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: 1 hour ago).
"There is something just really mesmerizing about this album. It has moments of being pretty straight forward rock. There are also a lot of really emotional and gorgeous atmospheric parts. There is something so gorgeously sincere about Jenn Wasner's vocals. I just feel like I know and understand h...""There is something just really mesmerizing about this album. It has moments of being pretty straight forward rock. There are also a lot of really emotional and gorgeous atmospheric parts. There is something so gorgeously sincere about Jenn Wasner's vocals. I just feel like I know and understand her when she sings so plainly and beautifully and naturally. This is just a record I really love and relate to. Nothing about it seems overly conceptualized, nor does anything here seem superficial. It's just the perfect balance of the elements of the upfront and the introspective.
Highly recommended. "[+]Reply
"On this website, Counting Crows album's get ranked progressively worse in chronological order and it completely makes sense. Each album sounds like the last in it's instruments and vocal delivery. This Desert Life has a similar spirit as the debut and is a tighter album than Recovering the Satell...""On this website, Counting Crows album's get ranked progressively worse in chronological order and it completely makes sense.
Each album sounds like the last in it's instruments and vocal delivery.
This Desert Life has a similar spirit as the debut and is a tighter album than Recovering the Satellites. That is why I consider it better than Satellite's personally.
But grand scheme, bigger than just my opinion review it lands 3rd best
Colorblind is classically depressing. Hanging Around is memorable single.
Amy Hit the Atmosphere is a better Counting Crow ballad. All My Friends is good.
Mrs. Potters Lullabye is in the vein of other road tripping 5 minute Crow's songs.
Only dud for me is I Wish I was A Girl because I don't wish that and don't relate. And the lyrics are kind of condescending to the gender just because Duritz is complaining he can't do what they do. Poor him
It's a good album but fans like me start to realize that Duritz doesn't want to help himself around his fears of loneliness and depression. He isn't getting any wiser around his place in the world and the music isn't either.
The band doesn't grow and neither does he. Which is sad because in his younger days you relate to his struggles in his lyrics. More than the average rock star you want to root for him to be happy and figure it out.
All the more tragic that he doesnt't, and worse, sounds like he exploits it all to make successful music around his brand he has created."[+]Reply
"Unlikely to be the AnCo album to convince non-fans, and probably won't be a personal favourite for many fans either, but it contains loads of what the band had done well in the past. How much you will enjoy it, probably depends on a few things. One, what you think of that recurring vocal trick th...""Unlikely to be the AnCo album to convince non-fans, and probably won't be a personal favourite for many fans either, but it contains loads of what the band had done well in the past. How much you will enjoy it, probably depends on a few things. One, what you think of that recurring vocal trick that's used on several tracks. Two, what side of the band you preferred in the past. If you like the band for the energy, melody, playfullness, there's plenty to go around here. What this album's lacking in is the experimentation, or any longer instrumental buildups and passages. Those final 30 seconds on Lying in the Grass are already a step away from the norm, while most songs keep it pretty tight. Not necessarily a bad thing, but you may find yourself thinking that there is just something missing from a lot of these tracks which don't really expand on any ideas that may be present, and even these ideas aren't necessarily anything that the band wouldn't toy with since at least Strawberry Jam. I suppose this is why Painting With was met with pretty mixed reviews - while every album of theirs had a pretty distinct sound, Painting With mostly seems to distinguish itself from others only by how its songs maintain a pretty basic structure and don't exactly explore any previously untapped territories.
But, as I said, this is still an album that's brimming with that AnCo energy and is most of all FUN. One thing they haven't forgotten is how to write a goddamn tune, and this results in some wonderful moments across the 12 tracks here. Golden Gal may be one of their finest pop songs yet, On Delay has also become another personal favourite, particularly love how it utilizes the piano. Other highlights (for me at least) include the bouncy lead single FloriDada, and the more peculiar choice for the second single, Lying in the Grass, which is one of those tracks where you'd hope they would expand their ideas a little bit, but still manages to work in its short running time - featuring a nice cameo from Colin Stetson, and is a good example of that "hocketing" vocal trick they do throughout on the album, with its 30 second instrumental release at the end being one of the rare moments like that on the album. All the better for it..."[+]Reply
"(A formidable, beautiful alt-country/chamber folk-type album that, while quite pretty can leave me feeling like its a bit empty of real grit and meaning.) My relationship with this album has developed and shifted several times over the last couple months. When I first heard it, I admit I was kind...""(A formidable, beautiful alt-country/chamber folk-type album that, while quite pretty can leave me feeling like its a bit empty of real grit and meaning.)
My relationship with this album has developed and shifted several times over the last couple months. When I first heard it, I admit I was kind of in love. On second and third and now fourth listen, there is a diminishing return. Each time I hear it I am always impressed by the scale and beauty of the album. There is clearly a person who has a good familiarity and understanding of country and folk making this. The strings, while sometimes overbearing and sappy, generally create a larger-than-life romantic atmosphere especially when paired with the somewhat gritty tales of woe and loss and the twangy vocal and guitar parts. The production is pretty solid, pristine and generally un-ear-catching. And really the indicidual parts seem to be pretty well placed and well done. But... there is something missing that would make this a true gem. I like it but that ain't much of a benchmark considering my general love of this genre and aesthetic.
There is a cleanness and detached lack of passion here that can be a bit irksome. The vocals sound like someone playing the part of a sad, wandering country troubadour but it also does feel like an act or veneer. The calculated placement of strings to induce swoons and feeling sound, well, just like that - calculated plays for that lonesome lostness that is so incredible when truly pulled off.
The little snippets of old TV shows wear out their welcome almost instantly and when ythey come in, it does 2 things: 1. makes me roll my eyes and 2. kind of breaks immersion and makes the whole flow of the record experience some turbulence. Not a fan of that schtick and choice. Also I feel this album isn't varied enough or doesn't have enough of an arc or a cohesive stitching to justify an hour run time.
Okay, so, yeah I don't love this album. I do like it. I may sound like I really dislike it, but I assure you that is not the case. It should also be noted that today I am in a bit of a sour and cantankerous mood and this album's pitch for my heart strings is being faced with cold, unsympathetic, grouchy old me and so yeah, tough crowd. But the truth is somewhere between my initial lovey-dovey response and today's grouchy curmudgeon response.
Even now I can say some of the songs here are quite great and if the tracks "Not Dead Yet" with its old rock and roll swagger and its hand claps, "Mine Forever" which plays as a near-perfect introduction to the swooning, string-laden lost troubadour vibe this album is trying to pull off, "I Lied" with its truly moving and mournful duet and soulful sadness and regret and self-loathing/disappointment, "Long Lost" with its melodramatic production and that early 60s girl group rhythm and that weak piano adding that sweet touch, made up half of this album instead of 1/4th this album i'd say this was a triumph. But the album is weighed down by filler skits and TV bits and songs that are generally not memorable for me.
Overall, I like this style and some of the songs hereare stellar. And I like the record but don't, like, REALLY like it and certainly don't love it. It's a solid and pretty little Americana/Country/Indie Folk album with lots of Chamber folk and some alt-country thrown in for some variety. If you are into that, check it out."[+]Reply
"Many fans of metal, myself included, see an obvious connection between metal and orchestral music. This is a great experiment in actually merging the two. It doesn't always work, but when it does it's fantastic. "Outlaw Torn" and "Bleeding Me" are two that standout as working especially well. The...""Many fans of metal, myself included, see an obvious connection between metal and orchestral music. This is a great experiment in actually merging the two. It doesn't always work, but when it does it's fantastic. "Outlaw Torn" and "Bleeding Me" are two that standout as working especially well. The highlight for me is "No Leaf Clover," which was written for the show and accordingly has the best interplay between the symphonic and the rock."[+]Reply
"Released originally in 1965, this album featured eleven tracks by the smooth singing Brazilian; the Verve Record Label supplemented the original album with 14 more Astrud Gilberto sung tunes in 1990 and released the new offering in the Verve The Silver Collection, maintaining the original album n...""Released originally in 1965, this album featured eleven tracks by the smooth singing Brazilian; the Verve Record Label supplemented the original album with 14 more Astrud Gilberto sung tunes in 1990 and released the new offering in the Verve The Silver Collection, maintaining the original album name "The Astrud Gilberto Album." Featuring long time stand-bys "Fly Me To The Moon," "The Shadow Of Your Smile," and "Day By Day" as well as efforts sung in her native tongue the album is a must have for any collection as it gives one a sense of the 1960s era.
1990s release can be found on the German manufactured Cat # 823 451-2
Barcode: 0 42282 34512 7
Label Code: LC 0383
Rights Society: GEMA
Matrix / Runout: 853 451-2 04 #
Matrix / Runout: MADE IN GERMANY"[+]Reply
"The obvious complaint about this album would be the skits/interludes/call them any way you like. Rashida's Tale was the one that I felt added something, but in general they broke the flow of the album. You can tell how detrimental they are by checking how their absence immediately elevates the al...""The obvious complaint about this album would be the skits/interludes/call them any way you like. Rashida's Tale was the one that I felt added something, but in general they broke the flow of the album. You can tell how detrimental they are by checking how their absence immediately elevates the album, for example the combination of Put It Down and On It - even though their are so different in terms of style - is so very powerful, because there is no interruption between them."[+]Reply