Our reporting for the end of 2021 ends with the top 10 albums of the year voted by the AllMusic community. Participants from all over the world have made their choices and we are happy to announce the top 10 results to you, the AllMusic reader. Thank you again for reading and supporting AllMusic in 2021, and we look forward to bringing you more reviews and feature stories throughout 2022.
"Springtime in New York was curated and produced by Jeff Rosen and Steve Berkowitz. They went above and beyond in tonal clarity, warmth, and selection; Damien Love's liner notes are detailed, authoritative, and wonderfully enthusiastic. Whether Shot of Love now warrants one." deeper appreciation, arguable, but this boxing set beautifully depicts Dylan's long, complex creative journey that only got rockier over the decade. " (Read the review)
"There is so much going on musically and emotionally that it is sometimes hard to keep up, but ignorance is an important statement that never feels too easy. Although it grows so much with each album that it seems risky to name Lindeman's best, it is safe to say, "This is another outstanding achievement of the weather station." (Read the review)
"There's a lot to do in 36 minutes, but the beauty of Lindsey Buckingham is that it feels as alive as it is controlled. It's the work of a skilled craftsman who draws on his skills as a composer, arranger, producer, singer and guitarist, to form songs that comfort without falling into nostalgia. " (Read the review)
"… Blue Weekend never feels over the top, despite its ambition and lengthy creative process – instead, it's the kind of big, unabashed emotional album people remember and some of Wolf Alice's most confident and complete music." (Read the review)
"Native Sons is a tribute that manages to be more than just a bunch of covers – it shows what the group has learned from these songs and shows us where their long musical journey has taken the bands." (Read the review)
“Carnage has a greater sense of spontaneous energy than much of Cave's music of the time, and that doesn't dull the craft of this album. It is the work of two collaborative artists in the midst of a later renaissance "that has produced powerful, moody music that speaks in its time without being limited to the crises that sparked it." (Read the review )
"Sam Shepherd (aka Floating Points) is highly valued for composing this 46-minute suite. The keyboardist and electronic music producer met tenor saxophone demigod Pharoah Sanders in 2019 and finished recording in 2020 with the violins, violas, cellos, and Double basses of the London Symphony Orchestra. This intergenerational collaboration is more natural than it may seem; some of Shepherd's earlier electric piano works have shown an appreciation for the calm and restraint in Lonnie Liston Smith's use of the Fender Rhodes, which was first heard on Sanders & # 39; Thembi. " (Read the review)
“Like the albums of the era that inspired it, Daddy's Home takes time to unfold in the listener's imagination. It's much more of a mood than anything else in her work, but it's a fuzzy reconciliation of the good and bad of the past making it, as always, an uncompromising statement from her. "(Read the review)
"I Don't Live Here Anymore is a warmer, friendlier take on the sound that could feel impenetrable on War on Drugs' final album. In addition to the more accessible production, this record also features some of the most immediate songs from Granduciel what zu es is one of the best works by a band with an almost flawless track record. " (Read the review)
"… Raise the Roof is a miracle: a record that proves that lightning strikes sometimes twice. When the slow, murky creep of Raising Sand 2007 came as a mild shock, the surprise of Raise the Roof is that Plant and Krauss can reconnect with this spirit without flattering or replicating. " (Read the review)
