Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 58,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 5 hours ago).
"Fantastic release that shows a very different side of Nirvana that I wish they would have been able to explore more on record. I'm glad Cobain stuck to his guns and played mostly covers and album tracks because it makes this Unplugged far more interesting than most of them. I also love that they ...""Fantastic release that shows a very different side of Nirvana that I wish they would have been able to explore more on record. I'm glad Cobain stuck to his guns and played mostly covers and album tracks because it makes this Unplugged far more interesting than most of them. I also love that they left the in between track banter on the album because it shows that they were just a bunch of dudes having fun and being loose. This album is making me reconsider my rule of no live albums on my charts."[+]Reply
"Every time I listen to this album it's 1968 and not even my computer can convince me otherwise. The honesty and raw delivery of this performance bleeds a humanity that transcends beyond the music itself. This hour-long performance yielded the best country LP you will come across."Reply
"On December 28th, 1998, enigmatic frontman Shinji Sato gazed upon a vigilant crowd gathered lovingly at the Akasaka Blitz in Minato, Tokyo. It was here that his band, Fishmans, was prepared to bid adieu to their bassist, Yuzuru Kashiwabara, who was set upon leaving the group. Little did anyone kn...""On December 28th, 1998, enigmatic frontman Shinji Sato gazed upon a vigilant crowd gathered lovingly at the Akasaka Blitz in Minato, Tokyo. It was here that his band, Fishmans, was prepared to bid adieu to their bassist, Yuzuru Kashiwabara, who was set upon leaving the group. Little did anyone know, the amount of finality and reverence this performance would carry would forever bathe the band in a balmy luster of posthumous praise. As the first reverberations of guitar are heard, a docility seems to rain over the multitude, almost entranced in a spiritual, reverent manner. Such things happen without warning, yet, when they do, they have the tendency to stifle the passing of time and render the present moment motionless. What happened on that December evening in Tokyo is exalted for the transcendent-nature of the musicality and Sato's passing in the months that would follow. What many don't perceive, is that it wasn't just Sato's passage that galvanized those proceedings. Every single soul on stage and in attendance would take part in the ascension to a higher state of musical consciousness, now permanent, invisible residents of both the Akasaka Blitz and another heavenly dimension.
Sato and company begin with the pleasantries and with 'Oh! Slime', which bestows respective introductions to each of the band's players. This preamble progressively evolves from a spacey, serene whirring into a bouncy declaration of jubilee. It's clear that the forthcoming ceremony isn't going to be colored by solemnity, despite it being Kashiwabara's swan song. The chants of "Are you feel good?" further blur the collective reality and affix the qualities of a fragmented dream. The band slips back into serenity with the arrival of their legendary cut, 'ナイトクルージング (Night Cruising)'. This 'Night Cruise' is more tranquil than its studio album doppelganger, exercising more force and dramatic heft. Sato's presence seems to emanate like vapor through the bright, twinkly guitar chords. The track unfurls at a measured tempo, conjuring images of summer-swept, evening car rides with the windows at half mast. Distorted guitar clangs charge into Sato's banshee wail which fuels the burgeoning sense of grandiosity as the track fades from view. Next in queue, is a revisitation of the band's sophomore effort, 1992's King Master George. The cosmic, percussive 'なんてったの (What Was It)', materializes in a form seemingly untethered and which could fly away at a moment's notice. It's Honzi's work at the keys that colors and elevates the track, as her exploits attach a perceptible sense of melancholy to the song. The bittersweet sensations persist as Fishmans slip into 'Thank You', a explicit championing of life and an unbridled expression of gratitude for its peaks and valleys. The track's somber essence is one of hindsight, as Sato's screeches of life pre-date the ending of his own just months thereafter. It, at times, seems like a conscious goodbye, adding to the mystical gravitas of the band's live farewell.
The band ceases to drag their feet as they decide to live within the present with 'Shiawase-mono (A Happy Person)', a bassy, simmering concoction of placid guitar tones which are ushered away gracefully by Honzi's egressing, endearing keys. The pace lounges more evidently with 'Tayorinai Tenshi (Unreliable Angel)', which shimmers like a calm before a storm, despite its aesthetic allure. Carrying distinct reggae and ska sheens, Fishmans re-enliven their dub roots with pastoral, matured sensibilities. The velocity does resurface, however, the piquancy remains with 'Hikōki (ひこうき; Airplane)', a noticeably more rosy affair fit with phosphorescent guitar and jovial vocals. The infectious guitar solo marks a triumphant break within the track, providing a raucous, screeching wall which firmly divides the two melodic sections. After a brief exchange, the mood swells, the crowd loosens and the stage at the Blitz is now shrouded. The band recrudesces with a signature composition, 'In the Flight', off of 1997's 'Uchū Nippon Setagaya (Space Japan Setagaya)'. The track is rife with gradual escalation, with a dream pop alpha flowing into a brief but elastic, omega. Often cooing as gently as a dove, Sato's vocals on the track are befittingly avian, fragile and susceptible to a soft breeze. Honzi's violin passage weeps softly and elegantly acting as the perfect placeholder and compliment to Sato's own delicate offerings. An arresting symbiotic relationship carries 'In the Flight' into the ether. With a pivot from one legacy-defining track to another, 'Walking in the Rhythm' manifests. This 'Rhythm' is not as melodramatic as it dutifully chugs along before cascading overtop of itself with an assortment of varying guitar sections. The eponymous chants have never sounded so weighty as the track spirals into a cosmic cauldron of intergalactic synth and dueling guitar before crescendoing with labored exaltations from all parties. It's an incredible, stream-of-consciousness adaptation of the band's original masterpiece.
Another trans-dimensional odyssey takes place with the subsequent, 'Smilin' Days, Summer Holiday'. This voyage is powered by guitars that swirl and circulate like maelstroms, but without carrying a semblance of menace or ill-will. They gleam brightly from portion to portion as a cluster of voices flow out, tucked in snugly beneath the ever-advancing strings. After a particularly upbeat, punchy rendition of 'Melody' off of 1994's 'Orange', the stage darkens once more and the disposition becomes one of voiceless consideration. Fishmans begin to perform 'Yurameki in the Air (Flickering in the Air)', a composition that brandishes the same genetic makeup of slow-developing staples such as 'Night Cruising' and 'In the Flight', but stretched out to infinity. It's here that they return to music so gauzy and ethereal that, if you adjust your gaze or shift too brashly, it may flee from view, like innocent fauna of the forest. This intimate mind-meld between artist and audience for 16 unbroken minutes is pure bliss. Penultimate effort, "Ikareta Baby (いかれた Baby; Crazy Baby)", uncoils in a very disparate fashion than its studio counterpart. Here, the piece prefers to wander amidst the expanded acoustics of the Blitz and ride a persistent tempo into the final act of Fishmans' final hour.
So, Fishmans and Shinji Sato offered their parting gift to the world and it began with a cosmic whirl which bleeds into the unforgettable keyboard centerpiece. 'Long Season' was now in full swing, and experiencing it in its fully-realized form makes it easy to forget that the project was once a microscopic idea. This idea continued to propagate from the original six-minute version to the now towering, 41-minute monolith of musical perfection. Albeit tragic, it seems utterly apt that this composition would be the last thing the first iteration of the band would perform. Sato's guitar solo creates the proverbial shriek of a imploding star, a ball of gas which burns so bright that it collapses in on itself by way of its own brilliance. This final 'season' is one which seemingly endures the changing of the leaves, the shifting of tectonic plates and causes the earth, for a brief moment, to cease its rotation and stand still.
The Akasaka Blitz was closed in 2020, now a musical tomb, further painting a picture of a night more reminiscent of a mirage than a historical event. Its memory remains eternally imprinted upon the site and in the hearts and minds of those who witnessed this performance. Until recently, few outside Japan knew of the majesty Fishmans could conjure, but their creative tree fell in the woods in December 1998. Few heard it's alluring reverberation then, but now, finally, all can take part in its auditory luster. You see, as the tree collided with the Earth below, its descent and demise fertilized a beautiful garden which blooms more vividly each day and remains an idyllic place to sit, listen and ponder the radiance of life itself.
"I hope you don't fade away today"
- ゆらめき in the Air
Standout Tracks:
1. Long Season
2. ゆらめき in the Air
3. ナイトクルージング (Nightcruising)"[+]Reply
"Amazing amazing amazing ! I mean "Thrasher", "Powderfinger", "Pocahontas", "Sail Away", and both the opening and closing "Hey Hey, My my" are all immaculate and just absolutely powerful and emotional. This is a classic."Reply
"Up there with Band of Gypsys and Made in Japan for one of the most respected live albums. Duane left us too early but his work will never be forgotten thanks to beautiful albums like this."Reply
"All time classic. Yes it's great. Obviously, it's James brown live. But it's not the best live album ever. In fact I'd rate it his 4th best live cd. So please please please (ahem) consider checking out his other classic live CDs like love peace power in Paris and the Dallas one. For me two of the...""All time classic. Yes it's great. Obviously, it's James brown live. But it's not the best live album ever. In fact I'd rate it his 4th best live cd. So please please please (ahem) consider checking out his other classic live CDs like love peace power in Paris and the Dallas one. For me two of the best of any genre from when he was at his funk peak. "[+]Reply
"Live at Leeds, is quite rightly regarded as one of the great live albums. It's The Who at the top of their game, when all four members were at the peak of their powers, Moon, at his powerhouse best, Entwistle, totally on it as a stunning bass player, Townshend, finally showing his potential as a ...""Live at Leeds, is quite rightly regarded as one of the great live albums. It's The Who at the top of their game, when all four members were at the peak of their powers, Moon, at his powerhouse best, Entwistle, totally on it as a stunning bass player, Townshend, finally showing his potential as a guitar great, and off course Daltrey, in his rock God persona, tassels and all, The Who were at this stage, along with Led Zeppelin, the ultimate rock band. The energy of this record is infectious, and in some ways the original six track release is more enjoyable than the 2CD version, although both are blistering hard rock at it's best. The, Tommy, run through, is arguably even better than it was on the original album, elsewhere, Johnny Kidd's, shakin' all over, and Mose Allison's, young man blues, are fantastic. Substitute, and, summertime blues, are also excellent. Magic bus, and, my generation, wrap the original album up, both versions have rarely been done better. In the top five live LP's ever. "[+]Reply
"Possibly the greatest live album ever made. Worth owning the album for the incredible versions of Child In Time and Smoke On The Water, the latter with a slightly different guitar chord intro to the studio version. For a live album, the recording quality is superb. An album made to live on vinyl!"Reply