Top 40 Greatest Music Albums
by Max15 
Changes plus more comments when I can be arsed
- Chart updated: 04/04/2015 19:45
- (Created: 06/25/2014 16:02).
- Chart size: 40 albums.
There are 6 comments for this chart from BestEverAlbums.com members and Top 40 Greatest Music Albums has an average rating of 89 out of 100 (from 7 votes). Please log in or register to leave a comment or assign a rating.
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Brought with a spare tenner from HMV about 2 years ago. Had never heard of the band or the album, I just liked the cover. The other albums that I got that day didn't get a look in for months afterwards, as I was too caught up in this sprawling fuzz folk epic. Like all the greatest pieces of Art, this allows obsession, and despite getting close time and again to the answer behind, it can never be figured out. The way this album came into my life and the mythology behind its main creator only add to this.
An album that is extremely surreal but still one of the most human that I have ever heard. Oh Sister, an outtake from this album, might be one of my favourite Neutral Milk Hotel songs, but I still wouldn't include it on this album as the album feels like one big song in its self. An Indie Rock Symphony.
"Can't believe how strange it is to be anything at all" [First added to this chart: 06/25/2014]
An album that is extremely surreal but still one of the most human that I have ever heard. Oh Sister, an outtake from this album, might be one of my favourite Neutral Milk Hotel songs, but I still wouldn't include it on this album as the album feels like one big song in its self. An Indie Rock Symphony.
"Can't believe how strange it is to be anything at all" [First added to this chart: 06/25/2014]
Year of Release:
1998
Appears in:
Rank Score:
32,848
Rank in 1998:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Just like Aeroplane, there's something about this album that continually brings me back. Although it is arguably not the most consistent Dylan release, there's something under the surface, some kind of magic that takes this release to the next level. Everything pulls together on here, the bands "thin, wild mercury" sound are the perfect canvas for Dylan's poetry. Bobs voice is something that's often attacked, but I feel is vastly under appreciated. Limited in range, but he can twist it in so many ways to communicate the words he is delivering, and the constant stoned exhausted slur adapted here goes hand in hand with both the words and music
One of Dylan's biggest influences, particularly during his "electric trilogy", was the French poet Arthur Rimbaud. Rimbaud famously said that to be a poet, "the problem is to attain the the unknown by disorganising all the senses." Blonde on Blonde was the closest Dylan came to the edge before his motorcycle crash in 1966, and maybe that's why it is so special. Dylan at has most twisted wrote about the visions that appeared in the distortion of his mind, and backed by a group of insanely talented musicians, managed to work these visions into one of the most original and beautifully mysterious albums ever produced.
Bob Dylan will always be my favourite artist because for 50 years it feels like he has employed and became more than one artist. The Visionary one day The Protest Singer the next. Defiant to resigned, loving to lovesick, with every kind of music backing what he's trying to portray. The fact that I dislike some of these styles only makes me love him more, as I know he's only doing what he feels like doing and couldn't give two shits what anyone thinks.
"With your silhouette when the sunlight dims
Into your eyes where the moonlight swims
And your matchbook songs and your gypsy hymns
Who among them would try to impress you?" [First added to this chart: 06/25/2014]
One of Dylan's biggest influences, particularly during his "electric trilogy", was the French poet Arthur Rimbaud. Rimbaud famously said that to be a poet, "the problem is to attain the the unknown by disorganising all the senses." Blonde on Blonde was the closest Dylan came to the edge before his motorcycle crash in 1966, and maybe that's why it is so special. Dylan at has most twisted wrote about the visions that appeared in the distortion of his mind, and backed by a group of insanely talented musicians, managed to work these visions into one of the most original and beautifully mysterious albums ever produced.
Bob Dylan will always be my favourite artist because for 50 years it feels like he has employed and became more than one artist. The Visionary one day The Protest Singer the next. Defiant to resigned, loving to lovesick, with every kind of music backing what he's trying to portray. The fact that I dislike some of these styles only makes me love him more, as I know he's only doing what he feels like doing and couldn't give two shits what anyone thinks.
"With your silhouette when the sunlight dims
Into your eyes where the moonlight swims
And your matchbook songs and your gypsy hymns
Who among them would try to impress you?" [First added to this chart: 06/25/2014]
Year of Release:
1966
Appears in:
Rank Score:
24,966
Rank in 1966:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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This album could very well move far down this chart as I only brought it a month ago, but for the time being it's staying here, as it's practically all I've been listening to lately.
While Let It Bleed was an album concerned with the darker side and collapse of the Hippie dream, it was still an album very much "in the 60's", and there was still a slither of peace and love running through it. Exile On Main Street too, was a dark album, however the Stones feel very much connected musically, and the South of France location can be heard in the songs. Sticky Fingers is very much an album from the road, a piece created between the end of an era at Altamont and the mid-exile sanctuary at Nellcote. Because it is created between these two spiritual homes, it feels much darker, lost and disconnected than the relapses between, and that's what makes it sound so great.
The blues and country that have influenced the Stones so much are at full force here. Songs like Wild Horses, Sister Morphine and Moonlight Mile are Mick and Keith allowing the mask to slip as to whether the life of drugs and sex might be catching up, and contemplating whether the road is as romantic as it once was. The Hard Blues is still here though, with Keith kicking out some of his best riffs on Brown Sugar, Bitch and Can't You Hear Me Knocking. There isn't a bad song on this album, and they all seem to connect in a very organic way, with the perfect ratio of all out loud rock and solum junkie ballads. This seems like the Stones at their darkest, but also most honest. The braggadocios swagger of certain tracks comes across as a thinly veiled boast in the context of the album, and that makes it all the sadder. The closest the Stones ever came to a true Blues album, thematically, lyrically and sonically.
"The sound of strangers sending nothing to my mind
Just another mad mad day on the road
I am just living to be lying by your side
But I'm just about a moonlight mile on down the road" [First added to this chart: 06/25/2014]
While Let It Bleed was an album concerned with the darker side and collapse of the Hippie dream, it was still an album very much "in the 60's", and there was still a slither of peace and love running through it. Exile On Main Street too, was a dark album, however the Stones feel very much connected musically, and the South of France location can be heard in the songs. Sticky Fingers is very much an album from the road, a piece created between the end of an era at Altamont and the mid-exile sanctuary at Nellcote. Because it is created between these two spiritual homes, it feels much darker, lost and disconnected than the relapses between, and that's what makes it sound so great.
The blues and country that have influenced the Stones so much are at full force here. Songs like Wild Horses, Sister Morphine and Moonlight Mile are Mick and Keith allowing the mask to slip as to whether the life of drugs and sex might be catching up, and contemplating whether the road is as romantic as it once was. The Hard Blues is still here though, with Keith kicking out some of his best riffs on Brown Sugar, Bitch and Can't You Hear Me Knocking. There isn't a bad song on this album, and they all seem to connect in a very organic way, with the perfect ratio of all out loud rock and solum junkie ballads. This seems like the Stones at their darkest, but also most honest. The braggadocios swagger of certain tracks comes across as a thinly veiled boast in the context of the album, and that makes it all the sadder. The closest the Stones ever came to a true Blues album, thematically, lyrically and sonically.
"The sound of strangers sending nothing to my mind
Just another mad mad day on the road
I am just living to be lying by your side
But I'm just about a moonlight mile on down the road" [First added to this chart: 06/25/2014]
Year of Release:
1971
Appears in:
Rank Score:
16,940
Rank in 1971:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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"And after the funeral out there in LaVarne
They all gathered around when I picked up a guitar
They fell into a trance as I sang and I played
And outside the frogs croaked and the mantises prayed" [First added to this chart: 04/04/2015]
They all gathered around when I picked up a guitar
They fell into a trance as I sang and I played
And outside the frogs croaked and the mantises prayed" [First added to this chart: 04/04/2015]
Year of Release:
2014
Appears in:
Rank Score:
4,438
Rank in 2014:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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In a way, I think this is very much Nirvana's Sticky Fingers, in that it is a perfect blend of two of the bands main sounds, one being more subtle and slower pop tunes and the other being fuzzed out punk rock. Whereas Bleach was abrasive and Nevermind was polished, In Utero synthesised the two and came out as the one that the band had always wanted to make. With each studio album, my opinion is that Nirvana grew, progressed and made better music. That is one of the many sad things about this album, as based on demos and the brilliant Unplugged concert, Nirvana would have only carried on creating brilliant records, and the LP that came after In Utero had the potential to be even better and more advanced than this one.
Depression runs through a lot of the songs on this, but the one that is the saddest is the acceptance on certain tracks, particularly All Apologies and the one track recorded after the release of this album, You Know Your Right. It feels like Cobain knew that his life wouldn't last long after this album, and the placing of All Apologies as the last song makes this whole release seem like a self created requiem, released 8 months before the death of its key creator.
"You can't fire me because I quit" [First added to this chart: 06/25/2014]
Depression runs through a lot of the songs on this, but the one that is the saddest is the acceptance on certain tracks, particularly All Apologies and the one track recorded after the release of this album, You Know Your Right. It feels like Cobain knew that his life wouldn't last long after this album, and the placing of All Apologies as the last song makes this whole release seem like a self created requiem, released 8 months before the death of its key creator.
"You can't fire me because I quit" [First added to this chart: 06/25/2014]
Year of Release:
1993
Appears in:
Rank Score:
17,548
Rank in 1993:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Characters have always been a big part of Dylan's songwriting. From the romanticisation and vilification of real life people such as Hurricane Carter, William Zantzinger, Lenny Bruce. The use of women's names to show the joy and pains of love, Isis, Johanna, Ramona. The invention of heroic men facing all too real trauma, John and Hollis Brown. The surreal inventions of the one eyed midget to the motorcycle black Madonna two wheeled gypsy queen, and all the historical figures that exist on the this strange canvas. The biblical saints and sinners of John Wesley Hardin and the twisted rich girls and music journalists on Highway 61. Many would see Blood On The Tracks as an exploration of The Sad Eyed Lady herself, and in a way it is, but Sara Dylan is only a catalyst. The real fiYgure explored on this album is Bob Dylan himself.
The best comment I've seen about this album is that it seems to go through the 5 stages of grief. The denial through reminiscing in Tangled Up In Blue and Simple Twist Of Fate, each song ending with Dylan sure of the return of happiness and lost love. The venoms anger of Your A Big Girl Now and Idiot Wind. The bargaining of Your Gonna Make Me Lonesome When You Go and Meet Me In The Morning. The last two stages being sadness and acceptance, and the last three songs in If You See Her Say Hello, Shelter From The Storm and Buckets Of Rain form a bridge between these two feelings, with each one becoming less morose and more forgiving. This whole album is like a collection of therapy sessions, however instead of Dylan simply detailing the actual events, each one is a surreal poetic manifestation of the things Bob is feeling as he nears closer to an unbroken heart. Like a therapy session, each character and person is simply a reaction to the feelings inside the man at the centre of the analyzation.
The only song not yet mentioned is Lily, Rosemary And The Jack Of Hearts, and although I like the song and it fits in with the rest, I think Up To Me should have replaced it and been listed as the second to last track to fully take this album to perfection and further endorse the ideas above.
Before playing Tangled Up In Blue, Dylan once said "This song took me 2 years to write and 10 years to live", and that comment could sum up the entire album.
"Like your smile and your fingertips
Like the way that you move your hips
I like the cool way you look at me
Everything about you is bringing me misery" [First added to this chart: 06/25/2014]
The best comment I've seen about this album is that it seems to go through the 5 stages of grief. The denial through reminiscing in Tangled Up In Blue and Simple Twist Of Fate, each song ending with Dylan sure of the return of happiness and lost love. The venoms anger of Your A Big Girl Now and Idiot Wind. The bargaining of Your Gonna Make Me Lonesome When You Go and Meet Me In The Morning. The last two stages being sadness and acceptance, and the last three songs in If You See Her Say Hello, Shelter From The Storm and Buckets Of Rain form a bridge between these two feelings, with each one becoming less morose and more forgiving. This whole album is like a collection of therapy sessions, however instead of Dylan simply detailing the actual events, each one is a surreal poetic manifestation of the things Bob is feeling as he nears closer to an unbroken heart. Like a therapy session, each character and person is simply a reaction to the feelings inside the man at the centre of the analyzation.
The only song not yet mentioned is Lily, Rosemary And The Jack Of Hearts, and although I like the song and it fits in with the rest, I think Up To Me should have replaced it and been listed as the second to last track to fully take this album to perfection and further endorse the ideas above.
Before playing Tangled Up In Blue, Dylan once said "This song took me 2 years to write and 10 years to live", and that comment could sum up the entire album.
"Like your smile and your fingertips
Like the way that you move your hips
I like the cool way you look at me
Everything about you is bringing me misery" [First added to this chart: 06/25/2014]
Year of Release:
1975
Appears in:
Rank Score:
20,875
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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I first encountered this album in 2004 as Eminem was leaving his peak. I was 8 years old at the time. My dad had a copy of the album and I went into his room one morning and saw the cover lay on the floor away from the other CDs. It was the alternate cover to the one on this site, and it was mesmerising to me at the time. Where was this man lay? What are the bottles lay at his side? What does explicit content mean? I knew I had to listen to this album, but although I had no idea what explicit meant I knew full well the definition of parental advisory. I had to wait for an opportunity, as I knew neither of my parents would let me into it. Thankfully another kid at school had seen the same strange image on his older brothers floor, and so one day we went to his house, got hold of the album while his brother was out, and started to listen. We listened in a completely random order, and one of the first songs was The Real Slim Shady. We both looked at each other disappointed. This had been on the radio, we'd already heard this song. There where a few swear words left in, but we'd already heard all those from our families. The next song was Amityville, and this was the first time I ever really listened to the words of a song, the words about accidentally killing my family. We'd not head this on the radio, the music was so much darker than The Real Slim Shady, much more foreign. Not that I grew up rich or anything, I was just a working class kid from a tiny old mining village in England. Amityville must be where the man on the cover is lying down, I thought, and Amityville was far away and foreign to me.
At 12 rock and roll came into my life, and I never really listened to any Eminem or any hip hop for a time. But then at 16 I saw this cover in HMV and remembered the image. I remembered that the album had effected me years ago, but didn't really remember what it said. I brought it and this time it was a totally different listen. What Eminem was trying to say all made perfect sense at that moment, and still does to this day.
In many ways I think Eminem is very much a modern blues man. Sure he's making hip hop music and not playing the blues but there's a lot of similarities. He was poor, had shit parents, got intoxicated pretty often, had a no good woman. Kim could really be seen as very extreme version of Skip James's Crow Jane. The two differences between early Eminem and old blues music is both the heap of fame that was piled on Eminem, that results in the anger in most of these songs. The other difference is the lack of spirituality that exists in modern life and Eminem's music. All the old blues men where broke and down, but had the hope that one day God would set them free. That doesn't exist here making this much darker, as there is no light at the end of the tunnel, just more darkness.
"How the fuck are you supposed to grow up when you weren't raised?" [First added to this chart: 06/25/2014]
At 12 rock and roll came into my life, and I never really listened to any Eminem or any hip hop for a time. But then at 16 I saw this cover in HMV and remembered the image. I remembered that the album had effected me years ago, but didn't really remember what it said. I brought it and this time it was a totally different listen. What Eminem was trying to say all made perfect sense at that moment, and still does to this day.
In many ways I think Eminem is very much a modern blues man. Sure he's making hip hop music and not playing the blues but there's a lot of similarities. He was poor, had shit parents, got intoxicated pretty often, had a no good woman. Kim could really be seen as very extreme version of Skip James's Crow Jane. The two differences between early Eminem and old blues music is both the heap of fame that was piled on Eminem, that results in the anger in most of these songs. The other difference is the lack of spirituality that exists in modern life and Eminem's music. All the old blues men where broke and down, but had the hope that one day God would set them free. That doesn't exist here making this much darker, as there is no light at the end of the tunnel, just more darkness.
"How the fuck are you supposed to grow up when you weren't raised?" [First added to this chart: 06/25/2014]
Year of Release:
2000
Appears in:
Rank Score:
5,451
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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"I'm on a better man, chillin' in my own room
Assume to accumulate to shake to sedate
I drink it down much quicker
A glug glug glug on my liquor and I feel much better" [First added to this chart: 04/04/2015]
Assume to accumulate to shake to sedate
I drink it down much quicker
A glug glug glug on my liquor and I feel much better" [First added to this chart: 04/04/2015]
Buy album
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At the end of 1968, 500000 people where marching on D.C for peace, The Rolling Stones where getting some friends together for a rock and roll circus, Elvis was making his big comeback, John Lennon and his new wife where taking weird photos of their genitals, and one struggling musician and his band headed into a Hollywood studio to record simple songs about love, spirituality and a strange murder.
One of the main things a good song writer can do is create something that is overtly emotional, but make it sound tender rather than sentimental. Lou Reed does this perfectly on here. Many lyricists wouldn't be able to get on the right side of this line, especially with song titles such as Jesus and Pale Blue Eyes. It would be easy to turn such songs into a mawkish mess, but not Lou Reed. Pale Blue Eyes especially, might be one of the most beautiful songs ever created, and I realised that it's the restrain shown at certain points that makes it this way. The simple melody, the slow beautiful guitar solo and the lyrical standpoint. "The fact that you are married only proves your my best friend" creates both happiness and sadness, the joy of the good that you have with someone and the despair that it can't be more. This line links in with the chores, "linger on your pale blue eyes", and I feel that much of the album can be summed up with the word linger. Most of the songs are lingering on something, waiting for some kind of answer to a mystery, advancement in a relationship, or change in surroundings. Begging To See The Light and I'm Set Free break from this, but I feel that they are purposely put in the middle, almost a temporary breakthrough between discourse on each side.
Despite what other have said, I feel this is very much a communal album, with lead vocals on the first and last track going to other band members. The sessions seem very relaxed and that adds greatly to the overall feel of the album, with the more upbeat songs flowing beautifully. Lou Reeds laugh on Some Kind Of Love always puts a smile on my face. The sadder songs in the more relaxed sessions lead to the sublime musical feel that songs like Pale Blue Eyes and After Hours needed to make them perfect.
"Help me in my weakness
Cause I'm falling out of grace" [First added to this chart: 06/25/2014]
One of the main things a good song writer can do is create something that is overtly emotional, but make it sound tender rather than sentimental. Lou Reed does this perfectly on here. Many lyricists wouldn't be able to get on the right side of this line, especially with song titles such as Jesus and Pale Blue Eyes. It would be easy to turn such songs into a mawkish mess, but not Lou Reed. Pale Blue Eyes especially, might be one of the most beautiful songs ever created, and I realised that it's the restrain shown at certain points that makes it this way. The simple melody, the slow beautiful guitar solo and the lyrical standpoint. "The fact that you are married only proves your my best friend" creates both happiness and sadness, the joy of the good that you have with someone and the despair that it can't be more. This line links in with the chores, "linger on your pale blue eyes", and I feel that much of the album can be summed up with the word linger. Most of the songs are lingering on something, waiting for some kind of answer to a mystery, advancement in a relationship, or change in surroundings. Begging To See The Light and I'm Set Free break from this, but I feel that they are purposely put in the middle, almost a temporary breakthrough between discourse on each side.
Despite what other have said, I feel this is very much a communal album, with lead vocals on the first and last track going to other band members. The sessions seem very relaxed and that adds greatly to the overall feel of the album, with the more upbeat songs flowing beautifully. Lou Reeds laugh on Some Kind Of Love always puts a smile on my face. The sadder songs in the more relaxed sessions lead to the sublime musical feel that songs like Pale Blue Eyes and After Hours needed to make them perfect.
"Help me in my weakness
Cause I'm falling out of grace" [First added to this chart: 06/25/2014]
Year of Release:
1969
Appears in:
Rank Score:
12,521
Rank in 1969:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
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"They thought that's what they were supposed to be standing for, like 'Anybody does what they want' and 'There are no rules' [...] But there were rules and you couldn't do that, and you had to be fast, and you had to wear black, and you couldn't wear a plaid shirt with flares ... So we'd play the DeFranco Family, that kind of shit, just to piss 'em off." - Paul Westerberg
The quote above is one of the things that make me love people like Westerberg and Dylan. They're the true rebels, they take what they like from every aspect of their influences, cool or otherwise, and use it to make what they truly want to make, rather than conforming to a mainstream set of rules, or an equally ridiculous set or rules made up by some hip scene that thinks its so different to what it's opposing, when in reality it's doing the same thing in confining artistic expression. That's why it's the Replacements who are remembered decades later. Hardcore Brandon gets forgot just like Hippie Clive, cause both where trying to impress the rest of the scene by playing up to what they wanted rather than what they felt; rather than artistically progressing. But hey, at least someone told Hardcore Brandon in 82 that he played the meanest riff, same as they told him in 79.
The Album is one associated with being young, both the struggles and joys of it. Westerbergs lyrics could not be more on point when it comes to this. The mix of self assurance and self doubt. The music compliments this greatly too, with the sloppy mix of punk and pop mirroring both the sides to youth which come out in the lyrics; the adolescent and care free love filled settlements usually associated with pop and classic rock, and the self loathing and alienation more found in the punk and hardcore scene that The Replacements came from. This albums is like when your laughing with your friends about something, but thinking about how disconnected you feel from them sometimes. I can't think of anything that sums youth up better than this album
"Call me on Thursday, if you will
Call me on Wednesday, better still" [First added to this chart: 06/25/2014]
The quote above is one of the things that make me love people like Westerberg and Dylan. They're the true rebels, they take what they like from every aspect of their influences, cool or otherwise, and use it to make what they truly want to make, rather than conforming to a mainstream set of rules, or an equally ridiculous set or rules made up by some hip scene that thinks its so different to what it's opposing, when in reality it's doing the same thing in confining artistic expression. That's why it's the Replacements who are remembered decades later. Hardcore Brandon gets forgot just like Hippie Clive, cause both where trying to impress the rest of the scene by playing up to what they wanted rather than what they felt; rather than artistically progressing. But hey, at least someone told Hardcore Brandon in 82 that he played the meanest riff, same as they told him in 79.
The Album is one associated with being young, both the struggles and joys of it. Westerbergs lyrics could not be more on point when it comes to this. The mix of self assurance and self doubt. The music compliments this greatly too, with the sloppy mix of punk and pop mirroring both the sides to youth which come out in the lyrics; the adolescent and care free love filled settlements usually associated with pop and classic rock, and the self loathing and alienation more found in the punk and hardcore scene that The Replacements came from. This albums is like when your laughing with your friends about something, but thinking about how disconnected you feel from them sometimes. I can't think of anything that sums youth up better than this album
"Call me on Thursday, if you will
Call me on Wednesday, better still" [First added to this chart: 06/25/2014]
Year of Release:
1984
Appears in:
Rank Score:
7,486
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Total albums: 40. Page 1 of 4
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Top 40 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 0 | 0% | |
| 1960s | 7 | 18% | |
| 1970s | 8 | 20% | |
| 1980s | 4 | 10% | |
| 1990s | 6 | 15% | |
| 2000s | 8 | 20% | |
| 2010s | 7 | 18% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
|||
| Bob Dylan | 5 | 13% | |
| Arctic Monkeys | 2 | 5% | |
| The Rolling Stones | 2 | 5% | |
| The Jam | 1 | 3% | |
| Interpol | 1 | 3% | |
| Kendrick Lamar | 1 | 3% | |
| Spiritualized® | 1 | 3% | |
| Show all | |||
Top 40 Greatest Music Albums chart changes
| Biggest climbers |
|---|
| Up 36 from 40th to 4th Benji by Sun Kil Moon |
| Up 31 from 39th to 8th Panic Prevention by Jamie T |
| Up 25 from 37th to 12th Good Kid, M.A.A.D City by Kendrick Lamar |
| Biggest fallers |
|---|
| Down 22 from 10th to 32nd Nebraska by Bruce Springsteen |
| Down 5 from 33rd to 38th Turn On The Bright Lights by Interpol |
| Down 5 from 34th to 39th Wonder by Lisa Mitchell |
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Top 40 Greatest Music Albums ratings
Average Rating = (n ÷ (n + m)) × av + (m ÷ (n + m)) × AVwhere:
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Showing latest 5 ratings for this chart. | Show all 7 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
| ! | 03/10/2020 17:31 |  DommeDamian | 1,004 | 89/100 |
| ! | 08/03/2017 06:39 |  JulianR | 570 | 75/100 |
| ! | 12/04/2016 02:34 | Seab | 2,005 | 93/100 |
| ! | 04/05/2015 04:54 | NamibiaStarr | 439 | 85/100 |
| ! | 08/21/2014 20:46 |  Antonio-Pedro | 563 | 90/100 |
Top 40 Greatest Music Albums favourites
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Top 40 Greatest Music Albums comments
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From DommeDamian 03/10/2020 17:32 | #248627
DommeDamian 03/10/2020 17:32 | #248627
Let's have lunch sometime lol,.
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From JulianR 08/08/2017 23:34 | #195763
JulianR 08/08/2017 23:34 | #195763
lots of thought went into this and I love it
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From JulianR 08/03/2017 06:39 | #195414
JulianR 08/03/2017 06:39 | #195414
love the thought that went in to this! keep it up!
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From NamibiaStarr 04/05/2015 04:54 | #138863
good chart
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From 
SingingPeasant96 08/21/2014 14:55 | #119915
SingingPeasant96 08/21/2014 14:55 | #119915
Nice chart with great comments! Love IAOTS too
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From 
Mercury 07/11/2014 03:58 | #116427
Mercury 07/11/2014 03:58 | #116427
This is already one of my favorite charts and you're only at 40. Man, I can't overstate how much I love many many of the choices here and how much I REALLY REALLY love those comments at the beginning. Beautiful words for beautiful albums.
Also, props to you for showing some love for the early greats such as Son House and RJ. As well as legends that sometimes get overlooked like TVZ.
Overall, yeah I love this. Keep it coming once you can do 50 (then 100.) and don't have any worries about lots of Dylan, he's without question The Greatest Of All Time. I think my first top 40 also had 5 Dylan.
Anyway, I'll abstain from giving you a bunch of unwanted (maybe) recs until later.
... Okay, maybe one... If you like what I like and you love early Dylan and acoustic blues and cool songwriting and rough earnest vocalists with grey acoustic chops - Tallest Man On Earth is absolutely for you. He's perhaps my greatest musical idol. You know based off my chart I love him. Any of his albums or EPs is a great intro.
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