Top 8 Music Albums of 1975
by 
DriftingOrpheus 
- Chart updated: 09/13/2025 04:45
- (Created: 06/12/2020 15:08).
- Chart size: 8 albums.
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Royal Mail Ship Titanic was comprised of nine decks and three million rivets, fitted with a total of 29 boilers which fed two reciprocating steam engines and one low-pressure turbine that allowed the ship to reach speeds of up to 21 knots at a staggering length of just under 883 feet from bow to stern. She required three years to complete and her hardware was (and in many ways still is) a miracle of science and sat comfortably at the pinnacle of technological advancement when it first launched from Southampton in April of 1912. Her luxury accommodations and various architectural adornments were equally unrivaled and positioned Titanic as a mobile, sparkling rendezvous which out-twinkled the finest hotels of the stationary variety. Her promenade deck was surely the most winsome, featuring a myriad of ornamental configurations whose inspirations date as far back as the Renaissance Era. It was a structural phenomenon and a major artery of artistic design allowing the blood of inspiration to flow and provide oxygen to dreams. In hindsight, it became the most appropriate locale for an ending of tragic, Shakespearian proportions. How do you successfully compartmentalize and synthesize her indominable aura and legacy into a 25-minute piece of art? Or, better yet, does one even try?
Henry James Beauchamp, 28, 2nd Class
Dorothy Sage, 14, 3rd Class
Thomas Andrews, Naval Architect, 39, 1st Class
When Gavin Bryars first enrolled at Sheffield University, his primary focus of study was philosophy, which no doubt engrained within him an acute perspective, optimal for when the eventual transition into music beckoned. He began his ever-evolving, sonic trek by dabbling in the world of jazz, employing the upright bass as his instrument of choice, first traditionally, then tinted with a sheen for the avant-garde. Like many visionaries, his taste for the conventional soon withered, as did his interest towards playing. It wasn't until a move abroad that his artistic sensibilities would come into full focus. He briefly studied under the minimalist icon, John Cage, and rapidly gained an esteem for the uncolored edges of sonic exploration. He returned to England soon after to pursue a teaching role at Portsmouth College of Fine Art. Here, he would pen his most significant and enduring work, a monument as much as it is a marvel, firmly in tune with the ship it honored.
Jack Phillips, Marconi Wireless Operator, 25, Crew
Augusta Charlotta Lindblom, 45, 3rd Class
Henry Michael Mitchell, 71, 2nd Class
Titanic was equipped with 16 watertight bulkheads, ones that fatally didn't rise above D deck. This caused the unimaginable amount of water rushing in, as a result of the 300-foot gash which parted her double hull, to spill over each of these watertight compartments in succession, dragging Titanic's bow underneath the waterline. The promenade deck, once grounds for regalia and soirees, would soon be a scene of hysteria and stampede for the better portion of two hours and forty minutes. Despite the myth, Titanic's marketing never brandished an "unsinkable" moniker, but her inexorable descent into the icy Atlantic remains a chilling exemplar of nature's dominion over the impudence of man. As dinner jackets, newly-molded china and suitcases in abundance homogenized with the sea, in congruence to the legend, Titanic's orchestra played until they were submerged in order to calm their terrified fellow men and women. 57 years onward, Gavin Bryars would use this symphonic motif as the basis for his masterpiece.
Salli Helena Rosblom, 2, 3rd Class
Henriette Yvois, 24, 2nd Class
Toufik Nakhli, 17, 3rd Class
Bryars originally planned for 'The Sinking of the Titanic' to be purely conceptual and free of the limitations that a tangible performance would provide. Nevertheless, Bryars eventually performed the piece in 1972 with its first revision surfacing in 1975. It's often viewed as an open work, consistently subject to re-toolings and re-imaginings, yet, the conceptual framework stays intact, akin to the still majestic, but ghostly shipwreck located 12,500 feet from the trough of the waves. Bryars was intrigued by the peculiar concept of how the orchestral sounds of Titanic's players would locomote when rendered subaqueous. Put simply, how would they sound if they were able to play until they met the ocean floor? As the music would theoretically distort, morph and provide a very divergent timbre, the reverberating sound waves would serve as one final sonic footnote, a siren song and elegy for the once mighty ship to be accompanied by during its final descent. Using the hymn 'Autumn' by Barthélemon as a skeleton, a piece present during the sinking by witness testimony, Bryars translated his initial theory into classical composition. The first rework was featured as the inaugural release in a decet of albums on the Brian Eno-founded label 'Obscure Records' in 1975. On it, Bryars plays a dual role of conductor and pianist, as he captains a weighty, solemn procession shepherded by strings which sound as if they have been in use since 1912 and keys befitting a piano in a dilapidated chateau which strike heavily and originate from a floor above and two rooms over. There's a pulsating hum which envelopes the piece in its entirety that aims to simulate the water's annulments which results in a shadowy, yet tranquil experience that furnishes an idea of a bleak, yet dignified acceptance of death. This assimilation into liquid continues for nearly a half hour, broken only briefly by the attestations from survivor Eva Hart, when finally, the damp resonance ceases from a place below and no longer in sight. It is, without hesitation, a triumph of aural intention and realization which offers consistent treasures upon re-visitation.
Engelhart Cornelius Ostby, 64, 1st Class
Eric Rice, 7, 3rd Class
Emil Christmann, 29, 3rd Class
The record's B-Side has received acclaim and has carved out a place of reverence in its own right. 'Jesus' Blood Never Failed Me Yet' is less an art project and more of a humanistic observation set to music. Anchored by an audio sample of a destitute reaffirming his allegiance to God, the song is fairly more traditional than the title track, save for the inclusion of minute escalations in the instrumentational flow. The set of players return from 'Sinking' and the musical coloring remains unaltered as they craft another circular, albeit less oxidizing auditory space. Swelling strings coalesce into a autonomous power source only halting for a brief moment as plucked guitar strings dance above them as if they were native to a nautical lullaby. Its relationship with the former track isn't directly analogous, yet it does occupy emblematic territory. It doesn't strain one's imagination to make the connection that it could resemble the last words of an inebriated passenger, life jacket-clad and clinging to debris, requesting absolution in the face of the impending hereafter. Bryars' composition expertly paints a portrait of a regretless sage singing to the starless night, kept warm in the glassy waters by faith alone, defiant in the face of 'Titanic's colossal vortex.
Aloisia Haas, 24, 3rd Class
Arthur Webster Newell, 58, 1st Class
Captain Edward Smith, 62, Crew
Who could have imagined, as the collective stood on Titanic's port side in anticipation of her maiden voyage, the kind of lightning rod the steamer would become for art, literature, music and film? It's easy to forget, while some had their personal effects taken to their room and others were being checked for lice, that the ship that would carry both subsets, man and woman, rich and poor, was made of iron. It was, at the time, an inanimate object with the sole purpose of passage. Now, it's a ghost, a shadow and a vivid memory in the minds of those who never walked her decks. It lies at 41°43′57′′ N 49°56′49′′ W. Today, with modern technology, we can view what remains of the vessel. You'd swear you could see it breathe, iron and all. Even if it wasn't 'Nearer My God to Thee', the truth endures, Titanic's musicians played to the end. We can only hope it sounded this beautiful.
99.00 [First added to this chart: 02/23/2023]
Henry James Beauchamp, 28, 2nd Class
Dorothy Sage, 14, 3rd Class
Thomas Andrews, Naval Architect, 39, 1st Class
When Gavin Bryars first enrolled at Sheffield University, his primary focus of study was philosophy, which no doubt engrained within him an acute perspective, optimal for when the eventual transition into music beckoned. He began his ever-evolving, sonic trek by dabbling in the world of jazz, employing the upright bass as his instrument of choice, first traditionally, then tinted with a sheen for the avant-garde. Like many visionaries, his taste for the conventional soon withered, as did his interest towards playing. It wasn't until a move abroad that his artistic sensibilities would come into full focus. He briefly studied under the minimalist icon, John Cage, and rapidly gained an esteem for the uncolored edges of sonic exploration. He returned to England soon after to pursue a teaching role at Portsmouth College of Fine Art. Here, he would pen his most significant and enduring work, a monument as much as it is a marvel, firmly in tune with the ship it honored.
Jack Phillips, Marconi Wireless Operator, 25, Crew
Augusta Charlotta Lindblom, 45, 3rd Class
Henry Michael Mitchell, 71, 2nd Class
Titanic was equipped with 16 watertight bulkheads, ones that fatally didn't rise above D deck. This caused the unimaginable amount of water rushing in, as a result of the 300-foot gash which parted her double hull, to spill over each of these watertight compartments in succession, dragging Titanic's bow underneath the waterline. The promenade deck, once grounds for regalia and soirees, would soon be a scene of hysteria and stampede for the better portion of two hours and forty minutes. Despite the myth, Titanic's marketing never brandished an "unsinkable" moniker, but her inexorable descent into the icy Atlantic remains a chilling exemplar of nature's dominion over the impudence of man. As dinner jackets, newly-molded china and suitcases in abundance homogenized with the sea, in congruence to the legend, Titanic's orchestra played until they were submerged in order to calm their terrified fellow men and women. 57 years onward, Gavin Bryars would use this symphonic motif as the basis for his masterpiece.
Salli Helena Rosblom, 2, 3rd Class
Henriette Yvois, 24, 2nd Class
Toufik Nakhli, 17, 3rd Class
Bryars originally planned for 'The Sinking of the Titanic' to be purely conceptual and free of the limitations that a tangible performance would provide. Nevertheless, Bryars eventually performed the piece in 1972 with its first revision surfacing in 1975. It's often viewed as an open work, consistently subject to re-toolings and re-imaginings, yet, the conceptual framework stays intact, akin to the still majestic, but ghostly shipwreck located 12,500 feet from the trough of the waves. Bryars was intrigued by the peculiar concept of how the orchestral sounds of Titanic's players would locomote when rendered subaqueous. Put simply, how would they sound if they were able to play until they met the ocean floor? As the music would theoretically distort, morph and provide a very divergent timbre, the reverberating sound waves would serve as one final sonic footnote, a siren song and elegy for the once mighty ship to be accompanied by during its final descent. Using the hymn 'Autumn' by Barthélemon as a skeleton, a piece present during the sinking by witness testimony, Bryars translated his initial theory into classical composition. The first rework was featured as the inaugural release in a decet of albums on the Brian Eno-founded label 'Obscure Records' in 1975. On it, Bryars plays a dual role of conductor and pianist, as he captains a weighty, solemn procession shepherded by strings which sound as if they have been in use since 1912 and keys befitting a piano in a dilapidated chateau which strike heavily and originate from a floor above and two rooms over. There's a pulsating hum which envelopes the piece in its entirety that aims to simulate the water's annulments which results in a shadowy, yet tranquil experience that furnishes an idea of a bleak, yet dignified acceptance of death. This assimilation into liquid continues for nearly a half hour, broken only briefly by the attestations from survivor Eva Hart, when finally, the damp resonance ceases from a place below and no longer in sight. It is, without hesitation, a triumph of aural intention and realization which offers consistent treasures upon re-visitation.
Engelhart Cornelius Ostby, 64, 1st Class
Eric Rice, 7, 3rd Class
Emil Christmann, 29, 3rd Class
The record's B-Side has received acclaim and has carved out a place of reverence in its own right. 'Jesus' Blood Never Failed Me Yet' is less an art project and more of a humanistic observation set to music. Anchored by an audio sample of a destitute reaffirming his allegiance to God, the song is fairly more traditional than the title track, save for the inclusion of minute escalations in the instrumentational flow. The set of players return from 'Sinking' and the musical coloring remains unaltered as they craft another circular, albeit less oxidizing auditory space. Swelling strings coalesce into a autonomous power source only halting for a brief moment as plucked guitar strings dance above them as if they were native to a nautical lullaby. Its relationship with the former track isn't directly analogous, yet it does occupy emblematic territory. It doesn't strain one's imagination to make the connection that it could resemble the last words of an inebriated passenger, life jacket-clad and clinging to debris, requesting absolution in the face of the impending hereafter. Bryars' composition expertly paints a portrait of a regretless sage singing to the starless night, kept warm in the glassy waters by faith alone, defiant in the face of 'Titanic's colossal vortex.
Aloisia Haas, 24, 3rd Class
Arthur Webster Newell, 58, 1st Class
Captain Edward Smith, 62, Crew
Who could have imagined, as the collective stood on Titanic's port side in anticipation of her maiden voyage, the kind of lightning rod the steamer would become for art, literature, music and film? It's easy to forget, while some had their personal effects taken to their room and others were being checked for lice, that the ship that would carry both subsets, man and woman, rich and poor, was made of iron. It was, at the time, an inanimate object with the sole purpose of passage. Now, it's a ghost, a shadow and a vivid memory in the minds of those who never walked her decks. It lies at 41°43′57′′ N 49°56′49′′ W. Today, with modern technology, we can view what remains of the vessel. You'd swear you could see it breathe, iron and all. Even if it wasn't 'Nearer My God to Thee', the truth endures, Titanic's musicians played to the end. We can only hope it sounded this beautiful.
99.00 [First added to this chart: 02/23/2023]
2
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- #Sponsored
90.4
[First added to this chart: 06/18/2020]
Year of Release:
1975
Appears in:
Rank Score:
45,315
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Perhaps there is no figure who approached music as a science more capably than Suffolk's sagacious Brian Eno. Eno, the preeminent sonic architect, crafts his tiniest compositions with the delicacy of an artisan with his most grandiose and longform exhibitions resembling sprawling city blocks designed for optimal traversing, with each street name and traffic sign strategically plotted and placed. It seems as if any resulting emotional potency is unintentional, or at least, coincidental. Eno never sought out a comfortable groove in which to ride out his over fifty-year career. Instead, he opted to eschew convention and complacency, hell bent on meeting fresh, uncultivated sediment which was ripe for exploration. After opting out of Bryan Ferry's gyrating, glam force majeure, 'Roxy Music', Eno's subsequent musical forays produced far less immediate and less carnal fruits. Often categorized by complexity and an inherent pension for the abstract, his first pair of solo efforts embraced the unconventional, just as Ferry's project had, but now it was on his own terms as he set coordinates for the great beyond. It wouldn't be out of line to declare that nobody quite looked at music the way that Brian Eno did and, by 1975, he had severed the tendrils of his peers and was ready to deliver a idiosyncratic, alien, and career defining artifact.
'Another Green World' commences with 'Sky Saw', a serrated, buzzing entity with a taste for the dissonant. 'Sky Saw' is the first of a line of tracks linked by DNA and could only exist as mysterious fauna native to an entirely different cosmos. The robotic, ory instrumentation employed makes it seem like a fashionable dance track at a futurist discotheque. When Eno's vocals finally penetrate the aluminum atmosphere, it ends up jarring in a way that's welcomed. It's the lone piece of humanity amidst a mosaic of auditory gadgetry and a stark introduction to record's genetic code. Second track, 'Over Fire Island', contains a far more earthy timbre, largely centered on percussion and wet bass. It wouldn't be out of place at a tribal soiree but the whirring coda ends the dream and places you squarely back into a chilly reality. The track briefly embodies a memory of an AI recreation of native music, yet without a discernable, anthropomorphic soul. The most urgent cut on 'Another Green World' has to be fourth track, 'St. Elmo's Fire'. It's catalyzed with uptempo, accelerative energy with Robert Fripp's proggy guitar solo flooding over the dam and washing overtop of the rest of the components. It's a brilliant approach to the art of the earworm and a visionary compromise between the horizon-less limits of Eno's sonic fantasies and the hard line of pop music's rigid boundaries. The album takes a nefarious turn on 'In Dark Trees' with Eno as its lone captain. The sensation of tumbling downward is tactile, as the shallow, unloving electronic drums dutifully chug on, unswaying throughout the track. It's a brief showcase, but by the end of it, you'd swear you were subterranean and devoid of the sun's kiss. Fifth outing, 'The Big Ship', doesn't include a vocal feature from Eno, a trend that carries throughout the majority of the record. In it's place, a tangible sense of scale is meticulously constructed. The track harbors the qualities of an iceberg, with it's peak gloriously basking in warmth the sun, while the base is left to remain untraversed and unable to be properly gauged. Eno's synth work is frothy and luminous, bestowing the honor of "most winsome" onto 'The Big Ship'. However, its aesthetic beauty is perched above the aforementioned impression of scale and labyrinthian real estate held below like oil resting comfortably on top of the sea. The track is gigantic to the ear despite its minimal instrumentation and Eno's excellence creates a cognizance of a world uncharted between the notes.
The most sugary offering on the record is 'I'll Come Running', which bottles a domestic, romantic syrup into a nearly four-minute nocturne, à la The Beatles' 'When I'm Sixty-Four'. The frolicking piano, which strides to and fro, projects a sensation of repetitive bliss and the notion that life's banalities make for gratifying exertion when in service of a special someone. It's strangely human for Eno, or perhaps, deceptively snide. Side one ceases with the title track, a brief , patient transitional that pokes its head out of the clouds just to be quickly shrouded once more. Eno's 'Desert Guitars' parabola as the track comes and goes like a sun shower. Side two, unfurls with a pair of wordless pieces with alternating physiology. 'Sombre Reptiles' is charged with locomotive energy powered by pistons set to world music of the Peruvian variety. Its straight-line fidelity is in stark divergence with follow up tune, 'Little Fishes', which effectively meanders in a way which could easily harmonize within the confines of a sound studio or underneath an electron microscope. Possibly the most apropos moniker on the LP, the track's prepared piano conjures an image of a minnow swimming up and downstream, susceptible to the gentlest of currents. It's clear by this point that Eno is reserving ample space for some of his most three-dimensional soundscapes. Track ten, 'Golden Hours' surely contains helium, as its carefully batted around expertly by Eno and Fripp. It also holds some of the album's finest lyrical pearls as Fripp's guitar solo sews the track shut with thin kevlar. Subsequent track, 'Becalmed' sounds as if Eno has harnessed the full weight of artificial placidity as the track swells and shrinks at the moments most opportune. Impressively, the music remains terrifically pastoral while also sounding akin to a deep-space, cosmic happening. 'Zawinul/Lava' plays like a wise man recounting an ancient prophecy or event responsible for population bottleneck, with more than a hint of dread as fretless bass drops leave the back door open for distant howls propelled by the wind. It's a musing piece that depicts what's coming and what has occurred without a moment's thought for the present. Eno carves out one more slot for a ballad, as to not drift too far into the ether, but even Eno's narratives inject a dose of the illusory. 'Everything Merges with the Night' depicts a love affair, but in which stage we never know. It's as if Eno wrote a treatment for a couple he viewed on a canvas, no doubt one with soft, pastellic edges. Our subject has been "waiting all evening or possibly years" as Eno's piano ensures us that the character is not displeased or even losing patience. Finally, the record concludes with 'Spirits Drifting', which feels evocative of an ending, yet strangely behaves as if it could run parallel to the entire album. The synth work does indeed achieve spectral ambience, but the track functions more effectively as the main mode of transit for the lost souls of Eno's gaseous, nearly imperceptible world of sonic dominion.
When entering the studio for what would become the third record under his stewardship, Brian Eno was without much of a foundation, save for the knowledge that he had begun to tire of the rock's dependent formula that still lingered on his previous two efforts. His lack of sonic provision actually proved to be a strength in the studio as it aided in the construction of a fossil which relished its own formlessness and supernatural ideology. As the sessions commenced, Eno's vision began to take shape, a vision that permeated like a vapor while remaining stoic and shapeshifting with no classification able to weigh down its ascent. 'Another Green World' was indeed the composer's first step into a new paradigm, where music was kinetic and a naturally occurring element with conscious, sonic landscapes capable of forming their own chemical makeup. It marked the beginning of four-decade long pilgrimage to a haven of musical liberation which had long thought to be bestiary. It was a place that married well with Eno's disdain for the shelters of sonic conventionalism and it's a dimension that he has yet to bid adieu to.
Standout Tracks:
1. The Big Ship
2. Becalmed
3. St. Elmo's Fire
89.7 [First added to this chart: 06/18/2020]
'Another Green World' commences with 'Sky Saw', a serrated, buzzing entity with a taste for the dissonant. 'Sky Saw' is the first of a line of tracks linked by DNA and could only exist as mysterious fauna native to an entirely different cosmos. The robotic, ory instrumentation employed makes it seem like a fashionable dance track at a futurist discotheque. When Eno's vocals finally penetrate the aluminum atmosphere, it ends up jarring in a way that's welcomed. It's the lone piece of humanity amidst a mosaic of auditory gadgetry and a stark introduction to record's genetic code. Second track, 'Over Fire Island', contains a far more earthy timbre, largely centered on percussion and wet bass. It wouldn't be out of place at a tribal soiree but the whirring coda ends the dream and places you squarely back into a chilly reality. The track briefly embodies a memory of an AI recreation of native music, yet without a discernable, anthropomorphic soul. The most urgent cut on 'Another Green World' has to be fourth track, 'St. Elmo's Fire'. It's catalyzed with uptempo, accelerative energy with Robert Fripp's proggy guitar solo flooding over the dam and washing overtop of the rest of the components. It's a brilliant approach to the art of the earworm and a visionary compromise between the horizon-less limits of Eno's sonic fantasies and the hard line of pop music's rigid boundaries. The album takes a nefarious turn on 'In Dark Trees' with Eno as its lone captain. The sensation of tumbling downward is tactile, as the shallow, unloving electronic drums dutifully chug on, unswaying throughout the track. It's a brief showcase, but by the end of it, you'd swear you were subterranean and devoid of the sun's kiss. Fifth outing, 'The Big Ship', doesn't include a vocal feature from Eno, a trend that carries throughout the majority of the record. In it's place, a tangible sense of scale is meticulously constructed. The track harbors the qualities of an iceberg, with it's peak gloriously basking in warmth the sun, while the base is left to remain untraversed and unable to be properly gauged. Eno's synth work is frothy and luminous, bestowing the honor of "most winsome" onto 'The Big Ship'. However, its aesthetic beauty is perched above the aforementioned impression of scale and labyrinthian real estate held below like oil resting comfortably on top of the sea. The track is gigantic to the ear despite its minimal instrumentation and Eno's excellence creates a cognizance of a world uncharted between the notes.
The most sugary offering on the record is 'I'll Come Running', which bottles a domestic, romantic syrup into a nearly four-minute nocturne, à la The Beatles' 'When I'm Sixty-Four'. The frolicking piano, which strides to and fro, projects a sensation of repetitive bliss and the notion that life's banalities make for gratifying exertion when in service of a special someone. It's strangely human for Eno, or perhaps, deceptively snide. Side one ceases with the title track, a brief , patient transitional that pokes its head out of the clouds just to be quickly shrouded once more. Eno's 'Desert Guitars' parabola as the track comes and goes like a sun shower. Side two, unfurls with a pair of wordless pieces with alternating physiology. 'Sombre Reptiles' is charged with locomotive energy powered by pistons set to world music of the Peruvian variety. Its straight-line fidelity is in stark divergence with follow up tune, 'Little Fishes', which effectively meanders in a way which could easily harmonize within the confines of a sound studio or underneath an electron microscope. Possibly the most apropos moniker on the LP, the track's prepared piano conjures an image of a minnow swimming up and downstream, susceptible to the gentlest of currents. It's clear by this point that Eno is reserving ample space for some of his most three-dimensional soundscapes. Track ten, 'Golden Hours' surely contains helium, as its carefully batted around expertly by Eno and Fripp. It also holds some of the album's finest lyrical pearls as Fripp's guitar solo sews the track shut with thin kevlar. Subsequent track, 'Becalmed' sounds as if Eno has harnessed the full weight of artificial placidity as the track swells and shrinks at the moments most opportune. Impressively, the music remains terrifically pastoral while also sounding akin to a deep-space, cosmic happening. 'Zawinul/Lava' plays like a wise man recounting an ancient prophecy or event responsible for population bottleneck, with more than a hint of dread as fretless bass drops leave the back door open for distant howls propelled by the wind. It's a musing piece that depicts what's coming and what has occurred without a moment's thought for the present. Eno carves out one more slot for a ballad, as to not drift too far into the ether, but even Eno's narratives inject a dose of the illusory. 'Everything Merges with the Night' depicts a love affair, but in which stage we never know. It's as if Eno wrote a treatment for a couple he viewed on a canvas, no doubt one with soft, pastellic edges. Our subject has been "waiting all evening or possibly years" as Eno's piano ensures us that the character is not displeased or even losing patience. Finally, the record concludes with 'Spirits Drifting', which feels evocative of an ending, yet strangely behaves as if it could run parallel to the entire album. The synth work does indeed achieve spectral ambience, but the track functions more effectively as the main mode of transit for the lost souls of Eno's gaseous, nearly imperceptible world of sonic dominion.
When entering the studio for what would become the third record under his stewardship, Brian Eno was without much of a foundation, save for the knowledge that he had begun to tire of the rock's dependent formula that still lingered on his previous two efforts. His lack of sonic provision actually proved to be a strength in the studio as it aided in the construction of a fossil which relished its own formlessness and supernatural ideology. As the sessions commenced, Eno's vision began to take shape, a vision that permeated like a vapor while remaining stoic and shapeshifting with no classification able to weigh down its ascent. 'Another Green World' was indeed the composer's first step into a new paradigm, where music was kinetic and a naturally occurring element with conscious, sonic landscapes capable of forming their own chemical makeup. It marked the beginning of four-decade long pilgrimage to a haven of musical liberation which had long thought to be bestiary. It was a place that married well with Eno's disdain for the shelters of sonic conventionalism and it's a dimension that he has yet to bid adieu to.
Standout Tracks:
1. The Big Ship
2. Becalmed
3. St. Elmo's Fire
89.7 [First added to this chart: 06/18/2020]
Year of Release:
1975
Appears in:
Rank Score:
8,249
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
86.4
[First added to this chart: 06/18/2020]
Year of Release:
1975
Appears in:
Rank Score:
21,123
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
86.2
[First added to this chart: 03/06/2022]
Year of Release:
1975
Appears in:
Rank Score:
12,345
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
85.5
[First added to this chart: 07/19/2023]
Year of Release:
1975
Appears in:
Rank Score:
15,587
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
75.8
[First added to this chart: 09/11/2021]
Year of Release:
1975
Appears in:
Rank Score:
679
Rank in 1975:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
72.3
[First added to this chart: 01/27/2022]
Total albums: 8. Page 1 of 1
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Top 8 Music Albums of 1975 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| Bob Dylan | 1 | 13% | |
| Led Zeppelin | 1 | 13% | |
| Bruce Springsteen | 1 | 13% | |
| Brian Eno | 1 | 13% | |
| Fripp & Eno | 1 | 13% | |
| Gavin Bryars | 1 | 13% | |
| Pink Floyd | 1 | 13% | |
| Show all | |||
Top 8 Music Albums of 1975 chart changes
There have been no changes to this chart.Top 8 Music Albums of 1975 similarity to your chart(s)
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Other year charts by DriftingOrpheus
(from the 1970s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 7 Music Albums of 1979 | DriftingOrpheus | 1979 year chart | 2024 | |
| Top 10 Music Albums of 1978 | DriftingOrpheus | 1978 year chart | 2025 | |
| Top 11 Music Albums of 1977 | DriftingOrpheus | 1977 year chart | 2025 | |
| Top 4 Music Albums of 1976 | DriftingOrpheus | 1976 year chart | 2024 | |
| Top 8 Music Albums of 1975 | DriftingOrpheus | 1975 year chart | 2025 | |
| Top 10 Music Albums of 1974 | DriftingOrpheus | 1974 year chart | 2025 | |
| Top 13 Music Albums of 1973 | DriftingOrpheus | 1973 year chart | 2024 | |
| Top 9 Music Albums of 1972 | DriftingOrpheus | 1972 year chart | 2024 | |
| Top 6 Music Albums of 1971 | DriftingOrpheus | 1971 year chart | 2024 | |
| Top 13 Music Albums of 1970 | DriftingOrpheus | 1970 year chart | 2025 | |
Top 8 Music Albums of 1975 ratings
Not enough data Average Rating = (n ÷ (n + m)) × av + (m ÷ (n + m)) × AVwhere:
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.
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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.
