Listed below are the overall rankings for the best albums in history as determined by their aggregate positions in over 59,000 different greatest album charts on BestEverAlbums.com! (Chart last updated: 2 hours ago).
"(Really cool mix of Soul, R&B, Gospel, Blues, Hip Hop, Neo-Soul, Jazz etc etc. And maybe most remarkable is how Batiste and Co. are able to make these varied sounds and textures meld into a coherent album. Not just a coherent album, but a joyous, celebratory, powerful, bright, inspiring album. On...""(Really cool mix of Soul, R&B, Gospel, Blues, Hip Hop, Neo-Soul, Jazz etc etc. And maybe most remarkable is how Batiste and Co. are able to make these varied sounds and textures meld into a coherent album. Not just a coherent album, but a joyous, celebratory, powerful, bright, inspiring album. One of my favorite listens recently and highly recommended.)
Right from the jump, with the absolute stunner that is the opening track "WE ARE", this album treats us to such euphoric, spiritual joy, its hard for me to imagine anyone who enjoys soul/gospel/R&B/Blues or the rich history of Black American music NOT at least liking this. That opening track sets the mood so high and does so so forcefully it's truly impressive.
From there the album takes on a historical tour of some of the greatest musicians and movements of the last hundred years. One song sounds like some Sly and the Family Stone jam, then the next sounds like the modern Stevie Wonder or Marvin Gaye, then you'll be hearing some D'Angelo or Duke Ellington vibes, then some soulful blues of Albert King, and on it goes. The Neo-Soul and Conscious Hip Hop thrown in and done quite well and ably as well just adds yet another layer to this buffett of truly great and enriching music.
If the album has a major flaw, or flaws, its that the whiplash created by switching up with such dexterity between so many different genres and tempos can be I bit discombobulating. The other flaw is the well-worn go to critique of "iT's sO dErIvAtive!". And, jokes aside, I can hear where this make-believe person is talking about. Most of these sounds and styles are so FULLY embraced and integrated by Batiste that it really does feel like he is pouring himself and what makes him unique into the influences. On occasion I also feel like the sounds are a bit derivative. These moments are rare and even when that feeling of unoriginality comes in, the songs and the performances are so strong I find this critique fade away behind my bobbing head and stupid grin.
This is a refreshingly alive, vital, joyous and optimistic sounding album. It has a brightness and a hope that is infectious. The way the album starts is stunningly great. Track 1 "WE ARE", track 2 "TELL THE TRUTH", track 3 "CRY" (another song of the year candidate), track 4 "I NEED YOU", and track 6 "BOY HOOD" are each flawless. Its rare an album comes out the gates THIS. FREAKING. HAAARD.
Of course with such a beginning its likely to fall off a little in the second half lest it be one of the 20 best songs ever made. And fall off a bit it does. Still some of the songs on side 2 are quite stunning. The D'Angelo-ish jam "ADULTHOOD", and the anthemic Sly-esque "FREEDOM" being a couple examples of latter half gems.
Of course it would be silly to end a comment on this album without remarking on Jon Batiste as a vocalist and a musician. He is a great, personable, almost effervescent force as a vocalist. He radiates some kind of warmth and relatability that I love to hear and is what has been the main driving force behind me listening to this album for hours today. And as a musician, well, he got this band together, arranged these songs, assembled this album and made this music - I think he is a world-class musician and artist. Glad I found this and heard it. It really has brightened up my day."[+]Reply
"An overlooked great album by Bolan better than *The Slider" and lies 2nd to Electric Warrior for consistency . None of the tracks were released as singles an unusual event back then. Overall the album holds together as a complete unit with Bolan introducing a more soulful sound."Reply
""I Know I'm Funny Haha" shows Faye Webster solidifying her sound. Faye has created this blend of country guitars and light R&B vocals that set her apart from the indistinct singer song writer norm. "Cheers" in particular has a fantastic guitar breakdown at the end. The contrast is the song writin..."""I Know I'm Funny Haha" shows Faye Webster solidifying her sound. Faye has created this blend of country guitars and light R&B vocals that set her apart from the indistinct singer song writer norm. "Cheers" in particular has a fantastic guitar breakdown at the end. The contrast is the song writing. Webster will introduce an intriguing idea and it will be stopped after two of three lines. Greater exploration is needed for the audience to really connect with feelings. Webster has her sound, now she needs to deepen it. "[+]Reply
"Cute, in a good way Has a bit of an overall deja vu feel, but plucky and catchy enough to somersault their way through a fine if somewhat flimsy album."Reply
"An extremely fine acoustic album, one of Martyn's finest with songs that stay with you. Smooth and lovely vocals and production, tinges of jazz at the end that would unfold more in layter albums."Reply
"Queen's let it be. A hotchpotch of solo tracks, b-sides and unfinished doodles, with only three songs recorded after innuendo. Of the 'new' songs, mother love, is the best, freddie's last vocal performance. A dark track. The other two, the funky you don't fool me, is good, but a winter's tale is ...""Queen's let it be. A hotchpotch of solo tracks, b-sides and unfinished doodles, with only three songs recorded after innuendo. Of the 'new' songs, mother love, is the best, freddie's last vocal performance. A dark track. The other two, the funky you don't fool me, is good, but a winter's tale is dreadful with irritating high pitched vocals from Freddie. The rest is just scraped from the barrels of various solo lp's and a flip side of a previous single release. The title track and, I was born to love you, were originally recorded by Freddie Mercury on his solo LP, Mr.bad guy, both these versions are better than the earlier one's as they're not so poppy. Heaven for everyone, is a song Roger Taylor's band, the cross, recorded with Freddie on guest lead vocals, Queen re-made it, it's okay, but it's nothing special. My life has been saved, originally the b-side to the, scandal, single in 1989, is average at best. It's a beautiful day, is an okay opener of a previously unfinished song, while, let me live, was originally a duet with Rod Stewart, again, it was unfinished, here, it's just a mediocre gospel/rock track, although it does feel quite emotional with Freddie, Brian, and Roger all taking a vocal spot. Most emotional of all though is, too much love will kill you, which because of Freddie's situation is moving, although it does slip into a bombastic power ballad, it's still a good song. All in all, it's the best they could have done in the circumstances but if you're a massive Queen fan you'll probably find it a much more uneven listen than those who are not, as Freddie's vocals veer from his excellent and powerful early eighties sound to the weak high pitched whine of his last few years. Altogether, Just about acceptable. "[+]Reply
"The presidential election of Barak Obama was meant to have heralded in a new era for America, and Bruce Springsteen was ready to celebrate with his new album. Working on a dream, came in lightning quick time, just 15 months after springsteen's last record, magic. Working, is lyrically everything ...""The presidential election of Barak Obama was meant to have heralded in a new era for America, and Bruce Springsteen was ready to celebrate with his new album. Working on a dream, came in lightning quick time, just 15 months after springsteen's last record, magic. Working, is lyrically everything that, magic, wasn't, it was without doubt the lightest album he had ever made. Outlaw Pete, opens the record, it's good fun, it almost sounds like Bruce is parodying himself. Elsewhere on the album, the sounds of the beach boys and The Byrds spring up. My lucky day, is a typical Bruce anthem, the title track is enjoyable, and Bruce even has a crush on a checkout girl on, queen of the supermarket. Standouts include, the celebratory, this life, the bluesy drone of, good eye, and the acoustic shuffle, tomorrow never knows. Sure, they're lightweight, but not as light as, surprise, surprise, which is just that, the most throwaway track Bruce had ever done, still, it's good fun. Kingdom of days, is a beautiful celebration of his and Patti's relationship. The last carnival, is a moving tribute to the late Danny Federici, who sadly lost his battle with cancer before the album was made. Federici's son, Jason, plays accordion on the track which is a kind of sequel to, wild Billy's circus story, from, the wild and innocent album. Working, closes with, the wrestler, written for the film of the same name, which Bruce deservedly won a golden globe award for. It's the end to a light but thoroughly enjoyable Springsteen album, underrated and overlooked. "[+]Reply
"On the group's sixth album Ten Years After are trying to renew their sound and approach - primarily with spacey intros and outros and a more widespread use of the acoustic guitar. Generally, though, it is the familiar formula: a little bit of blues, a little bit rock 'n roll and a couple ballads....""On the group's sixth album Ten Years After are trying to renew their sound and approach - primarily with spacey intros and outros and a more widespread use of the acoustic guitar. Generally, though, it is the familiar formula: a little bit of blues, a little bit rock 'n roll and a couple ballads.
With the acoustic guitar more in front, however, several of the songs start gently with the acoustic in the foreground, before the song gradually takes the more familiar form. This feature gives the album a lightness that is refreshing.
Alvin Lee is an excellent guitarist who, on this album, fortunately does not tend to play lenghty solos.
Lee is no great songwriter, but the album does contain quite successful compositions. "Here they come," "I'd Love to Change the World" and Hard Monkeys "(fine surprising chord changes here) stand out. Interesting is also "Over the Hill" which has received an unusual strings arrangement. Fine Mick Jagger-like vocals here.
"Let the Sky Fall" sounds like a re-working of "Good Morning Little School Girl", but otherwise this a fine track too.
"I've Been There Too" brings with its two chords change in the verses memories towards the Donovan classic "Season of the Witch".
Could well be considered as the group's most complete album."[+]Reply