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The All-Time Top SONGS |
Vinylsurrender presents the best music, songs, albums and
artists of All-time. |
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The Top ALBUMS of All-Time:
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1
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The Unforgettable Fire
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U2
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6.26
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2
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The Smiths
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The Smiths
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5.24
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3
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The Age of Consent
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Bronski Beat
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4.03
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4
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Hatful of Hollow
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The Smiths
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3.56
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5
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Heartbeat City
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The Cars
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2.69
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6
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Like A Virgin
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Madonna
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2.59
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7
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Welcome To The Pleasure Dome
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Frankie Goes To Hollywood
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2.54
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8
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She's So Unusual
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Cyndi Lauper
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2.54
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9
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Born In The U.S.A.
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Bruce Springsteen
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2.47
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The Top ARTISTS of All-Time: |
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R = Added REVIEW or Comments
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R = Added REVIEW or Comments
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Recent Reviews and Comments
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Inside My Love by Minnie Riperton (1975)
VinylSurrender
said: This track can be found on the 'Mellow Mellow' compilations from the Harmless label - there being so many brilliant chilled out grooves on these albums that this is in danger of being just another good track. However, the high-pitched, 5 octave vocals of Minnie Riperton are just extraordinary and one of the reasons this particular track stands out.
It's a very accomplished chilled out, loved-up, sweet and undemanding piece of music, and really nothing more than an innocent, simple and truly lovely song.
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Loving You by Minnie Riperton (1974)
Heather
said: I remember loving this song when I was a little girl. I remember dancing in the sun in a lime green dress with flowers on it, riding a big wheel, eating popcycles, and I remeber "Loving You". That song spoke to me then and still does. I continue to hold out hope that I could feel that way, joyful about love, sweet about love, calm about love. What a sweet and sincere gift her voice gave us. I really believe that she believed in that melody.......
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Groove Is In The Heart by Deee-Lite (1990)
VinylSurrender
said: A song as famous and eclectic as this needs to be given a fair shot of a review, so here goes. There are two distinct elements at play here; the rather rubbishy, throw-away pop-disco, thin on the ground beats, easy-listening lightness that spurs the song onwards but doesn't really grab you or do the song justice. I don't like this part very much... and the second part - the song itself, which is really, really great, and all those weird and wonderful effects and arrangements - the interesting bit. There's a sarcastic, fun razzmatazz going on, consisting of cheeky backing vocals, whistles, popping sound effects, coupled with the throaty extremely sexy voice of Lady Kier, playing it sassy and saucy, not too serious, but still cool enough. It's a song for me that's aged over the years, a song that I loved a lot more 'back then' than I do now, a song that hasn't grown on me with age, a song that WAS great in its day and is still good now, but don't love to bits. It's a great song, no mistaking, but it's waning... it definitely deserves to be up there and surely is a classic, but it's a song with more bells and whistles and superficial make-up on the top than long-lasting substance deep down where it matters. It's definitely worth seeking out and it may become your favourite and most loved song for a couple of weeks, months even! Put it this way; I love it ENOUGH to write this review (again) after so many years, but during this last ten minutes or so I've only listened to the song once - I just don't love it THAT much. Understand?
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Free Bird by Lynyrd Skynyrd (1973)
http://en.wikipedia.org/wiki/Free_Bird
said: "Free Bird" (also spelled "Freebird) is a song by the American southern rock band Lynyrd Skynyrd. It was first featured on the band's debut album (Pronounced 'Leh-'nérd 'Skin-'nérd) in 1973, and has been included on subsequent albums released by the band.
Released as a single in November 1974, "Free Bird" became the band's second Top 40 hit on the Billboard Hot 100 chart in early 1975, where it peaked at No. 19. A live version of the song also reached the Billboard Hot 100 chart in 1977, peaking at No. 38. Free Bird also achieved the No. 3 spot on Guitar World's 100 Greatest Guitar Solos.
It is used as a finale by Lynyrd Skynyrd during their live performances, and is their longest song, often going well over 14 minutes when played live.
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Conversation 16 by The National (2010)
VinylSurrender
said: This song comes from one of the most hypnotically morose and yet beautiful albums of 2010. On the surface of it the music sounds a little too subdued and depressing to be classified as a good album, but there's a level of beauty shimmering under the surface that deserves to be delved into. The music makes you feel a little bit melancholy and depressed, sure, but feeling sad isn't always such a bad thing because it largely depends on the emotions that this sadness evokes. A good example of this gloomy, almost distraught sadness is the album Dummy by Portishead - it's an amazing album which makes it somehow OK to be lonely, cool to be unhappy, and that's OK with me. The bottom line is the tunes and the melody - sometimes it works best at a low, understated, depressing level. "We don't do happy" might be an appropriate logo here......
This particular song has an intriguing set of lyrics: "I was afraid, I'd eat your brains... because I'm evil.", it's then followed by the next album track 'England', which is equally as good, if not better. And that's the thing about 'High Violet' - it's an extraordinary album from Track 1 to 11. Possibly the only track that I don't 'reeeaaally' get on with is 'Runaway', but hey, only one not-so-good track out of 11 is phenomenal. A really beautiful album with beguiling sentiments and lyrics, from start to finish.
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Respect by Aretha Franklin (1967)
http://en.wikipedia.org/wiki/Respect_(so
said: Otis Redding wrote and recorded "Respect" as a blues tune in the studio while finishing his third album, Otis Blue. The album became widely successful, even outside of his largely R&B and blues fanbase. When released in the summer of 1965, the song reached the top five on Billboard's Black Singles Chart, and crossed over to pop radio's white audience, peaking at number thirty-five there. At the time, the song became Redding's second largest crossover hit (after "I've Been Loving You Too Long") and paved the way to future presence at American radio.
Producer Jerry Wexler brought Redding's song to Franklin's attention. While Redding's version was popular among his core R&B audience, Wexler thought the song had potential to be a crossover hit and to demonstrate Franklin's vocal ability. "Respect" was recorded on February 14, 1967 with Aretha's sisters, Carolyn and Erma, singing backup
During the recording process, a bridge was added to Redding's original composition. Another addition was King Curtis' tenor saxophone and the slicker production of Wexler and co-producer Arif Mardin. The resulting song was featured on Franklin's Atlantic Records debut album, I Never Loved a Man the Way I Love You. As the title track became a hit on both R&B and pop radio, Atlantic Records arranged for the release of this is a new version of "Respect" as a single.
Franklin's rendition found even greater success than the original, spending two weeks atop the Billboard Pop Singles chart, and for eight weeks on the Billboard Black Singles chart. It also became a hit internationally, reaching number ten in the United Kingdom, and helping to transform Franklin from a domestic star into an international one. Even Otis Redding himself was impressed with the performance of the song, and at the Monterey Pop Festival in the summer of the cover's release, he was quoted playfully describing "Respect" as the song "that little girl done stole from me".
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Let It Be by The Beatles (1970)
alezanderia@yahoo.com
said: Pretty awesome. Our choir sang it once but they didn't perform it anywhere near as good as the Beatles.
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