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 Rock, Alternative
warm, poetic, lush, introspective
Dude's voice is quite possibly the best in all of music. And I'm not even kidding. Love the fuzz bass. Love the dynamic musical range. Love the musical and emotional journey I go on when I listen to this album and I don't feel that way about a few songs, rather the whole album.
"Creative, intelligent, articulate, entertaining...
I bought this on recommendation and I understand that this set won the 2008 Mercury prize. The winning of this prize usually means artistic, creative and generally interesting. In my view all these attributes fit. Elbow offer understated, mature music, capped off with great and original lyrics. The arrangements are also highly interesting." - corkie, RYM
As anyone who knows me, knows that I find cathartic art nearly the most powerful - the stuff that really mirrors humanity:
"Sometimes an album leaps out at me from an act's discography and captures 'the moment' for me. The Seldom Seen Kid has been that album through the first few months of 2009. It's not like Elbow have reinvented their sound to appeal to a mass audience, they've just honed their craft to a point where their songs tap into a part of my psyche where as I listen to this album it can at various points stop me in my tracks as I fight to hide my emotions and mutter, "Yeah man, I've been there..." to myself." - p_q, RYM
The Seldom Seen Kid 2008 96.8
Little Fictions 2017 90
Cast Of Thousands 2003 86.3
Build A Rocket Boys! 2011 85.4
Leaders Of The Free World 2005 84
The Take Off and Landing of Everything 2014 80
Asleep In The Back 2001 79 [First added to this chart: 06/01/2011]
warm, poetic, lush, introspective
Dude's voice is quite possibly the best in all of music. And I'm not even kidding. Love the fuzz bass. Love the dynamic musical range. Love the musical and emotional journey I go on when I listen to this album and I don't feel that way about a few songs, rather the whole album.
"Creative, intelligent, articulate, entertaining...
I bought this on recommendation and I understand that this set won the 2008 Mercury prize. The winning of this prize usually means artistic, creative and generally interesting. In my view all these attributes fit. Elbow offer understated, mature music, capped off with great and original lyrics. The arrangements are also highly interesting." - corkie, RYM
As anyone who knows me, knows that I find cathartic art nearly the most powerful - the stuff that really mirrors humanity:
"Sometimes an album leaps out at me from an act's discography and captures 'the moment' for me. The Seldom Seen Kid has been that album through the first few months of 2009. It's not like Elbow have reinvented their sound to appeal to a mass audience, they've just honed their craft to a point where their songs tap into a part of my psyche where as I listen to this album it can at various points stop me in my tracks as I fight to hide my emotions and mutter, "Yeah man, I've been there..." to myself." - p_q, RYM
The Seldom Seen Kid 2008 96.8
Little Fictions 2017 90
Cast Of Thousands 2003 86.3
Build A Rocket Boys! 2011 85.4
Leaders Of The Free World 2005 84
The Take Off and Landing of Everything 2014 80
Asleep In The Back 2001 79 [First added to this chart: 06/01/2011]
Year of Release:
2008
Appears in:
Rank Score:
3,380
Rank in 2008:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
37
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Indietronica, Electropop, Synthpop
passionate, poetic, bittersweet, longing
I'm a little surprised with this... but it really doesn't have a bad song on it. What I mean is this more or less is kind of is strange thing to be at 22 on my list - side project and all. But honestly, I like this more than anything the actual band ever did. Emotionally very honest music. And electronically soothing and musically interesting. I thought I would have grown out of it by now, but all these years later I still really like it.
"Give Up is a insect in amber. It's an iconoclast. An album that is greater than the sum of its parts. It's a legacy that will outlast Death Cab for Cutie, Rilo Kiley, and Dntel. A singular statements that created an impact. And what a statement is.
Released in 2003, a year before the Killers helped to mainstream the term "indie", a year before Modest Mouse truly broke "indie" to the masses with "Float On", Sub Pop quietly released a weird side project by that chubby guy from Death Cab For Cutie and some guy who makes music with computers. Little did they know they'd help sculpt the next ten years." - gooplink, RYM [First added to this chart: 06/01/2011]
passionate, poetic, bittersweet, longing
I'm a little surprised with this... but it really doesn't have a bad song on it. What I mean is this more or less is kind of is strange thing to be at 22 on my list - side project and all. But honestly, I like this more than anything the actual band ever did. Emotionally very honest music. And electronically soothing and musically interesting. I thought I would have grown out of it by now, but all these years later I still really like it.
"Give Up is a insect in amber. It's an iconoclast. An album that is greater than the sum of its parts. It's a legacy that will outlast Death Cab for Cutie, Rilo Kiley, and Dntel. A singular statements that created an impact. And what a statement is.
Released in 2003, a year before the Killers helped to mainstream the term "indie", a year before Modest Mouse truly broke "indie" to the masses with "Float On", Sub Pop quietly released a weird side project by that chubby guy from Death Cab For Cutie and some guy who makes music with computers. Little did they know they'd help sculpt the next ten years." - gooplink, RYM [First added to this chart: 06/01/2011]
Year of Release:
2003
Appears in:
Rank Score:
4,157
Rank in 2003:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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Funk Metal, Rap Metal, Alternative Metal
political, aggressive, protest, conscious
"Probably the first album to successfully merge the seemingly disparate sounds of rap and heavy metal, Rage Against the Machine's self-titled debut was groundbreaking enough when released in 1992, but many would argue that it has yet to be surpassed in terms of influence and sheer brilliance -- though countless bands have certainly tried. This is probably because the uniquely combustible creative relationship between guitar wizard Tom Morello and literate rebel vocalist Zack de la Rocha could only burn this bright, this once. While the former's roots in '80s heavy metal shredding gave rise to an inimitable array of six-string acrobatics and rhythmic special effects (few of which anyone else has managed to replicate), the latter delivered meaningful rhymes with an emotionally charged conviction that suburban white boys of the ensuing nu-metal generation could never hope to touch. As a result, syncopated slabs of hard rock insurrection like "Bombtrack," "Take the Power Back," and "Know Your Enemy" were as instantly unforgettable as they were astonishing. Yet even they paled in comparison to veritable clinics in the art of slowly mounting tension such as "Settle for Nothing," "Bullet in the Head," and the particularly venomous "Wake Up" (where Morello revises Led Zeppelin's "Kashmir" riff for his own needs) -- all of which finally exploded with awesome power and fury. And even listeners who were unable (or unwilling) to fully process the band's unique clash of muscle and intellect were catered to, as RATM were able to convey their messages through stubborn repetition via the fundamental challenge of "Freedom" and their signature track, "Killing in the Name," which would become a rallying cry of disenfranchisement, thanks to its relentlessly rebellious mantra of "Fuck you, I won't do what you tell me!" Ultimately, if there's any disappointment to be had with this near-perfect album, it's that it still towers above subsequent efforts as the unequivocal climax of Rage Against the Machine's vision. As such, it remains absolutely essential." - Eduardo Rivadavia
"When I first gingerly slid it into my walkman and wandered the halls of corporate offices (which I cleaned) - watching the tie-wearing goons go about their pointless lives it felt very groovy to have a revolution plugged into your ears. That's where the resonance of this album lies with me. Although it's impact has faded as the years have gone by, and the band themselves are now figureheads of a moronic consumerist pseudolution - it's metallic hooks and spitting anger have aged well." - CrazyFoxMachine, RYM
"Secondly, somebody had to be this political at the same time. The politics on Rage Against the Machine sound almost quaint today - 'fuck you, I won't do what you tell me' carrying more of a reminder of a 14 year old not wanting to do his homework than the Buddhist martyr on the album's artwork - but the majority of the political music that had found serious success before this had never been violently angry. It had been quietly fuming, perhaps; more often it was either resigned or hopeful, as the songwriters tried to put themselves up as sages capable of rising above it all. And at times, it had attempted to offer up some kind of debate, cramming just a little too much information into what was still essentially a pop song." - Iai, RYM
Sometimes this type of political outspokenness is seen as immature and limited. de la Rocha takes a look at America and Capitalism in 1991, along with it's dark past that people have always questioned at one level or another, but with an almost Marxist fervor most people didn't even think was possible in America until the last few years. It's important to have artists give us a mirror, and this album does a great job at that - plus the funk metal is fantastic.
Rage Against The Machine 1992 96
The Battle Of Los Angeles 1999 89.1
Renegades 2000 87
Evil Empire 1996 79 [First added to this chart: 06/01/2011]
political, aggressive, protest, conscious
"Probably the first album to successfully merge the seemingly disparate sounds of rap and heavy metal, Rage Against the Machine's self-titled debut was groundbreaking enough when released in 1992, but many would argue that it has yet to be surpassed in terms of influence and sheer brilliance -- though countless bands have certainly tried. This is probably because the uniquely combustible creative relationship between guitar wizard Tom Morello and literate rebel vocalist Zack de la Rocha could only burn this bright, this once. While the former's roots in '80s heavy metal shredding gave rise to an inimitable array of six-string acrobatics and rhythmic special effects (few of which anyone else has managed to replicate), the latter delivered meaningful rhymes with an emotionally charged conviction that suburban white boys of the ensuing nu-metal generation could never hope to touch. As a result, syncopated slabs of hard rock insurrection like "Bombtrack," "Take the Power Back," and "Know Your Enemy" were as instantly unforgettable as they were astonishing. Yet even they paled in comparison to veritable clinics in the art of slowly mounting tension such as "Settle for Nothing," "Bullet in the Head," and the particularly venomous "Wake Up" (where Morello revises Led Zeppelin's "Kashmir" riff for his own needs) -- all of which finally exploded with awesome power and fury. And even listeners who were unable (or unwilling) to fully process the band's unique clash of muscle and intellect were catered to, as RATM were able to convey their messages through stubborn repetition via the fundamental challenge of "Freedom" and their signature track, "Killing in the Name," which would become a rallying cry of disenfranchisement, thanks to its relentlessly rebellious mantra of "Fuck you, I won't do what you tell me!" Ultimately, if there's any disappointment to be had with this near-perfect album, it's that it still towers above subsequent efforts as the unequivocal climax of Rage Against the Machine's vision. As such, it remains absolutely essential." - Eduardo Rivadavia
"When I first gingerly slid it into my walkman and wandered the halls of corporate offices (which I cleaned) - watching the tie-wearing goons go about their pointless lives it felt very groovy to have a revolution plugged into your ears. That's where the resonance of this album lies with me. Although it's impact has faded as the years have gone by, and the band themselves are now figureheads of a moronic consumerist pseudolution - it's metallic hooks and spitting anger have aged well." - CrazyFoxMachine, RYM
"Secondly, somebody had to be this political at the same time. The politics on Rage Against the Machine sound almost quaint today - 'fuck you, I won't do what you tell me' carrying more of a reminder of a 14 year old not wanting to do his homework than the Buddhist martyr on the album's artwork - but the majority of the political music that had found serious success before this had never been violently angry. It had been quietly fuming, perhaps; more often it was either resigned or hopeful, as the songwriters tried to put themselves up as sages capable of rising above it all. And at times, it had attempted to offer up some kind of debate, cramming just a little too much information into what was still essentially a pop song." - Iai, RYM
Sometimes this type of political outspokenness is seen as immature and limited. de la Rocha takes a look at America and Capitalism in 1991, along with it's dark past that people have always questioned at one level or another, but with an almost Marxist fervor most people didn't even think was possible in America until the last few years. It's important to have artists give us a mirror, and this album does a great job at that - plus the funk metal is fantastic.
Rage Against The Machine 1992 96
The Battle Of Los Angeles 1999 89.1
Renegades 2000 87
Evil Empire 1996 79 [First added to this chart: 06/01/2011]
Year of Release:
1992
Appears in:
Rank Score:
11,970
Rank in 1992:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Art Rock, Symphonic Prog, Space Rock
apocalyptic, passionate, political, eclectic
"While I disagree Muse just stole other's musical identities (Bellamy's vocals sound nothing like Freddie Mercury or Thom Yorke, but yes, they are all great singers), this review captures a lot of what makes this album great: "Though some may still consider them Radiohead mimics, obviously Muse continues to strike a nerve with their alternative hard rock audience, here releasing their third album of heavy guitars, haunted harmonics, and paranoid musings in Absolution. Frontman Matt Bellamy and company stick to the same disturbed, and sometimes disturbing, formula that's worked in the past: the emotional intensity and style of Radiohead, a rock thunder descended from Black Sabbath, and the baroque drama of Queen. Longtime producer John Leckie sits this one out, and in steps indie über-engineer Rich Costey. With Costey manning the desk, the music feels more polished and slick, but less epic and raw. Longtime fans won't miss a beat though, because Bellamy delivers the same Thom Yorke vocal impersonation for which he's known, and continues the same anthemic posturing he's lifted from Freddie Mercury. With song titles and subject matter fueled by fear of the apocalypse and worries about infidelities and random murders, the subject matter is as gloriously pretentious and lovably unlovable as ever. Newcomers to the band should expect killer guitars reminiscent of jackhammers and chainsaws, bloodcurdling choruses, and of course, tender passages of falsetto. A recurring motif of racing samplers suggests nothing less than a rock opera version of the score to Koyaanisqatsi, and then there are the occasional spooky moments where funky rhythms mingle with heavy metal guitars, suggesting a progressive Italian zombie flick soundtrack. There's little point in selecting highlights, because other than some slow moments that feel tacked on, there's not much variation in theme or mood. Many listeners will probably prefer to tackle the album in small doses, and only the most headstrong won't require a breather. Muse continues to make unrelenting hardcore art rock; Absolution is a tad cheesy, a bit too grandiose in its ambitions, bursting at the seams with too many ideas, and thus exactly what any Muse fan craves." - Tim DiGravina, AllMusic
The classical influences in this album totally got me. I realize Muse often is formulaic in their songwriting and sometimes seem to have a lacking emotional depth, yet at the same time sometimes have an incredible emotional and musical depth most artists haven't even come close to.
Absolution 2003 96
Black Holes And Revelations 2006 94
The Resistance 2009 93.6
Origin Of Symmetry 2001 92.2
Showbiz 1999 87.5
The 2nd Law 2012 87.6
Drones 2015 87.5 [First added to this chart: 12/15/2011]
apocalyptic, passionate, political, eclectic
"While I disagree Muse just stole other's musical identities (Bellamy's vocals sound nothing like Freddie Mercury or Thom Yorke, but yes, they are all great singers), this review captures a lot of what makes this album great: "Though some may still consider them Radiohead mimics, obviously Muse continues to strike a nerve with their alternative hard rock audience, here releasing their third album of heavy guitars, haunted harmonics, and paranoid musings in Absolution. Frontman Matt Bellamy and company stick to the same disturbed, and sometimes disturbing, formula that's worked in the past: the emotional intensity and style of Radiohead, a rock thunder descended from Black Sabbath, and the baroque drama of Queen. Longtime producer John Leckie sits this one out, and in steps indie über-engineer Rich Costey. With Costey manning the desk, the music feels more polished and slick, but less epic and raw. Longtime fans won't miss a beat though, because Bellamy delivers the same Thom Yorke vocal impersonation for which he's known, and continues the same anthemic posturing he's lifted from Freddie Mercury. With song titles and subject matter fueled by fear of the apocalypse and worries about infidelities and random murders, the subject matter is as gloriously pretentious and lovably unlovable as ever. Newcomers to the band should expect killer guitars reminiscent of jackhammers and chainsaws, bloodcurdling choruses, and of course, tender passages of falsetto. A recurring motif of racing samplers suggests nothing less than a rock opera version of the score to Koyaanisqatsi, and then there are the occasional spooky moments where funky rhythms mingle with heavy metal guitars, suggesting a progressive Italian zombie flick soundtrack. There's little point in selecting highlights, because other than some slow moments that feel tacked on, there's not much variation in theme or mood. Many listeners will probably prefer to tackle the album in small doses, and only the most headstrong won't require a breather. Muse continues to make unrelenting hardcore art rock; Absolution is a tad cheesy, a bit too grandiose in its ambitions, bursting at the seams with too many ideas, and thus exactly what any Muse fan craves." - Tim DiGravina, AllMusic
The classical influences in this album totally got me. I realize Muse often is formulaic in their songwriting and sometimes seem to have a lacking emotional depth, yet at the same time sometimes have an incredible emotional and musical depth most artists haven't even come close to.
Absolution 2003 96
Black Holes And Revelations 2006 94
The Resistance 2009 93.6
Origin Of Symmetry 2001 92.2
Showbiz 1999 87.5
The 2nd Law 2012 87.6
Drones 2015 87.5 [First added to this chart: 12/15/2011]
Year of Release:
2003
Appears in:
Rank Score:
8,224
Rank in 2003:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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Garage Rock, Swamp Rock, Soul
Passionate, psychedelic, eclectic, bittersweet
Honestly the thing I love most about this album is the production. Its the first album I was impressed that a blues rock group could have bass response in the bass guitar and bass drum like a pop/rap record and sound this good. I don't now if they had electronic bass replacement, or it was just the way it was recorded, but it sounds amazing. Very good bass presence. After a few listens, the music really starts to means something much more than regurgitated blues riffs.
"Retreating from the hazy Danger Mouse-fueled pot dream of Attack & Release, the Black Keys headed down to the legendary Muscle Shoals, recording their third album on their own and dubbing it Brothers. The studio, not to mention the artwork patterned after such disregarded Chess psychedelic-era relics as This Is Howlin’ Wolf’s New Album, are good indications that the tough blues band of the Black Keys earliest records is back, but the group hasn’t forgotten what they’ve learned in their inwardly psychedelic mid-period. Brothers still can get mighty trippy -- the swirling chintzy organ that circles “The Only One,” the Baroque harpsichord flair of “Too Afraid to Love You” -- but the album is built with blood and dirt, so its wilder moments remain gritty without being earthbound. Sonically, that scuffed-up spaciness -- the open air created by the fuzz guitars and phasing, analog keyboards, and cavernous drums -- is considerably appealing, but the Black Keys' ace in the hole remains the exceptional songwriting that Dan Auerbach and Patrick Carney are so good at. They twist a Gary Glitter stomp into swamp fuzz blues, steal a title from Archie Bell & the Drells but never reference that classic Tighten Up groove, and approximate a slow ‘60s soul crawl on “Unknown Brother” before following it up with a version of Jerry Butler’s “Never Gonna Give You Up,” and it’s nearly impossible to tell which is the cover. And that’s the great thing about the Black Keys in general and Brothers in particular: the past and present intermingle so thoroughly that they blur, yet there’s no affect, just three hundred pounds of joy." - Stephen Thomas Erlewine, AllMusic
Brothers 2010 98.6
Attack & Release 2008 85
Rubber Factory 2004 84.6
El Camino 2011 83.1
Thickfreakness 2003 82
Turn Blue 2014 82.7
Magic Potion 2006 80
The Big Come Up 2002 78 [First added to this chart: 07/08/2016]
Passionate, psychedelic, eclectic, bittersweet
Honestly the thing I love most about this album is the production. Its the first album I was impressed that a blues rock group could have bass response in the bass guitar and bass drum like a pop/rap record and sound this good. I don't now if they had electronic bass replacement, or it was just the way it was recorded, but it sounds amazing. Very good bass presence. After a few listens, the music really starts to means something much more than regurgitated blues riffs.
"Retreating from the hazy Danger Mouse-fueled pot dream of Attack & Release, the Black Keys headed down to the legendary Muscle Shoals, recording their third album on their own and dubbing it Brothers. The studio, not to mention the artwork patterned after such disregarded Chess psychedelic-era relics as This Is Howlin’ Wolf’s New Album, are good indications that the tough blues band of the Black Keys earliest records is back, but the group hasn’t forgotten what they’ve learned in their inwardly psychedelic mid-period. Brothers still can get mighty trippy -- the swirling chintzy organ that circles “The Only One,” the Baroque harpsichord flair of “Too Afraid to Love You” -- but the album is built with blood and dirt, so its wilder moments remain gritty without being earthbound. Sonically, that scuffed-up spaciness -- the open air created by the fuzz guitars and phasing, analog keyboards, and cavernous drums -- is considerably appealing, but the Black Keys' ace in the hole remains the exceptional songwriting that Dan Auerbach and Patrick Carney are so good at. They twist a Gary Glitter stomp into swamp fuzz blues, steal a title from Archie Bell & the Drells but never reference that classic Tighten Up groove, and approximate a slow ‘60s soul crawl on “Unknown Brother” before following it up with a version of Jerry Butler’s “Never Gonna Give You Up,” and it’s nearly impossible to tell which is the cover. And that’s the great thing about the Black Keys in general and Brothers in particular: the past and present intermingle so thoroughly that they blur, yet there’s no affect, just three hundred pounds of joy." - Stephen Thomas Erlewine, AllMusic
Brothers 2010 98.6
Attack & Release 2008 85
Rubber Factory 2004 84.6
El Camino 2011 83.1
Thickfreakness 2003 82
Turn Blue 2014 82.7
Magic Potion 2006 80
The Big Come Up 2002 78 [First added to this chart: 07/08/2016]
Year of Release:
2010
Appears in:
Rank Score:
5,112
Rank in 2010:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Power Pop, Geek Rock, Pop Punk
playful, bittersweet, introspective, alienation
"At the time of its release, the group's influences were discussed endlessly -- the dynamics of the Pixies, the polished production reminiscent of Nevermind, the willful outsider vibe borrowed from indie rock -- but few noted how the group, under the direction of singer/songwriter Rivers Cuomo, synthesized alt-rock with a strong '70s trash-rock predilection and an unwitting gift for power pop, resulting in something quite distinctive. Although the group wears its influences on its sleeve, Weezer pulls it together in a strikingly original fashion, thanks to Cuomo's urgent melodicism, a fondness for heavy, heavy guitars, a sly sense of humor, and damaged vulnerability, all driven home at a maximum volume. While contemporaries like Pavement were willfully, even gleefully obscure, and skewed toward a more selective audience, Weezer's insecurities were laid bare, and the band's pop culture obsessions tended to be universal, not exclusive. Plus, Cuomo wrote killer hooks and had a band that rocked hard -- albeit in an uptight, nerdy fashion -- winding up with direct, immediate music that connects on more than one level. It's both clever and vulnerable, but those sensibilities are hidden beneath the loud guitars and catchy hooks." - Stephen Thomas Erlewine, AllMusic
OH jeez - after all these years, this album still is quirky and musically fun enough that I just can't not want to listen to it still. And Say It Ain't So is still easily the best song they ever wrote - emotionally and mentally... and that baseline and guitar parts... jeez. Just fantastic. As an album over all, it's fantastic for what it is, and song for song pretty solid.
There are other albums of theirs, but I choose not to recognize them...
Weezer (The Blue Album) 1994 95.5
Everything Will Be Alright In The End 2014 93
Weezer (The Green Album) 2001 92.5
Weezer (The Red Album) 2008 92.5
Pinkerton 1996 91
Maladroit 2002 88
Weezer (The White Album) 2016 83.5
Make Believe 2005 80 [First added to this chart: 06/01/2011]
playful, bittersweet, introspective, alienation
"At the time of its release, the group's influences were discussed endlessly -- the dynamics of the Pixies, the polished production reminiscent of Nevermind, the willful outsider vibe borrowed from indie rock -- but few noted how the group, under the direction of singer/songwriter Rivers Cuomo, synthesized alt-rock with a strong '70s trash-rock predilection and an unwitting gift for power pop, resulting in something quite distinctive. Although the group wears its influences on its sleeve, Weezer pulls it together in a strikingly original fashion, thanks to Cuomo's urgent melodicism, a fondness for heavy, heavy guitars, a sly sense of humor, and damaged vulnerability, all driven home at a maximum volume. While contemporaries like Pavement were willfully, even gleefully obscure, and skewed toward a more selective audience, Weezer's insecurities were laid bare, and the band's pop culture obsessions tended to be universal, not exclusive. Plus, Cuomo wrote killer hooks and had a band that rocked hard -- albeit in an uptight, nerdy fashion -- winding up with direct, immediate music that connects on more than one level. It's both clever and vulnerable, but those sensibilities are hidden beneath the loud guitars and catchy hooks." - Stephen Thomas Erlewine, AllMusic
OH jeez - after all these years, this album still is quirky and musically fun enough that I just can't not want to listen to it still. And Say It Ain't So is still easily the best song they ever wrote - emotionally and mentally... and that baseline and guitar parts... jeez. Just fantastic. As an album over all, it's fantastic for what it is, and song for song pretty solid.
There are other albums of theirs, but I choose not to recognize them...
Weezer (The Blue Album) 1994 95.5
Everything Will Be Alright In The End 2014 93
Weezer (The Green Album) 2001 92.5
Weezer (The Red Album) 2008 92.5
Pinkerton 1996 91
Maladroit 2002 88
Weezer (The White Album) 2016 83.5
Make Believe 2005 80 [First added to this chart: 06/01/2011]
Year of Release:
1994
Appears in:
Rank Score:
16,899
Rank in 1994:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Art Rock... I refuse to call this Indie anything.
abstract, eclectic, existential, melodic/soundscape palette
"As Tall as Lions made a late-aughts splash on the indie music scene with a sound characterized by Coldplay-esque melodicism, U2-ish ethereal guitar textures, and the supple, soaring, Jeff Buckley-influenced lead vocals of singer Dan Nigro. On You Can't Take It with You, the Long Island-based group continued in much the same vein as on its 2006 self-titled release, matching the abovementioned sonic palette with kinetic drum'n'bass beats and heaping helpings of old-fashioned rock energy. Sounding at once accessible and inscrutably mysterious, "In Case of Rapture" bristles with a nervous energy that should please emo fans, but remains densely textured enough to appeal to listeners with an ear for the progressive. "Circles" starts out softly melancholy, with a vocal that recalls Art Garfunkel or Elliott Smith before eventually exploding into a guitar freakout underpinned by tense, wiry, claustrophobic rhythms. Throughout, You Can't Take It with You represents the sound of a band striking a delicate balance between emotional directness and artful experimentation." - Pemberton Roach, AllMusic
I was very sad this band wouldn't be carrying on. I was so excited to hear such mature music coming out of a time when I had lost faith in new music.
You Can't Take It With You 2009 95.4
(self-titled)As Tall As Lions 2006 85.5 [First added to this chart: 06/01/2011]
abstract, eclectic, existential, melodic/soundscape palette
"As Tall as Lions made a late-aughts splash on the indie music scene with a sound characterized by Coldplay-esque melodicism, U2-ish ethereal guitar textures, and the supple, soaring, Jeff Buckley-influenced lead vocals of singer Dan Nigro. On You Can't Take It with You, the Long Island-based group continued in much the same vein as on its 2006 self-titled release, matching the abovementioned sonic palette with kinetic drum'n'bass beats and heaping helpings of old-fashioned rock energy. Sounding at once accessible and inscrutably mysterious, "In Case of Rapture" bristles with a nervous energy that should please emo fans, but remains densely textured enough to appeal to listeners with an ear for the progressive. "Circles" starts out softly melancholy, with a vocal that recalls Art Garfunkel or Elliott Smith before eventually exploding into a guitar freakout underpinned by tense, wiry, claustrophobic rhythms. Throughout, You Can't Take It with You represents the sound of a band striking a delicate balance between emotional directness and artful experimentation." - Pemberton Roach, AllMusic
I was very sad this band wouldn't be carrying on. I was so excited to hear such mature music coming out of a time when I had lost faith in new music.
You Can't Take It With You 2009 95.4
(self-titled)As Tall As Lions 2006 85.5 [First added to this chart: 06/01/2011]
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Contemporary Folk, Acoustic Blues, Country Blues
poetic, political, conscious, introspective
Political songs interspersed with a pair of sensitive cuts, The Times They Are A-Changin' could almost be a sequel to The Freewheelin' Bob Dylan. Dylan can barely contain his anger at the lack of civil rights in America, and he goes between righteous frustration to all-out disappointment. His songs here are ones of reaching out to those most affected by inequality and to those who control or appear to control the situations of that time.
A decidedly darker, more serious album than its predecessor, "The Times They Are A-Changin'" has the feel of a young man reveling in his newfound status as the voice of a generation...
Blasphemy I know... I probably should revisit these.
The Times They Are A-Changin' 1964 95
Bringing It All Back Home 1965 85
Time Out Of Mind 1997 80
Blonde On Blonde 1966 75
Blood On The Tracks 1975 70.5
The Freewheelin' Bob Dylan 1963 70
Highway 61 Revisited 1965 70
Nashville Skyline 1969 70
Desire 1976 70
Another Side Of Bob Dylan 1964 60
John Wesley Harding 1967 50 [First added to this chart: 06/01/2011]
poetic, political, conscious, introspective
Political songs interspersed with a pair of sensitive cuts, The Times They Are A-Changin' could almost be a sequel to The Freewheelin' Bob Dylan. Dylan can barely contain his anger at the lack of civil rights in America, and he goes between righteous frustration to all-out disappointment. His songs here are ones of reaching out to those most affected by inequality and to those who control or appear to control the situations of that time.
A decidedly darker, more serious album than its predecessor, "The Times They Are A-Changin'" has the feel of a young man reveling in his newfound status as the voice of a generation...
Blasphemy I know... I probably should revisit these.
The Times They Are A-Changin' 1964 95
Bringing It All Back Home 1965 85
Time Out Of Mind 1997 80
Blonde On Blonde 1966 75
Blood On The Tracks 1975 70.5
The Freewheelin' Bob Dylan 1963 70
Highway 61 Revisited 1965 70
Nashville Skyline 1969 70
Desire 1976 70
Another Side Of Bob Dylan 1964 60
John Wesley Harding 1967 50 [First added to this chart: 06/01/2011]
Year of Release:
1964
Appears in:
Rank Score:
3,608
Rank in 1964:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
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Psychedelic Rock, Blues Rock, Art Rock
poetic, passionate, hedonistic, mysterious
"A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band's fusion of rock, blues, classical, jazz, and poetry with a knockout punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison's captivating vocals and probing prose." Richie Unterberger, AllMusic
I don't think there's a band like this one musically. The near sultry voice of Jim Morrison combined with his emotional range and explosions... then the keyboard soloist just happens to be their bassist at the same time. Just mind blowing musically at times.
The Doors The Doors 1967 2 95
Strange Days The Doors 1967 8 85
L.A. Woman The Doors 1971 11 82
Morrison Hotel The Doors 1970 16 81.8
Waiting For The Sun The Doors 1968 15 80
The Soft Parade The Doors 1969 35 75
Absolutely Live The Doors 1970 [First added to this chart: 12/15/2011]
poetic, passionate, hedonistic, mysterious
"A tremendous debut album, and indeed one of the best first-time outings in rock history, introducing the band's fusion of rock, blues, classical, jazz, and poetry with a knockout punch. The lean, spidery guitar and organ riffs interweave with a hypnotic menace, providing a seductive backdrop for Jim Morrison's captivating vocals and probing prose." Richie Unterberger, AllMusic
I don't think there's a band like this one musically. The near sultry voice of Jim Morrison combined with his emotional range and explosions... then the keyboard soloist just happens to be their bassist at the same time. Just mind blowing musically at times.
The Doors The Doors 1967 2 95
Strange Days The Doors 1967 8 85
L.A. Woman The Doors 1971 11 82
Morrison Hotel The Doors 1970 16 81.8
Waiting For The Sun The Doors 1968 15 80
The Soft Parade The Doors 1969 35 75
Absolutely Live The Doors 1970 [First added to this chart: 12/15/2011]
Year of Release:
1967
Appears in:
Rank Score:
29,151
Rank in 1967:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
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Hard Rock, Blues Rock
hedonistic, sensual, rhythmic, passionate
Led Zeppelin II has been called, and held responsible for, many things. From the birth of heavy metal and the first example of a shredding guitar solo to the end of The Beatles reign as Kings of the music world. Far more consistent in quality than most peoples preferred choice of IV Led Zep II is the album that perfectly blends all of their styles. There is plenty of blues, and more original blues too, than on the first album. There is the sheer power of hard rock and yet there is still plenty of hippy folkiness and sixties ideology on offer too." - MartinLeedham, RYM
Led Zeppelin II 1969 95
Led Zeppelin 1969 90
Led Zeppelin IV 1971 89.3
Houses Of The Holy 1973 87.5
Led Zeppelin III 1970 87
Physical Graffiti 1975 80
Coda 1982 77
Presence 1976 70 [First added to this chart: 06/01/2011]
hedonistic, sensual, rhythmic, passionate
Led Zeppelin II has been called, and held responsible for, many things. From the birth of heavy metal and the first example of a shredding guitar solo to the end of The Beatles reign as Kings of the music world. Far more consistent in quality than most peoples preferred choice of IV Led Zep II is the album that perfectly blends all of their styles. There is plenty of blues, and more original blues too, than on the first album. There is the sheer power of hard rock and yet there is still plenty of hippy folkiness and sixties ideology on offer too." - MartinLeedham, RYM
Led Zeppelin II 1969 95
Led Zeppelin 1969 90
Led Zeppelin IV 1971 89.3
Houses Of The Holy 1973 87.5
Led Zeppelin III 1970 87
Physical Graffiti 1975 80
Coda 1982 77
Presence 1976 70 [First added to this chart: 06/01/2011]
Year of Release:
1969
Appears in:
Rank Score:
22,913
Rank in 1969:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 3 of 10
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Top 100 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
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| 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 | % | |
|---|---|---|---|
|
|
 |
|
|
| Brian Wilson | 1 | 1% | |
| Arcade Fire | 1 | 1% | |
| The Anniversary | 1 | 1% | |
| Big Audio Dynamite II | 1 | 1% | |
| Portishead | 1 | 1% | |
| The Postal Service | 1 | 1% | |
| Black Sabbath | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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|
|
| |
67 | 67% | |
 |
21 | 21% | |
 |
3 | 3% | |
 |
2 | 2% | |
 |
2 | 2% | |
 |
1 | 1% | |
 |
1 | 1% | |
| Show all | |||
Top 100 Greatest Music Albums chart changes
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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 11% 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 favourites
Showing all 12 members who have added this chart as a favourite
Top 100 Greatest Music Albums comments
Showing latest 10 comments | Show all 82 comments |
Most Helpful First | Newest First | Maximum Rated First |
Longest Comments First
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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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| Best Artists of 1994 | |
|---|---|
| 1. Jeff Buckley | |
| 2. Nas | |
| 3. Portishead | |
| 4. Weezer | |
| 5. Oasis | |
| 6. Nine Inch Nails | |
| 7. Nirvana | |
| 8. Pavement | |
| 9. Soundgarden | |
| 10. Blur | |
| 11. Green Day | |
| 12. The Notorious B.I.G. | |
| 13. Manic Street Preachers | |
| 14. Suede | |
| 15. Nick Cave & The Bad Seeds | |
| 16. Nick Cave | |
| 17. Guided By Voices | |
| 18. Pink Floyd | |
| 19. Alice In Chains | |
| 20. Pearl Jam |