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Fresh is the sixth album by American funk band Sly and the Family Stone, released by Epic/CBS Records in June 1973. Written and produced by Sly Stone over two years, Fresh has been described as a lighter and more accessible take on the dense, drum machine-driven sound of its landmark 1971 predecessor There's a Riot Goin' On.[4] It was the band's final album to reach the US Top 10, entering the Billboard Album Chart on June 30,[5] and their last of three consecutive number-one albums on the R&B chart. In 2003, the album was ranked number 186 on Rolling Stone magazine's list of the 500 greatest albums of all time.

In a year-end list for Newsday, Robert Christgau ranked Fresh sixth among 1973's best albums.[12] He later called the album "Riot-lite, which equated to minor funk classic"[1] and said both Fresh and its predecessor are "easily [Stone's] best albums-as-albums".[13]

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George Clinton, who has listed Fresh as one of his favorite albums, later convinced the Red Hot Chili Peppers to cover "If You Want Me to Stay" on their second 1985 album, the Clinton-produced Freaky Styley.

In certain Decembers, a list of the year's best albums feels like a fireworks display. 2023 may have been short on flashes and booms, but it was rich with smaller fires: no less intensely gorgeous, more approachable and built for heat, not spectacle. And while it might be tempting, as many have argued at many points in the format's history, to take this lack of consensus as proof of its diminished value as a popular art form, we look at things a different way. In a year short on albums that draw a mob, it's easier to see what might have otherwise been ignored for the treasure it is. (And at a moment when recordings lacking a critical mass of listeners have been deemed ineligible for royalties by a certain streaming service, that thought might be worth lingering on.)

Here's our proof. In the following list, you'll find albums that have been celebrated widely, and others that we're pretty sure you won't see on any other year-end offering. Every single one of them is loved intensely by a member of NPR Music's team.

The first album to showcase Missy Mazzoli's orchestral works proves that the composer, known for her operas and chamber pieces, is fluent in the art of creating lustrous symphonic scores. Her harmonies are fresh, often surprising and filled with color. In her Sinfonia, subtitled "For Orbiting Spheres," harmonicas in three different keys produce an ethereal chorus, a sound she describes as a "hurdy-gurdy flung recklessly into space." Dark with Excessive Bright, a concerto for violin and string orchestra, takes its title from a blind man's description of God in John Milton's Paradise Lost. The incongruity seems fitting for a 21st century piece inspired by centuries-old music that blends tenebrous strings with glistening, high-flying solos for violinist Peter Herresthal.

Leslie Feist has always taken her time releasing solo albums, so it only makes sense that each feels hand-crafted, deliberate and, well, special. Multitudes is her first since 2017's Pleasure, and it follows a period of extreme upheaval in the singer's life: She wrote it following the arrival of her daughter and the death of her father, so it's only natural that it reflects heavily on beginnings, endings, mortality and the ways human beings connect and rely on one another. Multitudes often works at a whisper, alternating lushness and spareness while leaving room for air to hang meaningfully between notes.

There's a video clip of Million Dollaz Worth of Game podcaster Wallo meeting his hero Sampha earlier this year that conveys the emotional depth of the English singer-songwriter's impact. "I been looking for you for years, man," Wallo breaks down, alternating between hugs and tears in his choked-up attempt to explain what Sampha's music has meant to him since becoming a fan in 2017, fresh from serving a 20-year prison bid and still mourning the death of his brother.

The Music: There's a common misperception about Zorn's music, that it's all about transgression and convulsion, with skronk to spare. That isn't totally off the mark, but it's woefully incomplete. Homenaje a Remedios Varo features a virtuoso effort by Brian Marsella on piano, Jorge Roeder on bass, Ches Smith on drums and especially Julian Lage on guitar (who graced a few other Zorn albums this year, along with the Kris Davis album above and his own trio effort, The Layers). Their negotiation of Zorn's turn-on-a-dime compositions is heroic, but they also know how to bring the proper grace and humility to a pastoral hymn like "Patience."

Philadelphia\u2019s The Districts were one of the first bands I ever wrote and raved about. I saw them open up for White Denim at the Metro in 2013 when they were teenagers and they blew my mind. It\u2019s rare to see a group so energetic and engaging as if this random opening gig for them has life-or-death stakes. While they haven\u2019t had the critical and commercial breakthrough a band that tours as hard as they do and pushes themselves to make something different for each album deserves, they\u2019ve managed to be a model for how to spend your twenties working tirelessly in a sustainable touring band. Their five albums are all excellent and each documents their evolving tastes. Great American Painting finds them making their sound more massive than it\u2019s ever been. In a perfect world, these guys would be ruling rock and alternative radio because while this is produced like an arena-aspiring rock band, it\u2019s all tasteful thanks to their decade\u2019s worth of chemistry and Robby Grote\u2019s evocative lyrics. Album title of the year too.

Bummer Year floored me the first time I heard it. There are rare albums where you relate so deeply you wish you wrote them and this is one. (Strangely, the last album I felt this way about was Katy Kirby\u2019s Cool Dry Place in 2021, which also came out on label Keeled Scales). Like Kirby, Good Looks are from Texas and write incredibly humane and thoughtful songs that grapple with complicated thoughts about home and your place in the world. On this album, the Bummer Year in question refers to 2016 where the title track talks about growing up around conservatives (\u201CI don\u2019t think they\u2019re evil / even when they\u2019re awful\u201D). While the opening single \u201CAlmost Automatic\u201D gets a lot of the press praise here, especially for guitarist Jake Ames\u2019 absolutely ripping on it, it\u2019s \u201CFirst Crossing\u201D that gets me every time. Even though this is just a debut, Tyler Jordan is already one of my favorite songwriters for his clarity as well as the way he can clear the air by singing about uncomfortable things plainly and honestly. I took them out for pizza after their debut show at Cole\u2019s in Chicago and the kind and thoughtful energy they project on the record comes through in real life too.

Sometimes albums don\u2019t need to make a grand statement; they just need to hit the sweet spots and do the small things right to stick with you. Extra Medium from Montana\u2019s Izaak Opatz always did the trick whenever I put it on. Opatz\u2019s music is often called \u201Canti-country\u201D and he likes to refer to it as \u201Cdirtwave\u201D but honestly it\u2019s just smartly written, unfussy, and mildly twangy folk. Some of the songs remind me of bands like Bahamas or Andy Shauf. My girlfriend thinks his voice sounds like \u201Cfolk rock Anthony Keidis.\u201D I don\u2019t think that\u2019s a knock, at least it isn\u2019t for me. Check out \u201CMarried with Kids\u201D and \u201CShampoo.\u201D

Chicago-raised artist Ravyn Lenae was signed to a major label when she was just 16 and didn\u2019t end up releasing her debut album HYPNOS this year until she was 23. Where lesser artists would\u2019ve succumbed to the pressure to put something out sooner, she held firm to her vision and it paid dividends. Her voice is astounding but I think her biggest strength is being able to curate her collaborators (Luke Titus, Steve Lacy, Kaytranada, etc) and execute her vision. Few albums sound as otherworldly and future-forward as this one. \u201CSatellites\u201D is one of the best songs of the year. I also interviewed her for Chicago Mag back in August.

My experience of Jimmy Buffett hasn\u2019t had much to do with the \u201Cnew album\u201D since 1996\u2019s Banana Wind,1 which remains one of my \u201Cgo to\u201D studio albums when I\u2019m not listening to a live show. The first time I saw Jimmy in 1998, he\u2019d just released Don\u2019t Stop the Carnival. Neither the album nor the accompanying stage play were a hit \u2014 I don\u2019t believe I ever saw him play a single song from the album in nearly 25 shows since 1998 \u20142 but in true Parrothead form, Jimmy\u2019s millions of fans didn\u2019t mind, given the strength of his catalogue up until that point and our love for the man.

Easily one of the best albums released since the turn of the century, Amy Winehouse's Back to Black captures her soon-to-be tragic life in amber. Recorded by Mark Ronson at Daptone Records (see CNET's tour here), this LP deserves to be in any self-respecting collection.

You could take any one of Stevie Wonder's '70s albums and put it here, yet Talking Book is one of his most diverse. It goes from the almost-country of Blame it on the Sun to torch ballads like I Believe (When I Fall In Love It Will Be Forever) to the irrepressible funk of Superstition. Get 'em all, but get this one first.

If your tastes in rock tend to have the "prog-" prefix attached, then you are likely a King Crimson fan. From the iconic cover art to the genre-defining fantasy and sci-fi themes, In The Court of the Crimson King still sounds fresh today.

The best jazz albums on vinyl are deserving of their own gallery but here's one album you don't see as often. Art Blakey and the Jazz Messengers' Moanin' appeared around the same time as better-known albums like Miles' Kind of Blue and Brubeck's Time Out, but it is just as iconic. e24fc04721