Not-Not-Not Your Academy. Jan 1st at PM New year, new topic! So, what are you looking forward to in the new year?! Oh, who am I kidding? Nyktos srahc 84 eltit. Moronic, pretentious fan. Hexachordal Combinatorial. Resident Hipster. Jan 2nd at AM Machinae Supremacy "might" have a new album out this year. PancakeMckennz Rainbows hurt. Rainbows hurt. Just awesome like that.
Jan 2nd at AM Is it bad that I've heard of maybe only three or four artists listed in this thread so far? Litis from Israel. Jourgensen apparently decided to do it At The Gates style and reform his more popular project whenever he's strapped for cash.
I saw what they did there before they felt the need to explain it. Even though I've kind of lost hope for them recovering any speck of creativity, Burton said the next one will be a concept album, sooooo Wicked from Death Star in the forest. I have no recollection of the transaction or what else I bought on the day. Sometimes he sounds like a tranny. What the fuck is this? There is no interlude in thug life. The former, a song about the importance of getting dressed, is plagued by a cheesy hook and the latter by a cheesy tag and Gladiator sample.
Lets start again. Jay-Z came from the projects. A boy like me could never understand how he lived, what he saw. He speaks about struggles in a manner with which others do not. In his mind hip-hop is the blues. So that song must suck then. One step forward two steps back. With his mum sorry, mom offering wise words and a history lesson this is her perspective of the creation of Jay-Z. The remix comes with a tasteful haunting accomplishment while the album version comes with a cheesy flag waving sonic backing.
This man is not subtle. And that just might be his undoing in my mind. Being from an indie rock background it seems weird to me that an album houses almost a different producer on each track. Have these guys never heard of the too many cooks concept?
This was originally intended to be the first single. It does however have amazing flow. And then the hook is Jay-Z telling his people to pick themselves up and keep plugging away. There are more inspirational manners. This is not the Wu-Tang Clan, it does not convince. The grab is in the hook that rises above so much flab and debris exhibited elsewhere. At least I see why people believe in the man.
Smashing a sound so distinctly old school Def Jam and Rick Rubin in many ways the track is genius. At a time when hip-hop became so intricate in composition it lost a lot of bite and edge so with this unsubtle sledgehammer he cracked it. With a deep piano intro and speech sample it genuinely explodes with another description of his purpose. Good work. That and a Bill Haley like rock around the clock. This track is just a fucking whine despite his declarations that he never felt sorry for himself.
Its so easy. And quit with the ringtone type frequencies. Is this work really a war zone? The casual guitar decorating proceedings works against the rapid rhymes of more tainted confession. He sure loves himself, how does he fit in Beyonce? I guess with a shout out. Jay-Z has said that this album marked an era.
I hate how the record has its Parental Advisory sticker on the sleeve, the actual artwork instead of wearing it as a sticker on the case. Stuck and physically sealed its owned almost as a badge of honour. This is an album designed to sell millions and little else. Thesaurus moment: something. Roc-A-Fella Records. Mercury Records. This is the dirty sound of sorrow. Royal Trux is a rare positive combination of indie rock and the blues.
The sadness feels vengeful not victim. This is a hard act, not an easy fix. There is no such thing as an easy fix. Its delivery feels like an aftermath, like the quivering meander of a defeatist internal monologue echoing the message the world strikes us down with.
When JFK is mentioned it is with disillusion. Then towards the end you can literally feel the effort that is put into the last large lick. Who knew we had it so good? Thesaurus moment: mislay. At some point I thought all music would sound like this as we emerged head first into the 21 st century. This should be the sound that accompanies our new fresh sterile cities, way of life and existence in general. The music of DJ Krush is minimal but pleasingly effective.
His way offers a very helpful and useful mental workout. The drive is subtle but also explicitly intensive, helping to furnish and score any task or mindset. It works on many levels slowing down systems while speeding up mental environments.
The repetition of the beats serves almost as some kind of ignition and pulse for manoeuvre. This is the kind of music you would expect to exist in cool Tokyo basement clubs lit by neon appliance and attitude. It expresses a motion and state of cool where time is not of the essence. Where one track ends and another begins is true grey area. Kakusei is a single piece of work best taken as a whole to streamline the chore of existence.
Often it ticks like a bomb as the results feel endless. It follows a grand jazz tradition. Turntablism heavily subscribes to the cut-up methodology made famous by William S. Burroughs and Brion Gysin which was later adopted and adapted by many electronic artists such as Scanner and Bomb The Bass.
In deconstruct DJ Krush achieves reconstruct. A Slow moving vehicle. Thesaurus moment: abatement. DJ Krush. Sony Music. This is a painful and legendary live album for all the wrong reasons. As the story goes the set came at the end of a very long, exhausting and draining tour. This was their final night and all they could do was make a statement of how they were feeling and transfer the state onto the audience. Sure this was a belligerent thing to be doing but sometimes it is all you have, all you feel like do and cannot help but feel a certain degree of contempt to your situation and those around you.
Right now this is my number one album to annoy my neighbours with. I do not derive an inch of enjoyment from listening to the disc, its all about the sonic and noise pollution, about freaking people out and making them feel miserable and uncomfortable.
Ultimately I guess this release is mainly about cutting off your nose to spite your face, to express you current emotional state using an element of sacrifice that contorts the listener to a state of unknowing voyeur.
Thesaurus moment: hate. Atari Teenage Riot. Later she would jump a member of a different band from Nottingham and cause concern of unleashing an STD in Leicester. Rumour was that the sleeping bag that they shared had to be burned had to be destroyed. She then got a job in a bank, lost the weight and reeled Not 18 - Sister Ray - To Spite My Face (CD a pretty decent and impressive set of Facebook photos.
In other words she grew up and left childish things such as Braid behind. Long live Rozz Williams in book and song. The D. Followers of the Blog. Please support mercola. Visit our sponsor click on card.
Great contributors are what makes this blog special Thanx To Them!! I recommend the following safe and trusted application. RAR' to the filename once file is downloaded. If I had only been a few years older I could have had my mind blown like so many people did.
I still had that experience the first time I listened to it all the way through, but by then the innovation had been obscured by all the imitators and all the times I had heard most of the songs. I really feel like I missed out. But running through the chronology of great albums like Brad and I are doing now gives me a better taste of how this relates to the albums that came before it.
And my mind is blown again. That song is just so catchy and rockin'. Actually, the first four songs are just completely flawless pop songs. It's definitely my favorite section of the album. The middle section is the weird and experimental section. K" is a song you'd hear at a circus put on by an insane asylum. And "Within You Without You" puts you in the head of a person high on some crazy drugs.
These last few songs are more upbeat and accessible than the middle of the album, but they still have a lot of silly weird parts. The epic "A Day in the Life" concludes the wacky last half of the album. There's a huge build up that sounds like a train is about to come slam into your face, but right when it's about touch your nose, it poofs like smoke and immediately takes you back into another catchy little verse. And just when you think you got away from that damn nightmare of a train, it comes back, but this time even faster than before!
It knocks you on the ground, unconscious, until you come finally to and notice you're seeing stars. Labels: art rockgeorge martinheadyiconsLSDprogressivethe beatles. Dad's Take: I find the Velvet Underground very hard to relate to personally, with its urban junkie themes, but it's impossible not to hear Not 18 - Sister Ray - To Spite My Face (CD this band that barely scratched the awareness of the general public during most of their career influenced much of what came later, especially in the punk and post-punk alternative scenes.
The opening track, "Sunday Morning," is like late-sixties sparkly pop on heroin. Maybe because of Lou Reed's pop sensibility and his substance issues. It belies the darkness of most of the rest of the album. This is one of those records that's hard not to judge in retrospect.
Even in the anything-goes musical world ofthis album is odd. For one thing, nobody can actually sing, although they almost sound like people who can. It's not just that their voices are unusual, but that they really sound like they are in the wrong business. It's like they're saying, "If Dylan can do it, Album) can too," only they can't. And yet, the thing works extremely well.
Like so many successful artists who make it in spite of their voices, VU took their sub-par voices and made them right for their music. If they had better voices, their schtick would break. And when you look back at it from those punk and alternative days, you see how much influence they had. The catchy pop songs like "Femme Fatale" with their sixties feel have a dark edge that is almost a parody of the pop forms they imitate.
And that's the whole point. VU is like the underside of pop, and its way is more honest than the music it undercuts. Whether they are attacking the exotic sound of the Beatles Indian-influenced songs on cuts like "Venus In Furs" or flat-out junkie songs like "Heroin," there's a truth in the music that is often missing from the shiny corporate pop. Maybe this is Any Warhol's influence on the album.
His art often looks like simple commercial pop art, but with a sharp underbelly. That same thing is all over this record. I admit that I often find Album) difficult to listen to, and at times feel like it's one of those "art" things that I'm not hip enough to get. Only, I do get it, I think. That it's hard to listen to doesn't mean I don't see why it is so highly rated.
It's not hard to believe that Lou Reed started out by playing cover versions of popular songs for budget labels like Pickwick. You hear the pop sensibilities and the jadedness of mail-order budget commercial cynicism. This attitude became the predominant one in popular music two and three decades later. That those bands that popped up in the late eighties and nineties looked back at the VU is obvious and maybe inevitable. And, here's the thing. There's a lot of interesting stuff happening in these songs, especially in the cynical dissonance.
The almost-too-relaxed underground style of the arrangements and the garage band production values hide some smart instrumentation and an artistic sensibility.
Like much worthwhile art, it's not always pretty, but it tells a truth we don't like to see. Do I like it? What is "like"? Does the band even want me to like it? I don't know. But it's better than I sometimes like to admit, fits in with both andand rewards repeated listenings more than you might expect the first time you hear it.
Yeah, that junkie New York club scene is probably as much a myth as the Beach Boys' version of California which it also lampoons in placesand it's a mythical world that makes me uncomfortable, but that doesn't make the art any less valid. So this is one I can pull out once in a while and get into, although I'm exhausted by the end.
For its influence alone it belongs on our list, and maybe mainly for that influence. But it also takes rock and roll to artistic places where it hadn't gone before. And, even if it's hard to listen to, it is good, much better than it seems like it should be, given the elements of the band. Brad's Take: This is yet another good example of a band that I have heard of for many years, but never got around to listening to on my own.
Because of that, I was pretty excited to bust this out and give it a whirl. The album's first 3 songs are great. They've got that 60's folk rock kind of thing going on, mixed with some of the psychedelic sounds. It reminds me a little bit of the last Bob Dylan album we reviewed. Not their version though. The solo Album) of Mike Kinsella, called Owen, recorded an almost unrecognizable version of the song for his amazing album At Home With Owen a few years ago.
Until just a few months ago though, I thought he wrote it. It was cool hearing the original version of the song, but I do enjoy Owen's rendition of it most. In the song "Run Run Run," you realize that these guys weren't the most skilled musicians The "guitar solo" in that song is just terrible. I can't figure out what Sterling Morrison was thinking when he recorded that thing, but it's no bueno.
Overall, this album reminds me of a sloppy band of teenagers trying to write in the style of Bob Dylan and The Beatles, but doing it very sloppily and not very well. For what it is though, it's pretty good.
There's definitely potential. It's like watching a local band of junior high kids that are trying hard to be awesome, but they're coming up short, but you still give them a few bucks for a CD and say, "Good job, but keep trying.
You'll be great in a couple years. Labels: 60sAndy WarholbananafolkLou ReedOwenpsychedelicpunkrockthe velvet underground. Dad's Take: This is Jefferson Airplane's second album, but it's the first after the band was joined by drummer Spencer Dryden and vocalist Grace Slick, one of the sixties' most recognizable voices.
It is also the first major success to come out of the San Francisco counter-culture scene. The album's first track, "She Has Funny Cars," makes a good opener, but the record doesn't get going until the second song, "Somebody To Love," which gets my vote for one of the greatest rock and roll singles ever. I love that song. Almost everything about this song is first rate. A driving rhythm section, amazing vocals, great guitar work, hippy lyrics, and an overall upbeat counter cultural feel opened the floodgates for other bands from San Francisco.
Together with LA bands like The Byrds and The Mamas and Papas, this music invited the peace and love crowd to come to San Francisco for a summer of love, with the intersection of Haight and Ashbury streets and ground zero.
That area eventually became a sad disaster zone, but for one short period, it was something beautiful. I've always had a tender spot for "Today," with it's great lead vocal by Marty Balin. Jorma Kaukonen's guitar work on "Embryonic Journey" is a classic of acoustic psychedelia.
Grace Slick gets most of the attention--and deserves it--but Marty Balin's vocals are also a major part of the band's sound, a psychedelic instrument in their own right. The version I have of this album includes several bonus tracks.
Although we've tried to stick pretty much to reviewing the albums in their original form, I can't help commenting Not 18 - Sister Ray - To Spite My Face (CD the great blues track, Kaukonen's "In The Morning. The song just plain rocks. Sure, it doesn't exactly fit the sound of the album, which is probably why it was left off, but MAN!
It doesn't always work that way. I don't listen to this album enough. Whenever I do, I'm reminded just how great it is. There's really nothing here I don't like. It takes the LA folk rock and adds a generous twist of San Francisco's counter-culture ahem "fog," and the result is one of the best albums of the sixties.
Brad's Take: Going into this album, I felt a bit pessimistic. It's got nice equal doses of just about everything from the era, and I like that. It's not overwhelmingly hippie-ish, but it's also not just a 60's rock record.
There were only a couple songs that I didn't really like as much as others, but to me, that's really surprising. Even the slow folky songs like "Comin' Back to Me" were interesting to me. Maybe it was because of "spiritual leader's" Jerry Garcia's fancy guitar playing. If it's even him. There's controversy about if Jerry Garcia contributed to this album at all.
Garcia apparently even suggested the album title, but who knows. I'll need to research that stuff a little more. But all in all, I was pleasantly surprised by my enjoyment of this album. It's got everything from folky acoustic tracks to fast rockin' songs to blues jams. I'd say this album encompasses the 60's perfectly.
It makes me dislike the 60's a little bit less. Labels: 60'sacousticbluesfolkgrace slickjefferson airplanejerry garciarocksinglessixtiessurrealistic pillow. Dad's Take: First of all, that's one long album title. It doesn't exactly roll off the tongue, does it? But this is Aretha, and she can call her album whatever she wants. I mean, this thing starts with her version of "Respect," after all. We've heard that one before on our list, but from the first word on, she owns this song and always will.
But don't let that fool you. This is a solid collection. After the album rock of The Doorsthis feels like an old-school record, a collection of songs not unlike other soul albums we've heard. Mixed among the great songs are some filler tunes, which are saved by Aretha's performance.
The album provides two top ten hits, with "Respect" of course going to the top of the charts. While I kind of agree with Rolling Stone's review, which said that the songs lacked versatility by the sidemen, the showcase here is Aretha's voice and the album has her name on it. On a few songs, like the jazzy "Good Times," the band starts to groove a bit more than on many of the songs. If this had been a album, I don't think I'd complain. But this is '67 and I want to hear the band show their chops a bit more.
Although her higher, somewhat screechy voice is incomparable, I like hearing her occasionally down in the lower register of that song, with a more subtle delivery.
The Great East Temple Todaiji) - Ron Korb With Hiroki Sakaguchi (4) - Japanese Mysteries (CD, Album), Get Cha Hands Up (Instrumental), Awful - Various - Summer Sampler 2002 (CD), Я Не Могу Танцевать Всю Ночь • Cant Dance All Night - Commodores - Вместе (Vinyl, LP, Album), Jemand, Der Zaubert - Ella Endlich - Da (CD, Album), When My Little Girl Is Smiling - Paul Jones - The Paul Jones Collection - Vol. 1 - My Way (CD, Album, Sarköz - Béla Vavrinecz - Szines Bokréta (Vinyl, LP, Album), No Games - PYRAMID (5) - Funkatech Records – Time You Realised – A Retrospective Of 2009 (File, MP3), Something To Believe In - Clannad - Pastpresent (CD), The Diskords - Blame It On The Kids (CD, Album), Svenimento - Naturalismo - Undici Anni (File, MP3), Give Me A Reason - DJ Indio / DJ Alpha (2) - Utopia (CD)