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 are some solid tracks in here - recommend giving it multiple listens before just passing it off as recycled dad rock. Pete has always been a talented songwriter and his bag of "tricks" gets used heavily here - but not in a bad way. There are some ear worm songs with good hooks. At times you...""there are some solid tracks in here - recommend giving it multiple listens before just passing it off as recycled dad rock. Pete has always been a talented songwriter and his bag of "tricks" gets used heavily here - but not in a bad way. There are some ear worm songs with good hooks. At times you think a track belongs on Who's Next or Quadrophenia or The Who Sell Out - at times it is as if several of these albums were put in a blender.
The album can come across as a hybrid Who - Pete Townshend solo album but that is (obviously) because there is no Moon / Entwistle talent in the rhythm section - but in aggregate it is more a Who record. The bass lines are subdued and lower in the mix - which is fine because it is better than someone doing an Ox imitation. The drumming doesn't punch you in the face like a throw-back, Keith Moon drum fill - but, again, it is better to let the listener do that than have someone imitate.
She Rocked My World is an odd track - a bit of a throw-away ... but the album opens with a series of rockers that hit all the right Who chords - including a Magic Bus rhythm track called Detour ... then comes Beads On A String - which hits late 60s -early 70s lyrical themes but sounds fresh. Hero Ground Zero has a Who-esque, dramatic intro and is followed by another rocker. At this point the album gets a little more Pete solo with a very solid effort on I'll Be Back. Break the News is a great track - has a Mumford & Sons feel at first but then turns into more of a track in Pete's wheelhouse.
If you get the version with the 3 extra tracks (recommended) - you get This Gun Will Misfire - which has an interesting vibe to it but perhaps some dated lyrics. Got Nothing to Prove could have fit on a Who record in the Quick One / The Who Sell Out era. The final track, Danny and My Ponies is a ballad that is absolute Pete Townshend.
Overall, from first track to last, this is my favorite Who release since Quadrophenia ... perhaps due to sentimentality - but isn't it always nice to hear from old friends and share great memories?"[+]Reply
"Also this one is fabulous! Crazy good. Compared to manipulator I would say almost as good. I prefer this production though. Unbelievable what they were able to release at such a young age. Hail The Fall of Troy!"Reply
"A little bit Modest Mouse-y with all the screaming, but the musicality just isn't there at times. Has its moments, but not enough to truly call it a great album."Reply
"(Really unique, insanely creative, album by Iglooghost here. Has opened my eyes to some other new avenues of music listening going forward. I really liked it, and the only thing keeping me from loving it was feeling like the pay offs and peaks weren’t reached very often and the album’s flow was a...""(Really unique, insanely creative, album by Iglooghost here. Has opened my eyes to some other new avenues of music listening going forward. I really liked it, and the only thing keeping me from loving it was feeling like the pay offs and peaks weren’t reached very often and the album’s flow was a bit unchanging - if gorgeous.)
I’ve been putting off writing my comment on this album. Wanted to give it another listen. Then once I’d done that I wanted another and another. And that wasn’t really because I absolutely adore the album, but because I hadn’t really been able to put my finger on what I had heard. I’m not familiar with Progressive Electronic, Wonky, UK Bass, Deconstructed House, etc - really I don’t have any context on any genre this is labeled as.
I suppose the closest this comes to from my catalogue in my little mind is Flying Lotus. But it’s not a great fit. This is very unique. There is clearly a DEEP well of imagination and talent this artist has. They seem to be able to create intricate, crisp, alien yet soulful beats and tracks with ease (obviously it’s not easy, but he seems to have such a profound talent for such that it comes across as just a natural extension of his soul. Or something. Whatever).
On the whole, the album is strikingly vibrant, loud yet not in a ridiculous way, but all the electronic sounds pop and the vocals, when they appear, come in hard and there are some really interesting climaxes that the artist takes his time to get to. After my listens I can’t say this is a true mind-blowing, game-changing album for me, and I think that the flow of the album is almost too methodical and restrained and slow building and, despite being a brilliantly unique sound, somewhat same-y. It’s not at all monotonous but based off how wild the individual parts are, the last thing in the world I thought I’d take away from this album is that it’s, idk, somewhat un-dynamic. Yet, I did feel at the end of each listen like there was something left on the table and that the peaks that are consistently hinted at are very rarely hit.
Of course, those are the reasons I don’t personally feel this is a GREAT album. I do absolutely think it’s a good album, a damn fine one even. And it may be that my relatively lukewarm appreciation for it is due to how alien some of the sounds and certainly this combination of sounds is to my usual listening. I do think it’s opened up a few avenues of musical exploration that I didn’t know existed last week. And I look forward to checking out the Iglooghost debut as well as other similar stuff soon. "[+]Reply
"Pylon (2015) definitely is as powerful in sound as it is in lyrical vision. Killing Joke shows no sign of slowing down or getting old. With respect to music and lyrics they might even be more relevant than ever before. An unrelenting, thunderous rhythm section (Pumping bass. Impeccable drumming) ...""Pylon (2015) definitely is as powerful in sound as it is in lyrical vision. Killing Joke shows no sign of slowing down or getting old. With respect to music and lyrics they might even be more relevant than ever before. An unrelenting, thunderous rhythm section (Pumping bass. Impeccable drumming) shows the way by supporting stunning, brooding, hunting and quite angry guitar riffs. Very strong and perfectly fitting vocals (Jaz Coleman sounding in top form) transfer the kind of dystopian messages we can expect from KJ. As always they’ve got a lot to say about these modern times, but they refuse to be fatalistic. “New Cold War” tells how the US and Russia are confronting one another again. Pretty prophetic I would say. In Autonomous zone however, the band expresses its belief in humanitarian values. The balance of very well produced guitars and the outstanding melodies from the vocals are brilliant. There simply isn’t one filler on this heavy and uncompromising album. Pylon is one of KJ’s finest deliveries and will go down in history with the greats."[+]Reply
"A marvellous record by the "godfather of bossa nova", with his trademark acoustic guitar and very precise voice _ he'd be the best rapper ever if he ever rapped. His version of then recently released but today classic "Águas de Março", by Jobim, might be the best there is. Very sophisticated, but...""A marvellous record by the "godfather of bossa nova", with his trademark acoustic guitar and very precise voice _ he'd be the best rapper ever if he ever rapped. His version of then recently released but today classic "Águas de Março", by Jobim, might be the best there is. Very sophisticated, but not difficult to hear. "[+]Reply
"Other Voices Other Rooms is Nanci Griffith's ninth studio album. It is also her first album on Elektra Records, her first covers album, and her first album to win a Grammy. Griffith also reunites with Jim Rooney, who produced her fiery Philo albums "Once in a Very Blue Moon" and "Last of the True...""Other Voices Other Rooms is Nanci Griffith's ninth studio album. It is also her first album on Elektra Records, her first covers album, and her first album to win a Grammy. Griffith also reunites with Jim Rooney, who produced her fiery Philo albums "Once in a Very Blue Moon" and "Last of the True Believers." Rooney was a pioneer producer for Americana artists like Iris Dement, John Prine and Townes van Zandt.
For whatever reason, this always tops lists as a common favorite in Griffith's catalog. Griffith had always been skilled in choosing and interpreting other songs, particular songs by other Texas folk singer-songwriters, and the interpretations are applauded here. But her interpretations are best represented when they compliment her own originals (See her 80s albums on Philo and MCA).
The result is a nice collection of covers, but no powerful new originals from Griffith herself. Thankfully, she followed this with a new collection of originals called "Flyer" that was released on the same label the following year.
Track Pick: Speed of the Sound of Loneliness
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