My Overall Chart: 1401-1500
by 
Romanelli 
- Chart updated: 12/29/2025 17:15
- (Created: 02/08/2024 18:03).
- Chart size: 100 albums.
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1979-IRS
Produced By MARTIN RUSHENT
1. Orgasm Addict
2. What Do I Get?
3. I Don't Mind
4. Love You More
5. Ever Fallen In Love?
6. Promises
7. Everybody's Happy Nowadays
8. Harmony In My Head
9. What Ever Happened To?
10. Oh Shit!
11. Autonomy
12. Noise Annoys
13. Just Lust
14. Lipstick
15. Why Can't I Touch It?
16. Something's Gone Wrong Again
Never mind the Sex Pistols...here's The Buzzcocks! Singles Going Steady is a collection of their early singles, and was the first album by the band released in America. And it just may be the greatest punk album ever made. From track one, parents everywhere must have known that they were in trouble. "Orgasm Addict" in 1979 must have been a shocker. Led by Pete Shelley and Howard DeVoto, The Buzzcocks were fast, loud...and they had great songs. Every track here is a should be classic. If you like punk in any way, you should have...no. You need this album. This is what it was all about.
The Buzzcocks broke up in 1981, but regrouped in 1989. DeVoto is gone, but Pete Shelley is still at it. [First added to this chart: 12/29/2025]
Produced By MARTIN RUSHENT
1. Orgasm Addict
2. What Do I Get?
3. I Don't Mind
4. Love You More
5. Ever Fallen In Love?
6. Promises
7. Everybody's Happy Nowadays
8. Harmony In My Head
9. What Ever Happened To?
10. Oh Shit!
11. Autonomy
12. Noise Annoys
13. Just Lust
14. Lipstick
15. Why Can't I Touch It?
16. Something's Gone Wrong Again
Never mind the Sex Pistols...here's The Buzzcocks! Singles Going Steady is a collection of their early singles, and was the first album by the band released in America. And it just may be the greatest punk album ever made. From track one, parents everywhere must have known that they were in trouble. "Orgasm Addict" in 1979 must have been a shocker. Led by Pete Shelley and Howard DeVoto, The Buzzcocks were fast, loud...and they had great songs. Every track here is a should be classic. If you like punk in any way, you should have...no. You need this album. This is what it was all about.
The Buzzcocks broke up in 1981, but regrouped in 1989. DeVoto is gone, but Pete Shelley is still at it. [First added to this chart: 12/29/2025]
Year of Release:
1979
Appears in:
Rank Score:
1,676
Rank in 1979:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 11/22/2025]
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1982 – EPIC
Produced By THE CLASH & GLYN JOHNS
1. Know Your Rights
2. Car Jamming
3. Should I Stay Or Should I Go
4. Rock The Casbah
5. Red Angel Dragnet
6. Straight To Hell
7. Overpowered By Funk
8. Atom Tan
9. Sean Flynn
10. Ghetto Defendant
11. Inoculated City
12. Death Is A Star
Combat Rock was the big commercial breakthrough for The Clash…and it was also their last gasp as a truly great band. Their first four albums had been pure classics, and had led to The Clash being hailed by many as the world’s greatest band. By the time of Combat Rock, internal struggles (mainly involving guitarist Mick Jones) and the heavy heroin use by drummer Topper Headon had the band left mostly in ruins. The album contains two of the band’s biggest hits: the strangely fun and bouncy “Rock The Casbah”, and the now overplayed by cover bands to death everywhere “Should I Stay Or Should I Go”. And while the rest of Combat Rock is by no means terrible, it feels like the last drops of the magic that the group had once had in abundance.
Aside from the two hits, there is nothing here that will stick with you for very long. The end for them was very near, and you can almost hear the cracks forming as you listen. The first half of the album is much better than the second…The Clash had originally wanted this to be a double album, but you get the feeling that it would have actually made a better EP. Jones and Headon were fired after this came out, effectively ending the band (although there was one last effort, 1985’s Cut The Crap, which was simply awful). Because this was the last album with the classic lineup, you can view it as a farewell. There have been bands who have gone out on much worse notes. As it stands, Combat Rock is simply a slightly above average disc from a band that had once been consistently one of the best ever. [First added to this chart: 11/13/2025]
Produced By THE CLASH & GLYN JOHNS
1. Know Your Rights
2. Car Jamming
3. Should I Stay Or Should I Go
4. Rock The Casbah
5. Red Angel Dragnet
6. Straight To Hell
7. Overpowered By Funk
8. Atom Tan
9. Sean Flynn
10. Ghetto Defendant
11. Inoculated City
12. Death Is A Star
Combat Rock was the big commercial breakthrough for The Clash…and it was also their last gasp as a truly great band. Their first four albums had been pure classics, and had led to The Clash being hailed by many as the world’s greatest band. By the time of Combat Rock, internal struggles (mainly involving guitarist Mick Jones) and the heavy heroin use by drummer Topper Headon had the band left mostly in ruins. The album contains two of the band’s biggest hits: the strangely fun and bouncy “Rock The Casbah”, and the now overplayed by cover bands to death everywhere “Should I Stay Or Should I Go”. And while the rest of Combat Rock is by no means terrible, it feels like the last drops of the magic that the group had once had in abundance.
Aside from the two hits, there is nothing here that will stick with you for very long. The end for them was very near, and you can almost hear the cracks forming as you listen. The first half of the album is much better than the second…The Clash had originally wanted this to be a double album, but you get the feeling that it would have actually made a better EP. Jones and Headon were fired after this came out, effectively ending the band (although there was one last effort, 1985’s Cut The Crap, which was simply awful). Because this was the last album with the classic lineup, you can view it as a farewell. There have been bands who have gone out on much worse notes. As it stands, Combat Rock is simply a slightly above average disc from a band that had once been consistently one of the best ever. [First added to this chart: 11/13/2025]
Year of Release:
1982
Appears in:
Rank Score:
2,221
Rank in 1982:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 11/13/2025]
Year of Release:
1976
Appears in:
Rank Score:
380
Rank in 1976:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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1970 – A&M
Produced By FREE, ROY THOMAS BAKER & JOHN KELLY
1. Fire And Water
2. Oh I Wept
3. Remember
4. Heavy Load
5. Mr. Big
6. Don’t Say You Love Me
7. All Right Now
There are still people to this day who believe that “All Right Now” is a Bad Company song. You can’t blame them…same singer (Paul Rodgers), same drummer (Simon Kirke), and the same style as the recording that was actually made by Free in 1970. Free was a band that boasted some fine musicians in Rodgers, Kirke, guitarist Paul Kossoff and bassist Andy Fraser, but also a band that was going nowhere fast. Their first two albums sold very poorly, but it was the sudden success of “All Right Now” that made people notice them, and opened the doors for Rodgers and Kirke to later form Bad Company. Fire And Water, on the strength of that hard rocking and still excellent single, took off and has been praised as Free’s big breakthrough, which it was. But it was also a bit overrated as a whole…a good album, but not by any means a great one.
Nothing else here is as immediate, or as heavy, as “All Right Now”. The title track and “Mr. Big” (later covered by Gov’t Mule) are the brightest spots, but show no indication that they would have been hits for the band. And while these guys really could play very well, most of the songs here are pretty ordinary. What carries the album, simply, is Rodgers. Maybe the most soulful singer to come out of the UK blues scene of the 60’s, Rodgers alone makes this album worthwhile. Free was never able to build on this album, which could have been a stepping stone to bigger and better things. Kossoff had a growing drug problem that split the band for good by 1973, and he died in 1976 at age 25. Rodgers and Kirke formed Bad Company, which sounded a lot like “All Right Now” and not much else of what Free played on Fire And Water. Still, this is a good listen…Rodgers is always great to hear, and Paul Kossoff was an up and coming guitarist, gone before his time. [First added to this chart: 10/21/2025]
Produced By FREE, ROY THOMAS BAKER & JOHN KELLY
1. Fire And Water
2. Oh I Wept
3. Remember
4. Heavy Load
5. Mr. Big
6. Don’t Say You Love Me
7. All Right Now
There are still people to this day who believe that “All Right Now” is a Bad Company song. You can’t blame them…same singer (Paul Rodgers), same drummer (Simon Kirke), and the same style as the recording that was actually made by Free in 1970. Free was a band that boasted some fine musicians in Rodgers, Kirke, guitarist Paul Kossoff and bassist Andy Fraser, but also a band that was going nowhere fast. Their first two albums sold very poorly, but it was the sudden success of “All Right Now” that made people notice them, and opened the doors for Rodgers and Kirke to later form Bad Company. Fire And Water, on the strength of that hard rocking and still excellent single, took off and has been praised as Free’s big breakthrough, which it was. But it was also a bit overrated as a whole…a good album, but not by any means a great one.
Nothing else here is as immediate, or as heavy, as “All Right Now”. The title track and “Mr. Big” (later covered by Gov’t Mule) are the brightest spots, but show no indication that they would have been hits for the band. And while these guys really could play very well, most of the songs here are pretty ordinary. What carries the album, simply, is Rodgers. Maybe the most soulful singer to come out of the UK blues scene of the 60’s, Rodgers alone makes this album worthwhile. Free was never able to build on this album, which could have been a stepping stone to bigger and better things. Kossoff had a growing drug problem that split the band for good by 1973, and he died in 1976 at age 25. Rodgers and Kirke formed Bad Company, which sounded a lot like “All Right Now” and not much else of what Free played on Fire And Water. Still, this is a good listen…Rodgers is always great to hear, and Paul Kossoff was an up and coming guitarist, gone before his time. [First added to this chart: 10/21/2025]
Year of Release:
1970
Appears in:
Rank Score:
686
Rank in 1970:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 10/13/2025]
Year of Release:
1974
Appears in:
Rank Score:
1,592
Rank in 1974:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 09/29/2025]
Year of Release:
1995
Appears in:
Rank Score:
1,840
Rank in 1995:
Rank in 1990s:
Overall Rank:
Average Rating:
Comments:
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1983 – RCA
Produced By DAVID A STEWART, ADAM WILLIAMS & ROBERT CRASH
1. Love Is A Stranger
2. I’ve Got An Angel
3. Wrap It Up
4. I Could Give You (A Mirror)
5. The Walk
6. Sweet Dreams (Are Made Of This)
7. Jennifer
8. This Is The House
9. Somebody Told Me
10. This City Never Sleeps
Out of the ashes of disco in 1983 rose this stunning second album by Eurythmics, and dance pop would never be the same again. Dave Stewart makes the synthesizer the main instrument here, and the beats are infectious indeed…but what really carries this album into a new world are the powerhouse vocals of Annie Lennox. The first real look we got at her was on MTV in the video for the title track. Tall, assured, a little scary, and a Howitzer of a voice. This album is best remembered for that quirky title track and the equally as excellent “Love Is A Stranger”, but there’s more to this than just the two hits. “Wrap It Up” (an Isaac Hayes cover), “I Could Give You (A Mirror)”, and “Somebody Told Me” are perfect showcases for the huge vocals of Lennox. It’s her voice alone that makes this an important album.
Of course, the title track is perfect, and “Love Is A Stranger” is not far behind. And, in spots, Stewart’s synths sound fresh today. But mostly, that sound has become stale and even more plastic than Eurythmics had intended them to be. The synthesizers are what keeps this album from the maximum rating, but it’s still terrific. The duo went on to release six more albums in the eighties before going on to their respective successful solo careers, and their sound moved to a more guitar oriented flavor pretty quickly. But if you were a child of the eighties, this is the album that Eurythmics were made of. And she can still sing like nobody’s business, but it was a bit more exciting with that short flaming red hair, the black suit, and the whip. The eighties were all about image, and Annie Lennox had it big time…along with that incredible voice. [First added to this chart: 09/04/2025]
Produced By DAVID A STEWART, ADAM WILLIAMS & ROBERT CRASH
1. Love Is A Stranger
2. I’ve Got An Angel
3. Wrap It Up
4. I Could Give You (A Mirror)
5. The Walk
6. Sweet Dreams (Are Made Of This)
7. Jennifer
8. This Is The House
9. Somebody Told Me
10. This City Never Sleeps
Out of the ashes of disco in 1983 rose this stunning second album by Eurythmics, and dance pop would never be the same again. Dave Stewart makes the synthesizer the main instrument here, and the beats are infectious indeed…but what really carries this album into a new world are the powerhouse vocals of Annie Lennox. The first real look we got at her was on MTV in the video for the title track. Tall, assured, a little scary, and a Howitzer of a voice. This album is best remembered for that quirky title track and the equally as excellent “Love Is A Stranger”, but there’s more to this than just the two hits. “Wrap It Up” (an Isaac Hayes cover), “I Could Give You (A Mirror)”, and “Somebody Told Me” are perfect showcases for the huge vocals of Lennox. It’s her voice alone that makes this an important album.
Of course, the title track is perfect, and “Love Is A Stranger” is not far behind. And, in spots, Stewart’s synths sound fresh today. But mostly, that sound has become stale and even more plastic than Eurythmics had intended them to be. The synthesizers are what keeps this album from the maximum rating, but it’s still terrific. The duo went on to release six more albums in the eighties before going on to their respective successful solo careers, and their sound moved to a more guitar oriented flavor pretty quickly. But if you were a child of the eighties, this is the album that Eurythmics were made of. And she can still sing like nobody’s business, but it was a bit more exciting with that short flaming red hair, the black suit, and the whip. The eighties were all about image, and Annie Lennox had it big time…along with that incredible voice. [First added to this chart: 09/04/2025]
Year of Release:
1983
Appears in:
Rank Score:
721
Rank in 1983:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 01/26/2025]
Buy album
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[First added to this chart: 01/02/2025]
Year of Release:
1982
Appears in:
Rank Score:
396
Rank in 1982:
Rank in 1980s:
Overall Rank:
Average Rating:
Comments:
Total albums: 26. Page 1 of 3
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My Overall Chart: 1401-1500 composition
| Decade | Albums | % | |
|---|---|---|---|
| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 0 | 0% | |
| 1960s | 7 | 7% | |
| 1970s | 17 | 17% | |
| 1980s | 19 | 19% | |
| 1990s | 29 | 29% | |
| 2000s | 25 | 25% | |
| 2010s | 3 | 3% | |
| 2020s | 0 | 0% |
| Artist | Albums | % | |
|---|---|---|---|
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| Radiohead | 2 | 2% | |
| The Ike Reilly Assassination | 1 | 1% | |
| Can | 1 | 1% | |
| Booker T. & The M.G.'s | 1 | 1% | |
| The Clash | 1 | 1% | |
| Men At Work | 1 | 1% | |
| Emmylou Harris | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
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| |
60 | 60% | |
 |
26 | 26% | |
 |
3 | 3% | |
 |
3 | 3% | |
 |
2 | 2% | |
 |
2 | 2% | |
 |
1 | 1% | |
| Show all | |||
My Overall Chart: 1401-1500 chart changes
| Biggest fallers |
|---|
| Down 1 from 1st to 2ndSingles Going Steady by Buzzcocks |
| Down 1 from 2nd to 3rdNext Go 'Round by Blue Canyon Boys |
| Down 1 from 3rd to 4thDos Dedos Mis Amigos by Pop Will Eat Itself |
| New entries |
|---|
| The Devil And God Are Raging Inside Me by Brand New |
| Leavers |
|---|
| The Chronic by Dr. Dre |
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