Top 50 Greatest Music Albums by 
Dingerbell 
My favourite songs:
1. Gold Soundz by Pavement
2. Citizen Erased by Muse
3. Svefn-g-englar by Sigur Ros
4. Vapour Trail by Ride
5. Ceremony by New Order
6. Move on Up by Curtis Mayfield
7. They Reminisce Over You (T.R.O.Y.) by Pete Rock & C.L. Smooth
8. Souvlaki Space Station by Slowdive
9. Carry the Zero by Built to Spill
10. Wasted Days by Cloud Nothings
11. Helicopter by Bloc Party
12. Frontier Psychiatrist by The Avalanches
13. Two Weeks by Grizzly Bear
14. Shook Ones Part II by Mobb Deep
15. Maps by Yeah Yeah Yeahs
16. Thirteen by Big Star
17. Ladies and Gentlemen We Are Floating in Space by Spiritualized
18. Chicago by Sufjan Stevens
19. Never Catch Me by Flying Lotus
20. Angeles by Elliott Smith
21. Us by Regina Spektor
22. Diamond Day by Vashti Bunyan
23. Tugboat by Galaxie 500
24. Long Season by Fishmans
25. Fancy Clown by Madvillain
- Chart updated: 07/11/2020 20:15
- (Created: 09/27/2013 19:57).
- Chart size: 50 albums.
There are 62 comments for this chart from BestEverAlbums.com members and Top 50 Greatest Music Albums has an average rating of 91 out of 100 (from 77 votes). Please log in or register to leave a comment or assign a rating.
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“And I've seen all I'll ever need.”
This was the album that got me into music. It was catalyst for my appreciation of music as an art, and the start of my active search for new music. It’s been my favourite album since 2010 and is as perfect as an album will get, for me. The first seven songs, especially, is the best stretch of songs I’ve ever heard. Even after hearing these songs hundreds of times, I’ve still not got tired of them in the slightest. As much as I’ve listened to new albums- with other old favourites dropping out of favour- this always seems to remain as high as it does.
A complete masterpiece in almost every respect.
The thing is, though, most people will never realise the brilliance of this album. People will miss the outstanding beauty and intricacy of some of the finer details of the album, such the guitar in the verses of Dark Shines or the ending of Screenager. Even my least favourite song of the album, Feeling Good, has wonderful piano flourishes throughout the song that are very easy to miss. It’s easy to just think of this album as over the top (which is rubbish, really, seeing the popularity of the Dark Side of the Moon or anything by Queen) and so criticise. Just try listening under the obvious layers of the lead instruments, and the album is seen in a completely different light.
Best Moments:
Chorus of New Born (especially the vocals).
Solo of New Born.
Last chorus of Bliss.
Piano intro of Space Dementia.
Outro of Space Dementia- starting from about 4:20.
The bass in the verse of Hyper Music.
Outro of Hyper Music.
Citizen Erased. Absolute perfection.
Outro of Micro Cuts.
Solo of Dark Shines.
The (sort of) solo near the end of Screenager.
Megalomania. Such an appropriate closing song for the album. Dark yet beautiful. [First added to this chart: 09/27/2013]
This was the album that got me into music. It was catalyst for my appreciation of music as an art, and the start of my active search for new music. It’s been my favourite album since 2010 and is as perfect as an album will get, for me. The first seven songs, especially, is the best stretch of songs I’ve ever heard. Even after hearing these songs hundreds of times, I’ve still not got tired of them in the slightest. As much as I’ve listened to new albums- with other old favourites dropping out of favour- this always seems to remain as high as it does.
A complete masterpiece in almost every respect.
The thing is, though, most people will never realise the brilliance of this album. People will miss the outstanding beauty and intricacy of some of the finer details of the album, such the guitar in the verses of Dark Shines or the ending of Screenager. Even my least favourite song of the album, Feeling Good, has wonderful piano flourishes throughout the song that are very easy to miss. It’s easy to just think of this album as over the top (which is rubbish, really, seeing the popularity of the Dark Side of the Moon or anything by Queen) and so criticise. Just try listening under the obvious layers of the lead instruments, and the album is seen in a completely different light.
Best Moments:
Chorus of New Born (especially the vocals).
Solo of New Born.
Last chorus of Bliss.
Piano intro of Space Dementia.
Outro of Space Dementia- starting from about 4:20.
The bass in the verse of Hyper Music.
Outro of Hyper Music.
Citizen Erased. Absolute perfection.
Outro of Micro Cuts.
Solo of Dark Shines.
The (sort of) solo near the end of Screenager.
Megalomania. Such an appropriate closing song for the album. Dark yet beautiful. [First added to this chart: 09/27/2013]
Year of Release:
2001
Appears in:
Rank Score:
7,665
Rank in 2001:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
96
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“It’s been so long since you’ve heard from me. Got a wife and kid that I never see and I’m nowhere near what I dreamed I’d be. I can’t believe what life has done to me.”
Firstly, I would like to thank Le_Samurai, cartoken and pearljammer13 for, unconsciously, introducing me to this album through the “What album are you listening to right now” topic.
Onto the music. The lyrics are perhaps the greatest ever written. They portray a deeply sad and honest story of life and broken dreams, and are incredibly moving. Even without the lyrics, the instrumentation is so great it would definitely be a contender for being one of the greatest albums ever, but the lyrics push it to, for me, my second favourite of all time. The thing is, the instrumentation is so very ironic. In one song, Happy, it goes from the down-tempo and depressing opening to the complete opposite for the glorious outro of the song.
So, there is obviously confusion between the vocals and instruments. But, this confusion is what completely makes this album so great for me, and is what completely sets it apart. The album is completely unique. I’ve never heard, and probably won’t ever hear, anything like this, and it’s unlikely I’ll ever hear as emotionally intense.
Therefore, the album produces a huge variation of emotions for me. If I’m not paying too much attention to the lyrics, the album fills me with joy, yet, if I want to pay closer attention, the album is almost unbearably moving. It is due to this huge contrast that I have put it at the top end of my chart.
Best Moments:
Fade in from The House that Guilt Built to Happy.
Outro of Happy.
Both piano and guitar solos, and the outro in This Boy is Exhausted.
Intro of Hopeless.
The last minute of Faster Gun.
The vocals in Thirteen Grand, especially the harmonies around 2:20.
Boys, You Won’t, especially from 1:00 to 1:50. The guitars are unbelievable.
Outro of Ex-Girl Collection.
The transition from Per Second Second to Everyone Choose Sides.
The outro on 13 Months in 6 Minutes. [First added to this chart: 09/27/2013]
Firstly, I would like to thank Le_Samurai, cartoken and pearljammer13 for, unconsciously, introducing me to this album through the “What album are you listening to right now” topic.
Onto the music. The lyrics are perhaps the greatest ever written. They portray a deeply sad and honest story of life and broken dreams, and are incredibly moving. Even without the lyrics, the instrumentation is so great it would definitely be a contender for being one of the greatest albums ever, but the lyrics push it to, for me, my second favourite of all time. The thing is, the instrumentation is so very ironic. In one song, Happy, it goes from the down-tempo and depressing opening to the complete opposite for the glorious outro of the song.
So, there is obviously confusion between the vocals and instruments. But, this confusion is what completely makes this album so great for me, and is what completely sets it apart. The album is completely unique. I’ve never heard, and probably won’t ever hear, anything like this, and it’s unlikely I’ll ever hear as emotionally intense.
Therefore, the album produces a huge variation of emotions for me. If I’m not paying too much attention to the lyrics, the album fills me with joy, yet, if I want to pay closer attention, the album is almost unbearably moving. It is due to this huge contrast that I have put it at the top end of my chart.
Best Moments:
Fade in from The House that Guilt Built to Happy.
Outro of Happy.
Both piano and guitar solos, and the outro in This Boy is Exhausted.
Intro of Hopeless.
The last minute of Faster Gun.
The vocals in Thirteen Grand, especially the harmonies around 2:20.
Boys, You Won’t, especially from 1:00 to 1:50. The guitars are unbelievable.
Outro of Ex-Girl Collection.
The transition from Per Second Second to Everyone Choose Sides.
The outro on 13 Months in 6 Minutes. [First added to this chart: 09/27/2013]
Year of Release:
2003
Appears in:
Rank Score:
1,261
Rank in 2003:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 08/31/2015]
Year of Release:
2004
Appears in:
Rank Score:
14,875
Rank in 2004:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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“Since I left you, I found the world so new.”
Welcome to the lush and dense world that is Since I Left You. Simply put, this album is unbelievably creative, playful and light-hearted, and this is completely down to the way in which this album is put together. Fundamentally a dance album in style, this is unlike any album you’ve ever heard, let alone just dance music. The album, composed entirely from a very large selection of diverse samples, is always all over the place, yet meticulously held together by the use of very controlled and repetitive beats, which completely contradict the insanity of the melodies but are vital to maintain any kind of structure in the album. But the beats aren’t the thing which make the album so great: it’s the layering and layering of the samples which creates a beautiful and rich atmosphere, often reminiscent of Phil Spector’s production. You can’t help but have respect towards the amount of work the Avalanches must have put in to collect and compile the ridiculously large (reportedly around 3,500) amount of samples to make this album.
Another great thing about this album is the pacing; it is absolutely perfect. There’s no time for rest, it’s just relentless good times and outstanding flow. And good times is really what this album is all about; it’s pure and unadulterated fun. Completely insane, but fun.
Best Moments:
The whole of Since I Left You.
The first minute in Two Hearts In 3/4 Time.
The drums in the last third of Flight Tonight.
The build-up at the start of Close to You.
2:40 to the end of A Different Feeling.
The whole of Frontier Psychiatrist. Absolute genius.
The crazy second half of Live at Dominoes.
The relaxing ending to the album of Extra Kings. [First added to this chart: 09/27/2013]
Welcome to the lush and dense world that is Since I Left You. Simply put, this album is unbelievably creative, playful and light-hearted, and this is completely down to the way in which this album is put together. Fundamentally a dance album in style, this is unlike any album you’ve ever heard, let alone just dance music. The album, composed entirely from a very large selection of diverse samples, is always all over the place, yet meticulously held together by the use of very controlled and repetitive beats, which completely contradict the insanity of the melodies but are vital to maintain any kind of structure in the album. But the beats aren’t the thing which make the album so great: it’s the layering and layering of the samples which creates a beautiful and rich atmosphere, often reminiscent of Phil Spector’s production. You can’t help but have respect towards the amount of work the Avalanches must have put in to collect and compile the ridiculously large (reportedly around 3,500) amount of samples to make this album.
Another great thing about this album is the pacing; it is absolutely perfect. There’s no time for rest, it’s just relentless good times and outstanding flow. And good times is really what this album is all about; it’s pure and unadulterated fun. Completely insane, but fun.
Best Moments:
The whole of Since I Left You.
The first minute in Two Hearts In 3/4 Time.
The drums in the last third of Flight Tonight.
The build-up at the start of Close to You.
2:40 to the end of A Different Feeling.
The whole of Frontier Psychiatrist. Absolute genius.
The crazy second half of Live at Dominoes.
The relaxing ending to the album of Extra Kings. [First added to this chart: 09/27/2013]
Year of Release:
2000
Appears in:
Rank Score:
7,944
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 08/19/2015]
Year of Release:
2000
Appears in:
Rank Score:
2,287
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 08/14/2014]
Year of Release:
2007
Appears in:
Rank Score:
5,025
Rank in 2007:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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“If you could be anything you want, I bet you'd be disappointed, am I right?
This is surely the definitive indie rock album; containing unbelievably varied song structures, great use of interesting instruments (such as lap steel guitars and violins) and intelligent lyrics, what is there to criticize? Each song is completely different, yet they are all so successful. There’s not one weak moment on this album, and for a fifteen song album that’s an hour long, that’s some feat. And the guitar tones are incredibly unique, giving the album a one of a kind psychedelic feel- best highlighted in Gravity Rides Everything, The Stars are Projectors and I Came as a Rat. And then there’s Isaac Brook’s unique vocal style, that I love so much, but I couldn’t possibly say why. I guess that it may be due to its diversity- I mean, who else in indie rock has a flow that’s comparable to a rapper’s?
The most annoying thing that people say about this album is that it’s over after the first three songs, which is absolute rubbish. In fact, I wouldn’t even say the first three songs is the best three song combo on this album- I would give it to A Different City to Alone Down There.
But, putting what fools say about this album aside, this album is genuinely one of the most diverse and entertaining of all time.
Best Moments:
The whole of 3rd Planet. Everything about this song is incredible.
The chorus of Dark Centre of the Universe.
The solo in A Different City.
The violins in The Cold Part.
The solo in Alone Down There.
The Stars are Projectors. A musical journey.
Wild Pack of Family Dogs. I know it’s meant to be sad, but it really makes me laugh.
1:55 to the end in I Came as a Rat. The most experimental and psychedelic section of the album.
The last minute of Lives.
What People are Made of. This is, like, the most powerful closing song ever. The bass, especially, is amazing. [First added to this chart: 09/27/2013]
This is surely the definitive indie rock album; containing unbelievably varied song structures, great use of interesting instruments (such as lap steel guitars and violins) and intelligent lyrics, what is there to criticize? Each song is completely different, yet they are all so successful. There’s not one weak moment on this album, and for a fifteen song album that’s an hour long, that’s some feat. And the guitar tones are incredibly unique, giving the album a one of a kind psychedelic feel- best highlighted in Gravity Rides Everything, The Stars are Projectors and I Came as a Rat. And then there’s Isaac Brook’s unique vocal style, that I love so much, but I couldn’t possibly say why. I guess that it may be due to its diversity- I mean, who else in indie rock has a flow that’s comparable to a rapper’s?
The most annoying thing that people say about this album is that it’s over after the first three songs, which is absolute rubbish. In fact, I wouldn’t even say the first three songs is the best three song combo on this album- I would give it to A Different City to Alone Down There.
But, putting what fools say about this album aside, this album is genuinely one of the most diverse and entertaining of all time.
Best Moments:
The whole of 3rd Planet. Everything about this song is incredible.
The chorus of Dark Centre of the Universe.
The solo in A Different City.
The violins in The Cold Part.
The solo in Alone Down There.
The Stars are Projectors. A musical journey.
Wild Pack of Family Dogs. I know it’s meant to be sad, but it really makes me laugh.
1:55 to the end in I Came as a Rat. The most experimental and psychedelic section of the album.
The last minute of Lives.
What People are Made of. This is, like, the most powerful closing song ever. The bass, especially, is amazing. [First added to this chart: 09/27/2013]
Year of Release:
2000
Appears in:
Rank Score:
9,015
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
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By the way, there’s no way I can choose a best lyric and a best moment for this, so I’m not even going to try. There’s simply far too much to choose from.
To be honest, this album is incredibly difficult to describe. It’s too unique, too special; there isn’t a good enough adjective that could describe this. I guess it would be a cliché to say it, but the best word I can think of to describe it is magical. But this album is magical.
It would be impossible to be bored listening to this, musically it is fantastic. There are so many seamless transitions from moments of understated and minimal beauty to wonderfully complex and powerful moments, and vice versa, that constantly mix up the emotions you are feeling. The production on this album is magnificent; the use of orchestration works perfectly. Its softness clearly doesn’t intrude on Newsom’s vocals or harp at all, rather providing a beautiful backing to both. The instrumentation is completely one-of-a-kind, completely outside of any possible genre boundaries. Its nothing like folk music, and, despite the use of an orchestra, its nothing like classical music. The whole album is nothing like anything else.
But the thing that completely sets this album apart from everything else is the lyrics. You can really get into the stories, and completely lose yourself; sometimes too much- I really hate the Monkey, the evil bastard. And, although it took a while to get into Newsom’s vocal style, I’m really glad I did, because now I completely adore them, and can comfortably she is one of my favourite vocalists of all-time.
I don’t really know what else there is to say; this album is simply perfect, there are majestic lyrics, beautiful vocals, amazing orchestration and wonderful harp playing. I just wish the songs lasted even longer. [First added to this chart: 10/01/2013]
To be honest, this album is incredibly difficult to describe. It’s too unique, too special; there isn’t a good enough adjective that could describe this. I guess it would be a cliché to say it, but the best word I can think of to describe it is magical. But this album is magical.
It would be impossible to be bored listening to this, musically it is fantastic. There are so many seamless transitions from moments of understated and minimal beauty to wonderfully complex and powerful moments, and vice versa, that constantly mix up the emotions you are feeling. The production on this album is magnificent; the use of orchestration works perfectly. Its softness clearly doesn’t intrude on Newsom’s vocals or harp at all, rather providing a beautiful backing to both. The instrumentation is completely one-of-a-kind, completely outside of any possible genre boundaries. Its nothing like folk music, and, despite the use of an orchestra, its nothing like classical music. The whole album is nothing like anything else.
But the thing that completely sets this album apart from everything else is the lyrics. You can really get into the stories, and completely lose yourself; sometimes too much- I really hate the Monkey, the evil bastard. And, although it took a while to get into Newsom’s vocal style, I’m really glad I did, because now I completely adore them, and can comfortably she is one of my favourite vocalists of all-time.
I don’t really know what else there is to say; this album is simply perfect, there are majestic lyrics, beautiful vocals, amazing orchestration and wonderful harp playing. I just wish the songs lasted even longer. [First added to this chart: 10/01/2013]
Year of Release:
2006
Appears in:
Rank Score:
8,804
Rank in 2006:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
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“Hundreds of thousands of hospital beds, and all of them empty but mine.”
What really is there to say about Hospice? Well, I will always know it for being the best concept album I’ve ever heard. It was one of the first albums I listened to when I began to listen to music seriously, and it struck me right at the first listen at how fantastic it was. Firstly, the lyrics are so powerful and personal that it’s in a league of its own, with only the Meadowlands contending for best lyrics. Also, let’s not forget the excellence of the instrumentation, beautifully combining many different genres into one album. Musically, then, the album is brilliant, and was what caught my eye when listening for the first few times. After a while though, I began to appreciate the lyrics more and more, and now- and this is the only album I feel this way about- the lyrics are more important than the instrumentation.
One of the reasons why this album is high on my chart is how Peter Silberman has left the lyrics open for interpretation. The lyrics are often confusing at times, but this has allowed me to create my own version of the story, and so, I’ve had a real attachment to the album. And, of course, emotionally, this album is devastatingly beautiful. I always have to have a few minutes of reflection after hearing the album due to how intense it is.
This album takes dedication to listen to. It’s not one that you can put on to try and concentrate on work. However, I always feel listening is incredibly rewarding.
Best Moments:
2:30 to 3:50 in Kettering.
Chorus of Sylvia.
Chorus of Bear.
Intro of Shiva.
4:20 until the end of Wake.
But really, there aren’t any weak moments in the album at all. The whole album is one best moment. [First added to this chart: 09/27/2013]
What really is there to say about Hospice? Well, I will always know it for being the best concept album I’ve ever heard. It was one of the first albums I listened to when I began to listen to music seriously, and it struck me right at the first listen at how fantastic it was. Firstly, the lyrics are so powerful and personal that it’s in a league of its own, with only the Meadowlands contending for best lyrics. Also, let’s not forget the excellence of the instrumentation, beautifully combining many different genres into one album. Musically, then, the album is brilliant, and was what caught my eye when listening for the first few times. After a while though, I began to appreciate the lyrics more and more, and now- and this is the only album I feel this way about- the lyrics are more important than the instrumentation.
One of the reasons why this album is high on my chart is how Peter Silberman has left the lyrics open for interpretation. The lyrics are often confusing at times, but this has allowed me to create my own version of the story, and so, I’ve had a real attachment to the album. And, of course, emotionally, this album is devastatingly beautiful. I always have to have a few minutes of reflection after hearing the album due to how intense it is.
This album takes dedication to listen to. It’s not one that you can put on to try and concentrate on work. However, I always feel listening is incredibly rewarding.
Best Moments:
2:30 to 3:50 in Kettering.
Chorus of Sylvia.
Chorus of Bear.
Intro of Shiva.
4:20 until the end of Wake.
But really, there aren’t any weak moments in the album at all. The whole album is one best moment. [First added to this chart: 09/27/2013]
Year of Release:
2009
Appears in:
Rank Score:
5,437
Rank in 2009:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
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[First added to this chart: 05/02/2020]
Year of Release:
2002
Appears in:
Rank Score:
13,633
Rank in 2002:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Total albums: 12. Page 1 of 2
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Top 50 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
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|
|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 1 | 2% | |
| 1960s | 6 | 12% | |
| 1970s | 6 | 12% | |
| 1980s | 5 | 10% | |
| 1990s | 16 | 32% | |
| 2000s | 12 | 24% | |
| 2010s | 4 | 8% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Slint | 1 | 2% | |
| John Coltrane | 1 | 2% | |
| The Jimi Hendrix Experience | 1 | 2% | |
| The Wrens | 1 | 2% | |
| Black Sabbath | 1 | 2% | |
| Kendrick Lamar | 1 | 2% | |
| Townes Van Zandt | 1 | 2% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
27 | 54% | |
| |
13 | 26% | |
 |
3 | 6% | |
 |
1 | 2% | |
 |
1 | 2% | |
 |
1 | 2% | |
 |
1 | 2% | |
| Show all | |||
Top 50 Greatest Music Albums chart changes
| Biggest climbers |
|---|
| Up 2 from 50th to 48th Reign In Blood by Slayer |
| Up 2 from 49th to 47th Tago Mago by Can |
| Up 2 from 48th to 46th Turn On The Bright Lights by Interpol |
| New entries |
|---|
 Relationship Of Commandby At The Drive-In |
| Geogaddi by Boards Of Canada |
| Leavers |
|---|
 Écailles De Luneby Alcest |
| The Modern Lovers by The Modern Lovers |
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Top 50 Greatest Music Albums ratings
91/100 (from 77 votes)
where:
av = trimmed mean average rating an item has currently received.
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Showing latest 5 ratings for this chart. | Show all 77 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
100/100  | 02/10/2025 09:42 | SomethingSpecial | | 85/100 |
100/100 | 01/15/2025 17:03 | Exist-en-ciel | | 99/100 |
100/100 | 12/21/2022 21:03 |  Larcx13 | | 86/100 |
80/100 | 07/12/2020 01:10 | RioBravo | | 84/100 |
 95/100 | 06/18/2020 21:30 |  Rhyner | | 99/100 |
Rating metrics:
Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. This figure is provided as the trimmed mean. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. The mean average rating would be 50. However, ratings of 55, 50 & 45 could also result in the same average. The second average might be more trusted because there is more consensus around a particular rating (a lower deviation).
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This chart is rated in the top 2% of all charts on BestEverAlbums.com. This chart has a Bayesian average rating of 90.8/100, a mean average of 91.5/100, and a trimmed mean (excluding outliers) of 91.4/100. The standard deviation for this chart is 8.4.
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100/100
From Larcx13 12/21/2022 21:06
Larcx13 12/21/2022 21:06
Came here because I didn't like some of your album ratings lol.
Nice chart. Good work put in too. I'm sorry you have an easier time disliking albums I tend to find great, but glad we still have a few in Common... Good job on the 1 album per artist too.
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100/100
From 
EyeKanFly 06/18/2020 13:07
EyeKanFly 06/18/2020 13:07
Really awesome chart. So much thought put into all your comments, and I love the "top moments" idea rather than top tracks (which doesn't make sense for some albums with only 1-3 tracks). Definite favorite
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90/100
From 
StefanR10 06/18/2020 11:18
StefanR10 06/18/2020 11:18
I find it good there a albums i have and most of them i knew. Really good i give you a high rating for such classic music pieces.
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100/100
From Reppu1976 01/16/2019 01:13
Really nice chart!
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100/100
From 
DommeDamian 01/11/2018 10:55
DommeDamian 01/11/2018 10:55
Unique chart, thanks for the surprise of The Avalanches
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100/100
From 
JulianR 08/31/2017 05:19
JulianR 08/31/2017 05:19
I've gotta say... this is one of my favorite charts. Even with Muse at #1. The in depth reviews are great. And it's funny, I had the exact same idea for the best moments thing; I got so tired of seeing the "top three tracks:..." thins everywhere
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75/100
From RandolphCarterJr 07/15/2017 03:26
I was getting nervous till I saw Doolittle at 3. Solid and interesting chart.
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95/100
From 
Onater 07/15/2017 03:12
Onater 07/15/2017 03:12
Much better than I expected for a chart with Muse at #1
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90/100
From 
Davy 07/14/2017 21:00
Davy 07/14/2017 21:00
Mhm, great top 10 :D
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From benschrier00 07/14/2017 16:57
Really good chart, not only some of my favorites but also a reminder of some albums I've been meaning to check out. I really like the idea of "favorite moments" as well, and I especially agree with things like Sometimes from Loveless and the crescendo in Epitaph.
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