan weaves a series of telling tales about his life and his career as told through the point of view of others. The title track is no more about John Wesley Hardin than it is about Dylan the protest-singer, or at least the one which the media chose to portray. It may seem like a simple tale of a Robin Hood-esque noble outlaw, but the song itself acts as a metaphor for Dylan's own exploits, or at least some exaggerated version of them as dreamed up by those raving, quasi-religious "followers" he was so reluctant to acknowledge in the first place. In the final verse he appears to switch to something more accurate, at least in terms of his opinion of himself and the way he could confound expectations and hopes others had of him ("no charge held against him could they prove"). And why, of all people, choose John Wesley Hardin anyway? The man was apparently so mean that he once killed a man for snoring (though this probably didn't actually happen), so why choose his name for a tale about a noble outlaw? My opinion is that Dylan chose Hardin for his reputation as a self-mythologiser, a man who would wilfully embellish his stories in order to make them more exciting, just as Dylan has been wont to do. (Anybody who seriously believes Chronicles to be a work of accurate autobiography needs their head checked.) Dylan even looks like a noble outlaw on the cover, enhancing the idea that he sees himself as Hardin, or at least the Harding of this song and this album. What people often dismiss as a series of cute folk tales and ditties, ones which I've been told pale in comparison to his apparently more focused and passionate paeans to love or justice, are arguably his most personal (or, perhaps more accurately, his most self-referencing) works, those in which he puts himself smack bang in the middle of the story, even as somebody else entirely. And we see this happen throughout the record. Dylan is the lonesome hobo who has served his time for everything except begging on the street (or is he? Would he really admit to not trusting his brother?), who in turn is the accused drifter. He is both the joker (whose wine is drunk by businessmen and whose earth is dug by ploughmen, without gratitude or recognition of his worth) and the thief (who understands that life is but a joke). Whilst he is defiant in the face of accusations (he is no martyr), he feels the pressure of expectation, the guilt that perhaps he played along and performed his role, even going so far as to bowing his head and crying in the (imagined) presence of St. Augustine (who wasn't, in fact, martyred - perhaps more mythologising on Dylan's part). Perhaps the album's two most striking moments, the parable 'The Ballad of Frankie Lee and Judas Priest' and the piano-driven 'Dear Landlord', appear to be about Dylan's relationship with his management. Judas Priest tries to force Frankie to accept his offer "before (it) all disappears"; Frankie, in his attempts to join Judas in his beautiful home, dies of thirst. Did Dylan sell his soul? Is that what he's admitting to? Or is it just a precursory warning about the trappings of fame, about mistaking paradise for that home across the road? But later, on 'Dear Landlord' (frequently thought to refer to God, but that reading doesn't wash with me, it seems far too confrontational for that), he warns that he's "not about to move to no other place". Perhaps he likes the home after all. "If you don't underestimate me", he states to the Landlord, "I won't underestimate you" - perhaps a grudging respect, or just a necessary compromise. Not all of the album's songs are so dense with cryptic tales and biblical imagery (in fact, on first inspection, not many of them seem remotely cryptic at all, but that's another story). Album closer 'I'll Be Your Baby Tonight' is a simple love song, much more in line with the stuff he'd record on Nashville Skyline, often regarded as this album's sister. That may be true musically (both definitely take their cues from roots and country music), but thematically the two couldn't be more different. Here we have Dylan the shapeshifter, the defiant myth-buster, the mischievous myth-maker, whereas on Nashville Skyline we see Dylan the hopeless romantic. And the music here is much more sparse, darker, naked. On Nashville Skyline there's a certain decadence musically, Dylan basking in the Nashville sound, with all its twangs and rhinestones. Here Dylan lays his soul bare, over fittingly austere accompaniments, often nothing more than a few shuffling guitar chords. Where The Band - whose Music from Big Pink I see as more of a sister album to John Wesley Harding than anything else - used roots music as something expansive and out-of-time (sounding at once centuries old and yet of the present, as though it has no time of reference at all, the musical equivalent of a tree that stands for hundreds of years), Dylan here uses roots music as something small and insular, music to share stories around the campfire to. Which is, essentially, what this album is. It's Dylan sharing his stories around the campfire, his fears and his guilt, and his pride in forever confounding expectation. This is Dylan the man, and Dylan the myth. This is Dylan the honest, sharing his thoughts as nakedly as he ever would, so long as you're willing to dig a little. Or maybe - just maybe - this is Dylan the deceiver, singing simple folk tales for his followers to dig into forever more, in futile search of some deeper meaning that simply isn't there. Maybe - just maybe - I've been duped, and this album does, in fact, pale in comparison to his earlier works. And maybe - just maybe - the little neighbour boy was right; "nothing is revealed"." [+] Reply

Skinny | Helpful? (Log in to vote) | +14 votes (15 helpful | 1 unhelpful)

Year of Release:

1967

Appears in:

483 charts

Rank Score:

1,970

Rank in 1967:

Rank in 1960s:

Overall Rank:

869

Average Rating:

78 (780 votes)

Comments:

870.

Out To Lunch!

Eric Dolphy

"This record's really the epitome of hard-bop, even as it stretches the boundaries of the genre into something approaching true avant-garde while still often keeping the boundaries of familiar jazz, resulting in a crucial listen." Reply

- migglemo | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)

Year of Release:

1964

Appears in:

354 charts

Rank Score:

1,969

Rank in 1964:

Rank in 1960s:

Overall Rank:

870

Average Rating:

79 (397 votes)

Comments:

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Total albums: 10,000. Page 87 of 1,000

Overall Chart composition

Decade	Albums	%

1930s	2	0%
1940s	37	0%
1950s	303	3%
1960s	720	7%
1970s	1,436	14%
1980s	1,431	14%
1990s	1,613	16%
2000s	1,734	17%
2010s	1,993	20%
2020s	731	7%

Artist	Albums	%

Bob Dylan	37	0%
The Rolling Stones	35	0%
David Bowie	32	0%
The Beatles	29	0%
Miles Davis	27	0%
Neil Young	26	0%
Various Artists	25	0%
Show all

Country	Albums	%

	5,010	50%
	2,663	27%
	431	4%
	318	3%
	222	2%
	159	2%
	136	1%
Show all

Compilation?	Albums	%
No	9,725	97%
Yes	275	3%

Live?	Albums	%
No	9,729	97%
Yes	271	3%

Soundtrack?	Albums	%
No	9,885	99%
Yes	115	1%

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