Back in the day, those capricious Greek gods, wickedly fond of changing mortals into narcissus and spider and other flora and fauna, would have made Green a songbird. Tapestry was nothing less than the sound of a generation growing up. But Carole King sang about adult love not prevailing —about heartbreak and compromise being permanent features of the grownup landscape. Tapestry has always been the ultimate chick album. InDavid Bowie had shed his Thin White Duke persona and began cleaning up after the severe cocaine addiction that fueled the Station Album) Station sessions.

He relocated to France and then Berlin to begin work on his next album, Low. The record embraced a highly experimental and avant-garde style that was directly influenced by the work of bands like Kraftwerk and Neu! The result is an LP that is simultaneously compelling and confounding. Polarizing critics and fans when it was released, Low is split into two distinct halves with their own unique sounds.

The second half is characterized by mostly instrumental sprawling, spacey tracks. And the songs blossomed from their overly studied studio versions into liberated and liberating live versions, best represented by the bonus DVD of a Houston show on the box set, The Promise: The Darkness on the Edge of Town Story.

First impressions have always been important in discussions about art, from Elizabethan literature to more contemporary jams. Horses is the kind of album people try to talk about and it always turns into a sermon or a sales pitch. The Talking Heads and, later, David Byrne went on to make a long series of great records, and More Songs About Buildings and Food was their introduction to the wider world. All this hubris was justified by the terrific music—catchy as hell, impeccably performed and often very funky.

Even though it has nothing to do with the album, which was inspired by a Dean Stockwell-Herb Berman screenplay, I liked to imagine that it was written to capture the feeling too often ignored by movies and music. At the beginning of the s, John Graham Mellor was, at various points, a gravedigger, a busker in the London Underground, a pinch-hitter vocalist and guitarist for bar bands.

Mellor would become Joe Strummer and lead his band charging onto the scene with their debut, 35 minutes of pure energy, challenging the youth of Britain and the world to listen and to get up and dance er, pogo.

The Clash is an important Can You Get To That - Funkadelic - Maggot Brain (Vinyl of how diverse the influences on the scene were, especially for a style of music that seems so simple. The Wall is one of the greatest concept albums of all time. It tells the tale of Pink, a troubled young Can You Get To That - Funkadelic - Maggot Brain (Vinyl raised by an overprotective mother, who is trying to break down the wall in his mind that has been constructed by the authoritative figures in his life. Lead singer, bassist and founding member of the band Roger Waters wrote the album based on experiences in his own life.

The themes that present themselves throughout the album stitch the story together, making a Album) track album. The psychedelic music that Pink Floyd so heavily influenced is present throughout the entire album. Pink Floyd and The Wall not only changed a genre of music, but music itself.

It only gets weirder from there. During this period, they picked apart their already-successful psych-soul blueprint to make a darker, more somber record. Within this work, Sly and the Family Stone offer a disillusioned look at the changing landscapes around them, sharing a loosely conceptualized and cynical outlook depicting the signs of the times.

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And I could have started right away. I was looking at reviews of The Old Weird America to try and discern how much additional information there might be in that edition of the book the newest edition of which I believe was published when Dylan turned 70—10 years ago. One reviewer mentioned that maybe there would be another newer edition since the release of the 6 CD box The Complete Basement Tapes and also with Dylan turning 80 this year.

Will there be another newer expanded edition of The Old Weird America? I am considering purchasing the book—even though I already have Invisible Republic —for what is reportedly a fair bit of more info in the discography etc, but would wait if there was going to be yet another newer expanded edition.

I asked the publisher about that at the time and was told no. Maybe some day someone else will want to do it. Is this fair? He would disavow music and write, publish, and perform poetry.

Today he would be a Bitcoin raja—unless, as is more likely, his poetry never rose above Byronic doggerel, and he returned to LA to put the Doors back together. Does that add to our discussion of what Billie Joe Christmas? But imagine she only wrote those early songs and never sang a word. Same problem? I hesitate—the song craft is just so great. Looking for justice from the Rock Hall is like looking for the moon at the bottom of the sea. Shadow Morton and at least two of the group are dead.

Lead singer Mary Weiss Stokes is still alive. For the Shangri-Las, there is no book, no movie, but there is the weirdly titled collection Myrmidons of Melodrama. The thing that really knocked me down was Neil Young on You Tube saying he tried to get Reprise Records interested in him, i. Maybe you had to be there?

But take a look at Charlie Says [Mary Harron]. It says enough. In the seventies, the singer-songwriter community thought of itself as the center of the artistic universe, but we now see the early hip hop scene in the Bronx as the real thing.

Do you ever find yourself reevaluating some of your previous judgments because of later discoveries? And, do you care to hazard a guess as to where the current vanguard may be and does it even involve music?

I got so tired of reading people saying how On the Road changed their lives I was determined never to read it myself. When I finally did, ten years or so ago—the unrevised scroll edition—I was shocked at how LP it was. I realized that the beats were really doing something unique and irreducible—starting in about and for a couple of years after that. Of course the ripples of the rocks they threw in the lake go on forever—the Invasion of the Body Snatchers is the great beat movie.

But by the time they went public Little Richard and Elvis were telling a different story, a real story. One thing that strikes me about him is the way he inserts himself and his emotional reactions at length into stories that are nominally about other people. I find myself rooting for him as he tells two parallel tales, one about the endless ramifications of American music, and the other about his grappling with what it means for him personally. Peter is more of a novelist, to put it mildly, than I am, and his entering into some of his work is like another character in the story.

He once wrote of first talking with Phillips, or at least early on, and how Phillips was speaking to, if not from, the role Peter and others had imagined he had played in changing the world: to put it well, that Peter and others had helped Sam understand who he was and what he did, to put it less well, that he was playing to that imagining, playing with a fixed deck.

Either way is kind of thrilling to me. Pazz Jop Poll. Have they held up for you? Did you like any of their later work? Were they a lot of fun to see live? And when I put on Tracey Nelson after them, she kind of blew them out of the water.

They were thrilling live: fast, unpredictable funny, an over the shoulder goodbye look cool. Lefebvre also seems to have been incapable of love himself, at least in the sense that Christ, for example, is widely understood as having meant. His personal selfishness was after all legendary—as you know even Guy Debord broke with him over his treatment of women.

So, failure on both counts. What do you think, after more than three decades? Second, and more generally, how do you view Lefebvre now? Do you think that his Marxist humanism is worth saving, as Christian Fuchs and I would say it is, albeit that much needs reforming. And are you still as convinced as you were back in that Lefebvre has much to offer us, even today, despite his intellectual odyssey and his evident human failings?

Politically correct after all he was not. One might mention ESG as a threat to capitalism, even…? It leaves the person forever unsatisfied, because the good was sighted, felt, even lived out, solitary or as part of a group or cohort, and then it slipped away, leaving the person wondering if his or her whole life has been some sort of self-delusion, or a trick played by the world on the gullible. So one focuses on those moments: there is where it happened.

There is where I understood what could happen. And so you feel, not necessarily think, that what really matters in life is not achievement, honors, riches, lasting love, the respect of others, or whatever success or victory is made of, but tiny moments against which all of that means nothing. Work on that level is art, and art can always inspire, and imbue the theoretical questions raised with a spirit of adventure—intellectual, revolutionary, aesthetic.

What a great book! I did have one question. And we had to squeeze the concept. OK, Stanley, make your case. I enjoyed what you, specifically, had to say about Creembut what was up with the Blair Witch camera? And all the credit Marsh deserves for his charity work notwithstanding, watching you play Ed McMahon to his Jerry Lewis was disconcerting to say the least. Does Zoom just make your brains fall out your ears?

If you tell me the Who Sell Out mono version was a bargain basement deal the Who being sold out as it wereI believe you. Stereo became a thing—in Playboy product reports and standards and hype, which was the test in the early-mid sixties. It was developed to replicate the real symphony experience. At first it was simple—put this here and that there. To the point where the vocal was on one track and the instrumentation on the other.

And that could be wonderful. The interplay, the simpatico, the deep affinities made it a thing in itself. We wondered—why not put it out that way? Vincent Price. Or they just paid royalties? Do you know if some artists can refuse others to cover their songs? Merci, as we said in France. Normally one licenses on a standard automatic manner from the relevant music company and either accepts terms stated or negotiates. Has it ever been an ambition of yours to do so? The stereo mix just seems to surround you, with the dynamics of each performer bouncing off each other, while the mono just sits there like a lump in the middle of the room.

The other time I had that feeling was with the reissue of the first Buffalo Springfield album, where they had enough room to put both versions on one disc. Whoever it was that did the stereo mix on that was like a matchmaker in one of those societies that has arranged marriages who has a better idea of which young people will be suited to each other than the young people have. Who would buy an album defined by its expansive sound in mono, I thought.

Are there any Dylan authors or new books on the man that you particularly admire? From He has a great sense of humor. He could have called his book Making the Songs New. I wa s curious why he considered Lipstick Traces a sort of apostasy or betrayal. Did he think the subject matter was too removed from the immediate concerns of Americans living under Reagan?

But an obsession had developed and I had to pursue it. And it might have been a flight from the burdens and disappointments of democracy—a fascination with a self-selected elect, the avant-garde under whatever name it might take at whatever time.

But as an obsession I had to pursue it and I was lucky to have the chance. Apart from music, what is his legend made of? Which are the elements that interpret his legacy all these years as in a never ending narrative? It seems that term gets degraded every time a congressman uses it to describe their opposite number. There, his two second-floor apartment windows faced different views — one of the small town, and the other of the adjoining countryside.

It was an absorbing piece of folk art, rendered by words in place of paint. On first read, I could picture the scene perfectly.

I saw a young man sitting squarely in the wide arc between the corner windows in his bedroom in a cheap antique chair. Ed had quickly drawn the reader into his own space and asked if they had ever been in a place like that. So that he could equate The Band to that scene. He wrote that the group had their legs on both sides of the line between the two vistas and could move between the two casually. Or words to that effect; I can only recall the gist of it.

Condolences on his loss, and I wonder, naturally, if you have a passage shelved in your mind that is owed to Ed Ward. Because if it had I might not have bothered. I gave everyone a chance to write a length about something they cared about and he did, no less than Lester Bangs did, which is why his piece closed the book.

I wish more people had had the nerve. Nick can I have some more? Thanks for all you do. I find everything you write about them to be stirring, the pieces may be brief, often in Ask Greil, or longer, as in Ten Songs. Not like any other writing on them. Deep, deep! Stay safe in Portland. I thought Harris was the same show.

Did you ever have a live Dead experience to thrill you to the marrow? Great site, hope you are well. I did have a live Dead experience. Not at one of their shows, though I saw them a lot in and I told the Dylanology fan group it was crap.

So someone posted a link to you. I heard one number on the radio and that was enough. If so, what is your opinion of it? I like when Proctor makes a Fred Willard joke and they cut to Willard in the audience.

Were you a fan of SCTV? Especially Michael Richards as Reagan and what they did with Katherine Harris after the election. They often exposed SNL as cowardly and backward—especially during that time, which was generally embarrassing for SNL anyway. What movie could possibly stand up to it?

Unfortunately, Love was shot in 3-D, so you will be missing a dimension if you stream it. Do you think the scene stands up to the music or just feeds off its power? Maggot Brain is also the title of a twenty-minute short about a record collector whose vinyl of the titular album goes missing, setting him off on an obsessive quest to recover it.

Here is a link in case you are interested. It reminded me of that skin-crawling record-filing scene in Diner. I could see too much of myself and a lot of other people I know in both. Pepper as distinctive—after the band really found themselves as songwriters and collaborators, but before they began their obvious disintegration. In this period, John and Paul were both brilliant. I can only point to superficial supporting evidence. But what do you think?

With Paul, especially during this middle period, did we miss more than we thought? But John had a lot of trouble finding how many holes they needed to fill the Albert Hall. He may have thought of it. Paul may have. What I meant about changing my mind about Paul was that I thought he was, compared to John, shallow.

So I missed paying attention to him when I could have. I missed not taking what he said about his first solo album, in the press kit that came with it, where he disparaged the Beatles, more seriously.

You heard them, they came across, did you care about authorship? They were a group. My problem with it has always been the Lennon songs. I view Sgt. Pepper in a similar vein to Citizen Kane. Ambersons moves me in a way Kane never does. Rubber Soul moves me in a way Sgt. Pepper never does. This is a long-winded way of asking: leaving aside the Yellow Submarine soundtrack, is Sgt.

Pepper your least favorite Beatles album? The group was so wonderful that the cheesiness of the album titles and covers really took away from absolutely tremendous songs, one after the other, just making everything else on the radio except Smokey Robinson sound stupid.

Start with the endless puns in the title, and the basic claim, that it was soul music, which they made good on, and then the cover, which managed to be threatening and welcoming at the same time. And the songs—come on! Pepper —it has that same we-can-try-anything-and-get-away-with-it drive. One of my favorites. Just like the late Godfrey Cambridge should have played every dramatic role ever written. But Zuma has more consistent songwriting, and is the purest Neil.

And go out with Way Down in the Rust Bucket. The first five tracks of Americana? Who says you have to choose and rank? All concept, no cattle.

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8 thoughts on “Can You Get To That - Funkadelic - Maggot Brain (Vinyl, LP, Album)

  1. LPs measure a foot across and spin at just over 33 rotations per minute. A vinyl LP can hold up to an hour of music on each side, so they are a popular format for albums. In longer albums the grooves have to be cut closer together which can affect sound quality. Many albums were made as double LPs to get around this.

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  3. Jan 09,  · Maggot Brain is also the title of a twenty-minute short about a record collector whose vinyl of the titular album goes missing, setting him off on an obsessive quest to recover it. Here is a link in case you are interested. – Robert Puccinelli Thanks so much for this.

  4. Jan 07,  · Funkadelic, Maggot Brain Funkadelic’s Maggot Brain opens with a kaleidoscopic minute suite that ruminates on the pratfalls of drowning in one’s own shit. It only gets weirder from there.

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  6. LPs measure a foot across and spin at just over 33 rotations per minute. A vinyl LP can hold up to an hour of music on each side, so they are a popular format for albums. In longer albums the grooves have to be cut closer together which can affect sound quality. Many .

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  8. Jan 07,  · Funkadelic, Maggot Brain Funkadelic’s Maggot Brain opens with a kaleidoscopic minute suite that ruminates on the pratfalls of drowning in one’s own shit. It only gets weirder from there.

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