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: 2 hours ago).
"What has Beethoven got to do with Christmas? Everyone talks about how "great" Beethoven was. Beethoven wasn't so great. He never got his picture on bubblegum cards, did he? Have you ever seen his picture on a bubblegum card? Hmmm? How can you say someone is great who's never had his picture on bu...""What has Beethoven got to do with Christmas? Everyone talks about how "great" Beethoven was. Beethoven wasn't so great. He never got his picture on bubblegum cards, did he? Have you ever seen his picture on a bubblegum card? Hmmm? How can you say someone is great who's never had his picture on bubblegum cards?
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"One of the most original and influential bands of the 1980s, Husker Du added an intellectual and thoughtful approach to punk music which reached the peak of sonic solemnity on 'New Day Rising'. The more overt expression of alienation through punk that typified the anthems of the Sex Pistols and t...""One of the most original and influential bands of the 1980s, Husker Du added an intellectual and thoughtful approach to punk music which reached the peak of sonic solemnity on 'New Day Rising'. The more overt expression of alienation through punk that typified the anthems of the Sex Pistols and the caricatured stances of The Ramones, had been refined by Husker Du. As the writer Piero Scaruffi put it, "Punk desperation was still ubiquitous, but it was no longer expressed in the form of primal wrath. It had become a lyrical state of the soul in a pathological state of the mind." The ground-breaking musical language of Husker Du emphasised the personalized experience - pensive emotions and fragile states' of mind - as opposed to confrontation. This was achieved through the prism of catchy folk-ish melodies that underlay a 'hardcore' sonic 'wall of sound'. From the formal point of view, 'New Day Rising' is the groups most flawless album. "[+]Reply
"The best album of 1970 and easily her best. Desertshore mixes the darkest sonic landscapes of The Marble Index with the warm innocence of Chelsea Girl. Cale's arrangements are avant-garde at its most substantial, and Nico's vocals are always measured in their sobriety without giving the impressio...""The best album of 1970 and easily her best. Desertshore mixes the darkest sonic landscapes of The Marble Index with the warm innocence of Chelsea Girl. Cale's arrangements are avant-garde at its most substantial, and Nico's vocals are always measured in their sobriety without giving the impression that she doesn't care about the music. Every time Nico plays the piano it sounds heartbreaking, and each noise Cale recorded in the studio finds its place. All the songs are solid, in the sense that they all have a bunch of elements that make the listen rewarding, and they are easily distiguishable (something that could not be said about her last one). Great album. Complex but simple. Grey but kaleidoscopic."[+]Reply
"New Review. I love this all the more... Due to laziness, I will just include this review of sorts I have on my as-of-now-nonpublic Dylan chart. I wrote this 4 years ago! (Time flies, love all you BEA buddies I've had for 5 years now) "Beautiful, charming, short-and-sweet, countrified, humble, and...""New Review. I love this all the more...
Due to laziness, I will just include this review of sorts I have on my as-of-now-nonpublic Dylan chart. I wrote this 4 years ago! (Time flies, love all you BEA buddies I've had for 5 years now)
"Beautiful, charming, short-and-sweet, countrified, humble, and fantastic album through and through! What I love about this album is it just manages to make me feel happy. It's so optimistic. It is so clearly a huge change away from serious or overly introspective elements of his music. It's amazing to me that Dylan could switch off to a whole new zone and genre of music and pull it off so perfectly.
The lyrics are simple, direct country-style nuggets of beauty. It ain't hard to pick up what is being expressed here. The musicians that back him up here sound great.
Man, there ain't much I dislike about this album at all. I will say I don't like the first track featuring Cash. It just doesn't sound too good. But after that track it rolls so well. It's 24 minutes of solid fun!
The greatest tracks here are "Tonight I'll Be Staying Here With You", "Nashville Skyline Rag" (what a smokin' instrumental to really kick this album off!), "Lay Lady Lay" (sexy as hell) and of course the very tragic-sounding "I Threw It All Away".
It is hard for me to say how this album compares to other Dylan favorites because it is so different in mood and style and theme and even in the way his vocals are delivered...
On its own terms this album is an essential release in Dylan's discography. I really love it. And it is a great way to end off the 60s! I look at these first 16 albums I've listened to for this chart and it blows my mind how much music he made from 62-69 and it astounds me how consistently great it was. He was just on fire for so long!"
Okay, now present-day Ryan again: Has my love for this album remained? Yes! As a matter of fact its increased greatly! I now LOVE that first Cash track now. Still not my fave track here, but its soooo warm and sweet. Also, Cash + Dylan = automatic good.
Now, compared to that Vince Martin album, its amazing how starkly different this is. Dylan had a clear plan, a short sweet statement delivered in perfectly constructed 2 or 3 minute songs. Martin took the same great band and just said "Let's see where this takes us.".
And as I listen yet again to this classic, I am indeed feeling joyeous, and optimistic again! Dylan is the closest thing to a sonic best friend I have ever had. I mean, that sounds lame, so let me dig the whole deeper with an explanation: Ever since I was a lad o' 12 I have always looked to Dylan's music and words and interviews and story as inspiration, or as a sort of reference point to my life. He has been a constant "friend" and presence. And I truly get emotional thinking about what he has meant for me in my life. So there, I reached the required 6 feet into the ground, kill me now. lol.
I had this album at 12, then moved up to 8 then 9 then 10 on this list...then as I wrote this and listened again, i came to and was like "WHAT?! Are you crayzy!? Get Dylan back on his rightful pedestal, fool!" So up to a (perhaps still too low position ) of #7 it goes!
Oh, and I would like to thank Gram Parson, Chris Hillman, Gene Clark, Doug Dillard, The Byrds in general, and Dylan of course, for showing the rock kids that Country was cool back in 1968 and 1969. That 4-peat statement of "Sweetheart of the Rodeo", "The Fantastic Expedition of Dillard & Clark", "Gilded Palace of Sin", and "Nashville Skyline" has been an inspiration for a huge percentage of my favorite music ever. Thanks, you fine geniuses all for doing what was right! (I suppose the Grateful dead, somewhat the Band, and many others deserve credit as well, so thanks Danko, Garcia, Robertson, and all you fine people too.)
Rating: 9.5/10
Oh and damnit! I forgot to mention this... The cover of Nashville Skyline is a miracle. Its awesome in general, Dylan looks so happy and handsome and all... but look at that nearly perfect triangle! How cool is that?!? Okay, bye. "[+]Reply
"Composed, performed and produced by Jarre, a French pioneer of electronic music, the album starts with with a quiet, peaceful mood in "Part I" and it picks up the pace in "Part II" where it literally blossoms melodically and rhythmically. The musical journey transitions to "Part III", a more refl...""Composed, performed and produced by Jarre, a French pioneer of electronic music, the album starts with with a quiet, peaceful mood in "Part I" and it picks up the pace in "Part II" where it literally blossoms melodically and rhythmically. The musical journey transitions to "Part III", a more reflective, psychedelic piece, which in the end it simply grounds to a halt for about 40 seconds making the sound of silence the sound of just another instrument. "Part IV" is its most recognizable moment: a beautiful melody set in the background of an electronically-generated rhythm section. "Part V" is a longer piece reminiscing the music of "Tangerine Dream" while "Part VI" wraps up this beautiful journey with what sounds like the sound of seagulls flying over the sea."[+]Reply
"Brian Eno, ex-keyboardist of Roxy Music, is one of the most influential figures in rock music having single-handedly changed the course of its trajectory on at least three occasions. Firstly he fused pop and electronics in an experimental way and thus changed the very notion of what a 'pop song' ...""Brian Eno, ex-keyboardist of Roxy Music, is one of the most influential figures in rock music having single-handedly changed the course of its trajectory on at least three occasions. Firstly he fused pop and electronics in an experimental way and thus changed the very notion of what a 'pop song' is. Secondly, he invented meta-pop music by taking cheap melodies (the kind that are used at the music-hall, on tv commercials, by nursery rhymes) and added a strong rhythmic base and counterpoint of synthesizer. Finally, by the time of the release of 'Before And After Science' (1977), he had acquired a sinister and surreal quality to his catchy ditties.
The album counterposes renaissance madrigal's with a disco rhythm to create a sound that is unlike either. What emerges on 'Before And After Science' is a music that focus on 'sound' - a kind of mathematically structurd musique concrete in which composition is abolished. In this sense, Eno had created an ambitious programme of 'music for non-musicians' that was the equivalent of Schoenberg's electronic music. With 'Before And After Science', Eno has produced a brilliant and bleak masterpiece - a vision of the end of civilization in which humankind is dominated by robots.
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"I went through a period of loving Aussie rock so much back in the late eighties that I wound up spending my junior year of college in Perth. Of all those Australian bands that I loved back then, Midnight Oil was probably the best, and is the one that has had the most staying power for me. They ma...""I went through a period of loving Aussie rock so much back in the late eighties that I wound up spending my junior year of college in Perth. Of all those Australian bands that I loved back then, Midnight Oil was probably the best, and is the one that has had the most staying power for me. They made a number of good albums, but Diesel and Dust was their best. It brings together the guitar-driven, punk sensibilities of their earlier albums with the more meticulously produced, more obviously political, more mainstream later works. "Beds Are Burning" was the hit single from this album, but I think "The Dead Heart," also released as a single, is even better: a moving, beat-driven meditation on the theft of land from the continent's aboriginal people."[+]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