Top 100 Greatest Music Albums by 
JulianR 
Hey!
I am quite excited to discuss literally anything about music ("literal" used in the literal, not figurative sense). I don't really know anyone that listens to the breadth and depth of music that I do. So if you disagree with something I say, or just want to talk about music, totally message me. Also if you want recommendations, or have some for me, totally message me or comment. Thank you!
Just as a heads up, the descriptions for these albums could have been written yesterday, or 18 months ago. They may not be totally reflective of my opinions on them now, though they were at one point at least.
Chart of the Day: 2/21/18, 4/23/19
Questions, comments, concerns, and especially recommendations are all heavily encouraged
Thanks
- Julian
- Chart updated: 02/07/2020 06:45
- (Created: 12/14/2016 01:31).
- Chart size: 100 albums.
There are 72 comments for this chart from BestEverAlbums.com members and Top 100 Greatest Music Albums has an average rating of 92 out of 100 (from 106 votes). Please log in or register to leave a comment or assign a rating.
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Industrial Hip-Hop
95/100
CA: 8/10
"Y'all 'bout to turn shit up?
I'm 'bout to tear shit down
I'm 'bout to air shit out
Now what the fuck they gon' say now?"
This album has made me re-evaluate a lot of how I think about music. As one who comes from a classic rock background, as I suspect most (or at least a good number) on this site do, it's hard not to think of Kanye as one of those new rappers writing pop-rap for a bunch of teenagers to drink and party to. To a certain extent, that not incorrect. But this album is a whole lot more.
While MBDTF was definitely an artistic statement, it was one designed to generate radio hits. Yeezus is, to a certain extent, anti-commercial. Or at least as anti-commercial as any serious album by the most popular artist in the world could be. On Sight is abrasive as hell. The same is true of most of the rest. As hard as it might be to understand coming from the high-brow land of rock n' roll, this is a thoroughly artistic, not commercial, endeavor.
The next hurdle of course is that you might point out, "Look at all the shitty stuff he says! He's just vulgar, obscene, and misogynistic!". Again, you would not be entirely wrong. In defense, I call to the stand Lou Reed. He in fact named this one of his favorite albums of the past decade or so shortly before passing away, but thats not what he's been called to the stand for. Instead, it is for his magnum opus track, Sister Ray. A song almost universally revered by rock "oldheads," it literally details a drug fueled orgy, in the strongest language that 60's would allow. More evidence could be presented, such as the Sex Pistols in general. These artists aren't considered vulgar unintelligent provocateurs, but as visionaries of the art form that is music. The same is true of Kanye West. If one reframes his vulgar digressions as either playful jibes or an attempt to see how far boundaries can be pushed (they are often both), one gets a figure not unlike the late Lou Reed.
That said, I don't think that he is immune from criticism. I'm still unsure how I feel about the politics surrounding using Billy Holiday's "Blood On The Leaves" as the basis for a song about ecstacy fueled affairs. But overall the album is a pretty awesome listen. Just a quick shoutout to the real highlights of the album: I Am A God is a banger, and quite a good distillation of Kanye himself; a self-aware, yet flamboyantly excessive exercise in self-worship. New Slaves is a surpringly nuanced look at what it means to be black and successful in America. And Hold My Liquor is possibly Kanye's greatest accomplishment of all time. [First added to this chart: 12/08/2017]
95/100
CA: 8/10
"Y'all 'bout to turn shit up?
I'm 'bout to tear shit down
I'm 'bout to air shit out
Now what the fuck they gon' say now?"
This album has made me re-evaluate a lot of how I think about music. As one who comes from a classic rock background, as I suspect most (or at least a good number) on this site do, it's hard not to think of Kanye as one of those new rappers writing pop-rap for a bunch of teenagers to drink and party to. To a certain extent, that not incorrect. But this album is a whole lot more.
While MBDTF was definitely an artistic statement, it was one designed to generate radio hits. Yeezus is, to a certain extent, anti-commercial. Or at least as anti-commercial as any serious album by the most popular artist in the world could be. On Sight is abrasive as hell. The same is true of most of the rest. As hard as it might be to understand coming from the high-brow land of rock n' roll, this is a thoroughly artistic, not commercial, endeavor.
The next hurdle of course is that you might point out, "Look at all the shitty stuff he says! He's just vulgar, obscene, and misogynistic!". Again, you would not be entirely wrong. In defense, I call to the stand Lou Reed. He in fact named this one of his favorite albums of the past decade or so shortly before passing away, but thats not what he's been called to the stand for. Instead, it is for his magnum opus track, Sister Ray. A song almost universally revered by rock "oldheads," it literally details a drug fueled orgy, in the strongest language that 60's would allow. More evidence could be presented, such as the Sex Pistols in general. These artists aren't considered vulgar unintelligent provocateurs, but as visionaries of the art form that is music. The same is true of Kanye West. If one reframes his vulgar digressions as either playful jibes or an attempt to see how far boundaries can be pushed (they are often both), one gets a figure not unlike the late Lou Reed.
That said, I don't think that he is immune from criticism. I'm still unsure how I feel about the politics surrounding using Billy Holiday's "Blood On The Leaves" as the basis for a song about ecstacy fueled affairs. But overall the album is a pretty awesome listen. Just a quick shoutout to the real highlights of the album: I Am A God is a banger, and quite a good distillation of Kanye himself; a self-aware, yet flamboyantly excessive exercise in self-worship. New Slaves is a surpringly nuanced look at what it means to be black and successful in America. And Hold My Liquor is possibly Kanye's greatest accomplishment of all time. [First added to this chart: 12/08/2017]
Year of Release:
2013
Appears in:
Rank Score:
8,317
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
155
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Free Jazz • Spiritual Jazz
95/100
CA: 5/10
IYLT: Alice Coltrane - Journey in Satchidananda; McCoy Tyner - Sahara
Something about this single composition just draws me in to a whole other world every time I listen to it. I love Karma too, and its eclectic feel and spiritual optimism has a place, but Black Unity is a whole other beast. It is a one long tour-de-force in what it means to improvise, though not in the very theoretical sense that you might find in Anthony Braxton, but more in the primal and visceral sense that Coltrane and Ayler are sometimes able to exhibit. Among these spiritual jazz greats, Pharoah's playing has always stood out to me as a nearly pure act of catharsis. There is just so much power and emotion. And not only that, it feels like he draws the same raw energy and passion and soul out of everyone he plays with; I don't think I've heard an album with Sanders on it that I didn't like.
Black Unity is all the more spectacular in how simple it is. Its literally based on three notes, for about 40 minutes. Yet it never does the same thing twice. It always has that feeling of evolving. Its not as if when one musician begins to solo, the rest halt their progression and stay in a stasis for the soloer, as it often done; instead they just keep pushing, that final goal is never lost. Possibly the most amazing moment is not even musical, but when the music stops and then a small crowd begins to clap, and I remember again that this was all one spectacular live take. There's a lot to be said about its musical qualities, but it is spectacularly impressive from a technical aspect as well. [First added to this chart: 10/22/2017]
95/100
CA: 5/10
IYLT: Alice Coltrane - Journey in Satchidananda; McCoy Tyner - Sahara
Something about this single composition just draws me in to a whole other world every time I listen to it. I love Karma too, and its eclectic feel and spiritual optimism has a place, but Black Unity is a whole other beast. It is a one long tour-de-force in what it means to improvise, though not in the very theoretical sense that you might find in Anthony Braxton, but more in the primal and visceral sense that Coltrane and Ayler are sometimes able to exhibit. Among these spiritual jazz greats, Pharoah's playing has always stood out to me as a nearly pure act of catharsis. There is just so much power and emotion. And not only that, it feels like he draws the same raw energy and passion and soul out of everyone he plays with; I don't think I've heard an album with Sanders on it that I didn't like.
Black Unity is all the more spectacular in how simple it is. Its literally based on three notes, for about 40 minutes. Yet it never does the same thing twice. It always has that feeling of evolving. Its not as if when one musician begins to solo, the rest halt their progression and stay in a stasis for the soloer, as it often done; instead they just keep pushing, that final goal is never lost. Possibly the most amazing moment is not even musical, but when the music stops and then a small crowd begins to clap, and I remember again that this was all one spectacular live take. There's a lot to be said about its musical qualities, but it is spectacularly impressive from a technical aspect as well. [First added to this chart: 10/22/2017]
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Art Rock • Electronic Rock
95/100
Cover Art: 10/10
If You Like This: Massive Attack - Mezzanine; David Bowie - Low;
This album was my number one for so long that it's image in my mind has overcome my actual feelings of it; it has been mythologized, in a way. I'm going to let it sit here for a while and then come back to it. [First added to this chart: 12/17/2016]
95/100
Cover Art: 10/10
If You Like This: Massive Attack - Mezzanine; David Bowie - Low;
This album was my number one for so long that it's image in my mind has overcome my actual feelings of it; it has been mythologized, in a way. I'm going to let it sit here for a while and then come back to it. [First added to this chart: 12/17/2016]
Year of Release:
2000
Appears in:
Rank Score:
51,383
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
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(Real) Shoegaze • Noise Pop
95/100
Cover Art: 10/10
If You Like This: Panda Riot - Infinity Maps; Chapterhouse - Whirlpool
"When I look at you
Ohh, I don't know what's real"
Never has an album been so synonymous with a genre, yet so unique within it. Shoegaze is (essentially by definition) Loveless. So I will be talking about what shoegaze is, too. I think the term Shoegaze suffers from a debilitating lack of clarity. Does shoegaze include Slowdive's "Souvlaki" and Ride's "Nowhere" (the only two other albums usually conflated with the core of shoegaze), despite the former being ethereal and dreamy, and the latter essentially being jangly alt-rock? All three of these "core" albums sound so different enough that is hard to imagine them all being in the same genre/subgenre that is shoegaze. If it's that broad, does it include The Jesus and Mary Chain and the Sonic Youth? No, at least to me. My interpretation is actually quite narrow. Ride is just britpop with effects added. Slowdive is often shoegaze, though not always. Other "not real shoegaze bands" include The Cocteau Twins, The Jesus and Mary Chain, Swervedriver, Lush. Even "Just for a Day" and "Isn't Anything" are albums I would consider more post-punk than shoegaze.
Whatever shoegaze is or isn't, I know that Loveless is its heart and soul. To me, the story of Loveless and shoegaze is a sad tale; the genre was essentially started and ended with this album. The shoegaze genre was catapulted into the closest to mainstream it would ever get, yet, Loveless was also the very artistic and commercial pinnacle of the genre it essentially spawned. It was over before it started; every album afterwards would be compared to Loveless, and no album would ever measure up. Even Kevin Shields himself took 20+ to build up the courage to release a follow-up (one that was nonetheless, pretty good).
The album itself creates such interesting collages; each and every track (aside from touched, which kinda sucks) is so brilliant and beautifully noisy. There feel like numerous and constantly shifting layers of noise, so much so that tune and rhythm become secondary to the sheer power of the cacophony. I don't think I could even hum any of the songs on this album besides Soon and maybe Only Shallow. Yet I love (haha, get it, love) every one. Blasting this album is one of the coolest things I can do. It's something to get absolutely lost in. And it seems like it gets even better the louder it gets; as the volume goes up, one can begin to hear more layers under the layers and layers of sound already there. It's truly wondrous.
PS: I once saw a comment on this album that said it is the only album that is perfect forwards and backwards. I'm not sure if it's as good, but listening to it backwards is a surprisingly similar experience, and one I would recommend everyone try at least once. It's on youtube if you look for it. [First added to this chart: 07/11/2017]
95/100
Cover Art: 10/10
If You Like This: Panda Riot - Infinity Maps; Chapterhouse - Whirlpool
"When I look at you
Ohh, I don't know what's real"
Never has an album been so synonymous with a genre, yet so unique within it. Shoegaze is (essentially by definition) Loveless. So I will be talking about what shoegaze is, too. I think the term Shoegaze suffers from a debilitating lack of clarity. Does shoegaze include Slowdive's "Souvlaki" and Ride's "Nowhere" (the only two other albums usually conflated with the core of shoegaze), despite the former being ethereal and dreamy, and the latter essentially being jangly alt-rock? All three of these "core" albums sound so different enough that is hard to imagine them all being in the same genre/subgenre that is shoegaze. If it's that broad, does it include The Jesus and Mary Chain and the Sonic Youth? No, at least to me. My interpretation is actually quite narrow. Ride is just britpop with effects added. Slowdive is often shoegaze, though not always. Other "not real shoegaze bands" include The Cocteau Twins, The Jesus and Mary Chain, Swervedriver, Lush. Even "Just for a Day" and "Isn't Anything" are albums I would consider more post-punk than shoegaze.
Whatever shoegaze is or isn't, I know that Loveless is its heart and soul. To me, the story of Loveless and shoegaze is a sad tale; the genre was essentially started and ended with this album. The shoegaze genre was catapulted into the closest to mainstream it would ever get, yet, Loveless was also the very artistic and commercial pinnacle of the genre it essentially spawned. It was over before it started; every album afterwards would be compared to Loveless, and no album would ever measure up. Even Kevin Shields himself took 20+ to build up the courage to release a follow-up (one that was nonetheless, pretty good).
The album itself creates such interesting collages; each and every track (aside from touched, which kinda sucks) is so brilliant and beautifully noisy. There feel like numerous and constantly shifting layers of noise, so much so that tune and rhythm become secondary to the sheer power of the cacophony. I don't think I could even hum any of the songs on this album besides Soon and maybe Only Shallow. Yet I love (haha, get it, love) every one. Blasting this album is one of the coolest things I can do. It's something to get absolutely lost in. And it seems like it gets even better the louder it gets; as the volume goes up, one can begin to hear more layers under the layers and layers of sound already there. It's truly wondrous.
PS: I once saw a comment on this album that said it is the only album that is perfect forwards and backwards. I'm not sure if it's as good, but listening to it backwards is a surprisingly similar experience, and one I would recommend everyone try at least once. It's on youtube if you look for it. [First added to this chart: 07/11/2017]
Year of Release:
1991
Appears in:
Rank Score:
33,812
Rank in 1991:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Modern Pop
95/100
CA: 7/10
I have been slowly convinced that this is not just a masterpiece of pop, but of music as an art form. It is currently in my top ten. I never would have expected a modern chart-pop album to end up in my top ten, but there it is. It's so fine tuned, so well crafted, so monolithic at its most powerful and so desolate at its most... desolate? Maybe its because I come from a rock background (basically an anti-pop background, really) but I feel like I don't have the right vocabulary, lexicon, even mindset, to talk about pop music correctly. It's spoken of in different terms. Reading pitchfork reviews alone can tell you that talking about pop is just different. What makes pop pop is its ability to tap in to a more primal, immediate enjoyment, it seems. But even that sentiment seems wrong. Oh well. I'll have to resign myself to saying its the best darn album I've discovered this whole year, and leave it at that.
I get annoyed when reviews are posted both under the album and on the user's chart, but these words felt right enough. Sorry [First added to this chart: 10/13/2018]
95/100
CA: 7/10
I have been slowly convinced that this is not just a masterpiece of pop, but of music as an art form. It is currently in my top ten. I never would have expected a modern chart-pop album to end up in my top ten, but there it is. It's so fine tuned, so well crafted, so monolithic at its most powerful and so desolate at its most... desolate? Maybe its because I come from a rock background (basically an anti-pop background, really) but I feel like I don't have the right vocabulary, lexicon, even mindset, to talk about pop music correctly. It's spoken of in different terms. Reading pitchfork reviews alone can tell you that talking about pop is just different. What makes pop pop is its ability to tap in to a more primal, immediate enjoyment, it seems. But even that sentiment seems wrong. Oh well. I'll have to resign myself to saying its the best darn album I've discovered this whole year, and leave it at that.
I get annoyed when reviews are posted both under the album and on the user's chart, but these words felt right enough. Sorry [First added to this chart: 10/13/2018]
Year of Release:
2017
Appears in:
Rank Score:
5,737
Rank in 2017:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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95/100
[First added to this chart: 09/10/2018]
Year of Release:
2016
Appears in:
Rank Score:
1,499
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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95/100
[First added to this chart: 02/20/2018]
Year of Release:
2016
Appears in:
Rank Score:
14,450
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Singer-Songerwriter • Indie
95/100
CA: 6/10
"I'm in love with the world
Through the eyes of a girl"
He makes such beautiful songs that seem both very simple and very complex at the same time. He also seems to be able to make things that shouldn't sound very good sound very good, through the way he constructs his chords and stuff. He's really a masterful guitar player, more than anything else. [First added to this chart: 07/10/2017]
95/100
CA: 6/10
"I'm in love with the world
Through the eyes of a girl"
He makes such beautiful songs that seem both very simple and very complex at the same time. He also seems to be able to make things that shouldn't sound very good sound very good, through the way he constructs his chords and stuff. He's really a masterful guitar player, more than anything else. [First added to this chart: 07/10/2017]
Year of Release:
1997
Appears in:
Rank Score:
11,593
Rank in 1997:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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Jazz Rap • Avant-Garde Jazz • Trap-Rap
95/100
CA: 8/10
"I got 100 on my dash, got 200 in my trunk
Name in the grab bags, put my Bible in the trunk"
It feels odd to call this one of the greatest hip-hop albums of all time. And I don't even really think of it that way; it's just a really good album. And yet, when I'm here comparing it to the others on my chart, they don't quite hold up. Yet it's hard to not think of it as "A bunch of B-sides." That phrase, though, has resulted in some of the greatest albums of all time being overlooked. The Final Cut and Amnesiac are two that come to mind, for me at least. Just because these tracks were passed over the first time around doesn't mean they are necessarily worse. These albums shouldn't be disregarded just because of their "b-sides" status.
I personally think this is Kendrick's most fearless works. It's almost anti-commercial, which I think results in his best and most experimental works. He frees himself from the obligations of having to create something easily marketed and sold, or even something coherent and whole, and it ends up feeling more cohesive than any of his other works. The jazz on this album seems like less of a finishing touch and more of a backbone of the music, which is a definite positive. TPAB was certainly jazzy, but I wouldn't go so far as to say that an instrumental version of the album would be jazz. This record is actually jazz. Listen to Untitled 5, not the rapping but underneath. It is awesome electrified jazz set to a pounding drum loop. It is avant-garde. Or listen to the wacky beauty of Untitled 04.
Something about this 34 minute collage of B-Sides is just such an amazing listening experience, even compared with either of his magnum opus'.
I could do without the little rehearsal/writing/jam session for 04 at the end of 07, but I've appreciated it more with repeat listens. [First added to this chart: 01/06/2018]
95/100
CA: 8/10
"I got 100 on my dash, got 200 in my trunk
Name in the grab bags, put my Bible in the trunk"
It feels odd to call this one of the greatest hip-hop albums of all time. And I don't even really think of it that way; it's just a really good album. And yet, when I'm here comparing it to the others on my chart, they don't quite hold up. Yet it's hard to not think of it as "A bunch of B-sides." That phrase, though, has resulted in some of the greatest albums of all time being overlooked. The Final Cut and Amnesiac are two that come to mind, for me at least. Just because these tracks were passed over the first time around doesn't mean they are necessarily worse. These albums shouldn't be disregarded just because of their "b-sides" status.
I personally think this is Kendrick's most fearless works. It's almost anti-commercial, which I think results in his best and most experimental works. He frees himself from the obligations of having to create something easily marketed and sold, or even something coherent and whole, and it ends up feeling more cohesive than any of his other works. The jazz on this album seems like less of a finishing touch and more of a backbone of the music, which is a definite positive. TPAB was certainly jazzy, but I wouldn't go so far as to say that an instrumental version of the album would be jazz. This record is actually jazz. Listen to Untitled 5, not the rapping but underneath. It is awesome electrified jazz set to a pounding drum loop. It is avant-garde. Or listen to the wacky beauty of Untitled 04.
Something about this 34 minute collage of B-Sides is just such an amazing listening experience, even compared with either of his magnum opus'.
I could do without the little rehearsal/writing/jam session for 04 at the end of 07, but I've appreciated it more with repeat listens. [First added to this chart: 01/06/2018]
Year of Release:
2016
Appears in:
Rank Score:
2,395
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Blackgaze • Post-Metal
95/100
CA: 10/10
IYLT: Alcest - Souvernirs D'Un Autre Monde; Opeth - Blackwater Park
"I want to dreeaaaaaaaaaaaaaaaaaaaaaaaaaaaam!"
I don't really want to have this album this high, in a cerebral sense. Though I don't want to feel this way, this album makes me realize I don't really want to be that guy that likes the one critically acclaimed, pseudo-commercial black metal album out there. But when I listen to it, I honestly can't give a flying fuck what I want to think. Sunbather is just too awesome, too powerful, too monolithic to ignore. At some point after having gotten through most of the album, usually around the back end of Vertigo, I just get this feeling of awe about it. It's a massive majestic album that I can't help but love.
If you are not accustomed to the shrieked/growled vocals that are prevalent in certain genres of extreme metal, do not fret, for I will tell you a fact. Nobody (with no or little background in metal), ever, in all of history, hears this vocal style for the first time and thinks "Oh that is just so pleasant and nice and enjoyable." Unless you were raised listening to Slayer, it just doesn't happen. It didn't happen for me either, at first. My first comment on this album went something along the lines of "wow that's beautiful music, but why does the singer sound like he's trying to shred his vocal chords?" I now love the vocal delivery on this album. Here's the secret: Just keep listening to it. I would recommend just coming back to this album and Opeth's "Blackwater Park" every month or so. You will begin to like it. (I choose these albums becuase they are so amazing musically that that part is easy to enjoy). It takes time, but not too much. Good luck! [First added to this chart: 01/06/2018]
95/100
CA: 10/10
IYLT: Alcest - Souvernirs D'Un Autre Monde; Opeth - Blackwater Park
"I want to dreeaaaaaaaaaaaaaaaaaaaaaaaaaaaam!"
I don't really want to have this album this high, in a cerebral sense. Though I don't want to feel this way, this album makes me realize I don't really want to be that guy that likes the one critically acclaimed, pseudo-commercial black metal album out there. But when I listen to it, I honestly can't give a flying fuck what I want to think. Sunbather is just too awesome, too powerful, too monolithic to ignore. At some point after having gotten through most of the album, usually around the back end of Vertigo, I just get this feeling of awe about it. It's a massive majestic album that I can't help but love.
If you are not accustomed to the shrieked/growled vocals that are prevalent in certain genres of extreme metal, do not fret, for I will tell you a fact. Nobody (with no or little background in metal), ever, in all of history, hears this vocal style for the first time and thinks "Oh that is just so pleasant and nice and enjoyable." Unless you were raised listening to Slayer, it just doesn't happen. It didn't happen for me either, at first. My first comment on this album went something along the lines of "wow that's beautiful music, but why does the singer sound like he's trying to shred his vocal chords?" I now love the vocal delivery on this album. Here's the secret: Just keep listening to it. I would recommend just coming back to this album and Opeth's "Blackwater Park" every month or so. You will begin to like it. (I choose these albums becuase they are so amazing musically that that part is easy to enjoy). It takes time, but not too much. Good luck! [First added to this chart: 01/06/2018]
Year of Release:
2013
Appears in:
Rank Score:
3,700
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 2 of 10
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Top 100 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 0 | 0% | |
| 1960s | 13 | 13% | |
| 1970s | 12 | 12% | |
| 1980s | 8 | 8% | |
| 1990s | 25 | 25% | |
| 2000s | 21 | 21% | |
| 2010s | 21 | 21% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| The Flaming Lips | 5 | 5% | |
| Pink Floyd | 4 | 4% | |
| Kendrick Lamar | 3 | 3% | |
| Kanye West | 3 | 3% | |
| Talk Talk | 3 | 3% | |
| Radiohead | 3 | 3% | |
| Bob Dylan | 3 | 3% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
58 | 58% | |
 |
26 | 26% | |
 |
5 | 5% | |
 |
5 | 5% | |
 |
2 | 2% | |
 |
1 | 1% | |
 |
1 | 1% | |
| Show all | |||
Top 100 Greatest Music Albums chart changes
| Biggest fallers |
|---|
| Down 1 from 60th to 61st The Glow Pt. 2 by The Microphones |
| Down 1 from 61st to 62nd Souvlaki by Slowdive |
| Down 1 from 62nd to 63rd Yank Crime by Drive Like Jehu |
| New entries |
|---|
 Turn On The Bright Lightsby Interpol |
| In The Flat Field by Bauhaus |
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Top 100 Greatest Music Albums ratings
92/100 (from 106 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 106 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
100/100  | 01/22/2023 22:16 | Rm12398 | | 89/100 |
80/100 | 07/13/2022 22:08 |  Applerill | | 75/100 |
85/100 | 12/10/2020 00:38 | ars2458 | | 78/100 |
100/100 | 06/14/2020 12:47 | BraddlesHendo | | 91/100 |
90/100 | 03/30/2020 09:20 | RomanRelic | | 84/100 |
Rating metrics:
Outliers can be removed when calculating a mean average to dampen the effects of ratings outside the normal distribution. This figure is provided as the trimmed mean. A high standard deviation can be legitimate, but can sometimes indicate 'gaming' is occurring. Consider a simplified example* of an item receiving ratings of 100, 50, & 0. The mean average rating would be 50. However, ratings of 55, 50 & 45 could also result in the same average. The second average might be more trusted because there is more consensus around a particular rating (a lower deviation).
(*In practice, some charts can have several thousand ratings)
This chart is rated in the top 1% of all charts on BestEverAlbums.com. This chart has a Bayesian average rating of 92.0/100, a mean average of 92.0/100, and a trimmed mean (excluding outliers) of 92.6/100. The standard deviation for this chart is 10.3.
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Top 100 Greatest Music Albums favourites
Showing latest 20 members who have added this chart as a favourite | Show all 22 members
Top 100 Greatest Music Albums comments
Showing latest 10 comments | Show all 72 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 Rm12398 01/22/2023 22:17
What a chart!
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
90/100
From Juneof44 04/29/2021 06:58
I really appreciate your effort, a solid chart and i love the rating to the cover
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From Foxforce5 02/05/2021 03:26
Thanks for the hard work. I came to your chart after reading your comments about Rubber Soul and Bringing It All Back Home being ‘transitional’ albums and thought to myself ‘there’s someone with a similar pair of ears’!
Anyhow, your comments inspired me to listen to the ‘transitional’ Bon Iver album, and I’ll give Lorde another go. I mean listening is what it’s all about, right?
In answer to your question on Mezzanine, Pet Sounds is better produced, so now you know.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
85/100
From ars2458 12/10/2020 00:38
Wow, I truly love FEFEA and Age of Adz, but I don't have the depth on older stuff. I am going to give those specific albums a chance. I have listened to Bowie and Pink Floyd, but not those albums, so maybe I will hear something different this time.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From Vegetariat 02/03/2020 10:16
Great list with wonderful notes and recommendations. Your description of Loveless and Shoegaze is as touching as it is true. You're right about Touched, haha
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
80/100
From mianfei 12/16/2019 13:05
Although the list is really an odd mix of soul/hip of and progressive rock/post-rock (if I am not mistaken, I did see a similar combination somewhere else on this site on an earlier browse last autumn), there is not that much of real note in the chart.
However, the lack of really unusual albums and a grouping of genres that is merely on the “eccentric” side is certainly compensated for by some impressive notes, which substantially add to the rating.
Some albums you might not have heard that I could attempt to recommend based on your taste:
— ‘Yeti’ by Amon Düül II
— ‘H to He Who Am the Only One’ and ‘Pawn Hearts’ by Van der Graaf Generator
— ‘A Return to the Inner Experience’, ‘This Timeless Turning’ and ‘Moonbathing on Sleeping Leaves’ by Sky Cries Mary
— ‘Gala’ and ‘Spooky’ by Lush
Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
95/100
From bonnequestion 12/04/2019 12:41
Very nice and unique chart, very inspiring! And also, good job on all those comments.
Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)
100/100
From Timooosterink 12/04/2019 10:20
Really nice chart, maybe you like Gorillaz?
Helpful? (Log in to vote) | +3 votes (3 helpful | 0 unhelpful)
95/100
From 
kynes 12/04/2019 09:07
kynes 12/04/2019 09:07
the final cut getting some deserved appreciation is nice to see! i will always have respect for users who take the time to write significant blurbs for many of the records in their charts
Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
90/100
From pctrooper 11/12/2019 23:34
Not a huge fan of all these albums, but I really like the chart with its descriptions and stuff.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
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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.