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.
View the complete list of 53,000 charts on BestEverAlbums.com from The Charts page.
This chart is currently filtered to only show albums from the 2000s. (Remove this filter)
Buy album
- #Sponsored
Art Rock, Alternative, Math Rock
lush, melancholic, introspective, bittersweet
"At a time when studio production and overdubbing has the ability to make sound bigger than it actually is, the magic of creating a full and immersive sound that seems greater than the sum of it's parts seems to be something that is taken for granted.
But, to watch Radiohead play this album live (For example, on their live from the basement video) is pretty amazing. The full and encompassing amount of sound produced by just these 5 guys and their instruments is pretty incredible." - Lastings, BEA
I too felt giddy at this release like nothing I've been giddy about since the late 90s/early 2000s and nothing else since: (full disclosure I wasn't there at the release, but when 15 Step first dropped... I was as giddy as I was at other album release parties... I was just late to it):
"Like many music lovers of a certain age, I have a lot of warm memories tied up with release days. I miss the simple ritual of making time to buy a record. I also miss listening to something special for the first time and imagining, against reason, the rest of the world holed up in their respective bedrooms, having the same experience. Before last Wednesday, I can't remember the last time I had that feeling. I also can't remember the last time I woke up voluntarily at 6 a.m. either, but like hundreds of thousands of other people around the world, there I was, sat at my computer, headphones on, groggy, but awake, and hitting play." - Marke Pytlik, Pitchfork
In Rainbows (2007): 100
Kid A (2000): 97.5
OK Computer (1997): 96.6
The Bends (1995): 94.5
The King Of Limbs (2011): 91.8
Amnesiac (2001): 90.9
Hail To The Thief (2003): 90.7
A Moon Shaped Pool (2016): 90
Pablo Honey (1993): 71.6 [First added to this chart: 06/01/2011]
lush, melancholic, introspective, bittersweet
"At a time when studio production and overdubbing has the ability to make sound bigger than it actually is, the magic of creating a full and immersive sound that seems greater than the sum of it's parts seems to be something that is taken for granted.
But, to watch Radiohead play this album live (For example, on their live from the basement video) is pretty amazing. The full and encompassing amount of sound produced by just these 5 guys and their instruments is pretty incredible." - Lastings, BEA
I too felt giddy at this release like nothing I've been giddy about since the late 90s/early 2000s and nothing else since: (full disclosure I wasn't there at the release, but when 15 Step first dropped... I was as giddy as I was at other album release parties... I was just late to it):
"Like many music lovers of a certain age, I have a lot of warm memories tied up with release days. I miss the simple ritual of making time to buy a record. I also miss listening to something special for the first time and imagining, against reason, the rest of the world holed up in their respective bedrooms, having the same experience. Before last Wednesday, I can't remember the last time I had that feeling. I also can't remember the last time I woke up voluntarily at 6 a.m. either, but like hundreds of thousands of other people around the world, there I was, sat at my computer, headphones on, groggy, but awake, and hitting play." - Marke Pytlik, Pitchfork
In Rainbows (2007): 100
Kid A (2000): 97.5
OK Computer (1997): 96.6
The Bends (1995): 94.5
The King Of Limbs (2011): 91.8
Amnesiac (2001): 90.9
Hail To The Thief (2003): 90.7
A Moon Shaped Pool (2016): 90
Pablo Honey (1993): 71.6 [First added to this chart: 06/01/2011]
Year of Release:
2007
Appears in:
Rank Score:
51,222
Rank in 2007:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
386
Buy album
- #Sponsored
Art Pop, Contemporary Folk, Folk Rock
melancholic, sad, warm, lonely
"...This is tearing nails into the saddest Drake and Cohen songs, and there's nothing wrong with that. This isn't the Beck you expect, the weirdness is seeped in soft ribbons of noise and deadened in a way. But I think after spending so long with Beck's music. I no longer enjoy the "quirk" appeal and Sea Change stands out as one of his best arrangements.
The string sections take it to a whole other level in general. The climax in "Lonesome Tears" is probably every heartbreak song ever made with the cheese milked out and the emotional crescendo turned up to 10..." -Schizima, RYM
Sea Change (2002): 100
Guero (2005): 97.6
Odelay (1996): 94.2
Colors (2017): 91
Mutations (1998): 90.4
The Information (2006): 89.6
Midnite Vultures (1999): 86.3
Morning Phase (2014): 85
Modern Guilt (2008): 84
Mellow Gold (1994): 82
One Foot In The Grave (1994): 70 [First added to this chart: 06/01/2011]
melancholic, sad, warm, lonely
"...This is tearing nails into the saddest Drake and Cohen songs, and there's nothing wrong with that. This isn't the Beck you expect, the weirdness is seeped in soft ribbons of noise and deadened in a way. But I think after spending so long with Beck's music. I no longer enjoy the "quirk" appeal and Sea Change stands out as one of his best arrangements.
The string sections take it to a whole other level in general. The climax in "Lonesome Tears" is probably every heartbreak song ever made with the cheese milked out and the emotional crescendo turned up to 10..." -Schizima, RYM
Sea Change (2002): 100
Guero (2005): 97.6
Odelay (1996): 94.2
Colors (2017): 91
Mutations (1998): 90.4
The Information (2006): 89.6
Midnite Vultures (1999): 86.3
Morning Phase (2014): 85
Modern Guilt (2008): 84
Mellow Gold (1994): 82
One Foot In The Grave (1994): 70 [First added to this chart: 06/01/2011]
Year of Release:
2002
Appears in:
Rank Score:
5,330
Rank in 2002:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
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:
41,803
Rank in 2004:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
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:
5,614
Rank in 2008:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
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:
Buy album
- #Sponsored
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:
Buy album
- #Sponsored
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:
Buy album
- #Sponsored
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]
Buy album
- #Sponsored
Americana, Contemporary Folk
death, lonely, warm, religious
At Folsom Prison is a close second.
American IV: The Man Comes Around 2002 95
Johnny Cash With His Hot And Blue Guitar 1957 90
At Folsom Prison 1968 90
At San Quentin 1969 85
Songs of Our Soil 1959 80
I Walk The Line 1964 80
American V: A Hundred Highways 2006 79.5
American Recordings 1994 75
American III: Solitary Man 2000 72
Bitter Tears 1964 70
The Fabulous Johnny Cash 1958 65 [First added to this chart: 06/01/2011]
death, lonely, warm, religious
At Folsom Prison is a close second.
American IV: The Man Comes Around 2002 95
Johnny Cash With His Hot And Blue Guitar 1957 90
At Folsom Prison 1968 90
At San Quentin 1969 85
Songs of Our Soil 1959 80
I Walk The Line 1964 80
American V: A Hundred Highways 2006 79.5
American Recordings 1994 75
American III: Solitary Man 2000 72
Bitter Tears 1964 70
The Fabulous Johnny Cash 1958 65 [First added to this chart: 06/01/2011]
Year of Release:
2002
Appears in:
Rank Score:
2,669
Rank in 2002:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Grunge, Alternative, Hard Rock
agressive, energetic, passionate, bittersweet
I realize this is a bit strange, but Pearl Jam is such a good live band AND I feel this is a fantastic collection of songs. Vs. is a close second.
8/25/00 – Jones Beach, New York 2001 94.6
Vs. 1993 90.8
Ten 1991 89
Vitalogy 1994 83.2
No Code 1996 81.5
Lightning Bolt 2013 81
Backspacer 2009 80.4
Yield 1998 79.2
Binaural 2000 75
Pearl Jam 2006 75
Riot Act 2002 70 [First added to this chart: 07/08/2016]
agressive, energetic, passionate, bittersweet
I realize this is a bit strange, but Pearl Jam is such a good live band AND I feel this is a fantastic collection of songs. Vs. is a close second.
8/25/00 – Jones Beach, New York 2001 94.6
Vs. 1993 90.8
Ten 1991 89
Vitalogy 1994 83.2
No Code 1996 81.5
Lightning Bolt 2013 81
Backspacer 2009 80.4
Yield 1998 79.2
Binaural 2000 75
Pearl Jam 2006 75
Riot Act 2002 70 [First added to this chart: 07/08/2016]
Total albums: 26. Page 1 of 3
Don't agree with this chart? Create your own from the My Charts page!
Top 100 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 1 | 1% | |
| 1950s | 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 | % | |
|---|---|---|---|
|
|
|
|
|
| |
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
- My Top Rated Artists by RoundTheBend (2016)
- Top Rated Albums 1-100 by RoundTheBend (2016)
- Top Scrobbled Artists by RoundTheBend (2021)
- Top Rated Albums 101-200 by RoundTheBend (2017)
- My Old (2013) Top Albums by sethmadsen by RoundTheBend (2016)
- Best Album per Year by RoundTheBend (2022)
- If The BEA Overall Chart Had A One Album Per Artist Rule... by
Romanelli (2015) - The Solo Artist by RoundTheBend (2017)
- My Favorite Debuts by RoundTheBend (2016)
- Top 100 Greatest Music Albums by jchurd601 (2012)
Top 100 Greatest Music Albums similarity to your chart(s)
Not a member? Registering is quick, easy and FREE!
Why register?
Join a passionate community of over 50,000 music fans.- Create & share your own charts.
- Have your say in the overall rankings.
- Post comments in the forums and vote on polls.
- Comment on or rate any album, artist, track or chart.
- Discover new music & improve your music collection.
- Customise the overall chart using a variety of different filters & metrics.
- Create a wishlist of albums.
- Help maintain the BEA database.
- Earn member points and gain access to increasing levels of functionality!
- ... And lots more!
Register now - it only takes a moment!
Top 100 Greatest Music Albums ratings
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.
Please log in or register if you want to be able to leave a rating
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
(Only showing comments with -2 votes or higher. You can alter this threshold from your profile page. Manage Profile)
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)
Please log in or register if you want to be able to add a comment
Your feedback for Top 100 Greatest Music Albums
Let us know what you think of this chart by adding a comment or assigning a rating below!
If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker.
A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.
A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.
| Best Ever Artists | |
|---|---|
| 1. The Beatles | |
| 2. Radiohead | |
| 3. Pink Floyd | |
| 4. David Bowie | |
| 5. Bob Dylan | |
| 6. Led Zeppelin | |
| 7. The Rolling Stones | |
| 8. Arcade Fire | |
| 9. The Velvet Underground | |
| 10. Kendrick Lamar | |
| 11. Nirvana | |
| 12. Neil Young | |
| 13. The Smiths | |
| 14. Miles Davis | |
| 15. The Beach Boys | |
| 16. Kanye West | |
| 17. Pixies | |
| 18. R.E.M. | |
| 19. Jimi Hendrix | |
| 20. Bruce Springsteen |