Top 100 Greatest Music Albums by 
Repo 
- Chart updated: 07/14/2023 11:15
- (Created: 06/17/2014 23:52).
- Chart size: 100 albums.
There are 51 comments for this chart from BestEverAlbums.com members and Top 100 Greatest Music Albums has an average rating of 95 out of 100 (from 72 votes). Please log in or register to leave a comment or assign a rating.
View the complete list of 53,000 charts on BestEverAlbums.com from The Charts page.
This chart is currently filtered to only show albums from the 1990s. (Remove this filter)
Buy album
- #Sponsored
THEY COULD HAVE BEEN AS BIG AS.... DEATH CAB FOR CUTIE!!!
Indie Rock used to be scary. I’m not shitting you. I was there! When bands like Jesus Lizard who would just as much fight you as play for you. At least it seemed that way. I mean the bass player would just give you this death stare for the entire concert. I never once saw that dude blink. Not once! And he was the sane one in the band. Yow would just randomly jump into the audience at times and start throwing punches. I’m not kidding. I was there! But, worse than his punch was the filthy sweat that used to come pouring off his body. You’d feel as if you’d been slimed. It was worse than playing shirts & skins basketball at high noon in August. You’d totally reek afterwards. Honestly, you never new what what he was going to happen. Going to an indie rock show was always part performance theater, part concert. It was a full on adventure. And that changed. This was before indie rock became synonymous with sensitive, over-educated college boys, and it was dominated by dudes on such labels as SST, Touch & Go, and Amphetamine Reptile. Bands like the Butthole Surfers and Big Black. These bands wanted to fuck shit up. I mean it was called Noise Rock for christ sake. And then the tides changed. Emo happened. And like a wild weed that gains root in an untended garden, it just took over everything. And indie rock became … gulp,… downright huggable & lovable. Adorable even. Garden State took over as the best representative movie of the scene as opposed to my beloved Repo Man. Sigh.
Annyways…. one of the key bands that played a role in that change were Death Cab For Cutie. And don’t get me wrong. I adore Death Cab! Well at least their first three albums. I really do. And then Ben Gibbard started writing songs as if he was soundtracking The O.C. or something.
But Pinback, whose debut came out just a year after Death Cab’s were every bit as good. If not better. They sounded so similar that some people (I won’t name names or anything) actually think that they pilfered Death Cab’s sound! Hogwash. Pinback have even gone on record saying that they had never even heard of Death Cab back in 1999. And I believe ‘em! I’ve noticed over the course of rock/pop history that eerily similar sounds often develop concurrently yet completely independently. It’s kind of fascinating. (Rate Your Music calls this shade of Indie Pop “Midwest Emo" for what’s its worth. I learned something new today! lol. )
Pinback's debut is chock full of stunning, resonant, emotive, catchy indie pop with their calling card being the beautiful entwined harmonies of Rob Crow and Armistead Burwell Smith IV. But just about every song has a subtle secret weapon as well. Whether it be the badass speed metal kick drums on “Chaos Engine” or the diabolical, lullaby worthy chorus on “Shag.” The subtle scratching on “Tripoi" & “Hurley.” Or the irresistible da da da dada harmonies on “Loro”. These subtle touches & details completely reward repeat spins. But of course what keeps you coming back for more are those harmonies… and the songs - those insanely catchy, hummable songs.
Grade: A. This is easily one of the best Indie Pop albums of the turn of the century. They’re every bit as good as Death Cab’s early albums if not a smidge or two better. It’s always interesting to me how some bands make it and others don’t. And if you yearn for Death Cab’s early days even a bit, then you need to check this platter out. They really should have been just as big. Maybe if they were just a bit cuter! Or new the executive producer of Dawson’s Creek was a fan. Anyways, I’m going to snuggle up with their adorable debut as it emotes its way all the way to number 14! [First added to this chart: 08/04/2017]
Indie Rock used to be scary. I’m not shitting you. I was there! When bands like Jesus Lizard who would just as much fight you as play for you. At least it seemed that way. I mean the bass player would just give you this death stare for the entire concert. I never once saw that dude blink. Not once! And he was the sane one in the band. Yow would just randomly jump into the audience at times and start throwing punches. I’m not kidding. I was there! But, worse than his punch was the filthy sweat that used to come pouring off his body. You’d feel as if you’d been slimed. It was worse than playing shirts & skins basketball at high noon in August. You’d totally reek afterwards. Honestly, you never new what what he was going to happen. Going to an indie rock show was always part performance theater, part concert. It was a full on adventure. And that changed. This was before indie rock became synonymous with sensitive, over-educated college boys, and it was dominated by dudes on such labels as SST, Touch & Go, and Amphetamine Reptile. Bands like the Butthole Surfers and Big Black. These bands wanted to fuck shit up. I mean it was called Noise Rock for christ sake. And then the tides changed. Emo happened. And like a wild weed that gains root in an untended garden, it just took over everything. And indie rock became … gulp,… downright huggable & lovable. Adorable even. Garden State took over as the best representative movie of the scene as opposed to my beloved Repo Man. Sigh.
Annyways…. one of the key bands that played a role in that change were Death Cab For Cutie. And don’t get me wrong. I adore Death Cab! Well at least their first three albums. I really do. And then Ben Gibbard started writing songs as if he was soundtracking The O.C. or something.
But Pinback, whose debut came out just a year after Death Cab’s were every bit as good. If not better. They sounded so similar that some people (I won’t name names or anything) actually think that they pilfered Death Cab’s sound! Hogwash. Pinback have even gone on record saying that they had never even heard of Death Cab back in 1999. And I believe ‘em! I’ve noticed over the course of rock/pop history that eerily similar sounds often develop concurrently yet completely independently. It’s kind of fascinating. (Rate Your Music calls this shade of Indie Pop “Midwest Emo" for what’s its worth. I learned something new today! lol. )
Pinback's debut is chock full of stunning, resonant, emotive, catchy indie pop with their calling card being the beautiful entwined harmonies of Rob Crow and Armistead Burwell Smith IV. But just about every song has a subtle secret weapon as well. Whether it be the badass speed metal kick drums on “Chaos Engine” or the diabolical, lullaby worthy chorus on “Shag.” The subtle scratching on “Tripoi" & “Hurley.” Or the irresistible da da da dada harmonies on “Loro”. These subtle touches & details completely reward repeat spins. But of course what keeps you coming back for more are those harmonies… and the songs - those insanely catchy, hummable songs.
Grade: A. This is easily one of the best Indie Pop albums of the turn of the century. They’re every bit as good as Death Cab’s early albums if not a smidge or two better. It’s always interesting to me how some bands make it and others don’t. And if you yearn for Death Cab’s early days even a bit, then you need to check this platter out. They really should have been just as big. Maybe if they were just a bit cuter! Or new the executive producer of Dawson’s Creek was a fan. Anyways, I’m going to snuggle up with their adorable debut as it emotes its way all the way to number 14! [First added to this chart: 08/04/2017]
2
Buy album
- #Sponsored
THE PROFESSIONALS
Sha la la la la… (Baby, It’s You)
Do Be Do Be Do... (Everybody Loves a Lover)
They were just regular-old boy crazy teenagers like the rest of us. Talked into entering the talent show by their music teacher supposedly. Luckily for all of us, they were positively obsessed with the local radio R&B station WWRL, so they decided to write a song. Their own song. “I Met Him on A Sunday.” And what happened next, they never could have imagined. A random girl in their high school positively LOVED the song. And knew her Mom - Florence “Force of Nature” Greenberg — was looking to break into the music business. So our heroines auditioned for her. In Florence’s banal living room. And that was it. Life took over. The situation was out of their control. Because the was not Florence Greenberg. This was Florence “Veritable Force of Nature” Greenberg. And you pretty much had to be for a woman in the late 1950s to her very own DIY record label - Scepter Records. She was indie way before there was indie. I mean she makes Ian Mackay look like a freakin’ slacker.
You see Florence Greenberg was positively enamored with the music industry. Once her children got into high school in the NYC suburb of Passaic , she’d got pulled into the gravitational field of Manhatten. And hang out at this place called The Turf. It had the besets location in the whole world as far as Florence was concerned - right next door to the Brill Building. So she’s hang there. Talking to songwriters at times, but mostly just soaking in its energy. The excitement. The chaos. All these people hustling songs. It was filled with life. Producers from the nearby Brill Building would just stop in and yell ”We Need a bass player! Who plays bass?” It must have been positively delirious.Especially for a housewife from Jersey.
The Shirelle girls themselves never wrote another hit. It didn’t matter. The machinery was in place. The professionals of The Brill Building were brought in. Producer Luther Dixon moved in. And he and the songwriters from the Brill building such as Gooff-King became chiefly responsible for the rest of their hits. Hell, even Mrs. Greenberg herself helped write one.
And that was good thing! Because while “I Met Him a on Sunday” is a cute boy crush song, it honestly doesn’t hold a candle to the rest of the cuts on this comp. The attention to detail, the choruses, the sense of humor - the writing is top notch through & through - and you immediately know why the Brill Building became legendary. And you value the work of the professionals.
But what makes The Shirelles so god honestly notable is the little things . The things that take guts. Add just enough daring. How they paint outside the lines of a traditional pop songs. Add just enough snarling proto-punk attitude and city smarts to their songs. And that’s the key to a great POP song. Give us the sticky sweet but also a little something extra. Something with heart. Something creative. Something just a bit deferent so that it gets you noticed.
And that’s mostly due to Florence. I mean she’s the one who knew NOT to mess with “Louie, Louie” by The Kingsmen despite the fact that the one microphone for the vocals was not working. The vocals instead just bled into the instrumental mic. And she had the ear to realize that THAT’S what made it exceptional. What made it cool.
Tomorrow is his wedding day and you’ll keep quiet if your smart! (Foolish Little Girl)
Grade: A- It’s crazy. I mean I knew the girl groups were a huge influence on punk and all. You can’t be a record geek and not know that. But I never knew how positively porto-punk some of these songs were. The opening belted line of “Dedicated To The One I Love” is positively New York Dollish. In fact, David Johnason’ entire personna seems to be culled together from snippets of these songs. Or take a looksie at stuff like the taunting, chiding refrain “tomorrow is his wedding day and you’ll keep quiet if your smart” from “Foolish Little Girl”. It’s meta way before there was meta. It’s like something lifted straight from KD’s music diary. Or The Leftovers for that matter. It makes me giddy to hear the roots of punk in these here songs. That inimitable New York City attitude. So do yourself a favor this Christmas season and don’t wait as long I did to figure that out. Because this shit is porto-punk gold. [First added to this chart: 02/27/2018]
Sha la la la la… (Baby, It’s You)
Do Be Do Be Do... (Everybody Loves a Lover)
They were just regular-old boy crazy teenagers like the rest of us. Talked into entering the talent show by their music teacher supposedly. Luckily for all of us, they were positively obsessed with the local radio R&B station WWRL, so they decided to write a song. Their own song. “I Met Him on A Sunday.” And what happened next, they never could have imagined. A random girl in their high school positively LOVED the song. And knew her Mom - Florence “Force of Nature” Greenberg — was looking to break into the music business. So our heroines auditioned for her. In Florence’s banal living room. And that was it. Life took over. The situation was out of their control. Because the was not Florence Greenberg. This was Florence “Veritable Force of Nature” Greenberg. And you pretty much had to be for a woman in the late 1950s to her very own DIY record label - Scepter Records. She was indie way before there was indie. I mean she makes Ian Mackay look like a freakin’ slacker.
You see Florence Greenberg was positively enamored with the music industry. Once her children got into high school in the NYC suburb of Passaic , she’d got pulled into the gravitational field of Manhatten. And hang out at this place called The Turf. It had the besets location in the whole world as far as Florence was concerned - right next door to the Brill Building. So she’s hang there. Talking to songwriters at times, but mostly just soaking in its energy. The excitement. The chaos. All these people hustling songs. It was filled with life. Producers from the nearby Brill Building would just stop in and yell ”We Need a bass player! Who plays bass?” It must have been positively delirious.Especially for a housewife from Jersey.
The Shirelle girls themselves never wrote another hit. It didn’t matter. The machinery was in place. The professionals of The Brill Building were brought in. Producer Luther Dixon moved in. And he and the songwriters from the Brill building such as Gooff-King became chiefly responsible for the rest of their hits. Hell, even Mrs. Greenberg herself helped write one.
And that was good thing! Because while “I Met Him a on Sunday” is a cute boy crush song, it honestly doesn’t hold a candle to the rest of the cuts on this comp. The attention to detail, the choruses, the sense of humor - the writing is top notch through & through - and you immediately know why the Brill Building became legendary. And you value the work of the professionals.
But what makes The Shirelles so god honestly notable is the little things . The things that take guts. Add just enough daring. How they paint outside the lines of a traditional pop songs. Add just enough snarling proto-punk attitude and city smarts to their songs. And that’s the key to a great POP song. Give us the sticky sweet but also a little something extra. Something with heart. Something creative. Something just a bit deferent so that it gets you noticed.
And that’s mostly due to Florence. I mean she’s the one who knew NOT to mess with “Louie, Louie” by The Kingsmen despite the fact that the one microphone for the vocals was not working. The vocals instead just bled into the instrumental mic. And she had the ear to realize that THAT’S what made it exceptional. What made it cool.
Tomorrow is his wedding day and you’ll keep quiet if your smart! (Foolish Little Girl)
Grade: A- It’s crazy. I mean I knew the girl groups were a huge influence on punk and all. You can’t be a record geek and not know that. But I never knew how positively porto-punk some of these songs were. The opening belted line of “Dedicated To The One I Love” is positively New York Dollish. In fact, David Johnason’ entire personna seems to be culled together from snippets of these songs. Or take a looksie at stuff like the taunting, chiding refrain “tomorrow is his wedding day and you’ll keep quiet if your smart” from “Foolish Little Girl”. It’s meta way before there was meta. It’s like something lifted straight from KD’s music diary. Or The Leftovers for that matter. It makes me giddy to hear the roots of punk in these here songs. That inimitable New York City attitude. So do yourself a favor this Christmas season and don’t wait as long I did to figure that out. Because this shit is porto-punk gold. [First added to this chart: 02/27/2018]
Buy album
- #Sponsored
HEROIN CHIC
Kendra Smith hurled her guitar to the stage. She had had it. The constant, tedious grind of touring. Being worshipped by strangers. All of it. It was too much. She didn’t want it anymore. “Fuck this mousetrap”, she mumbled to herself. ”I’m going to live off the grid.” And you know what? She did!
And that was probably the best thing that ever happened to David Roback’s already fairly stellar career. Because he had already found “HER” - discovered her through a friend of a friend playing on a demo tape as part of some unheard of local folk duo that still no one’s heard of (Going Home if you’re really curious. But, they never even released an album! I mean it’s the indie rock equivalent of American Idol). The youngest of 60 some odd siblings, Hope was a pint sized, exotic Mexican beauty with pouty lips to die for. Let’s put it this way. Jimmy Reid - & I know you're reading this, brother - You’re a lucky, lucky man!
Quite simply, Hope Sandoval was born to be a rock star. She just had that indefinable IT. And her timing entering the scene was pitch perfect. She was the perfect diva for early 90s grunge. Part of her charm was she really, truly didn’t give a shit. It wasn't some calculated move. She really, truly didn’t give a shit. And she came to epitomize the “it” fashion statement of the day. The fashion look that had the prepubescent, waif looks of the Kate Moss & Jamie King staring down at us from like a hundred million billboards. Heroin chic they called it. And the singing of Hope Sandoval and music of Mazzy Star was its soundtrack. Because Hope sang Rip Van Winkle style - a lazy, laconic cotton mouth drawl as if as if each note was going to be her last before falling a slumber for a hundred years or more. A true sleeping beauty if there ever was one.
At any rate she was the missing ingredient. Don’t get me wrong. Opal were good. Damn good. (especially check out their earliest recordings compiled on, you got it it - [i]Early recordings[/i].) And Kendra Smith had one more beguiling solo album in her - the aptly titled[i] Five Ways of Disappearing[/i] - before blithely disappearing into the California woods to organic farm on her country cabin with nothing but her music and her cats. (Yo! Kendra! If you ever want company… well, you know who to call! :wink: )
But Mazzy Star were far better. Hope was just the perfect compliment to Robach’s Doors meets Velvet Underground sound rufied just a bit with that Jesus & Mary Chain’s classic wall of fuzz. We’re talking drugs here boys & girls! Druggy. Laconic, hazey, etc… And Mazzy Star were druggy as hell.
And just as impressive as the sound they perfected on this album is the sheer scope of it. No two songs sound the same. It was as if Robach was determined to make THE grunge palette on these ten songs. Whether it be Hope channeling her inner Kirsten Hersch on “Into Dust” (my personal fave among an album full of them) or the duo going primal & full on Pub Rock on the positively AC/DCian Wasted.
Grade: A. It’s no coincidence that Mazzy Star and Julee Cruise were recommended to me within hours of each other. Just as I was to start binging on Twin Peaks (yet again) to get ready for season 3. Because both are the perfect Lynchian artists. Both would be the perfect band to catch at The Roadhouse on some Saturday night. And [i]So Tonight That I May See[/i] was the epitome of heroin chic. Alice’s In Chain’s Dirt comes damn close, but this is easily the best. Channeling The Velvet Underground’s debut and The Door’s psychedelic lazy debauchery into the grunge aesthetic. No other album quite competes. And make no mistake about it. This is grunge. Classic grunge. One of the essential grunge albums that solidified the scene while expanding its palette as far back as MazzyShe Hangs Brightly with its feedback laced guitars. Music that fell into itself. Imploding as opposed to exploding. And this album laconically drawls it way oh so sleepily to number 25. [First added to this chart: 10/03/2017]
Kendra Smith hurled her guitar to the stage. She had had it. The constant, tedious grind of touring. Being worshipped by strangers. All of it. It was too much. She didn’t want it anymore. “Fuck this mousetrap”, she mumbled to herself. ”I’m going to live off the grid.” And you know what? She did!
And that was probably the best thing that ever happened to David Roback’s already fairly stellar career. Because he had already found “HER” - discovered her through a friend of a friend playing on a demo tape as part of some unheard of local folk duo that still no one’s heard of (Going Home if you’re really curious. But, they never even released an album! I mean it’s the indie rock equivalent of American Idol). The youngest of 60 some odd siblings, Hope was a pint sized, exotic Mexican beauty with pouty lips to die for. Let’s put it this way. Jimmy Reid - & I know you're reading this, brother - You’re a lucky, lucky man!
Quite simply, Hope Sandoval was born to be a rock star. She just had that indefinable IT. And her timing entering the scene was pitch perfect. She was the perfect diva for early 90s grunge. Part of her charm was she really, truly didn’t give a shit. It wasn't some calculated move. She really, truly didn’t give a shit. And she came to epitomize the “it” fashion statement of the day. The fashion look that had the prepubescent, waif looks of the Kate Moss & Jamie King staring down at us from like a hundred million billboards. Heroin chic they called it. And the singing of Hope Sandoval and music of Mazzy Star was its soundtrack. Because Hope sang Rip Van Winkle style - a lazy, laconic cotton mouth drawl as if as if each note was going to be her last before falling a slumber for a hundred years or more. A true sleeping beauty if there ever was one.
At any rate she was the missing ingredient. Don’t get me wrong. Opal were good. Damn good. (especially check out their earliest recordings compiled on, you got it it - [i]Early recordings[/i].) And Kendra Smith had one more beguiling solo album in her - the aptly titled[i] Five Ways of Disappearing[/i] - before blithely disappearing into the California woods to organic farm on her country cabin with nothing but her music and her cats. (Yo! Kendra! If you ever want company… well, you know who to call! :wink: )
But Mazzy Star were far better. Hope was just the perfect compliment to Robach’s Doors meets Velvet Underground sound rufied just a bit with that Jesus & Mary Chain’s classic wall of fuzz. We’re talking drugs here boys & girls! Druggy. Laconic, hazey, etc… And Mazzy Star were druggy as hell.
And just as impressive as the sound they perfected on this album is the sheer scope of it. No two songs sound the same. It was as if Robach was determined to make THE grunge palette on these ten songs. Whether it be Hope channeling her inner Kirsten Hersch on “Into Dust” (my personal fave among an album full of them) or the duo going primal & full on Pub Rock on the positively AC/DCian Wasted.
Grade: A. It’s no coincidence that Mazzy Star and Julee Cruise were recommended to me within hours of each other. Just as I was to start binging on Twin Peaks (yet again) to get ready for season 3. Because both are the perfect Lynchian artists. Both would be the perfect band to catch at The Roadhouse on some Saturday night. And [i]So Tonight That I May See[/i] was the epitome of heroin chic. Alice’s In Chain’s Dirt comes damn close, but this is easily the best. Channeling The Velvet Underground’s debut and The Door’s psychedelic lazy debauchery into the grunge aesthetic. No other album quite competes. And make no mistake about it. This is grunge. Classic grunge. One of the essential grunge albums that solidified the scene while expanding its palette as far back as MazzyShe Hangs Brightly with its feedback laced guitars. Music that fell into itself. Imploding as opposed to exploding. And this album laconically drawls it way oh so sleepily to number 25. [First added to this chart: 10/03/2017]
Year of Release:
1993
Appears in:
Rank Score:
2,338
Rank in 1993:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
Total albums: 3. Page 1 of 1
Don't agree with this chart? Create your own from the My Charts page!
Top 100 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 1 | 1% | |
| 1950s | 3 | 3% | |
| 1960s | 9 | 9% | |
| 1970s | 29 | 29% | |
| 1980s | 37 | 37% | |
| 1990s | 3 | 3% | |
| 2000s | 9 | 9% | |
| 2010s | 9 | 9% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Real Estate | 3 | 3% | |
| Beach House | 2 | 2% | |
| Scorpions | 2 | 2% | |
| Bert Jansch | 2 | 2% | |
| Bob Dylan | 2 | 2% | |
| Townes Van Zandt | 2 | 2% | |
| Saint Vitus | 2 | 2% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
49 | 49% | |
 |
29 | 29% | |
 |
5 | 5% | |
 |
4 | 4% | |
 |
3 | 3% | |
 |
2 | 2% | |
 |
2 | 2% | |
| Show all | |||
Top 100 Greatest Music Albums chart changes
| Biggest climbers |
|---|
| Up 88 from 94th to 6th Self Portrait by Bob Dylan |
| Up 81 from 93rd to 12th Fading Frontier by Deerhunter |
| Up 43 from 62nd to 19th Cluster & Eno by Cluster & Eno |
| Biggest fallers |
|---|
| Down 39 from 60th to 99th Rock Until You Drop by Raven (UK) |
| Down 4 from 16th to 20th Hank Williams Sings by Hank Williams With His Drifting Cowboys |
| Down 4 from 17th to 21st Johnny Burnette And The Rock N' Roll Trio by Johnny Burnette & The Rock 'n Roll Trio |
| New entries |
|---|
 Midnight Blueby Kenny Burrell |
Top 100 Greatest Music Albums similar charts
- No Bullshit: Repo's Top Metal Albums! by Repo (2023)
- Favorite 1980s Metal Albums by
NoisyBeast (2017) - Top 34 Music Albums of the 1970s by Repo (2020)
- The Hitchhiker's Guide To The New Wave Of British Heavy Metal by
MW19704U (2024) - Favorite 1980s Metal Albums II by NoisyBeast (2017)
- Top 100 80's Hard Rock Albums by saltysurprise (2020)
- Top 78 Music Albums of 1984 by vruslov (2021)
- 1980: Metal by Repo (2023)
- NWOBHM (1979-1984) by Repo (2023)
- 1982: Metal by Repo (2024)
Top 100 Greatest Music Albums similarity to your chart(s)
Not a member? Registering is quick, easy and FREE!
Why register?
Join a passionate community of over 50,000 music fans.- Create & share your own charts.
- Have your say in the overall rankings.
- Post comments in the forums and vote on polls.
- Comment on or rate any album, artist, track or chart.
- Discover new music & improve your music collection.
- Customise the overall chart using a variety of different filters & metrics.
- Create a wishlist of albums.
- Help maintain the BEA database.
- Earn member points and gain access to increasing levels of functionality!
- ... And lots more!
Register now - it only takes a moment!
Top 100 Greatest Music Albums ratings
95/100 (from 72 votes)
where:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
Showing latest 5 ratings for this chart. | Show all 72 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 85/100  | 10/09/2023 08:40 | Moondance | | 84/100 |
| 85/100 | 10/28/2022 03:30 | mianfei | | 61/100 |
| 100/100 | 08/29/2022 05:28 |  seb7 | | 91/100 |
| 100/100 | 06/20/2022 08:31 |  Applerill | | 75/100 |
| 100/100 | 04/04/2022 13:11 |  arthurbittencour | | 90/100 |
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).
(*In practice, some charts can have several thousand ratings)
This chart is rated in the top 1% of all charts on BestEverAlbums.com. This chart has a Bayesian average rating of 95.2/100, a mean average of 95.2/100, and a trimmed mean (excluding outliers) of 96.5/100. The standard deviation for this chart is 9.2.
Please log in or register if you want to be able to leave a rating
Top 100 Greatest Music Albums favourites
Showing latest 20 members who have added this chart as a favourite | Show all 25 members
Top 100 Greatest Music Albums comments
Showing latest 10 comments | Show all 51 comments |
Most Helpful First | Newest First | Maximum Rated First |
Longest Comments First
(Only showing comments with -2 votes or higher. You can alter this threshold from your profile page. Manage Profile)
100/100
From 
DommeDamian 10/09/2023 09:56
DommeDamian 10/09/2023 09:56
Have I ever properly thanked you for making me check out Mazzy Star, Yo La Tengo, Real Estate early 70s-era Dylan, as well as revisiting Townes Van Zandt? Either way, thank you again.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From Foxforce5 06/28/2023 09:46
There are 3 elements to a great chart for me.
1. Some great words to tell us why the album is there.
2. A similar taste to your own - a musical message in a bottle
3. Some new picks for my own wish list.
This chart is bristling with new recommendations for my playlist. Whole genres I’ve never explored.
2 out of 3 ain’t bad.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
85/100
From mianfei 10/28/2022 03:50
One really interesting and diverse list, quite unlike anything I have ever seen here or anywhere else! Many very unusual choices and genres make this a great list. The chart has virtually nothing in common with my own chart or other lists by major magazines, Joe S. Harrington, David Keenan or Piero Scaruffi.
The notes are better than anything I have seen outside of Harrington or Keenan, too.
A minor quibble of mine is the way in which albums of the same genre are clustered together. (When I see that I always wonder if the compiler is not being careful enough to be sure they are being ranked as accurately as thought possible.) even with this reservation, it is an exceptionally interesting and well-written list.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From DommeDamian 10/25/2022 08:24
DommeDamian 10/25/2022 08:24
Still wanna the greatest charts ever made on both this site and others like RYM. I think you've inspired me to do the same one day by making a chart of lesser known records, and outta those picks, create an alternate universe so flamboyant, colorful, and exciting based on descriptions and stuff.
I think something in the beautiful Donovan description summed it up "these songs doesn't know that radio exists", because some of the favorites on this chart raises this question; what would musicians/artists do if radio never existed". The answer lies in that they probably would make something so flamboyantly authentic as a lotta these wondrous records, and we could only listen to music by hand and choice etc.
God bless!
Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
85/100
From Moondance 10/24/2022 03:20
What I like about this chart:
1. we have ZERO albums in common:
2. we have only 4 artists in common, and that may very well become 1 artist in common when I do a review of my chart over the next month;
3. the 1 artist we have in common is Dylan - although our album preferences differ significantly (I am sure that doesn't come as any surprise - you can check out my '64 Dylan albums rated' chart if you have time :));
4. this chart oozes someone who actually breathes, eats, smells, tastes, touches, feels music more than hears it;
5. knowing the effort needed to make even short comments on album choices, the EFFORT in this chart is EXTRAordinary;
6. rather than a regurgitation of the BEA top 100, this chart has only 6 albums rated in the top 1000! and the highest ranking album is at #197 on the overall chart;
7. this chart actually made me go on a wild musical album/artist discovery hunt - I didn't actually find anything that I 'fell in love with' but sometimes the journey is more valuable than the end point ~ at least it gave me a few hours of hope; that maybe out there, somewhere, there is an artist/album undiscovered in my musical universe who will excite me in ways that I cannot explain;
8. ...and finally, the 2 Australian albums - excellent choices!
Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)
100/100
From seb7 08/29/2022 05:28
seb7 08/29/2022 05:28
super frikin interesting. love this chart!!!
Helpful? (Log in to vote) | 0 votes (1 helpful | 1 unhelpful)
100/100
From 
SuedeSwede 07/11/2022 09:17
SuedeSwede 07/11/2022 09:17
naang naang!! <3 hope ur doing well friend
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From seb7 02/16/2022 00:47
seb7 02/16/2022 00:47
man this is great. I can't even say I agree with A SINGLE ONE of your picks but damn this is very well put together chart. Just the passion you seem to have for music is insane and I love it!!!
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From 
Timestarter 08/05/2021 09:25
Timestarter 08/05/2021 09:25
What a unique list :)
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
90/100
From 
StefanR10 04/03/2021 23:24
StefanR10 04/03/2021 23:24
Interesting choices, the number 1 is very unique and the rest is metal at the most. I know much of them and i like them some kind of diversive chart. Nice to see such things here.
Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)
Please log in or register if you want to be able to add a comment
Your feedback for Top 100 Greatest Music Albums
Let us know what you think of this chart by adding a comment or assigning a rating below!
If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker.
A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.
A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.