Top 100 Greatest Music Albums by 
RoundTheBend 
Here's my old 2013 chart: http://www.besteveralbums.com/thechart.php?c=31041
In 2016 I listened to something like 1,600 albums (selected first from the top 100 of each decade on this site, but then some gems and recommendations) and reassessed what music I truly thought was good in that moment, rating them song for song and averaging out the album. I feel like I only scratched the surface in some areas while in others it was liberating discoveries. Obviously there were some reassessments of known favorites.
Along the way I discovered some prejudices with my own initial gut checks... like I thought I had to put Nevermind in my top 10 (not because of popularity, but because I thought it was a top 10 album) and maybe that is true and maybe it isn't. I realize this process is ever changing, and in 6 months it might change again, but no, I don't need to have my top 10 the gut check what "should" be in my top 10. The mathematical approach I did was both blind and at times shocking. It also wasn't perfect.
Some give me a hard time for liking my "big artists", but ever since I was 14 I kind of made this decision that I like big bands... they have great discographies, and felt other artists failed at creating something with true staying power, even if it was pretty cool for the time. Somehow my favorite aesthetic is that pop (very loose use of this term) group like Nirvana or U2 who can both appeal to the blue collar and the white collar - that sweet sour pop yet not pop, the artist who happens to play in the medium of pop, if you will... or maybe it's the pop artisan who aspires to make great art. To me great art best puts a mirror against humanity and conveys emotions and discusses ideas in powerful/meaningful ways. Great musicians are those who can do it in a beautifully tonal landscape.
I've also decided to go one artist per album on my overall. There's times when I say, why would I not put a 100 album on my list just because I want another artist on my list, who maybe really has an 80 album, then I realized at the end of this project, I wouldn't be able to fit all of my 80 or higher albums on this list... or 5 lists, so here it is 1 album per artist with the lowest score of 86.6.
Well it's 2018 now... I'm ready to revamp again (sometimes I look at it and I'm disappointed and sometimes I look at it and say, yeah, that feels about right), but this time incorporating my review of western music before 1950... WIP that probably will take a year or so... idk.
Starting to add descriptors and genre's from RYM to be a little more conscious of why I love these albums. It's a bit of unconscious competency for me sometimes. I will never use the genre's pop rock, indie rock, singer/songwriter to describe anything but garbage that doesn't have enough style to be unique. Also have decided I need to stop my stream of conscious ramblings and quote more thought out writings about albums. I usually am writing on this site after a 10 hour work day and mostly sound like incoherent ramblings than anything really constructive, even if I know better. I saw someone else do this as well and thought it a nice touch to their chart. If it's in quotes and references a user, it's not my words.
- Chart updated: 02/22/2021 03:15
- (Created: 06/02/2011 05:12).
- Chart size: 100 albums.
There are 82 comments for this chart from BestEverAlbums.com members and Top 100 Greatest Music Albums has an average rating of 88 out of 100 (from 135 votes). Please log in or register to leave a comment or assign a rating.
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Chamber Pop, Art Pop, Art Rock (I guess)
introspective, passionate, melodic/soundscape palette, [talking heads]
Very succinct and could be expounded upon, but spot on:
"Funeral evokes sickness and death, but also understanding and renewal; childlike mystification, but also the impending coldness of maturity." - David Moore, Pitchfork
Not sure I agree with these ratings, but so they stand now:
Funeral 2004 98
Everything Now 2017 89.6
Reflektor 2013 87.6
Neon Bible 2007 86.8
The Suburbs 2010 85.6
Arcade Fire 2003 80.7 [First added to this chart: 06/01/2011]
introspective, passionate, melodic/soundscape palette, [talking heads]
Very succinct and could be expounded upon, but spot on:
"Funeral evokes sickness and death, but also understanding and renewal; childlike mystification, but also the impending coldness of maturity." - David Moore, Pitchfork
Not sure I agree with these ratings, but so they stand now:
Funeral 2004 98
Everything Now 2017 89.6
Reflektor 2013 87.6
Neon Bible 2007 86.8
The Suburbs 2010 85.6
Arcade Fire 2003 80.7 [First added to this chart: 06/01/2011]
Year of Release:
2004
Appears in:
Rank Score:
41,731
Rank in 2004:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
400
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"I mean democracy without the color line"
I only discovered Josh White this year upon digging into 40s music more. Oh man - his guitar tone is the best and that voice is so warm. I love his diction/execution/timing. Instantly a favorite. Wish I would've found sooner. Well and then I listen to these lyrics and learn about him and only the upmost respect. Pretty cool/gutsy history with FDR. Wish this guy's story was told more. I like him more than Lead Belly or even Robert Johnson.
I am lucky to find these old recordings and a bit of me wants to just keep it that way and there's a part of me that wishes the recordings could be restored. - sethmadsen
Acoustic Blues
Concept Album, Protest, Sombre, History
Strange Fruit (1944) - 5
Chain Gang (1940) - 4.5
Folk Songs (1944) - 4.5
Harlem Blues (1940) - 4.5
Josh White Sings Easy (1944) - 4.5
Ballads and Blues (1946) - 4.5
Women Blues (1946) - 4
Ballads and Blues: Vol. II (1947) - 3.5 [First added to this chart: 02/21/2021]
I only discovered Josh White this year upon digging into 40s music more. Oh man - his guitar tone is the best and that voice is so warm. I love his diction/execution/timing. Instantly a favorite. Wish I would've found sooner. Well and then I listen to these lyrics and learn about him and only the upmost respect. Pretty cool/gutsy history with FDR. Wish this guy's story was told more. I like him more than Lead Belly or even Robert Johnson.
I am lucky to find these old recordings and a bit of me wants to just keep it that way and there's a part of me that wishes the recordings could be restored. - sethmadsen
Acoustic Blues
Concept Album, Protest, Sombre, History
Strange Fruit (1944) - 5
Chain Gang (1940) - 4.5
Folk Songs (1944) - 4.5
Harlem Blues (1940) - 4.5
Josh White Sings Easy (1944) - 4.5
Ballads and Blues (1946) - 4.5
Women Blues (1946) - 4
Ballads and Blues: Vol. II (1947) - 3.5 [First added to this chart: 02/21/2021]
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East Coast Hip Hop, Conscious Hip Hop, Reggae
Eclectic, Introspective, Smooth, Warm
"The Carnival gathered an ambitious array of personalities into 24 disco-roots-creole dance tracks. Lauryn Hill, Pras, the Neville Brothers, Celia Cruz, Funkmaster Flex, and the New York Philharmonic Orchestra all play on this 74-minute thing...Wyclef’s move from Haiti to Brooklyn (and then New Jersey) was part of a large migration of Haitians to the U.S., prompted by the repressive Duvalier regimes of the ’70s and ’80s. With the Fugees, he fused his immigration story with the DNA of New York’s housing projects and Caribbean sonics. The Carnival is an equally proud transcultural product, attesting to how dislocation and intersection mix people up. Its songs sung in Creole celebrate and affirm Haitian identity, but the album also indicates that most people have claim to multiple heritages, are the inheritors of multiple pasts." - Naomi Zeichner, Pitchfork [First added to this chart: 06/01/2011]
Eclectic, Introspective, Smooth, Warm
"The Carnival gathered an ambitious array of personalities into 24 disco-roots-creole dance tracks. Lauryn Hill, Pras, the Neville Brothers, Celia Cruz, Funkmaster Flex, and the New York Philharmonic Orchestra all play on this 74-minute thing...Wyclef’s move from Haiti to Brooklyn (and then New Jersey) was part of a large migration of Haitians to the U.S., prompted by the repressive Duvalier regimes of the ’70s and ’80s. With the Fugees, he fused his immigration story with the DNA of New York’s housing projects and Caribbean sonics. The Carnival is an equally proud transcultural product, attesting to how dislocation and intersection mix people up. Its songs sung in Creole celebrate and affirm Haitian identity, but the album also indicates that most people have claim to multiple heritages, are the inheritors of multiple pasts." - Naomi Zeichner, Pitchfork [First added to this chart: 06/01/2011]
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Roots Reggae, Reggae, Pop Reggae
Uplifting, optimistic, warm, conscious
"Some may argue that the compilation shortchanges his groundbreaking early ska work or his status as a political commentator, but this isn't meant to be definitive, it's meant to be an introduction, sampling the very best of his work. And it does that remarkably well, offering all of his genre-defying greats and an illustration of his excellence, warmth, and humanity. In a way, it is perfect since it gives a doubter or casual fan anything they could want. Let's face it, the beauty and simplicity of Marley's music was as important as his message, and that's captured particularly well here." - Stephen Thomas Erlewine, AllMusic
Legend 1984 97.8
Exodus 1977 84.5
Uprising 1980 84
Live! 1975 82.5
Natty Dread 1974 81.1
Babylon By Bus 1978 [First added to this chart: 07/08/2016]
Uplifting, optimistic, warm, conscious
"Some may argue that the compilation shortchanges his groundbreaking early ska work or his status as a political commentator, but this isn't meant to be definitive, it's meant to be an introduction, sampling the very best of his work. And it does that remarkably well, offering all of his genre-defying greats and an illustration of his excellence, warmth, and humanity. In a way, it is perfect since it gives a doubter or casual fan anything they could want. Let's face it, the beauty and simplicity of Marley's music was as important as his message, and that's captured particularly well here." - Stephen Thomas Erlewine, AllMusic
Legend 1984 97.8
Exodus 1977 84.5
Uprising 1980 84
Live! 1975 82.5
Natty Dread 1974 81.1
Babylon By Bus 1978 [First added to this chart: 07/08/2016]
Year of Release:
1984
Appears in:
Rank Score:
3,757
Rank in 1984:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
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Funk Rock, Alternative, Rap Rock
hedonistic, bittersweet, rhythmic, energetic
The spirit of a Los Angeles punk, linking with the beauty of humanity in a way they know how.
"You don’t have to read the Kiedis book to intuit that the Chili Peppers saw nakedness not just as lascivious romp—though, of course, there was that—but as pathway to a more unconscious, unrestrained state. They weren’t total goons; they were into mindfulness, and all that. The album opens with “The Power of Equality,” an explicitly anti-racist missive where Kiedis professes his love for Public Enemy and bellows “Say what I want, do what I can/Death to the message of the Ku Klux Klan.” “The Righteous and the Wicked” intones about a forthcoming environmental apocalypse owing to man’s selfish behavior, with Frusciante’s guitar tone sounding like a dark cloud pumped through a smokestack. Their gestures toward social justice were hardly sophisticated, less a well-reasoned dialogue than a full-throated “Racism fuckin’ sucks,” but that was the point. They were the partially-clothed id, barreling toward the funk and stumbling across inclusiveness along the way...You don’t have to read the Kiedis book to intuit that the Chili Peppers saw nakedness not just as lascivious romp—though, of course, there was that—but as pathway to a more unconscious, unrestrained state. They weren’t total goons; they were into mindfulness, and all that. The album opens with “The Power of Equality,” an explicitly anti-racist missive where Kiedis professes his love for Public Enemy and bellows “Say what I want, do what I can/Death to the message of the Ku Klux Klan.” “The Righteous and the Wicked” intones about a forthcoming environmental apocalypse owing to man’s selfish behavior, with Frusciante’s guitar tone sounding like a dark cloud pumped through a smokestack. Their gestures toward social justice were hardly sophisticated, less a well-reasoned dialogue than a full-throated “Racism fuckin’ sucks,” but that was the point. They were the partially-clothed id, barreling toward the funk and stumbling across inclusiveness along the way...Gutter-minded it seemed, lines like “what I've got you've got to get it put it in you” weren’t sly ways of suggesting he’d like to hug and kiss you. (It’s a reflection on how love—the spiritual, not physical kind—has to be *given *away, taken from a life lesson gifted by the musician and artist Nina Hagen, with whom he was briefly involved.)" - Jeremy Gordon, Pitchfork
Blood Sugar Sex Magik 1991 97.6
Californication 1999 95.6
Stadium Arcadium 2006 94.8
By The Way 2002 94.6
One Hot Minute 1995 91.5
Mother's Milk 1989 89.2
I'm With You 2011 86.9
The Getaway 2016 85.3
The Uplift Mofo Party Plan 1987 82.5
Freaky Styley 1985 81
I'm Beside You 2013 79.7 [First added to this chart: 12/15/2011]
hedonistic, bittersweet, rhythmic, energetic
The spirit of a Los Angeles punk, linking with the beauty of humanity in a way they know how.
"You don’t have to read the Kiedis book to intuit that the Chili Peppers saw nakedness not just as lascivious romp—though, of course, there was that—but as pathway to a more unconscious, unrestrained state. They weren’t total goons; they were into mindfulness, and all that. The album opens with “The Power of Equality,” an explicitly anti-racist missive where Kiedis professes his love for Public Enemy and bellows “Say what I want, do what I can/Death to the message of the Ku Klux Klan.” “The Righteous and the Wicked” intones about a forthcoming environmental apocalypse owing to man’s selfish behavior, with Frusciante’s guitar tone sounding like a dark cloud pumped through a smokestack. Their gestures toward social justice were hardly sophisticated, less a well-reasoned dialogue than a full-throated “Racism fuckin’ sucks,” but that was the point. They were the partially-clothed id, barreling toward the funk and stumbling across inclusiveness along the way...You don’t have to read the Kiedis book to intuit that the Chili Peppers saw nakedness not just as lascivious romp—though, of course, there was that—but as pathway to a more unconscious, unrestrained state. They weren’t total goons; they were into mindfulness, and all that. The album opens with “The Power of Equality,” an explicitly anti-racist missive where Kiedis professes his love for Public Enemy and bellows “Say what I want, do what I can/Death to the message of the Ku Klux Klan.” “The Righteous and the Wicked” intones about a forthcoming environmental apocalypse owing to man’s selfish behavior, with Frusciante’s guitar tone sounding like a dark cloud pumped through a smokestack. Their gestures toward social justice were hardly sophisticated, less a well-reasoned dialogue than a full-throated “Racism fuckin’ sucks,” but that was the point. They were the partially-clothed id, barreling toward the funk and stumbling across inclusiveness along the way...Gutter-minded it seemed, lines like “what I've got you've got to get it put it in you” weren’t sly ways of suggesting he’d like to hug and kiss you. (It’s a reflection on how love—the spiritual, not physical kind—has to be *given *away, taken from a life lesson gifted by the musician and artist Nina Hagen, with whom he was briefly involved.)" - Jeremy Gordon, Pitchfork
Blood Sugar Sex Magik 1991 97.6
Californication 1999 95.6
Stadium Arcadium 2006 94.8
By The Way 2002 94.6
One Hot Minute 1995 91.5
Mother's Milk 1989 89.2
I'm With You 2011 86.9
The Getaway 2016 85.3
The Uplift Mofo Party Plan 1987 82.5
Freaky Styley 1985 81
I'm Beside You 2013 79.7 [First added to this chart: 12/15/2011]
Year of Release:
1991
Appears in:
Rank Score:
8,719
Rank in 1991:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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[jazz, rock, classical, electronic... it really doesn't fit a mold]
atmospheric, dense, mysterious, melancholic
"To term this music 'post-rock' would be an insult; Sigur Rós are pre-whatever comes this century. Piano, flutes, tremolo, horns, feedback, and that godly amazing voice scrubs souls pure with the black volcanic sands from the beaches of Vík. Birgisson's invented lyrical language of Hopelandish may be crying in tongues or even plain gibberish, but sheer emotions like this cleanse as universally as sodium laureth sulfate.
Sigur Rós make this bombastic claim on their website: 'We are simply gonna change music forever, and the way people think about music. And don't think we can't do it, we will.'" -Brent DiCrescenzo, Pitchfork
Agaentis Byrjun Sigur Ros 1999 1 97.5
Kveikur Sigur Ros 2013 8 85
( ) Sigur Ros 2002 15 80
Takk... Sigur Ros 2005 11 80 [First added to this chart: 06/01/2011]
atmospheric, dense, mysterious, melancholic
"To term this music 'post-rock' would be an insult; Sigur Rós are pre-whatever comes this century. Piano, flutes, tremolo, horns, feedback, and that godly amazing voice scrubs souls pure with the black volcanic sands from the beaches of Vík. Birgisson's invented lyrical language of Hopelandish may be crying in tongues or even plain gibberish, but sheer emotions like this cleanse as universally as sodium laureth sulfate.
Sigur Rós make this bombastic claim on their website: 'We are simply gonna change music forever, and the way people think about music. And don't think we can't do it, we will.'" -Brent DiCrescenzo, Pitchfork
Agaentis Byrjun Sigur Ros 1999 1 97.5
Kveikur Sigur Ros 2013 8 85
( ) Sigur Ros 2002 15 80
Takk... Sigur Ros 2005 11 80 [First added to this chart: 06/01/2011]
Year of Release:
1999
Appears in:
Rank Score:
17,236
Rank in 1999:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Blues Rock, Rock & Roll, Psychedelic Rock
rebellious, hedonistic, eclectic, conscious
I would put Some Girls or Exile On Maint St. here, but honestly feel like this is their/his best collection of songs and The Rolling Stones really aren't album oriented rock, even if Some Girls and Exile on Main St. are near solid.
What I love about this album is how it takes us chronologically through their career in the 60s and captures really key performances during times when their albums nearly sucked, but some key early blues performances showed the diamond in the rough. It also really encapsulates to me what my father and those in his generation loved about this band. Side note: my father and his brother were at Altamont and this band is a big part of my family. More importantly - damn are these performances good.
Hot Rocks 1964-1971 1971 97.3
Some Girls 1978 89.5
Exile On Main St. 1972 88.8
Sticky Fingers 1971 85.5
Beggars Banquet 1968 85
Let It Bleed 1969 85
Tattoo You 1981 81.8
A Bigger Bang 2005 77.5
It's Only Rock 'N' Roll 1974 77
Out Of Our Heads 1965 75
Aftermath 1966 70
Between The Buttons 1967 70
The Rolling Stones No. 2 1965 65
Their Satanic Majesties Request 1967 60
Steel Wheels 1989 60
Black And Blue 1976 56.2 [First added to this chart: 06/01/2011]
rebellious, hedonistic, eclectic, conscious
I would put Some Girls or Exile On Maint St. here, but honestly feel like this is their/his best collection of songs and The Rolling Stones really aren't album oriented rock, even if Some Girls and Exile on Main St. are near solid.
What I love about this album is how it takes us chronologically through their career in the 60s and captures really key performances during times when their albums nearly sucked, but some key early blues performances showed the diamond in the rough. It also really encapsulates to me what my father and those in his generation loved about this band. Side note: my father and his brother were at Altamont and this band is a big part of my family. More importantly - damn are these performances good.
Hot Rocks 1964-1971 1971 97.3
Some Girls 1978 89.5
Exile On Main St. 1972 88.8
Sticky Fingers 1971 85.5
Beggars Banquet 1968 85
Let It Bleed 1969 85
Tattoo You 1981 81.8
A Bigger Bang 2005 77.5
It's Only Rock 'N' Roll 1974 77
Out Of Our Heads 1965 75
Aftermath 1966 70
Between The Buttons 1967 70
The Rolling Stones No. 2 1965 65
Their Satanic Majesties Request 1967 60
Steel Wheels 1989 60
Black And Blue 1976 56.2 [First added to this chart: 06/01/2011]
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Art Rock, Psychedelic Rock, Space Rock
philosophical, atmospheric, mellow, introspective
It's concise and intriguing the whole time. No meandering.
"By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world." -Stephen Thomas Erlewine, AllMusic
The Dark Side Of The Moon 1973 97
The Wall 1979 91.9
Meddle 1971 88.3
Atom Heart Mother 1970 87
Wish You Were Here 1975 86
The Final Cut 1983 85
The Endless River 2014 79
A Momentary Lapse Of Reason 1987 78.5
The Division Bell 1994 75
Animals 1977 73
The Piper At The Gates Of Dawn 1967 70
A Saucerful Of Secrets 1968 65
Ummagumma 1969 [First added to this chart: 02/03/2012]
philosophical, atmospheric, mellow, introspective
It's concise and intriguing the whole time. No meandering.
"By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world." -Stephen Thomas Erlewine, AllMusic
The Dark Side Of The Moon 1973 97
The Wall 1979 91.9
Meddle 1971 88.3
Atom Heart Mother 1970 87
Wish You Were Here 1975 86
The Final Cut 1983 85
The Endless River 2014 79
A Momentary Lapse Of Reason 1987 78.5
The Division Bell 1994 75
Animals 1977 73
The Piper At The Gates Of Dawn 1967 70
A Saucerful Of Secrets 1968 65
Ummagumma 1969 [First added to this chart: 02/03/2012]
Year of Release:
1973
Appears in:
Rank Score:
71,161
Rank in 1973:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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Grunge, Punk, Alternative
aggressive, rebellious, alienation, nihilistic
To me, there are few acts like Nirvana who emote more honestly, without any remnant of trying to. Emotionally, Nirvana writes some of the most raw and genuine music. On the same level of, say, The Doors. Yet somehow, song for song, I feel they are better with conveying some of that emotional rage/pain/feeling out of control/everything is screwed/hopelessness.
"Nevermind is drenched in the filthy Pacific Northwest roar that slapped Cobain into action as a teen, but it's as catchy as any of the radio giants that caught his ear as a kid. It's driven by pain as naked and personal as the riot grrrl bands whose company he kept and as fuck-around goofy as the Seattle contemporaries who both reveled in and mercilessly parodied machismo. And despite the fact that none of those modes would seem to fit together on the same album, let alone all of them, it's all hammered into a still-disarming whole, a collection of anthems that retain the idiosyncrasies of the very weird band that made them. It helped that Cobain had yet to be disabused of the idea that you could be an idiosyncratic indie kid and a rock star without compromising on either front." -Jess Harvell, Pitchfork
"A dynamic mix of sizzling power chords, manic energy and sonic restraint, Nirvana erects sturdy melodic structures — sing-along hard rock as defined by groups like the Replacements, Pixies and Sonic Youth — but then at-tacks them with frenzied screaming and guitar havoc. When Cobain revs into high punk gear, shifting his versatile voice from quiet caress to raw-throated fury, the decisive control of bassist Chris Novoselic and drummer Dave Grohl is all that keeps the songs from chaos. If Nirvana isn’t onto anything altogether new, Nevermind does possess the songs, character and confident spirit to be much more than a reformulation of college radio’s high-octane hits." - Ira Robbins, Rolling Stone
Nevermind 1991 96.9
MTV Unplugged In New York 1994 95.7
In Utero 1993 95.4
Bleach 1989 91.1
Incesticide 1992 87.6
From The Muddy Banks Of The Wishkah 1996 75 [First added to this chart: 06/01/2011]
aggressive, rebellious, alienation, nihilistic
To me, there are few acts like Nirvana who emote more honestly, without any remnant of trying to. Emotionally, Nirvana writes some of the most raw and genuine music. On the same level of, say, The Doors. Yet somehow, song for song, I feel they are better with conveying some of that emotional rage/pain/feeling out of control/everything is screwed/hopelessness.
"Nevermind is drenched in the filthy Pacific Northwest roar that slapped Cobain into action as a teen, but it's as catchy as any of the radio giants that caught his ear as a kid. It's driven by pain as naked and personal as the riot grrrl bands whose company he kept and as fuck-around goofy as the Seattle contemporaries who both reveled in and mercilessly parodied machismo. And despite the fact that none of those modes would seem to fit together on the same album, let alone all of them, it's all hammered into a still-disarming whole, a collection of anthems that retain the idiosyncrasies of the very weird band that made them. It helped that Cobain had yet to be disabused of the idea that you could be an idiosyncratic indie kid and a rock star without compromising on either front." -Jess Harvell, Pitchfork
"A dynamic mix of sizzling power chords, manic energy and sonic restraint, Nirvana erects sturdy melodic structures — sing-along hard rock as defined by groups like the Replacements, Pixies and Sonic Youth — but then at-tacks them with frenzied screaming and guitar havoc. When Cobain revs into high punk gear, shifting his versatile voice from quiet caress to raw-throated fury, the decisive control of bassist Chris Novoselic and drummer Dave Grohl is all that keeps the songs from chaos. If Nirvana isn’t onto anything altogether new, Nevermind does possess the songs, character and confident spirit to be much more than a reformulation of college radio’s high-octane hits." - Ira Robbins, Rolling Stone
Nevermind 1991 96.9
MTV Unplugged In New York 1994 95.7
In Utero 1993 95.4
Bleach 1989 91.1
Incesticide 1992 87.6
From The Muddy Banks Of The Wishkah 1996 75 [First added to this chart: 06/01/2011]
Year of Release:
1991
Appears in:
Rank Score:
41,986
Rank in 1991:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Art Pop, Chamber Pop, Art Rock
lush, triumphant, melodic/soundscape palette, warm
I know Coldplay is cringe-worthy, but this album is just fantastic to me. It probably is Brian Eno's fault. I really like the textures developed here.
"There's all manners of layered percussion, a lot more emphasis is placed on atmospheric texture courtesy of Brian Eno and Jon Hopkins (with the former producing and the latter guest featuring), an electronic flair rears its head from time to time and off-the-cuff instruments like sitar and yanqqin make appearances in a way that sounds like the band just got into a studio containing every instrument ever created. There's a lot more experimentation within the songwriting too. Songs aren't afraid to take sudden twists in mood or tempo within themselves ("42" makes this the song's entire point), there's a lot more build-up intros and outros that the band normally would have chopped and occasionally you even hear whole new, unexpected elements like the sudden shoegaze blast of "Chinese Sleep Chant". The instrumental opener "Life in Technicolor" sounds like it could have been a big pop moment had it been fleshed out into a full song, and then you learn that it was intentionally stripped of its vocals in order to avoid taking that easy route." - FlintGF, RYM
"Gone are Chris Martin's piano recitals and gone are the washes of meticulously majestic guitar, replaced by orchestrations of sound, sometimes literally consisting of strings but usually a tapestry of synthesizers, percussion, organs, electronics, and guitars that avoid playing riffs. Gone too are simpering schoolboy ballads like "Fix You," and along with them the soaring melodies designed to fill arenas. In fact, there are no insistent hooks to be found anywhere on Viva la Vida, and there are no clear singles in this collection of insinuatingly ingratiating songs. This reliance on elliptical melodies isn't off-putting -- alienation is alien to Coldplay -- and this is where Eno's guidance pays off, as he helps sculpt Viva la Vida to work as a musical whole, where there are long stretches of instrumentals and where only "Strawberry Swing," with its light, gently infectious melody and insistent rhythmic pulse, breaks from the album's appealingly meditative murk. Whatever iciness there is to the sound of Viva la Vida is warmed by Martin's voice, but the music is by design an heir to the earnest British art rock of '80s Peter Gabriel and U2 -- arty enough to convey sober intelligence without seeming snobby, the kind of album that deserves to take its title from Frida Kahlo and album art from Eugene Delacroix. That Delacroix painting depicts the French Revolution, so it does fit that Martin tones down his relentless self-obsession -- the songs aren't heavy on lyrics and some are shockingly written in character -- which is a development as welcome as the expanded sonic palette. Martin's refined writing topics may be outpaced by the band's guided adventure, but they're both indicative that Coldplay are desperate to not just strive for the title of great band -- a title they seem to believe that they're to the manor born -- but to actually burrow into the explorative work of creating music. And so the greatest thing Coldplay may have learned from Eno is his work ethic, as they demonstrate a focused concentration throughout this tight album -- it's only 47 minutes yet covers more ground than X&Y and arguably A Rush of Blood to the Head -- that turns Viva la Vida into something quietly satisfying." - Stephen Thomas Erlewin, AllMusic
Viva La Vida Or Death And All His Friends (2008): 99
Parachutes (2000): 93.5
A Rush Of Blood To The Head (2002): 90.4
X&Y (2005): 84
Mylo Xyloto (2011): 81.5
Ghost Stories (2014): 79.9
Prospekt's March (2008): 70
A Head Full Of Dreams (2015): 70
Kaleidoscope EP (2017): 70 [First added to this chart: 06/01/2011]
lush, triumphant, melodic/soundscape palette, warm
I know Coldplay is cringe-worthy, but this album is just fantastic to me. It probably is Brian Eno's fault. I really like the textures developed here.
"There's all manners of layered percussion, a lot more emphasis is placed on atmospheric texture courtesy of Brian Eno and Jon Hopkins (with the former producing and the latter guest featuring), an electronic flair rears its head from time to time and off-the-cuff instruments like sitar and yanqqin make appearances in a way that sounds like the band just got into a studio containing every instrument ever created. There's a lot more experimentation within the songwriting too. Songs aren't afraid to take sudden twists in mood or tempo within themselves ("42" makes this the song's entire point), there's a lot more build-up intros and outros that the band normally would have chopped and occasionally you even hear whole new, unexpected elements like the sudden shoegaze blast of "Chinese Sleep Chant". The instrumental opener "Life in Technicolor" sounds like it could have been a big pop moment had it been fleshed out into a full song, and then you learn that it was intentionally stripped of its vocals in order to avoid taking that easy route." - FlintGF, RYM
"Gone are Chris Martin's piano recitals and gone are the washes of meticulously majestic guitar, replaced by orchestrations of sound, sometimes literally consisting of strings but usually a tapestry of synthesizers, percussion, organs, electronics, and guitars that avoid playing riffs. Gone too are simpering schoolboy ballads like "Fix You," and along with them the soaring melodies designed to fill arenas. In fact, there are no insistent hooks to be found anywhere on Viva la Vida, and there are no clear singles in this collection of insinuatingly ingratiating songs. This reliance on elliptical melodies isn't off-putting -- alienation is alien to Coldplay -- and this is where Eno's guidance pays off, as he helps sculpt Viva la Vida to work as a musical whole, where there are long stretches of instrumentals and where only "Strawberry Swing," with its light, gently infectious melody and insistent rhythmic pulse, breaks from the album's appealingly meditative murk. Whatever iciness there is to the sound of Viva la Vida is warmed by Martin's voice, but the music is by design an heir to the earnest British art rock of '80s Peter Gabriel and U2 -- arty enough to convey sober intelligence without seeming snobby, the kind of album that deserves to take its title from Frida Kahlo and album art from Eugene Delacroix. That Delacroix painting depicts the French Revolution, so it does fit that Martin tones down his relentless self-obsession -- the songs aren't heavy on lyrics and some are shockingly written in character -- which is a development as welcome as the expanded sonic palette. Martin's refined writing topics may be outpaced by the band's guided adventure, but they're both indicative that Coldplay are desperate to not just strive for the title of great band -- a title they seem to believe that they're to the manor born -- but to actually burrow into the explorative work of creating music. And so the greatest thing Coldplay may have learned from Eno is his work ethic, as they demonstrate a focused concentration throughout this tight album -- it's only 47 minutes yet covers more ground than X&Y and arguably A Rush of Blood to the Head -- that turns Viva la Vida into something quietly satisfying." - Stephen Thomas Erlewin, AllMusic
Viva La Vida Or Death And All His Friends (2008): 99
Parachutes (2000): 93.5
A Rush Of Blood To The Head (2002): 90.4
X&Y (2005): 84
Mylo Xyloto (2011): 81.5
Ghost Stories (2014): 79.9
Prospekt's March (2008): 70
A Head Full Of Dreams (2015): 70
Kaleidoscope EP (2017): 70 [First added to this chart: 06/01/2011]
Year of Release:
2008
Appears in:
Rank Score:
5,604
Rank in 2008:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 2 of 10
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Top 100 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 1 | 1% | |
| 1950s | 6 | 6% | |
| 1960s | 16 | 16% | |
| 1970s | 10 | 10% | |
| 1980s | 17 | 17% | |
| 1990s | 19 | 19% | |
| 2000s | 26 | 26% | |
| 2010s | 5 | 5% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Juanes | 1 | 1% | |
| Jeff Buckley | 1 | 1% | |
| Beck | 1 | 1% | |
| Pearl Jam | 1 | 1% | |
| Sigur Rós | 1 | 1% | |
| Van Morrison | 1 | 1% | |
| Elvis Presley | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
67 | 67% | |
 |
21 | 21% | |
 |
3 | 3% | |
 |
2 | 2% | |
 |
2 | 2% | |
 |
1 | 1% | |
 |
1 | 1% | |
| Show all | |||
Top 100 Greatest Music Albums chart changes
Top 100 Greatest Music Albums similar charts
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Top 100 Greatest Music Albums ratings
88/100 (from 135 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 135 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
100/100  | 04/05/2024 10:52 |  spigelwii | | 100/100 |
95/100 | 05/25/2021 09:27 | BlueNote | | 74/100 |
 100/100 | 02/17/2021 05:37 |  pjohnsongolf | | 89/100 |
| 90/100 | 01/08/2021 08:34 |  DriftingOrpheus | | 91/100 |
| 95/100 | 01/04/2021 14:31 |  EyeKanFly | | 88/100 |
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 12% of all charts on BestEverAlbums.com. This chart has a Bayesian average rating of 87.8/100, a mean average of 87.3/100, and a trimmed mean (excluding outliers) of 88.0/100. The standard deviation for this chart is 11.4.
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Top 100 Greatest Music Albums comments
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100/100
From spigelwii 04/05/2024 10:52
spigelwii 04/05/2024 10:52
A really incredible chart, and a shining example of what we should all be striving for on this site. Very inspirational to me as I continue to rate and review all the music that I've collected over the years.
Oh, and your choices? The first one that jumped out was Get Behind Me Satan as the best White Stripes album. You are OBVIOUSLY a person of excellent taste.
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
90/100
From WillyMac 03/29/2021 14:42
Very eclectic and wide-ranging. I love your choices from the 1950s and the way you don't go overboard on the 1970s like so many charts on this site. Your inclusion of compilation albums was surprising to me... both surprising to see them, and surprisingly good choices.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
95/100
From EyeKanFly 01/04/2021 14:35
EyeKanFly 01/04/2021 14:35
I rated your chart 85/100 back in 2013 and I think I gotta come back and bump that up a bit. I don't personally follow the 1-album-per-artist rule and I'm also not huge on adding compilations, but the amount of thought and effort you've put into the notes for every album here really shows. One thing I love is how even though you've limited yourself to a album per artist, you've also ranked the other albums (at least for the top half or so of the chart). This gives a fuller picture of your preferences, which is really incredible. You get the best of both worlds: diversity of artists PLUS a true ranking of your favorite albums even. There's some fantastic stuff here, lot's in common but also a lot I need to revisit or check out for the first time.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
85/100
From 
ExTeaSea 11/27/2020 04:08
ExTeaSea 11/27/2020 04:08
Interesting chart! 20 artists in common. Love your notes for Mellon Collie. Some of the best notes for any album on this site. It's my all time favorite album.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From 
salahshoori 09/21/2020 03:52
salahshoori 09/21/2020 03:52
It's an outstanding chart. It would be a crime if I rated your chart any less than perfect.
Our tastes might differ a little and that's the way it should be, what would be the point of user charts if all the users had the same taste in music?
I don't agree with your way of rating albums though. I believe an album should be an experience as a whole. A "great" album has to be able to change your state, mentally. A collection of 10/10 songs isn't necessarily a great album IMHO.
Thanks for sharing!
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
90/100
From WillyMac 08/23/2020 13:28
Hard to knock virtually any of your choices (that I've heard). Loved that you ranked other albums by the same band, and find them very different than how I would rank most of them, but appreciate that your perspective is unique. Thx.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From RoundTheBend 06/18/2020 03:15
RoundTheBend 06/18/2020 03:15
Thanks for all the kind comments. I have updated this charts comments/descriptors, etc. over the past 4 years, but not the rankings/inclusions much. I desperately need to revamp since I have a spreadsheet/took a more deliberate approach on music I like, but wasn't as pencil headed about. I'm just afraid to touch anything... haha.
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
100/100
From 
Jameth 06/15/2020 19:03
Jameth 06/15/2020 19:03
I don’t think I’ve been here since last year, and I’m honestly a little stunned at all the power pop and alternative...given how much classical and jazz you seem to listen to. But hey, it’s your chart, so kick it your way.
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
85/100
From 
StefanR10 06/15/2020 12:12
StefanR10 06/15/2020 12:12
Good work I like it a little bit much of compilations but ok they have great songs on it. So I gone you 85 points.
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
95/100
From LankyLen 10/16/2019 11:41
Points for Mellon Collie and Graceland I’m the top 10. I can’t justify a greatest hits collection on the list though, although those songs are great.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
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