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: 3 hours ago).
"Beautiful, shattering, remorseful about the dire state of things but strangely hopeful in the end, a warm wooly blanket that actually has something important to say but doesn't wallow in feigned misery- a masterstroke from a promising artist who has finally come into her own."Reply
"White boy whipping out the N-word about a minute in. Can't play it around people without skipping that track, not unless you want to stop the party. "What was that lyric? Who's this guy? Why'd you put this on?" It kind of exemplifies the faux-bluesman-verging-on-blackface feel I sometimes get off...""White boy whipping out the N-word about a minute in. Can't play it around people without skipping that track, not unless you want to stop the party. "What was that lyric? Who's this guy? Why'd you put this on?" It kind of exemplifies the faux-bluesman-verging-on-blackface feel I sometimes get off Cooder, never been able to get into his stuff. Maybe I'm being too harsh, but when they use the word "authentic"? This ain't that.
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"One of the most underrated albums on these charts, and my second-favorite live album of all time. Joe Jackson is not a major artist - if you haven't heard this album. This live collection, taken from four different tours (one per side), makes a strong case that he *is* a major artist of his time....""One of the most underrated albums on these charts, and my second-favorite live album of all time. Joe Jackson is not a major artist - if you haven't heard this album. This live collection, taken from four different tours (one per side), makes a strong case that he *is* a major artist of his time. In contrast to the sparse, pub-rock arrangements of his first two albums, from which about half of these tracks are taken, the live versions are sumptuously re-arranged with more sympathetic singer-songwriter richness. A key example of this is what I call the "Hill Street Blues" re-arrangement of "Is She Really Going Out with Him?" on side one. While the original is a classic in its own right, this newer arrangement is even more resonant. And there are two more arrangements of the same song - an a cappella arrangement with vocals substituted for the instruments on side two, and an "acoustic" arrangement with interesting instrumentation on side three. The ballads from Night and Day are all superior here - high praise indeed - and the brass-less version of "You Can't Get What You Want" is not better than the studio version per se, but it is rather fascinating in terms of how they pull it off.
The only major misstep here is the plodding re-arrangement of "Steppin' Out" from the 1986 tour. If I had been at that show and he played that garbage (the studio version is the best thing he ever did), I would have howled for my money back - and that's in spite of all the great music everywhere else on the album.
Overall, though, the album is a great sonic resume for Jackson's strong talents as a singer, arranger, and especially songwriter, given how these arrangements complement the songs so much better than many of the studio versions. And, oh, side one rocks with the best of them."[+]Reply
"Johnny Cash at his very best. The two Dylan covers are dynamite, and Mama, You've Been on My Mind, Long Black Veil and the title track are among the highlights of Cash's entire catalog."Reply
"(Clean, professional, epic, varied, subtly ambitious, well-realized, piece of Pop ((in so many varied forms)) that never falls short of technical brilliance. Although it rarely blows me away or hits me on a personal and emotional level, its clearly a fucking major musical accomplishment.) This is...""(Clean, professional, epic, varied, subtly ambitious, well-realized, piece of Pop ((in so many varied forms)) that never falls short of technical brilliance. Although it rarely blows me away or hits me on a personal and emotional level, its clearly a fucking major musical accomplishment.)
This is a 73 minute glistening and bright tour-de-force of understated technical brilliance. A big, bold blend of so many sounds and such varied instrumentation that it requires (at least for me) several listens to grasp all the little details and subtle embellishments that lace this album. The elegant and stately way this album blends Psychedelic Pop, Progressive Pop, Neo-psych elements, exotic instrumental breakdowns and almost tropical moments of summery jazz pop, and dream pop and chamber folk and and and... is impressive. Wildly impressive on a technical level. However... despite its daring blends and clear creative brilliance I was, in all 3 listens, never blown away and never did my heart feel completely in it. It felt like I was an outside observer watching a true masterclass of pop without ever feeling that feeling that is what I come to pop for - empathy and that feeling of investment. The whole album is quite dignified and clean and professional. It is not , however, an emotional or even overly joyous experience.
With his 2016 album Those Who Throw Objects at the Crocodiles Will Be Asked to Retrieve Them, the album was similarly technically impressive, with the added bonus of being emotionally moving. The emotion exuded from that great (even, dare I say, modern CLASSIC) album was a boundless joy and vibrant, wide-eyed sense of jazzy exploration. This latest Bruno Pernadas, while being equally or maybe even more, technically accomplished does not ascend to the same heights as his 2016 record of renown. Outside of "Theme Vision", and maybe "Little Season I" I don't hear any transcendent tracks. All the tracks are beautiful and nicely done, only a few stick to my ribs, so to speak.
This may be one of those massive, important albums that I return to and later see is just one of those year-defining breakthroughs of utter excellence. For now I can say its brilliant and I like it, but its not a personal favorite of the year due to a lack of what I will call personality or personal investment."[+]Reply
"I've never been too keen on Four Tet's sound. Overall it was an enjoyable listen but there are brighter spots in the electronic space that are worth exploring."Reply