Chart of the day (#2938): By AfterHours

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Today's chart of the day

Top 100 Greatest Music Albums by AfterHours (View chart)

1. Trout Mask Replica by Captain Beefheart & His Magic Band (1969)
2. Rock Bottom by Robert Wyatt (1974)
3. The Velvet Underground And Nico by The Velvet Underground And Nico (1967)
4. The Doors by The Doors (1967)
5. Faust by Faust (1971)
6. The Black Saint And The Sinner Lady by Charles Mingus (1963)
7. Twin Infinitives by Royal Trux (1990)
8. The Parable Of Arable Land by The Red Crayola With The Familiar Ugly (1967)
9. A Love Supreme by John Coltrane (1965)
10. Lorca by Tim Buckley (1970)
11. Irrlicht by Klaus Schulze (1972)
12. Desertshore by Nico (1970)
13. Astral Weeks by Van Morrison (1968)
14. Blonde On Blonde by Bob Dylan (1966)
15. In The Aeroplane Over The Sea by Neutral Milk Hotel (1998)
16. Y by The Pop Group (1979)
17. Ys by Joanna Newsom (2006)
18. Dolmen Music by Meredith Monk (1981)
19. Third by Soft Machine (1970)
20. Unit Structures by Cecil Taylor (1966)
21. Slow, Deep & Hard by Type O Negative (1991)
22. Yerself Is Steam by Mercury Rev (1991)
23. Down Colorful Hill by Red House Painters (1992)
24. The Modern Dance by Pere Ubu (1978)
25. Geek The Girl by Lisa Germano (1994)
26. Zen Arcade by Hüsker Dü (1984)
27. Spiderland by Slint (1991)
28. Bitches Brew by Miles Davis (1970)
29. Nail by Scraping Foetus Off The Wheel (1985)
30. Loveless by My Bloody Valentine (1991)
31. Well Oiled by Hash Jar Tempo (1997)
32. Diamanda Galás by Diamanda Galás (1984)
33. Have One On Me by Joanna Newsom (2010)
34. The River by Bruce Springsteen (1980)
35. The Downward Spiral by Nine Inch Nails (1994)
36. Ascension by John Coltrane (1966)
37. The Jazz Composer's Orchestra by The Jazz Composer's Orchestra (1968)
38. City Of Glass: Stan Kenton Plays Bob Graettinger by Stan Kenton (1995)
39. Saxophone Improvisations Series F by Anthony Braxton (1972)
40. Neu! by Neu! (1972)
41. White Light/White Heat by The Velvet Underground (1968)
42. Lullaby Land by Vampire Rodents (1993)
43. From Her To Eternity by Nick Cave & The Bad Seeds (1984)
44. Seeds, Vision And Counterpoint by Ivo Perelman (1998)
45. Even The Sounds Shine by Myra Melford (1995)
46. Escalator Over The Hill by Carla Bley / Paul Haines (1971)
47. Passion: Music For The Last Temptation Of Christ by Peter Gabriel (1989)
48. Suicide by Suicide (1977)
49. Flying Teapot by Gong (1973)
50. Starsailor by Tim Buckley (1970)
51. Daydream Nation by Sonic Youth (1988)
52. Variations In Dream-Time by Anthony Davis (1982)
53. For Alto by Anthony Braxton (1969)
54. Tago Mago by Can (1971)
55. Spiritual Unity by Albert Ayler Trio (1965)
56. The Piper At The Gates Of Dawn by Pink Floyd (1967)
57. Kick Out The Jams by MC5 (1969)
58. Not Available by The Residents (1978)
59. Ocean Songs by Dirty Three (1998)
60. Meet The Residents by The Residents (1974)
61. Art And Aviation by Jane Ira Bloom (1992)
62. Fare Forward Voyagers (Soldier's Choice) by John Fahey (1973)
63. Fourth World Volume Two: Dream Theory In Malaya by Jon Hassell (1981)
64. Hosianna Mantra by Popol Vuh (1972)
65. In The Court Of The Crimson King by King Crimson (1969)
66. Epitaph by Charles Mingus (1990)
67. Saxophone Special by Steve Lacy ('60s) (1975)
68. Uncle Meat by The Mothers Of Invention (1969)
69. Remnants Of A Deeper Purity by Black Tape For A Blue Girl (1996)
70. Cyborg by Klaus Schulze (1973)
71. Original Sin by Pandora's Box (1989)
72. The Survivors' Suite by Keith Jarrett (1976)
73. Improvisie by Paul Bley (1971)
74. Afternoon Of A Georgia Faun by Marion Brown (1970)
75. Crystals by Sam Rivers (1974)
76. Ptah, The El Daoud by Alice Coltrane (1970)
77. Let My Children Hear Music by Charles Mingus (1972)
78. The Magic City by Sun Ra (1966)
79. A Genuine Tong Funeral by Gary Burton (1968)
80. Out To Lunch! by Eric Dolphy (1964)
81. We Insist! Max Roach's Freedom Now Suite by Max Roach (1960)
82. Liberation Music Orchestra by Charlie Haden (1969)
83. Millions Now Living Will Never Die by Tortoise (1996)
84. Good by Morphine (1992)
85. Vernal Equinox by Jon Hassell (1977)
86. Cosmic Interception by Von Lmo (1994)
87. Volunteers by Jefferson Airplane (1969)
88. Third Ear Band (Elements) by Third Ear Band (1970)
89. In Den Gärten Pharaos by Popol Vuh (1971)
90. Dreamtime Return by Steve Roach (1988)
91. The Pavilion Of Dreams by Harold Budd (1978)
92. Mundus Subterraneus by Lightwave (1995)
93. A Rainbow In Curved Air by Terry Riley (1969)
94. Fontanelle by Babes In Toyland (1992)
95. Fresh Fruit For Rotting Vegetables by Dead Kennedys (1980)
96. Half Machine Lip Moves by Chrome (1979)
97. Ecology Of Souls by Kenneth Newby (1993)
98. The Long View by Marty Ehrlich (2002)
99. Highway 61 Revisited by Bob Dylan (1965)
100. Transient Random-Noise Bursts With Announcements by Stereolab (1993)

About chart of the day: The BestEverAlbums.com chart of the day is randomly selected from all charts of at least 50 entries (and divisible by ten). Charts are only selected if they have a minimum average rating of 75 out of 100 from at least 10 votes, and must have been updated in the last 180 days. In addition, a chart must allow member feedback for it to be eligible to be selected. A full history of chart of the day can be viewed here.
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AfterHours



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The fact that so many books still name Trout Mask Replica "the greatest or most significant or most influential" Scarufficore album ever only tells you how far Scarufficore still is from becoming a serious art. Pitchfork readers have long recognized that the greatest Pitchforkcore albums of all times are Kid A and My Beautiful Dark Twisted Fantasy, who were not the most famous or richest or best sellers of their times, let alone of all times. Rolling Stone readers rank the highly controversial Sgt. Pepper's Lonely Hearts Club Band over classical musicians who were highly popular in courts around Europe. Scaruffi readers are still blinded by best-of lists: Trout Mask Replica was listed higher than everyone else (not true, by the way), therefore it must have been the greatest. Pitchfork readers grow up listening to a lot of Pitchforkcore of the past, Robert Christgau readers grow up listening to a lot of Christgaucore of the past. Scaruffi readers are often totally ignorant of the Scarufficore of the past, they barely know the highest rankers. No wonder they will think that Captain Beefheart did anything worth of being saved.
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Fischman
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Your analysis is even more interesting than your list! Very Happy
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AfterHours



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Fischman wrote:
Your analysis is even more interesting than your list! Very Happy


But not nearly as illuminating as user DrewHamster, who took out his disgust about the missing Fall Out Boy albums and the 86 albums he's never listened to, by dropping a 20/100 on me Laughing Very Happy
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Yann



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AfterHours wrote:
The fact that so many books still name Trout Mask Replica "the greatest or most significant or most influential" Scarufficore album ever only tells you how far Scarufficore still is from becoming a serious art. Pitchfork readers have long recognized that the greatest Pitchforkcore albums of all times are Kid A and My Beautiful Dark Twisted Fantasy, who were not the most famous or richest or best sellers of their times, let alone of all times. Rolling Stone readers rank the highly controversial Sgt. Pepper's Lonely Hearts Club Band over classical musicians who were highly popular in courts around Europe. Scaruffi readers are still blinded by best-of lists: Trout Mask Replica was listed higher than everyone else (not true, by the way), therefore it must have been the greatest. Pitchfork readers grow up listening to a lot of Pitchforkcore of the past, Robert Christgau readers grow up listening to a lot of Christgaucore of the past. Scaruffi readers are often totally ignorant of the Scarufficore of the past, they barely know the highest rankers. No wonder they will think that Captain Beefheart did anything worth of being saved.

All of this comment is very objectivity-oriented and I do like objectivity and consensus, but when you're about to listen to very cerebral albums like Trout Mask Replica, do you say to yourself: "ah, I'm gonna get one hour of spontaneous enjoyment" or "Let's listen to this renowned masterpiece"?
Anyway, I like your chart, apart from a few records I'll never get the hype. And some I don't know.
Good to see Rock Bottom so high : ) it's a fine example of album which is both intellectual and emotional.
And The Piper At The Gates Of Dawn, yes perhaps it's the best Pink Floyd album after all (although I've re-listened to The Wall lately and found it incredible too)
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AfterHours



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Yann wrote:
All of this comment is very objectivity-oriented and I do like objectivity and consensus, but when you're about to listen to very cerebral albums like Trout Mask Replica, do you say to yourself: "ah, I'm gonna get one hour of spontaneous enjoyment" or "Let's listen to this renowned masterpiece"?
Anyway, I like your chart, apart from a few records I'll never get the hype. And some I don't know.
Good to see Rock Bottom so high : ) it's a fine example of album which is both intellectual and emotional.
And The Piper At The Gates Of Dawn, yes perhaps it's the best Pink Floyd album after all (although I've re-listened to The Wall lately and found it incredible too)


Thanks, however my comment was not intended as objective/consensus at all really. Its a joke on a semi famous/infamous Piero Scaruffi quote about The Beatles and their (in his opinion, dubious) critical acclaim. Its the same quote but transposed to being about Capt Beefheart/Trout Mask Replica and its acclaim from Scaruffi and his readers (myself included). It is intended as satire/irony Smile

In short: I try and listen to albums/Classical works with a renewed interest and observational sense upon each attentive listen, but also developed from previous experience (if still found accurate), then being expounded upon with the new listen(s). I attempt to learn/observe more about it, or what Ive already observed more clearly, each time. As I am listening I am observing and mentally noting in real time its characteristics, what it is expressing (emotionally, conceptually, creativity), to what degree and substance this is expressed throughout, listening closely to its variances, consistencies, peaks and establishing an overall sense of the work (overall meaning, purpose...). In addition to listening, this may include some study of the work's/artist's history/circumstances/philosophy/life/context with the work, which can go a long way towards better determining the above.

The above might read/sound more convoluted than it really is in actual practice. This sort of active listening can be brought about in probably any reasonably intelligent person by practicing such observations and developing it gradually to an increased sphere of music listening over time and repetition. One becomes a very complete music listener if done this way.
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AfterHours



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^^^ EDIT: If by "comment" you really meant my "chart" then...

No not really intended to be "objective" in the strict sense. The selections are no different then what would be my "favorites" (and are my favorites, only they're so close in rating/ranking from one to the next that I have applied a system and lots of logic in determining their precise order instead of lumping them all together as "5 stars" or what-have-you).

If you mean "objective within a specified criteria" then this has some merit in relation to my chart, or could be seen to. So, in a sense, there is an attempt towards this in that I am always attempting to increase my accuracy within my criteria, the accuracy and certainty of my own observations, etc. And that I do think that the criteria itself underlying the selections is true of all and inherent in all art, and what constitutes art itself, and don't think it's arguable (except probably some mild variations in semantics/wording/phrasing in how this is defined, but the main idea is the same). To be very clear, this does not mean our selections would or need to match, and infact could and likely would be very different, based on experience, what you find impactful, creative, etc. You/anyone might have a different view of what should rate/rank highly per such a criteria. So while the criteria in itself could be objective or very close to it, the selections are quite arguable and are subjectively determined even if I feel they are quite substantiated and know I've made such determinations meticulously. So in that sense too, many of them should seem quite "accurate" or "logical" to someone observing a similar perspective and journey through the arts as I have. Also, the order of rankings and ratings have an aligned and underlying sense of math to it (in the sense that they are "mathematical" or "value proportionate" in relation and alignment to each other, and this has been precisely worked out, or at least attempted to be).
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