Top 100 Greatest Music Albums by slatsheit

I've tried to put this chart together the way that I believe everyone should: 1) ***no*** limitations on the number of albums by a single artist, because that would automatically make the chart a bald-faced lie (at least in my case), and 2) to rank every album meticulously in terms of desert island standards, rather than some sort of objective evaluation - with every single rank number, "hm, if I can only take this many albums with me to the desert island, would I rather have this album, or some other album I haven't included yet?" The desire to be absolutely honest with myself and others has led (and will continue to lead, until I die) to numerous revisions.

In terms of how I personally rate albums, I personally consider there to be four levels of "5 stars." The first three, I give 100 ratings to on this site; the others (more numerous) get 95s. 4.5s get 90s, 4s get 80 or 85, 3.5s get 70 or 75, 3s get 60 or 65, and so on. My ratings tend to trend higher on average than most here because if I listen to an album, something grabbed me that made me want to listen to it.

But I digress. #1-15 I would consider 5+++, #16-34 is 5++, 35-75 is 5+, and everything below (and everything contained on my "101-200" and "201-241" custom charts) is a straight 5.

I'm a self-proclaimed Gen X curmudgeon. I hate hip-hop and everything significantly influenced by it on principle - too meta and too non-musical, and I can't stand the non-stop foul language and degradation. That said, it's absolutely not a racial thing - I love and esteem plenty of r 'n' b, soul, and jazz. The first two of those three genres tend to be underrepresented here compared to my actual tastes because those genres are more singles-oriented. Jazz will probably grow in representation in time - up to this point, I generally haven't evaluated the jazz I like vs. the pop/rock because they're so apples and oranges. I do have to cop to having heard far fewer jazz albums than pop/rock albums (hundreds vs. thousands). I like classical more than jazz, and love certain pieces more than some of the pop/rock albums included here. However, classical is virtually impossible to rate in terms of albums, because classical albums are about performances, whereas I approach classical by finding a performance I like and listening to that, whereas my sense of classical favorites is a matter of pieces, not performances. If pop/rock vs. jazz, is apples and oranges, pop/rock vs. classical is apples and sweet potatoes. In terms of the album-oriented stuff I do like, I strongly believe that there was a precipitous drop-off in music in general after about 1988. Shoegaze and Radiohead's OK Computer are the only developments since which are both 1) original and 2) worthwhile. Everything else that is good is synthetic of prior styles. That's not necessarily a bad thing - there are many very good albums in such veins.

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This has actually become underrated in recent decades. Come on. "She's the One" is the weakest of the 8 tracks here, and it's still great. The title track, "Thunder Road," "Jungleland," and "Meeting across the River" (yes!) are absolute masterpieces. A lot of folks believe that pop/rock music began in ’65. Well, “rock” began as distinct from “rock-n-roll” with The Beatles, but of course a lot of the early rock-n-roll, r & b, girl group stuff, Roy Orbison, the Everly Brothers, Phil Spector, et al. was fantastic and deserves far more credit. Bruce obviously loved all that stuff, and elected to shift from the more laid-back, desultory styles of his first two albums to attempt to encapsulate everything that was great about all of that diverse music into his own passionate rock voice and hard rock guitar. He got better drummers (Ernest “Boom” Carter for the title track single, and Max Weinberg for the rest – and for the rest of the E Street Band’s existence), replaced the unreplaceable jazziness of David Sancious with virtuoso (if somewhat buttoned-up) pianist Roy Bittan, and added a second guitarist in Steve Van Zandt. This is a song-cycle about urban efforts to escape. I don’t necessarily like Bruce the Heartlander – these songs are lyrically and musically very urban in their perspective and sound. Bruce of course worked obsessively to make this a masterfully-produced album, imitating the Phil Spector sound (complete with glockenspiels) in the context of his slashing guitar work. “Born to Run” rocks with anthemic hugeness, dramatic and gripping. Absolutely makes the top ten – and probably top five – of the list of ’75-’76 Songs That Argue That Punk Wasn’t Necessary at All (I like punk; I just find that exercise interesting). “Thunder Road” is also a classic anthem, but taking more of a build-up approach. I love the coda to that one with its slamming guitars and valedictory melody. “Jungleland” is a rock opera masterpiece, an urban tragedy that otherwise harkens back to the epics of The Wild, the Innocent and the E Street Shuffle (which were a lot more sanguine). It rocks like nobody’s business and tugs the heartstrings at others. And Clarence gets time to stretch out with a lengthy, elegiac tenor sax solo. A huge musical achievement. “Meeting across the River” features freaking Richard Davis on double bass, Randy Brecker’s echo-laden trumpet, and Bittan’s piano over Bruce’s passionate declamation of a dream-making but malfeasant deal which is sure to end in disaster. Another urban masterpiece, and a great lead-in to “Jungleland.” “Backstreets” is another dramatic set-piece gem, with passionate dynamics and vocals, a song to the gal that got away. “Tenth Avenue Freeze-Out” is the one ode to fun of sorts here, with its great horn charts and shuffling groove, but Bruce still breaks out into that elegiac howl in the bridges. “Night” rather emulates the title track, but that’s a good thing. It’s a bit faster, more urgent, which is also good. “She’s the One” of course does the Bo Diddley thing. As I said, weakest thing here, and it’s still very good (certainly better than at least half of the tracks on Darkness on the Edge of Town). In short, a masterpiece album, a more serious and grounded take on the rock drama of Ziggy Stardust. On the knife edge of being the romantic rock masterpiece of all time, but with dark shadows of tragedy and melancholy threatening the dream and making it an even more spectacular achievement. Hype machine, nothing. This was and is the real deal. [First added to this chart: 11/08/2024]
Year of Release:
1975
Appears in:
Rank Score:
15,844
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Bruce’s debut, Greetings from Asbury Park, NJ, had moments of brilliance, but showed some growing pains. On this lightning-in-a-bottle masterpiece, he achieved true (if still somewhat scruffy at times) greatness. I say lightning-in-a-bottle as this was his final album with talented jazz keyboardist David Sancious as the E Street Band’s musical director. Bruce stretched out with romantic expansiveness here, with many tracks – “Sandy,” “Kitty’s Back,” and all three tracks on side three – being of extended length, because he needed that time to express what he needed to in these tracks. Only “Kitty’s Back” and the extended narrative party of “Rosalita (Come out Tonight)” really rock, but they are enough. Sancious and the rest of the band really make them swing. “Sandy” is a sensitive ballad that points to future wooing by The Boss in tracks like “Thunder Road.” “Incident on 57th Street” tells a tale of urban romance with soaring vocals by Bruce, great piano work by Sancious, and a piercing ostinato guitar hook. But of course the real masterpiece here is the cinematically sweeping romance of “New York City Serenade,” with its fantastic orchestral scoring and heartbreakingly beautiful piano work from Sancious, gorgeously sensitive dynamics, and powerful vocals from Bruce and the band. One of my favorite 25 tracks of all-time, gives me them goose bumps every time. “The E Street Shuffle” is a winning introduction, and the light-weight jug-band approach of “Wild Billy’s Circus Story” is only okay, but too brief in context to drag the album down. Bruce’s second best album, and the best (literally) was soon to come. [First added to this chart: 11/16/2024]
Year of Release:
1973
Appears in:
Rank Score:
2,926
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To me, the five-album stretch for Bruce from The Wild, the Innocent and the E Street Shuffle through Nebraska is his great period and claim to fame. That said, I find Nebraska and the wildly overrated Darkness on the Edge of Town to be far lesser than the other three. This double album in particular is underrated in the context of those five albums. I spec that a lot of people were turned off by all of the early-‘60s style chestnuts he did here. To me, to be turned off by that is to not understand Bruce as an artist at all – that stuff is what fuels and most inspires him. It’s when he gets all grim and stiff upper lip that’s the problem, because he frequently gets unintentionally comical. I love this stuff, especially “Hungry Heart,” and of course “The Ties That Bind,” since any rock tune with a ringing 12-string electric has won my heart from the get-go. As far as the grim stuff, “The River” itself is pretty undeniable. This has gone down somewhat in my estimation in recent years, but it’s still great. [First added to this chart: 11/16/2024]
Year of Release:
1980
Appears in:
Rank Score:
3,928
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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 1 1%
1960s 40 40%
1970s 36 36%
1980s 17 17%
1990s 5 5%
2000s 1 1%
2010s 0 0%
2020s 0 0%
Country Albums %


United Kingdom 56 56%
United States 37 37%
Canada 4 4%
Mixed Nationality 2 2%
Ireland 1 1%
Live? Albums %
No 98 98%
Yes 2 2%
Soundtrack? Albums %
No 98 98%
Yes 2 2%

Top 100 Greatest Music Albums chart changes

There have been no changes to this chart.
TitleSourceTypePublishedCountry
Mojo Readers: The 100 Greatest Albums Ever MadeMojoOverall chart1996United Kingdom
AllMusic's Greatest Albumsmusicologist97Custom chart2019
Ya joking? Should've been higher! All Time edition PurplepashCustom chart2025
BEA Top 100 Reorganized According To My TastebonnequestionCustom chart2025
200 Greatest albums of all time (1 - 100) - Uncut 2016JohnnyoCustom chart2020
200 Greatest Albums of All TimeUncutOverall chart2016United Kingdom
My Personal Ranking of Best Ever Albums' Top 100 Xxnu99etxXCustom chart2022
Going With My Gut: The Overall Chart Top 100 Re-ranked CharlieBarleyCustom chart2024
Top 100 Greatest Music Albumsalbum guru joeOverall chart2013
BEA+RYM Overall RankImaybeparanoidCustom chart2017Unknown

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Average Rating: 
89/100 (from 5 votes)
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From 08/18/2025 04:16
Nice list - lost of albums that I love here :) A little Beatles heavy but hey… you love what you
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Rating:  
90/100
From 04/01/2025 00:34
Thanks for pointing out the Overall Chart and how it can be distorted. It's true, technically, but this would be a much more valid critique of me making custom charts for certain genres instead of placing their best in the greatest. Right now, they're hardly counting for the Overall Chart, when they could be counting a lot more. I've thought about that a little bit over the years since the website as a whole has a massive rock bias as it stands, but it doesn't outweigh how annoying it is for me to try and compare them in good faith (I, like you, have my genre preferences).

You've made me think a little bit about that line in my description. It's been there for over a decade now and had you strolled in at the start and said what you've said it'd ring a lot more true. Back then, I enforced it on myself to get away from a list that had double ups on double ups. It was also part of an impetus to go and listen to new things. Today, all the albums in the list are -- I think -- 5/5 records, and consequently there's actually a very small cross section of possible records I could consider that this rule presently excludes, here they are:

The Beatles - The Beatles [White Album]
The Beach Boys - Pet Sounds
Boredoms - Vision Creation Newsun
David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders From Mars
David Bowie - Station to Station
Nick Cave & The Bad Seeds - The Good Son
Nick Drake - Five Leaves Left
Nick Drake - Pink Moon
Bob Dylan - Blood on the Tracks
The Fall - Hex Enduction Hour
Guided by Voices - Alien Lanes
Joy Division - Unknown Pleasures
Talking Heads - Remain in Light
The Velvet Underground - White Light / White Heat
The Wrens - Album 4.5 (bootleg wouldn't qualify)
Tom Waits - Swordfishtrombones
Neil Young - After the Gold Rush
Neil Young - Tonight's the Night

Would I add any of them to my list though? Maybe like 1 or 2 at any random given day, or certainly I'd be more likely right after listening to one of them, but I think they fight against my no. 100 on pretty equal footing and there's at least as many more left out that are from artists not in the list at all. This is a result of 10+ years of such a rule. I just have a very wide tastes now and I kind of like it that way. It doesn't mean anything really because I'd still defend the rule as it stands but food for thought. Interested in hearing more from you mate keep in touch.
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Rating:  
90/100
From 03/26/2025 08:27
Thanks for your comment. I wouldn't describe our tastes as majorly divergent, at least not from where I'm sitting. There's only a handful of records in your list I don't rate at least an 8, and many more I utterly adore.

Regarding the one artist limit, I can see why you might take issue with it considering the effect it would have on your list, but I'll hazard a minor challenge to your reasoning. You -- correctly -- dismiss the premise of objectivity in the construction of your list, and instead defer to your heart. I do so too, but isn't there a tension here with how you rationalise what a list should be?

I don't have a problem with your rules per se; do your thing. However, you argue that a list with restriction is in some way a lie. You then go on to volubly articulate all the ways your own list is limited in favour of how you personally imagine and derive joy from music. My point being, we are both using the list to document and convey us and how we see our own tastes, far more so than making a claim to what is good. It seems you're aware of that but it's lost on me you'd consider my version of how to demonstrate mine somehow me lying to myself.

Simply put, I kind of figure that when someone sees I like Neil Young's On The Beach that they can also figure I like the rest of catalogue; and if they're so curious as to what extent that information is readily available on my profile. Moreover, it's compelling for me to make that commitment to a favourite by an artist that I could otherwise proliferate my list with indiscriminately, and it frees me up to self-express a modicum more and to make recommendations.

A list can do more than one thing at a time.

In any case, I enjoyed reading through your list. I appreciated picks like New York Tendaberry and the wild self-reporting of being a Gen-Xer (with that Joe Jackson live album, I promise you we can tell), however I am also left without anything new to go discover which leaves me wanting.
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Recognised  Year Charts (2024)
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