This Far Out Magazine piece argues that chart positions are a poor measure of an album's artistic merit, pointing out that many now-revered records by artists such as Bob Dylan, David Bowie and Black Sabbath never cracked the US Top 20. It uses this discrepancy to make a broader point about how commercial success and critical or cultural significance frequently diverge, especially at a time when it says content overload makes it harder for artists to be noticed.

The article cites examples including Black Sabbath's self-titled debut, which peaked at just 23 in the US charts despite later being seen as a foundational metal record, and Bob Dylan's The Freewheelin' Bob Dylan, which reached only 22 despite its huge influence. It notes that even The Beach Boys' Pet Sounds initially peaked at number ten, while chart-toppers of the era, such as Andy Williams' Days of Wine and Roses, have since faded from cultural memory by comparison.