Listed below are the best albums of 1975 as calculated from their overall rankings in over 59,000 greatest album charts. (Chart last updated: 2 hours ago).
"The first time I heard this album was a bootleged copy off cassete when I was 14, laying on a hillside at night beside the girl who I thought at the time was the most beautiful and sexy in the world. You may like to add your own imagery to the setting, but it left a permanant mark on my psychie t...""The first time I heard this album was a bootleged copy off cassete when I was 14, laying on a hillside at night beside the girl who I thought at the time was the most beautiful and sexy in the world. You may like to add your own imagery to the setting, but it left a permanant mark on my psychie that will remain for the rest of my life. It is my number one album despite the fact she married someone else."[+]Reply
"1 December 2013 "Blood On The Tracks". It's an album almost synonymous with maturity and the absolute expression of all the nuances of love and loss. It's an album that I notice I love more and more as my life ticks along. When I first heard it at the age of 12 I didn't get it. I didn't see what ...""1 December 2013
"Blood On The Tracks". It's an album almost synonymous with maturity and the absolute expression of all the nuances of love and loss. It's an album that I notice I love more and more as my life ticks along. When I first heard it at the age of 12 I didn't get it. I didn't see what was so great about it. And even now to this day, I feel their is a more relatable feeling I get from his 60s music. I am 24 years old as I write this. Dylan was 21 and 24 when he made my other 2 favorite albums of his. Is that all it comes down to? Perhaps.
As for this album, well it's a legendary piece of art. It transcends my amateur description. There are just so many themes and details and emotions that are expressed here. The album is a roller coaster, it takes you through all the highs of love found and all the lows of regret. And in the end you leave this record wiser than when you entered.
To name the highlights is basically to name off every track. It's literally that great. The songs that just absolutely gut me every time I hear them are "Simple Twist of Fate" (perhaps one of the most sobering songs ever), "You're A Big Girl Now", "Meet Me In The Morning" (so simple and beautiful and the fucking steel guitar and slide guitar at the end is pure aesthetic perfection), "Shelter From The Storm", and the closer "Buckets of Rain".
Oh and about this closer...it's perfect. I use that word "perfect" too much, I know. But this song AS A CLOSER is perfection. It's like a little nugget of almost simpleton-level wisdom that floats in and soothes us after the emotional journey of the rest of the album that just ended. It's so damn simple and playful and REAL.
This album feels so absolutely relaxed and natural. It's a grand example of the plain expression of very exact and thought-out art. It's an album that opens up more and more not only with each listen but also with each passing year of living. It's an album that is always there to help get me through.
Thanks, Bob.
Grade 100/100"[+]Reply
"Bruce Springsteen's most iconic album, and his breakthrough. It's amazing to think now, that he could have been dropped from his record label if this album had flopped. Fortunately for Springsteen and for us, it didn't, and we have one of the greatest careers in rock/pop music to enjoy. Born to r...""Bruce Springsteen's most iconic album, and his breakthrough. It's amazing to think now, that he could have been dropped from his record label if this album had flopped. Fortunately for Springsteen and for us, it didn't, and we have one of the greatest careers in rock/pop music to enjoy. Born to run, Bruce Springsteen's most important record kicks off with the stunning, thunder road, my all time favourite track, ever, but this is different to it's predecessor. Bruce isn't happy treading the boardwalk anymore, he wants to get out, 'cos he's scared he ain't that young anymore. Next up, it's the semi-autobiographical, tenth avenue freeze out, where the E street band gets together, where the 'big man' joins the band. The frantic, night, gives way to the friendship epic, backstreets. The title track shows Bruce with a little more faith, as he still believes he is still young enough , but he still wants out, although to what?, he doesn't know, after all, he thinks of himself as a tramp. After what's gone so far, she's the one, feels a little lightweight lyrically, but it's still an excellent bluesy rocker. Meeting across the river, shows two down on their luck hustlers, determined to make it right this time, show 'em all, especially the narrator's love interest . This brilliant album ends in breathtaking style, with the epic, jungleland. It's Bob Dylan and Phil Spector re-writing west side story. It's glorious, and features surely Clarence Clemon's greatest and most iconic solo on a Springsteen track. And that's it, that's what all the fuss is about. It's a masterpiece, it's a highway 61 for the seventies, it's born to run. "[+]Reply
"What an outstanding 6 track run we have at the start of this record! Every single song in this run is simply phenomenal with the band giving us some incredible performances on every single instrument present on those songs. Every time I revisit this album I am completely blown away all over again...""What an outstanding 6 track run we have at the start of this record! Every single song in this run is simply phenomenal with the band giving us some incredible performances on every single instrument present on those songs. Every time I revisit this album I am completely blown away all over again with these songs as they are that impressive to experience. This quality does dip only slightly but is still great up until and including The Wanton Song which is where the album could possibly have concluded. After that we do get what can only be described as a bit of a drag to the finish. These final 3 tracks aren't bad but are such an obvious drop off in quality that it makes them seem worse than they are. However, these weaker tracks don't really detract from how amazing the rest of the music is on here. In my opinion, this is the record that solidified the fact that this is the greatest combination of musicians in one group as there is just no weak link amongst these 4 guys. Furthermore, they just seem to gel together so well on their releases with their sound being so cohesive and just such a joy to be able to experience. Overall, this is the most challenging but also the most rewarding album Led Zeppelin ever made and it deserves all the praise that it receives as it is a masterpiece. "[+]Reply
"Some albums are a tightrope act. Sure, Queen was a bit excessive, kitschy, but on A Night At The Opera their technical efficiency is on such a high level the resulting album is a dynamic breakthrough. A lesser band would have fallen flat on their faces attempting this record."Reply
"Patti Smith has never been given her due recognition for being the first female rock and roller to lead a band and have complete creative control over her music. Before Patti, a rock band would have a "chick" singer but the boyz in the band were the primary players of the music. Smith became an i...""Patti Smith has never been given her due recognition for being the first female rock and roller to lead a band and have complete creative control over her music. Before Patti, a rock band would have a "chick" singer but the boyz in the band were the primary players of the music. Smith became an icon to subsequent generations of female rockers. She never relied on sex appeal for her success — she was unabashedly intellectual and creatively uncompromising, and her appearance was usually lean, hard, and androgynous. "Horses" is a benchmark because Patti was the first of a plethora of CBGBs bands to get signed; she beat the Voidoids, Television, Blondie, the Talking Heads and even the Ramones to the recording studio and in doing so she became the godmother of American punk. "[+]Reply
"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 desi...""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 Eno has yet to bid adieu to.
Standout Tracks:
1. The Big Ship
2. Becalmed
3. St. Elmo's Fire
92"[+]Reply
"This album is an absolute masterpiece, and has a sound like no other album ever released, even by Neil himself. You can truly feel raw emotion here, and this is definitely Neil's most emotional album. After the loss of Daniel Whitten, Neil recorded this album on one dark night in 1972 in only one...""This album is an absolute masterpiece, and has a sound like no other album ever released, even by Neil himself. You can truly feel raw emotion here, and this is definitely Neil's most emotional album. After the loss of Daniel Whitten, Neil recorded this album on one dark night in 1972 in only one night. The album itself was released three years later, and we got this twisted, dark, emotional masterpiece. This album sounds like that one day of drunken denial after a close friend or relative passes. Seriously, it sounds exactly like that, and you can hear Neil's voice go off tune all of the time on this one. He just wants Danny to "Open up the tired eyes". Every time Neil's voice cracks, it sends chills up and down my spine. His voice cracks all of the time on this album, so the whole thing sends chills up and down my spine. This is a great album to listen to during dark times. Neil's pain is so strong here that few things could surpass the amount of pain that Neil feels, so it makes you feel slightly better. I would recommend this album to anyone. It is Neil's magnum opus in my opinion, tied with Rust Never Sleeps."[+]Reply
"I have 225 records and only 224 listed on this site, I kept going through them over and over to see which one I hadn't yet listed.... b4 doing this though, I went through the top 1000 albums on this site and added all of them to either my wish list or collection.... so when going through my recor...""I have 225 records and only 224 listed on this site, I kept going through them over and over to see which one I hadn't yet listed.... b4 doing this though, I went through the top 1000 albums on this site and added all of them to either my wish list or collection....
so when going through my records I never guessed that this one hadn't already been added when I went through the top 1000. I skipped right past the fleetwood mac albums b/c I "knew" they'd already been accounted for. it doesn't make any sense - I've listened to this + Rumours a MILLION times each, and this one probably even more often than Rumours. how in the hell is Rumours considered that many leagues higher than this? this isn't even top 1000, are you f*&^ing kidding me?
this has got to be the most underrated album of all time. landslide, rhiannon, monday morning, warm ways, over my head, say you love me, crystal, I'm so afraid... unbelievable ranking here. the quality is extremely close to that of Rumours."[+]Reply
"I was first introduced to Parliament a year after I graduated from college by a girl who put "P. Funk (Wants to Get Funked Up)" and "Give Up the Funk (Tear the Roof Off the Sucker)" on a mix tape for me. It was only then that I discovered how badly I had always wanted to improve my intergalactic ...""I was first introduced to Parliament a year after I graduated from college by a girl who put "P. Funk (Wants to Get Funked Up)" and "Give Up the Funk (Tear the Roof Off the Sucker)" on a mix tape for me. It was only then that I discovered how badly I had always wanted to improve my intergalactic funksmanship. And that that was a thing. George Clinton's place in the world of music is all his own--the most bizarre combination of seventies funk and space-age psychedelia, hilarious self-promotion, and an unapologetically playful and self-deprecating take on blackness. This album never fails to make me smile."[+]Reply
Mercury | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)
A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.
meccalecca | Helpful? (Log in to vote) | +8 votes (9 helpful | 1 unhelpful)
A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.
DriftingOrpheus | Helpful? (Log in to vote) | +2 votes (2 helpful | 0 unhelpful)
A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.
buzzdainer | Helpful? (Log in to vote) | +5 votes (5 helpful | 0 unhelpful)
A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.
