Top 100 Greatest Music Albums by 
DriftingOrpheus 
Subject to change (often). These are my personal favorite records...not necessarily a reflection of an objective musical hierarchy. (Wow. These write-ups have grown like weeds, particularly as you descend through the list. Only the slightest bit proud. 😌)
- Chart updated: 3 days ago
- (Created: 04/25/2020 20:18).
- Chart size: 100 albums.
There are 9 comments for this chart from BestEverAlbums.com members and Top 100 Greatest Music Albums has an average rating of 88 out of 100 (from 32 votes). Please log in or register to leave a comment or assign a rating.
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This chart is currently filtered to only show albums from Scott Walker. (Remove this filter)
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91.1
[First added to this chart: 05/12/2021]
Year of Release:
1968
Appears in:
Rank Score:
590
Rank in 1968:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
5
Buy album
- #Sponsored
Once, coiled soundly beneath the kaleidoscopic cornucopia of musical excess that was the 1960's, a tidal wave which reached sacred heights but synchronically cannibalized itself ten times over, there was a man. A man who, fit with somber body language and European sensibilities, wore dark sunglasses indoors and crooned with regard to the fraudulent nature of suburban, posh societies and serial drinkers who typify carnal, animalistic yearnings on midnight pub parades. The man's name was Scott Walker and he's seemingly lived a thousand lifetimes, shuffling along in the footwear of names past and present, rich and poor, angelic and depraved in equal measure. Here, on 'Scott', Walker begins to chisel out his first, significant artistic personality, free from the restraints of the pop band expectations of the Walker Brothers and into a new era of thought-provoking, thematically challenging baroque pop. On his first solo record, the enigmatic songster registers a mere trio of writing credits, however, it's the ascendancy and grandeur of the LP that transfigures the collective into something wholly idiosyncratic. On 'Scott', a caged, creative genius breathed new air that billowed with currents of Belgian chanteurs and classical composers and laid the bedrock for one of the most beguiling careers of the modern era.
The album begins with 'Mathilde', an English rendition of Jacques Brel's 1964 chanson that details an abusive, romantic entanglement that forever resurrects like a pitiful, desperate phoenix. This is an opportune time to discuss Walker's admiration and veneration for Brel's work, once even calling him the "most important singer-songwriter in the world". Brel's pension to uncover and rhapsodize on all things strange and uncomfortable in society appealed to Walker, during a period where such things weren't touched or even discussed in pop music, let alone music at large. As a result, Walker christened his exodus from the mainstream by breathing life into Brel's haunting, challenging and sunless parables. At their moral best, they're hopeless, demoralizing accounts of unrequited love and at their worst, accounts of molestation, both mentally and physically at the hands of Army officers. Despite Walker's radical and firmly adult direction, his albums began to fall on a more gradually disinterested audience. Yet, it began to plot the roadmap for a rapidly escalating sonic approach that few (if any) could find parallels to. On 'Mathilde', Walker channels Brel while proclaiming, "My hands, you'll start to shake again when you remember all the pain; Mathilde's come back to me; You'll want to beat her black and blue but don't do it, I beg of you." The track is framed within an up-tempo sheen, reminiscent of a march into battle or a swaggering anthem of boisterous victory. The subject's early indecision is apparent with his mind made up by the end of the piece. Walker employed the assistance of three composers on 'Scott', perhaps most synonymously, Angela Morley (then Wally Stott), who would go on to further heights as Walker's arranger. On track two, Montague Terrace (In Blue), one of three penned by Scott himself, Morley crafts a dizzying, yet chic sheen before propelling walls of brass that instantly unionize with Walker's baritone hollers. There's an air of satire purveying here, like a thick vapor. "The girl across the hall makes love; Her thoughts lay cold like shattered stone; Her thighs are full of tales to tell of all the nights she's known," Walker details. It's unclear if the image is one of a much yearned for, idyllic, societal upgrade or a disdain for others' possessions and dispositions.
Arriving third, LP highlight 'Angelica' softly vibrates before segueing into Walker's cries for the song's titular maiden. The organ tones from the onset color the track with melancholy, conjuring images of eulogization for lost love. Walker explains, "Now in my solitude, I tend the flowers that I buy, As they slowly fade and die, watered by the tears I cry." 'Angelica' represents a landmark in the early days of Walker's solo odyssey, as an indication of his desire to routinely croon overtop pessimist anthems far before it was vogue, complete with a dim worldview that would become progressively overcast. Fourth Track, 'The Lady from Baltimore', is Walker's attempt at Tim Hardin's classic. Scott's take is fittingly folky, with the prose in lock-step with his bleak paradigm. His voice sports a twangy timbre, faintly foreshadowing his self-assessed "Wilderness Years" in the early 1970's. However, his foray into folk and flirtation with country is marvelously executed. Walker's most ardent statement on the LP is the final track, 'Amsterdam', a swooning, cinematic recoloring of Jacques Brel's famous live staple. It's through this piece that Walker proves himself to be most worthy to succeed Brel as the patron saint of fatalistic allegories. The track opens with accordion hisses that wash over the empty pockets of sonic space like a patient sunrise as eyelids softly open to greet it. Walker sets the the scene for the finale with a tale of the rawest kind of human desperation, with a pistol of willful ignorance tucked away in its holster. The tale is as much about revelry as it is despair, or maybe more astutely, how the two co-exist in the minds of the downtrodden. 'Amsterdam' steadily ascends, starting as a lone man recounting a drunken memory out loud. Soon, it seems as if others join in (characterized by the power of Walker's vocals). Finally, the collective emerges, taking the form of the swirling instrumentation that rises the tide lead by Walker's voice. It's a picture so vivid that it's hard to disassociate the visual from the track. It's a stunning statement ushered off by Walker's repeated chants. 'Amsterdam' is without question Walker's finest Brel interpretation and one of his career's most prolific efforts.
Noel Scott Engel died on March 22, 2019, but the world knew him as Scott Walker. However, few people knew that he died in 1967 as well. This death did not serve as a passageway to the afterlife, but rather, a reincarnation. An invigoration. A rebirth. 'Scott' remains the genesis of a career that words couldn't succinctly articulate. The Scott Walker of the Walker brothers walked and died, dried up in a desert of creative disillusionment and disgust so that the Scott Walker that would follow could run and consequently, swim oceans fiercely cavernous and artistically unbound. The transaction included trading in a handsome, youthful face for a stern demeanor and a military cap that slumped lower and lower throughout the years, reflecting the thematic directions his music would take while hiding the weathered, hardened features of his face. The seedlings planted within 'Scott' would grow to spawn a wonderous garden whose fruits few would taste. Walker saw very little monetary success throughout the remainder of his career and by 1978, he was a recluse. He would occasionally resurface with records that would scorch earth and send those with their ears to the ground into a frenzy. By some, he is regarded as the most unheralded genius in music history. To others, he was a passing shadow of an assembly line industry of musical malaise. In 1967, with a brilliant, stark solo debut, he began a journey of endless ambition fit with thankless repercussions. It's a journey we all should take, for it is rooted in the very soul of what music should be, endlessly imaginative and unyielding. However, few have the inclination to look at the natural world as Walker did. It's a blessing and a curse.
"In the port of Amsterdam there's a sailor who drinks
And he drinks, and he drinks and he drinks once again,
He drinks to the health of the whores of Amsterdam
Who have promised their love to a thousand other men;
They've bargained their bodies and their virtue long gone
For a few dirty coins, and when he can't go on,
He plants his nose in the sky and he wipes it up above,
And he pisses like I cry for an unfaithful love."
-Amsterdam
Standout Tracks:
1. Amsterdam
2. Angelica
3. The Lady from Baltimore
88.8 [First added to this chart: 05/11/2021]
The album begins with 'Mathilde', an English rendition of Jacques Brel's 1964 chanson that details an abusive, romantic entanglement that forever resurrects like a pitiful, desperate phoenix. This is an opportune time to discuss Walker's admiration and veneration for Brel's work, once even calling him the "most important singer-songwriter in the world". Brel's pension to uncover and rhapsodize on all things strange and uncomfortable in society appealed to Walker, during a period where such things weren't touched or even discussed in pop music, let alone music at large. As a result, Walker christened his exodus from the mainstream by breathing life into Brel's haunting, challenging and sunless parables. At their moral best, they're hopeless, demoralizing accounts of unrequited love and at their worst, accounts of molestation, both mentally and physically at the hands of Army officers. Despite Walker's radical and firmly adult direction, his albums began to fall on a more gradually disinterested audience. Yet, it began to plot the roadmap for a rapidly escalating sonic approach that few (if any) could find parallels to. On 'Mathilde', Walker channels Brel while proclaiming, "My hands, you'll start to shake again when you remember all the pain; Mathilde's come back to me; You'll want to beat her black and blue but don't do it, I beg of you." The track is framed within an up-tempo sheen, reminiscent of a march into battle or a swaggering anthem of boisterous victory. The subject's early indecision is apparent with his mind made up by the end of the piece. Walker employed the assistance of three composers on 'Scott', perhaps most synonymously, Angela Morley (then Wally Stott), who would go on to further heights as Walker's arranger. On track two, Montague Terrace (In Blue), one of three penned by Scott himself, Morley crafts a dizzying, yet chic sheen before propelling walls of brass that instantly unionize with Walker's baritone hollers. There's an air of satire purveying here, like a thick vapor. "The girl across the hall makes love; Her thoughts lay cold like shattered stone; Her thighs are full of tales to tell of all the nights she's known," Walker details. It's unclear if the image is one of a much yearned for, idyllic, societal upgrade or a disdain for others' possessions and dispositions.
Arriving third, LP highlight 'Angelica' softly vibrates before segueing into Walker's cries for the song's titular maiden. The organ tones from the onset color the track with melancholy, conjuring images of eulogization for lost love. Walker explains, "Now in my solitude, I tend the flowers that I buy, As they slowly fade and die, watered by the tears I cry." 'Angelica' represents a landmark in the early days of Walker's solo odyssey, as an indication of his desire to routinely croon overtop pessimist anthems far before it was vogue, complete with a dim worldview that would become progressively overcast. Fourth Track, 'The Lady from Baltimore', is Walker's attempt at Tim Hardin's classic. Scott's take is fittingly folky, with the prose in lock-step with his bleak paradigm. His voice sports a twangy timbre, faintly foreshadowing his self-assessed "Wilderness Years" in the early 1970's. However, his foray into folk and flirtation with country is marvelously executed. Walker's most ardent statement on the LP is the final track, 'Amsterdam', a swooning, cinematic recoloring of Jacques Brel's famous live staple. It's through this piece that Walker proves himself to be most worthy to succeed Brel as the patron saint of fatalistic allegories. The track opens with accordion hisses that wash over the empty pockets of sonic space like a patient sunrise as eyelids softly open to greet it. Walker sets the the scene for the finale with a tale of the rawest kind of human desperation, with a pistol of willful ignorance tucked away in its holster. The tale is as much about revelry as it is despair, or maybe more astutely, how the two co-exist in the minds of the downtrodden. 'Amsterdam' steadily ascends, starting as a lone man recounting a drunken memory out loud. Soon, it seems as if others join in (characterized by the power of Walker's vocals). Finally, the collective emerges, taking the form of the swirling instrumentation that rises the tide lead by Walker's voice. It's a picture so vivid that it's hard to disassociate the visual from the track. It's a stunning statement ushered off by Walker's repeated chants. 'Amsterdam' is without question Walker's finest Brel interpretation and one of his career's most prolific efforts.
Noel Scott Engel died on March 22, 2019, but the world knew him as Scott Walker. However, few people knew that he died in 1967 as well. This death did not serve as a passageway to the afterlife, but rather, a reincarnation. An invigoration. A rebirth. 'Scott' remains the genesis of a career that words couldn't succinctly articulate. The Scott Walker of the Walker brothers walked and died, dried up in a desert of creative disillusionment and disgust so that the Scott Walker that would follow could run and consequently, swim oceans fiercely cavernous and artistically unbound. The transaction included trading in a handsome, youthful face for a stern demeanor and a military cap that slumped lower and lower throughout the years, reflecting the thematic directions his music would take while hiding the weathered, hardened features of his face. The seedlings planted within 'Scott' would grow to spawn a wonderous garden whose fruits few would taste. Walker saw very little monetary success throughout the remainder of his career and by 1978, he was a recluse. He would occasionally resurface with records that would scorch earth and send those with their ears to the ground into a frenzy. By some, he is regarded as the most unheralded genius in music history. To others, he was a passing shadow of an assembly line industry of musical malaise. In 1967, with a brilliant, stark solo debut, he began a journey of endless ambition fit with thankless repercussions. It's a journey we all should take, for it is rooted in the very soul of what music should be, endlessly imaginative and unyielding. However, few have the inclination to look at the natural world as Walker did. It's a blessing and a curse.
"In the port of Amsterdam there's a sailor who drinks
And he drinks, and he drinks and he drinks once again,
He drinks to the health of the whores of Amsterdam
Who have promised their love to a thousand other men;
They've bargained their bodies and their virtue long gone
For a few dirty coins, and when he can't go on,
He plants his nose in the sky and he wipes it up above,
And he pisses like I cry for an unfaithful love."
-Amsterdam
Standout Tracks:
1. Amsterdam
2. Angelica
3. The Lady from Baltimore
88.8 [First added to this chart: 05/11/2021]
Year of Release:
1967
Appears in:
Rank Score:
526
Rank in 1967:
Rank in 1960s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
88.3
[First added to this chart: 05/13/2021]
Year of Release:
2006
Appears in:
Rank Score:
889
Rank in 2006:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Total albums: 3. Page 1 of 1
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Top 100 Greatest Music Albums composition
| Decade | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 3 | 3% | |
| 1960s | 16 | 16% | |
| 1970s | 12 | 12% | |
| 1980s | 7 | 7% | |
| 1990s | 20 | 20% | |
| 2000s | 20 | 20% | |
| 2010s | 20 | 20% | |
| 2020s | 2 | 2% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| フィッシュマンズ [Fishmans] | 10 | 10% | |
| Radiohead | 7 | 7% | |
| Bob Dylan | 5 | 5% | |
| Swans | 5 | 5% | |
| Vampire Weekend | 4 | 4% | |
| Charles Mingus | 4 | 4% | |
| Joanna Newsom | 3 | 3% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
56 | 56% | |
 |
22 | 22% | |
 |
10 | 10% | |
 |
4 | 4% | |
 |
3 | 3% | |
 |
2 | 2% | |
 |
1 | 1% | |
| Show all | |||
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Top 100 Greatest Music Albums ratings
88/100 (from 32 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 32 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 70/100  | 06/23/2023 05:13 |  Applerill | | 75/100 |
| 85/100 | 03/27/2023 17:55 | Johnnyo | | 80/100 |
| 85/100 | 03/27/2023 00:15 | Moondance | | 84/100 |
| 80/100 | 03/26/2023 12:00 |  Tamthebam | | 85/100 |
| 90/100 | 09/17/2022 23:03 | Rm12398 | | 89/100 |
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 9% of all charts on BestEverAlbums.com. This chart has a Bayesian average rating of 88.2/100, a mean average of 88.9/100, and a trimmed mean (excluding outliers) of 88.9/100. The standard deviation for this chart is 11.6.
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Top 100 Greatest Music Albums comments
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85/100
From Johnnyo 03/27/2023 17:55
Exceeding chart and a great read.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
85/100
From Moondance 12/08/2022 00:11
We are 2 generations apart, so no surprise that our musical tastes/album preferences are not going to align. Totally respect your selections and appreciate your commentary - this chart is a definite labour of love. BTW - our one common album ~ Dark Side Of The Moon. BTW2 - thank you for introducing me to Night Beds' Country Sleep album - a future inclusion in my 2013 year chart.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
95/100
From 
Larcx13 07/20/2021 15:00
Larcx13 07/20/2021 15:00
I guess youre a fan of radiohead.
Hard work on the descriptions good stuff.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From DriftingOrpheus 04/27/2021 22:55
DriftingOrpheus 04/27/2021 22:55
@StreakyNuno: Your statement is demeaning to every individual who's ever experienced an inkling of an original thought...
Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
60/100
From StreakyNuno 04/27/2021 19:23
This comment is beneath your viewing threshold.
Helpful? (Log in to vote) | -5 votes (0 helpful | 5 unhelpful)
100/100
From 
DommeDamian 04/27/2021 13:50
DommeDamian 04/27/2021 13:50
*shocked emoji* this is ridiculously great.
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
90/100
From leniad 10/21/2020 23:28
Like your taste
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
95/100
From 
Strangel 06/17/2020 10:18
Strangel 06/17/2020 10:18
Saw your comments on Syro which intrigued me enough to wander over here and read a bit more. I’ve always rated charts that offer explanations for each choice. So far you have gone above and beyond, plus I tend to agree with your love for many of these albums (Smiths aside). Look forward to seeing the finished version!
Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
55/100
From mianfei 05/14/2020 02:18
Even with very many “stereotypical” choices, this is not that bad a list.
Although I have never heard their music, Acid Bath is a wonderful surprise, as is the Misfits. I heard of both bands in the middle 2000s from one writer on Amazon.com called “janitor-x”, whose musical taste I cannot relate to but whose virulent criticism of ‘Rolling Stone’ I have never doubted nor seen refuted.
Helpful? (Log in to vote) | -1 votes (0 helpful | 1 unhelpful)
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.