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All-Time Music Charts

VinylSurrender lists the best music of all-time from 1950 to the present day, compiling charts of the most popular tracks and releases throughout this period.

Each track has it's own statistics page with standard information such as country, genre, mood, track length, etc, as well as specific chart positions.

Logged in visitors can vote for any of the tracks listed in the all-time music charts, with established visitors being allowed to add tracks from albums, EPs and singles released from 1950 and 2014.

 
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 Recent Reviews & Comments
 
Album Complete Surrender by Slow Club (2014)
An important sounding album that needs to be consumed but not necessarily enjoyed, like black coffee without cream and sugar. Top-notch production and clever marketing/chart strategies are required for success, coupled with excellent singing and quite nice tunes, and I have encouraged, even cajoled myself into liking it, again, but it still doesn't ruffle any feathers or ignite that spark. Tracks like 'Tears of Joy' and 'Suffering You, Suffering Me' are great, but the whole album reeks of common sense and clean-cut attitudes, which inhibits extensive listening to it as an album. Perhaps good for singles? (Richard)  
 
Album Heaven or Las Vegas by The Cocteau Twins (1990)
An absolutely astonishingly good album, if you didn't already know. (Richard)  
 
Album High Life by Brian Eno & Karl Hyde (2014)
Eclectic is a nice word, perhaps pulling resources from a wider life experience would be a fairer comparison, or just excellent music over the course of about 40 minutes, is best of all, for this largely instrumental music recorded by senior electronic aficionados. There are vocals here and there, reminiscent of the haunting aspects of ‘My Life In The Bush of Ghosts’ on track no. 3, 'Time to Waste It', but more conventional vocals on track four, the splendid and very vibrant 'Lilac'. But where you might expect turgid expression, this isn't harsh or haunting at all, but evident of a collaboration by a duo who really enjoy making and recording music together, emitting levels of surprising zest and funk. It's a wonderful listening experience of value packed entertainment at an average track length of about seven minutes, consisting of six songs at around 40 mins. Some of Eno’s music has stretched the low-key ambient a bit too far in the past, and you may hear other-worldly environmental renditions of ‘Sky Saw’ and 'Golden Hours' and other spectacular tracks from Eno's 1975 'Another Green World', which I'm an utter fan off btw, and renditions from the best parts of ‘Before And After Science', but here there is little trace of morbidity, depression or self-congratulatory expression which has to be attributed to the input of Karl Hyde for instilling the sheer groove throughout this record. It's such a refreshing listen from a seventies adventurer / nineties dance hero, which is an utter, utter surprise. The only let-down is the final track ‘Cells & Bells’ which is nothing more than ambient, outro wig-out, but perfectly lovely and suitable accompaniment to the antics of the previous five tracks. (Richard)  
 
Album Deep Fantasy by White Lung (2014)
Short, sharp and sweet, that's the thing, reminiscent of Yeah Yeah Yeahs' early days, before commercialism/babies/boringism? took hold. No track over 2:36, over in under 25 minutes, this could 'almost' be the first Ramones album, but only time will tell if this is still rockin' in six months from now. What a wonderful year for the 'Ws' - Wild Beasts, Woods, Wye Oak - all excellent albums. Whoopee. (Richard)  
 
Track One Day by Paolo Nutini from Caustic Love (2014) 
A wonderful track with strange overtones of "A Whiter Shade of Pale" by Procol Harum. (Richard)  
 
Album Zaba by Glass Animals (2014)
Expressions like 'trip-hop' and '90s' are tantamount to pointless swearing in the dark in 2014, especially cross-overs between the purposely under-produced, bad singing appeal of 'TV On The Radio' and the exquisitely over-produced but earthy sound of 'Massive Attack. The single-word track names and aesthetically pleasing album cover colours are also indicative of times gone by, yet here we are - a grimy, quaintly out-of-fashion sound that's surprisingly fresh and pop. (Richard)  
 
Track Piñata by Freddie Gibbs & Madlib from Piñata (2014) 
For what it's worth, I have edited my personal copy of this MP3 from a bloated 8:33 to 5:43, removing the final three minutes of pointless, meandering outro. It's a much better track for it, interweaving between Freddie Gibbs + Guest Rapper vocals and brilliant Madlib instrumentals. (Richard)  
 
Track After The Disco by Broken Bells from After The Disco (2014)  
The eponymous track from the 'After The Disco' album, followed by the even better 'Holding On For Life', but unfortunately a pair of excellent tracks do not make a whole - an album which falls flat after track no.3, except for the rather kooky 'No Matter What You're Told'. (Richard)  
 
Track Nolan by Ben Frost from A U R O R A (2014) 
Sitting in the dentist chair with drill set to humming bird stun and yet, for all it's abrasive qualities, gradually dissipating into tribal beats and modest bleats, gently pulsating, strobe-like, slowly intensifying but not perturbing or intruding, almost imperceptibly strengthening, intensifying, brain-nurturing goodness, until suddenly at 5:22 the tune unfurls, accompanied by smashing, berating cymbals and effects. A tune that should be abrasive and obtuse, but isn't, at all. Almost seven minutes of pure essence. (Richard)  
 
Album A U R O R A by Ben Frost (2014)
Hardly conventional. One minute nothings going on, almost silence, no discernible tunes, followed by an intense cacophony of synths and effects. An album that merges from track-to-track with no perceivable joins, dispensing with the confines of traditional music and drifting from track 2-6 at strangely start-stop speed, through the inner confines of a time machine hastily bolted together, with brass-enamelled controls and levers, static flashes of light, juddery, unannounced arrival at destination 'Y', hurriedly zipping, thudding back to way-point 'X', warping forward to zone 'Z'. It's all over the place and all the better for it. A mad night out in a small, darkened auditorium with minimal lighting and no more than 150-200 people, boy, is this intense (for a 1984 shoot 'em up). (Richard)