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: 4 hours ago).
"“Skyscraper,” (1988, US #6) David Lee Roth’s 2nd post-Van Halen solo LP, features impressionistic, sonic tapestries that sound utterly dissimilar to the aggressive “Eat ‘em and Smile,” (1986, US #4) despite being recorded with the same eclectic, all-star band. Featuring avant-garde guitar virtuos...""“Skyscraper,” (1988, US #6) David Lee Roth’s 2nd post-Van Halen solo LP, features impressionistic, sonic tapestries that sound utterly dissimilar to the aggressive “Eat ‘em and Smile,” (1986, US #4) despite being recorded with the same eclectic, all-star band. Featuring avant-garde guitar virtuoso Steve Vai, (who also demoed, produced, and co-wrote most of “Skyscraper;”) bass innovator Billy Sheehan; and big-band jazz drummer Gregg Bisonnette, original Van Halen vocalist David Lee Roth expressly created the multi-tracked studio-craft of “Skyscraper” to challenge his audience. Songs like “Hina,” “The Bottom Line,” “Skyscraper,” and “Damn Good” are all among Roth’s most creative and ambitious.
On its release, many fans were disappointed by “Skyscraper,” wishing that it sounded more like the gonzo “Eat ‘em And Smile” and ’78-‘82 Van Halen. While “Skyscraper” features arguably David Lee Roth’s most expertly-crafted batch of songs, the album’s clean, multi-tracked production removes much of its hard rock bite (it sounds more like jazz fusion) and dates it to the period around 1990.
The critical estimation of “Skyscraper” – likewise, its perception by musicians – has risen since its release. Despite debuting in the thick of the "hair metal" era, “Skyscraper” has little in common with the genre - and sounds refreshingly creative and experimental in retrospect.
Although imperfect – “Skyscraper” features arguably the worst song Roth ever released (“Stand Up,”) and the sugary-sweet pop hit, “Just Like Paradise,” (#6 US,) fans of Steve Vai and of jazz fusion will likely enjoy “Skyscraper” - more so than, e.g. fans of Poison, (the band that opened for David Lee Roth during the '88-'89 "Skyscraper Tour.")"[+]Reply
""When you need someone to be there for you, I won't be one who will help you out" cries a heart-broken Ryan Adams on Pneumonia's twangy opener, "The ballad of Carol Lynne". Whiskeytown was an alt-country band and, sonically, this album is heavier on the "alt" than any of their previous efforts (T..."""When you need someone to be there for you, I won't be one who will help you out" cries a heart-broken Ryan Adams on Pneumonia's twangy opener, "The ballad of Carol Lynne". Whiskeytown was an alt-country band and, sonically, this album is heavier on the "alt" than any of their previous efforts (Timmy Stinson of The Replacements and James Iha of Smashing Pumpkins make appearances), though the country influences still ring strong and define the mood of the album. The melancholic purr of the slide guitar and the cry of Caitlin Cary's violin (Cary also delivers superb backing vocals on many songs) do much to underscore Adams' lonesome, sorrowful rasp. Adams, only in his mid-twenties, sounds like an old man beaten down by an unsatisfying life of failed romances, cigarettes, and escapist alcoholism. "sometimes I wish I were deaf, then I wouldn't hear the words you say the words you say under your breath", he weeps on "Under your breath", a mid-album highlight. Engaging throughout, Pneumonia finishes with its best track, "bar lights", a barstool vignette sung to a catchy violin part over a harmony of guitar and bass. The song fizzles out into a genuine scene of playful studio chatting and laughing, which ends appropriately with Adams telling his band "alright, I'm going to the bar, fuck this". A few minutes of silence is followed the sound of the band warming up and bantering about steel drums, which leads into a stellar hidden track, shrouded in honesty, which begins with "to be evil is to be scared, withholding all the things to sacred to be shared", builds up to the climax, shouted by the full band "L-O-V-E is gonna be the death of me" and ends quietly with "I'm not evil; I'm just scared". The two songs combine into a single ten-minute track. The whole thing evokes a strong feeling of intimacy, which is perhaps the most appealing element of the album. For the entirety of the album, the listener is effectively transported into the abandoned church in which Pneumonia was (quite appropriately) recorded, and on the last track, Whiskeytown takes this a step further; for a few minutes the listener feels like a member of the band. Whiskeytown isn't just the music you listen to when you're sad, they're also some of your closest friends. You could discuss all of your most personal problems over a few drinks these people, because they have shared everything about themselves with you. All this makes Pneumonia feel like a pure country album, even if the sound is more rock oriented than Stranger's Almanac or Faithless Street. It's a triumphant finale for perhaps the finest band of the alt-country movement."[+]Reply
"It is not as good or creative as its predecessors, but this is still a really solid album with some beautiful songs such as Void or River. 8/10."Reply
"Quite a patchy affair, this is James Taylor having a bit of jam with his pals who just happen to be excellent session musicians. This is why he still created the wonderful Hymn, the oft covered Don't Let Me Be Lonely Tonight and possibly my favourite here, the hidden gem that is New Tune, it coul...""Quite a patchy affair, this is James Taylor having a bit of jam with his pals who just happen to be excellent session musicians.
This is why he still created the wonderful Hymn, the oft covered Don't Let Me Be Lonely Tonight and possibly my favourite here, the hidden gem that is New Tune, it could've done with a better title, but everything else about it is sublime, particularly the resigned vocal and the subject matter which is quite possibly Joni Mitchell.
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"A very good debut album by the most famous Californian psych rock band. Although it is the only one without Grace Slick, Signe Anderson had a very similar voice to hers. Marty Balin did a great job on this album, both as a songwriter and as a singer, his voice is full of 'heart and soul'. Great b...""A very good debut album by the most famous Californian psych rock band. Although it is the only one without Grace Slick, Signe Anderson had a very similar voice to hers. Marty Balin did a great job on this album, both as a songwriter and as a singer, his voice is full of 'heart and soul'. Great bass work by Casady too."[+]Reply