Since high school, this has been my go-to for the best year of all time. Here's a spoiler to show you its power: This year's John Wesley Harding was for many years my favorite Dylan album. Though it is not anymore, it should still be telling that it is absent from the following list while other Dylan albums have a noticeable presence on the last two lists, even an apology for a missing one. So, Dylan fans, I am sorry, but here are my top 10 records of 1967.
1. Moby Grape - Moby Grape
Grape, while their legacy is small and their other records spotty is an easy pick for "greatest band of all time." It's five members Alexander "Skip" Spence, Bob Mosley, Peter Lewis, Don Stevenson, and Jerry Miller were all top of the line singers, players, and songwriters with more professional experience than anyone their age has had since the sixties. With this prowess they explore the use of triple guitars and five part harmonies that makes their music bigger and heavier than most else, even in the blossoming world of San Francisco. Often confided to categories of roots rock and psychedelia, I will tell you that's fucking absurd. From the opening "Hey Grandma," and the top standout "Omaha" it is clear this is punk rock. Throughout this wild and diverse set they beat everyone at their own game and give birth to a whole subgenre on every single concise track.
2. The 13th Floor Elevators - Easter Everywhere
Also coming out of San Francisco, but via Texas the Elevators outdo themselves on this set opening with their magnum opus "Slip Inside this House." Things just keep going strong with the mysterious "Slide Machine" and even get soft and tender with the gorgeous "I Had To Tell You." Despite changes in the rhythm section the band just gets better, as does contributing lyricist Powell St. John. With their unusual blend of skills, the band not only captures the essence of the psychedelic experience, but philosophizes on its importance as only Tommy Hall could do. The science of the mind, the love of the heart, and sexuality of the body meld as well as the guitars and Roky's howl commands all the attention they deserve.
3. The Velvet Underground - The Velvet Underground and Nico
Everything has been said about this album, however I always feel the wrong things are highlighted. Its diversity is usually ignored in favor of all the distortion and dark subject matter. There is a lot more to the Velvets than that and they weren't the only ones to do it. A cohesive band featuring the great John Cale, they are far from just a vehicle for Lou Reed. If they were, weren't his solo albums be a lot better? I won't waste any more time.
4. The Beatles - Sgt. Pepper's Lonely Hearts Club Band
Likewise, it's all been said, though I'll say it's not quite the best. Still, the Beatles were best as a psychedelic band and there is no shortage of great songs here from all members. The Beatles at this point are consciously the band of the decade and this album excels in its concept capturing everything around, most importantly musically. The Beatles greatest days come to their full evolution here and as dark as it gets at times, there is a lot of fun for the last time before things get too fragmented and cynical.
5. Love - Forever Changes
While psychedelic rock became more and more associated with guitar effects, keyboards, and silly lyrics, Los Angeles' most mysterious band does it almost entirely with acoustic guitars. The now-refined quintet turn a mirror on the dark side of the 60s from their Gothic Laurel Canyon mansion. MacLean proves himself the equal of Lee immediately with "Alone Again Or" and again with "Old Man," with Lee sinking into darker and darker territory, particularly as he reaches into Wilson-esque childhood fantasy territory on the likes of "The Good Humor Man He Sees Everything Like This." An outsider's view of the Sunset Strip, right from "Clark & Hilldale."
6. Pink Floyd - Piper at the Gates of Dawn
Syd's Floyd picks up where their masterful singles "Arnold Layne" and "See Emily Play" and exemplifies both UK psych pop and creates space rock as much more than a Joe Meek novelty. The songwriting would be the best of their career on the likes of "Lucifer Sam" and "Scarecrow," and begin the history of English weirdos like Robyn Hitchcock and Dan Treacy. Floyd even at this point is one of the tightest and most tasteful bands in rock history with Barrett, Waters, Wright, and Mason functioning as much as one entity as they would years later with Gilmour. It would me many years before the band topped this, if ever.
7. The Velvet Underground - White Light/White Heat
With their second masterpiece of the year the Velvets not only get into darker territory, they finally expose the depths of Cale's talents, though unfortunately not enough to his liking. Oh, and they also pick up where "European Son" left off, bringing drone, poetry, and even more fuzz into rock. Playing loudly and pushing all their limits they jam to infinity on the overrated "Sister Ray" until their point has been made. It couldn't have gone any further anyway, that job was for the countless bands to do while Reed took it easier for the next five decades.
8. Captain Beefheart and His Magic Band - Safe as Milk
Neither the Captain nor Ry Cooder ever sound better than on this debut. This band of crazies from Mojave reconstructs the blues and all their instruments to fit their leader's twisted vision. The captain shares his buddy Frank Zappa's sense of humor and plays it off in an rougher, rawer fashion with a roadhouse beat and vocals from the delta of some other planet's Mississippi. As the cover design would subtly imply his candy tribute "Abba Zaba"is the highlight, but "Zig-Zag Wanderer" and pretty much all of it equal it in creativity and party energy.
9. The Jimi Hendrix Experience - Are You Experienced?
From this point on, all man (and women?) named James will consider calling themselves "Jimi," but too late, it already can never be done again. Well, Mr. Hendrix completely creates the shape of not just all rock music, but all electric guitar playing to come. We all know that, and so sometimes one forgets that all the songs kick ass too as well, and The Experience, yes a real band proves the power of the trio. A hero so obvious that he is under-appreciated. Modern music starts here.
10. The Byrds - The Notorious Byrd Brothers
The Byrds finally make a perfectly planned and structured album, but make the wise choice of not even relying on original material here. Explicitly stating their place in the world with the opener "Artificial Energy" the quartet collaborates more closely than ever before and make a flowing, singular album totally phased together. King/Goffin masterpieces sit perfectly in place alongside both snotty and dreamy Bryds originals. "Draft Morning" sticks out as the strongest with its ethereal vocals and early use of samples. Oh, and if you haven't heard this before the Byrds use lots of Moog, so think of that before you call them a Dylan cover band and go on a "Space Odyssey" even before Kubrick took you on one.
Thursday, March 14, 2013
1966
Sorry this took so long, but I have been busy with a major family catastrophe and a minor musical one in thinking that the Pretty Things' Get the Picture? came out at least a month later than it actually did. We may be better off not having to include it on this list...
This is sometimes considered the best year for music of all time. Considering all the singles in addition to these albums and the many others that didn't make the cut, there is a good chance that is correct. Regardless, here are the 10 best:
1. The Beach Boys - Pet Sounds
Great as the rest are, this is the Beach Boys' masterpiece. It's only flaw could also be considered its reason perfection: It's all Brian. Well, apart from the vocals. Everyone else soars to their greatest peaks vocally (except for Dennis, still in his surf punk shell), with even Mike Love capturing Brian's vision on tracks like "Here Today" and "I Know There's An Answer." This is the best example of what's great about 60s music, at least made by white people. Each song is a world unto itself, and lighter and instrumental fare is at worst the perfect relief from Brian Wilson's truly nightmarish psyche. Yes, the only thing that could make this album better would be "Good Vibrations." Or not.
2. The Beatles - Revolver
The Beatles and Beach Boys' series of one-upmanship took a break while the Beatles made their own masterpiece. Admiteddly there is a stinker or two here, but if you don't forget about "Dr. Robert" by the time the vocals start on "Tomorrow Never Knows" (my pick for best Beatles song of all) you weren't listening in the first place. This is the album that not only shows the band at their most eclectic, experimental, and cohesive, it is also the perfect length, so all musicians, aim for a good 35 minutes. If you only want one Beatles record make it this one and you will still get the whole picture.
3. The Monks - Black Monk Time
Were the other temporary Germans above taking note on this album's cover? Probably. Were many other's noticing? Not likely, but Jimi was, and God knows who else. This German band of former American GIs is usually mentioned in the context of proto-punk, but proto-krautrock is more accurate. This is the heaviest, droniest, and most fun record of its time and probably any, as all these so-called "punks" think that organs and banjos are for "faggots." These people have no sense of humor or music. Really all I need to say is the first line of lyrics are "Alright, my name's Gary," and it features the first song I know of called "I Hate You," too bad only the Coen Brothers noticed.
4. The 13th Floor Elevators - Psychedelic Sounds of the 13th Floor Elevators
The Elevators' flawed debut is known as one of the first records to include the word "psychedelic" and while it achieves much more than that (unlike the Deep's still-worthy Psychedelic Moods) it is a well-deserved honor. Tommy Hall's vision, Roky Erickson's persona and energy, and Stacy Sutherland's musicianship add up to a dark, mind-bending ride through Texas, not without the help of a world-class rhythm section. "You're Gonna Miss Me" is only the beginning and before it got tragic is got much better.
5. Serge Gainsbourg - Initials B.B.
Serge's symphonic tribute to Brigitte Bardot is if not his best work at least his most accessible. A set of concise pop songs with the kind of in-depth arrangements he would explore over the following years, this album highlights all of the incomparable artist's strengths. A guest appearance from the titular leading lady hardly stands out amongst the likes of the title track and "Qui Est 'In' Qui Est 'Out." Also it's an elementary lesson in the Frech sense of humor and how it transcends language in the likes of "Hold-Up." Forget the dirty stuff (maybe) and start here on Serge if you haven't already.
6. The Kinks - Face to Face
Like Brian Wilson, Ray Davies starts to crack here. His observations on the life of a rock star and those who surround it get darker and more accurate in a way that is as personal as it is universal. However, on this album, the band stays firmly grounded in the raw and dirty sound that made them the Kinks, even as acoustic guitars and harpsichords grow in prominence. Even if You're Lookin' Fine, a Dandy hon Holiday in Waikiki you might have Too Much On your Mind on a Sunny Afternoon or Rainy Day in June. If you're already hip to it, check out Wim Wenders' The American Friend. It's got Dennis Hopper in it!
7. The Mothers of Invention - Freak Out!
In one fell swoop the world has its first encounter with Frank Zappa, the double LP, progressive rock, and intentionally funny rock music. With another vocalist int he fold Zappa's composition and guitar skills are most apparent, and while his band mates may not have the same pedigree as his later ones would you have that bar band cohesion that would be absent later, making its record-breaking length work so well. Avant-gardge, jazz, psych, doo-wop, and proto-punk are all here as is the only way to ever hear "Who Are the Brain Police?" making this album deserve its title much more than other self-describing psychedelic records.
8. Bob Dylan - Blonde on Blonde
Well, one day in and I already see how badly I fucked up this list, forgetting Highway 51 Revisted somehow, which I much prefer to the Dylan album listed. Well, what can you do, but talk about how he outdid that very album the next year. His electric double album hits as hard for twice as long and mostly, twice as well. While it can at times get a little too bluesy for my liking as well, it would be just be wrong to complain bout a track like "Leopard Skin Pillbox Hat." Rockers like "Sooner or Later One of Us Must Know" and "Stuck Inside of Memphis Blues Again" are the real stars with no small contribution from garage guitarist-turned-organ god Al Kooper who continues to steal the show. Being the perpetual self-competitor, Dyland bests "Desolation Row" with "Sad-Eyed Lady of the Lowlands," thanks to a little misinformation given to an extraordinary drummer.
9. The Music Machine - (Turn On) The Music Machine
More Nuggets from Los Angeles black-clad Music Machine. A fellow Irish-American Sean Bonniwell leads the band most deserving of that name through his flawless songwriting and powerful, husky voice. Often derided as a patchy collection of singles, this is another garage masterpiece which if the only thing left behind would keep the Music Machine in the top of the 60s rock pantheon. Their sole hit "Talk Talk," hardly stands out against songs like "Double Yellow Line" and "Trouble." Much darker and sexier than the Doors even at their best the Machine may have been the greatest goth band of all time and with 5 virtuosos they had better be. Particularly essential for rock drummers and male vocalists.
10. Love - Da Capo
This would be Love's best album if the second side were decent instead of a single bland jam. Side one is 60s Los Angeles perfection in no small part to the addition of harpsichord and woodwinds. Even bigger though is the addition of the "true" Love Drummer Michael Stuart-Ware, and the growth in quality, and most noticeably, diversity of both Arthur Lee and Bryan MacLean's songwriting. "Orange Skies" is the classic showtune, "The Castle" is a psychedelic renaissance, "7 and 7 Is" punk as fuck, and "She Comes in Colors" the ultimate hippie love song. Don't flip it, just play it again and you will get the big deal with LoVE.
This is sometimes considered the best year for music of all time. Considering all the singles in addition to these albums and the many others that didn't make the cut, there is a good chance that is correct. Regardless, here are the 10 best:
1. The Beach Boys - Pet Sounds
Great as the rest are, this is the Beach Boys' masterpiece. It's only flaw could also be considered its reason perfection: It's all Brian. Well, apart from the vocals. Everyone else soars to their greatest peaks vocally (except for Dennis, still in his surf punk shell), with even Mike Love capturing Brian's vision on tracks like "Here Today" and "I Know There's An Answer." This is the best example of what's great about 60s music, at least made by white people. Each song is a world unto itself, and lighter and instrumental fare is at worst the perfect relief from Brian Wilson's truly nightmarish psyche. Yes, the only thing that could make this album better would be "Good Vibrations." Or not.
2. The Beatles - Revolver
The Beatles and Beach Boys' series of one-upmanship took a break while the Beatles made their own masterpiece. Admiteddly there is a stinker or two here, but if you don't forget about "Dr. Robert" by the time the vocals start on "Tomorrow Never Knows" (my pick for best Beatles song of all) you weren't listening in the first place. This is the album that not only shows the band at their most eclectic, experimental, and cohesive, it is also the perfect length, so all musicians, aim for a good 35 minutes. If you only want one Beatles record make it this one and you will still get the whole picture.
3. The Monks - Black Monk Time
Were the other temporary Germans above taking note on this album's cover? Probably. Were many other's noticing? Not likely, but Jimi was, and God knows who else. This German band of former American GIs is usually mentioned in the context of proto-punk, but proto-krautrock is more accurate. This is the heaviest, droniest, and most fun record of its time and probably any, as all these so-called "punks" think that organs and banjos are for "faggots." These people have no sense of humor or music. Really all I need to say is the first line of lyrics are "Alright, my name's Gary," and it features the first song I know of called "I Hate You," too bad only the Coen Brothers noticed.
4. The 13th Floor Elevators - Psychedelic Sounds of the 13th Floor Elevators
The Elevators' flawed debut is known as one of the first records to include the word "psychedelic" and while it achieves much more than that (unlike the Deep's still-worthy Psychedelic Moods) it is a well-deserved honor. Tommy Hall's vision, Roky Erickson's persona and energy, and Stacy Sutherland's musicianship add up to a dark, mind-bending ride through Texas, not without the help of a world-class rhythm section. "You're Gonna Miss Me" is only the beginning and before it got tragic is got much better.
5. Serge Gainsbourg - Initials B.B.
Serge's symphonic tribute to Brigitte Bardot is if not his best work at least his most accessible. A set of concise pop songs with the kind of in-depth arrangements he would explore over the following years, this album highlights all of the incomparable artist's strengths. A guest appearance from the titular leading lady hardly stands out amongst the likes of the title track and "Qui Est 'In' Qui Est 'Out." Also it's an elementary lesson in the Frech sense of humor and how it transcends language in the likes of "Hold-Up." Forget the dirty stuff (maybe) and start here on Serge if you haven't already.
6. The Kinks - Face to Face
Like Brian Wilson, Ray Davies starts to crack here. His observations on the life of a rock star and those who surround it get darker and more accurate in a way that is as personal as it is universal. However, on this album, the band stays firmly grounded in the raw and dirty sound that made them the Kinks, even as acoustic guitars and harpsichords grow in prominence. Even if You're Lookin' Fine, a Dandy hon Holiday in Waikiki you might have Too Much On your Mind on a Sunny Afternoon or Rainy Day in June. If you're already hip to it, check out Wim Wenders' The American Friend. It's got Dennis Hopper in it!
7. The Mothers of Invention - Freak Out!
In one fell swoop the world has its first encounter with Frank Zappa, the double LP, progressive rock, and intentionally funny rock music. With another vocalist int he fold Zappa's composition and guitar skills are most apparent, and while his band mates may not have the same pedigree as his later ones would you have that bar band cohesion that would be absent later, making its record-breaking length work so well. Avant-gardge, jazz, psych, doo-wop, and proto-punk are all here as is the only way to ever hear "Who Are the Brain Police?" making this album deserve its title much more than other self-describing psychedelic records.
8. Bob Dylan - Blonde on Blonde
Well, one day in and I already see how badly I fucked up this list, forgetting Highway 51 Revisted somehow, which I much prefer to the Dylan album listed. Well, what can you do, but talk about how he outdid that very album the next year. His electric double album hits as hard for twice as long and mostly, twice as well. While it can at times get a little too bluesy for my liking as well, it would be just be wrong to complain bout a track like "Leopard Skin Pillbox Hat." Rockers like "Sooner or Later One of Us Must Know" and "Stuck Inside of Memphis Blues Again" are the real stars with no small contribution from garage guitarist-turned-organ god Al Kooper who continues to steal the show. Being the perpetual self-competitor, Dyland bests "Desolation Row" with "Sad-Eyed Lady of the Lowlands," thanks to a little misinformation given to an extraordinary drummer.
9. The Music Machine - (Turn On) The Music Machine
More Nuggets from Los Angeles black-clad Music Machine. A fellow Irish-American Sean Bonniwell leads the band most deserving of that name through his flawless songwriting and powerful, husky voice. Often derided as a patchy collection of singles, this is another garage masterpiece which if the only thing left behind would keep the Music Machine in the top of the 60s rock pantheon. Their sole hit "Talk Talk," hardly stands out against songs like "Double Yellow Line" and "Trouble." Much darker and sexier than the Doors even at their best the Machine may have been the greatest goth band of all time and with 5 virtuosos they had better be. Particularly essential for rock drummers and male vocalists.
10. Love - Da Capo
This would be Love's best album if the second side were decent instead of a single bland jam. Side one is 60s Los Angeles perfection in no small part to the addition of harpsichord and woodwinds. Even bigger though is the addition of the "true" Love Drummer Michael Stuart-Ware, and the growth in quality, and most noticeably, diversity of both Arthur Lee and Bryan MacLean's songwriting. "Orange Skies" is the classic showtune, "The Castle" is a psychedelic renaissance, "7 and 7 Is" punk as fuck, and "She Comes in Colors" the ultimate hippie love song. Don't flip it, just play it again and you will get the big deal with LoVE.
Monday, March 11, 2013
1965
Here I begin a top 10 rock records of the album era. I put more time than ever into making this pretty complete. That being said, 10 is not a very high number most years. Sometimes it's a very high number, usually in years including the digit "8." I can't hear everything, I never will, but neither will you and like you, I have some very controversial opinions. Guess which ones they are.
The "album era" begins in 1965. Barely. Still pretty tricky here in the beginning. I have no idea what the pace will be and for all I know my 2013 list could be done just on time. I wouldn't count on it, but I'll say this year has started off pretty well.
So, here's 1965. This is the format.
1. The Beatles - Rubber Soul
The album era begins here. Brian Wilson was not the only one to marvel at the existence of a LP's worth of top-notch original tunes, even though he came pretty close himself. Many consider this the Beatles' best and those people have a pretty good point. It's solid and I'm wasting my time talking about the Beatles
2. Love - Love
Makes sense that the Sunset Strip band with the least hit singles also released the most solid LPs. The first one in fact. Anyone paying attention knew that Love had as much or more to offer than any other band in LA, enough to make the progression of that scene seem like a disappointment. Love's eclectic sound, energy and songwriting bursts out immediately in an record that dramatically surpassed what probably everyone but the band members would have expected.
3. The Kinks - The Kink Kontroversy
People give the Beatles all the credit for the birth of the perfect rock record, but something was in the air and all the best bands took a big step this year. It's the Kinks at their peak, so what more could you ask for in an album?
4. The Beach Boys - Today!
Brian did it too, of course. This one is the most solid so far and like most of the others on this list, the album captures a great band at their best with no gaps in between. Songs like "When I Grow Up" begin Brian's tragic fall into eternal childhood that would make his music transcendent for the next few years. So good the demons had to take it down a notch.
5. The Remains - The Remains
Boston's (Barry &) The Remains remain one of the best stories in rock history. They opened for the Beatles on their final US tour. Were shamed by their home city for moving to New York, and are one of the first bands to use the world's best lineup of the guitar, bass, drums, keyboard quartet. While they have even better material out there we are truly blessed to have an original LP worthy of their legend.
6. The Byrds - Mr. Tambourine Man
Many write off the Byrds' early albums as spotty collections of strong singles and they have a point (the B-sides being some of their best works). However, it's not well proven on this one. Maybe the best American group of their era it's almost a threat to call them spotty at this time. Their best material had been built up and they lay it out quickly on the debut making it an exciting listen that set the very high standard of folk rock. The band has the harmonies, the songwriting, and the dynamic rarely contended that gave American's all the inspiration they needed in subsequent years.
7. The Sonics - Here are the Sonics!!
If The Dave Clark Five were a grunge band who could put together a decent LP this would be it. This is, to my knowledge the loudest, heaviest album that existed in the world at the time of its release and well into the next year (guess what's coming up). The songs are as great with the likes of "The Witch" and "Psycho" still defining fun rock today.
8. The Pretty Things - The Pretty Things
The Pretties are to the Stones as the Stones are to the Beatles and debut with this largely unnoticed package of punk R&B that became the calling card of all true rock 'n' rollers. The future begins here.
9. Bob Dylan - Bringing It All Back Home
Dylan slowly goes electric, being a part of the 60s greatest gift to the world: Folk rock. Still largely in the acoustic sound, things do start getting heavier and rockier. Like the Beatles you can't deny anything about Dylan's massively positive influence. After all many of these songs do appear in superior forms in the following years. Look no further than other albums on these lists. They may all be there.
10. Them - The Angry Young Them
The best-titled album on this list follows the theme of loud proto-punk with the extra edge of being from perhaps the most war-torn city in the West. Well, that and a musical prodigy on lead vocals, harmonica, and sax. Morrison's credit for this cohesive band has left guitarist Billy Nicholls bitter, as seen in recent Ugly Things, and if you're curious about the justification of that just listen to this album. It's no joke.
As the years go, albums become more of an art and the game gets more competitive. It jsut gets better from here... for a while.
The "album era" begins in 1965. Barely. Still pretty tricky here in the beginning. I have no idea what the pace will be and for all I know my 2013 list could be done just on time. I wouldn't count on it, but I'll say this year has started off pretty well.
So, here's 1965. This is the format.
1. The Beatles - Rubber Soul
The album era begins here. Brian Wilson was not the only one to marvel at the existence of a LP's worth of top-notch original tunes, even though he came pretty close himself. Many consider this the Beatles' best and those people have a pretty good point. It's solid and I'm wasting my time talking about the Beatles
2. Love - Love
Makes sense that the Sunset Strip band with the least hit singles also released the most solid LPs. The first one in fact. Anyone paying attention knew that Love had as much or more to offer than any other band in LA, enough to make the progression of that scene seem like a disappointment. Love's eclectic sound, energy and songwriting bursts out immediately in an record that dramatically surpassed what probably everyone but the band members would have expected.
3. The Kinks - The Kink Kontroversy
People give the Beatles all the credit for the birth of the perfect rock record, but something was in the air and all the best bands took a big step this year. It's the Kinks at their peak, so what more could you ask for in an album?
4. The Beach Boys - Today!
Brian did it too, of course. This one is the most solid so far and like most of the others on this list, the album captures a great band at their best with no gaps in between. Songs like "When I Grow Up" begin Brian's tragic fall into eternal childhood that would make his music transcendent for the next few years. So good the demons had to take it down a notch.
5. The Remains - The Remains
Boston's (Barry &) The Remains remain one of the best stories in rock history. They opened for the Beatles on their final US tour. Were shamed by their home city for moving to New York, and are one of the first bands to use the world's best lineup of the guitar, bass, drums, keyboard quartet. While they have even better material out there we are truly blessed to have an original LP worthy of their legend.
6. The Byrds - Mr. Tambourine Man
Many write off the Byrds' early albums as spotty collections of strong singles and they have a point (the B-sides being some of their best works). However, it's not well proven on this one. Maybe the best American group of their era it's almost a threat to call them spotty at this time. Their best material had been built up and they lay it out quickly on the debut making it an exciting listen that set the very high standard of folk rock. The band has the harmonies, the songwriting, and the dynamic rarely contended that gave American's all the inspiration they needed in subsequent years.
7. The Sonics - Here are the Sonics!!
If The Dave Clark Five were a grunge band who could put together a decent LP this would be it. This is, to my knowledge the loudest, heaviest album that existed in the world at the time of its release and well into the next year (guess what's coming up). The songs are as great with the likes of "The Witch" and "Psycho" still defining fun rock today.
8. The Pretty Things - The Pretty Things
The Pretties are to the Stones as the Stones are to the Beatles and debut with this largely unnoticed package of punk R&B that became the calling card of all true rock 'n' rollers. The future begins here.
9. Bob Dylan - Bringing It All Back Home
Dylan slowly goes electric, being a part of the 60s greatest gift to the world: Folk rock. Still largely in the acoustic sound, things do start getting heavier and rockier. Like the Beatles you can't deny anything about Dylan's massively positive influence. After all many of these songs do appear in superior forms in the following years. Look no further than other albums on these lists. They may all be there.
10. Them - The Angry Young Them
The best-titled album on this list follows the theme of loud proto-punk with the extra edge of being from perhaps the most war-torn city in the West. Well, that and a musical prodigy on lead vocals, harmonica, and sax. Morrison's credit for this cohesive band has left guitarist Billy Nicholls bitter, as seen in recent Ugly Things, and if you're curious about the justification of that just listen to this album. It's no joke.
As the years go, albums become more of an art and the game gets more competitive. It jsut gets better from here... for a while.
Monday, March 4, 2013
Complete Separation: After the Astronaut
The Butthole Surfers have been one of my favorite bands for most of my life. That could be an exaggeration or overstatement, but "roughly half, at least" is certainly true. The peak of my interest in them was in the summer of 2001, so my fourteen year-old heart was pumping wildly in anticipation for The Weird Revolution, particularly after shelling out the hard-saved and snuck-away dough on the Mission: Impossible II soundtrack for "They Came In."
At the time, I managed to convince myself that The Weird Revolution wasn't a total pile of garbage that justifies their lack of new material for the last twelve years, but that didn't even last long. Anyone else who has heard that album would much rather forget as well. It's like a no-easy-excuse Squeeze. Yet, despite all that it came out of an album that was quite good. Although I'm one of the few that will endorse 1991's Pioughd I would go so far as to say this is their best album of the 90s. It is, in fact their best album since Locust Abortion Technician... maybe. Either way, it has more in common with that one than it does Independent Worm Saloon or even Electriclarryland.
Most of these songs appeared in vastly inferior form in 2001, such as "They Came In" which set some (maybe just my) expectations too high on the M:I2 soundtrack, and the more absurd, less discomforting "Weird Revolution." "Jet Fighter," likewise appears in a more dramatic, yet also sincere form making it one of the album's best tracks. However the tracks which would not make it to the revised version are most memorable with tracks like "I Don't Have a Problem" and "Junky Jenny in Gaytown" hearkening back to their 80s peak, with the latter being something of a new take on "Kuntz." This was the last recorded evidence of the Buttholes sounding like themselves, and the first in a long time. It's truly "Turkey and Dressing." Find it. I did.
The Butthole Surfers - After the Astronaut (1998)
Thursday, January 10, 2013
Like Old Times: 2004
Here at my mother's house I found two mixes from late 2004. This is basically an excuse to show off how cool I was when I was young. So, I recommend any 17 year old reading this to go shoplift some Robitussin, listen to these tunes, and ENJOY YOURSELF like we used to here in Basking Ridge.
The numbers were assigned at the time of creation:
1:
2:
The numbers were assigned at the time of creation:
1:
- Old Familiar Way - Of Montreal
- Le Femme d'Argent - AIR
- Katonah - Apollo Sunshine
- Web in Front - The Archers of Loaf
- Give it a Name - At the Drive-In
- The State I Am In - Belle & Sebastian
- In the Morning - Built to Spill
- Five Years - David Bowie
- Christine's Tune - Flying Burrito Bros.
- Jet Generation - Guitar Wolf
- All Downhill From Here - Jim O'Rourke
- Care of Cell 44 - The Zombies
- Everything In Its Right Place - Radiohead
- At Least That's What you Said - Wilco
- Melody - Serge Gainsbourg
- My Name is Jonas - Weezer
- Graveyard Shift - Uncle Tupelo
- Ladies and Gentleman We Are Floating in Space - Spiritualized
- Good Dancers - The Sleepy Jackson
2:
- Birds - The Butthole Surfers
- Initials B.B. - Serge Gainsbourg
- Silence Kit - Pavement
- Jonathan David - Belle & Sebastian
- Gallo Gallo - NEU!
- A Message to You Rudy - The Specials
- Roadrunner - The Modern Lovers
- Like a Rolling Stone - Bob Dylan
- Alone Again Or - LoVE
- Strange - Built to Spill
- Seems So - The Apples in Stereo
- I Am Trying to Break Your Heart - Wilco
- Electronic Performers - AIR
- You Ain't Going Nowhere - The Byrds
- Rascuache - At the Drive-In
- The Freed Pig - SeBADoh
- Old Familiar Way - Of Montreal
- Race for the Prize (Remix) - The Flaming Lips
- Tram #7 to Heaven - Jens Lekman
Thursday, January 3, 2013
The Hipster Handbook turns 10.
Dig out your old copy and enjoy!
Monday, December 24, 2012
The 2012 Playlist
2. Tyson's High School - Guided By Voices
3. No.1 Against The Rush - Liars
4. The End Of The World Is Bigger Than Love - Jens Lekman
5. Freaking Out the Neighborhood - Mac Demarco
6. The Unpaid Extras - Spencer Owen
7. Shallows - The Mallard
8. Waving At Airplanes - Guided By Voices
9. Applesauce - Animal Collective Centipede Hz
10. Temple Of Unfed Fire - Pepe Deluxé
11. Point of You - Super River
12. In The Dark - Nite Jewel
13. Moving Like Mike - Mac DeMarco
14. Radiation - Sunfighter Sweet Machine
15. Is This The Best Spot - Ariel Pink's Haunted Graffiti
16. Traveling - Tennis Young And Old
17. Scarf - Colin O'Brien-Lux
18. All Of This Will Go - Guided By Voices
Sorry my technology is not good enough to have it to you. It's all pretty obvious stuff, and if it's not you can probably download it for free on bandcamp. If you know me personally I'll hook you up.
Also, didn't mention reissues at all this year. They're pretty much all I buy, but I never keep track of their dates. The Trypes Music For Neighbors is essential. Best thing I bought this year, maybe ever. If you're like me and grew up in suburban New Jersey you need to get it RIGHT NOW. If not you don't have to rush as much, but shouldn't waste any time.
Yes, you can also expect an all Guided by Voices list, what I would hope would have been the case if they only released on LP this year.
Thursday, December 6, 2012
End of the Year Lists
So as always there's a lot I haven't check out yet. Guess what they are... Odd thing is this year really made me believe in new music, but it was mostly because of albums from other years. Especially last year. Last year was amazing, wish I noticed more at the time. This year, pretty good, but not as good. Doing a rush job as always.
Top 10 albums:
1. Super River - This One Reminds Me the Most of Us
Yeah, so what if my favorite album of the year is my own band's. I'm not gonna try to fool anyone into thinking otherwise.
2. Guided By Voices - The Bears For Lunch
3. Mac DeMarco - 2
4. Sunfighter - Sweet Machine
Not gonna pretend about my friends either.
5. Ariel Pink's Haunted Graffiti - Mature Themes
6. Animal Collective - Centipede Hz
Yeah, it's their weakest in a while, but still great, no need to be so harsh, everyone!
7. The Mallard - Yes On Blood
I hope they'll finally admit they're way better than Thee Oh Sees now.
8. Mac DeMarco - Rock and Roll Night Club
9. Guided By Voices - Class Clown Spots a UFO
This one has their best songs of the year.
10. Tame Impala - Lonerism
Top 5 Songs:
1. Guided by Voices - "All of This Will Go"
2. Super River - "Origami Heart" - not sure if I'm just being modest here, though.
3. Animal Collective - "Applesauce"
4. Swans - "The Seer"
5. Nite Jewel - "In The Dark"
These lists mean nothing. The best show I went to this year (or ever) was BIG (now Ewox)/Johnny's Retirement Fund in my living room.
Top 10 albums:
Yeah, so what if my favorite album of the year is my own band's. I'm not gonna try to fool anyone into thinking otherwise.
2. Guided By Voices - The Bears For Lunch
3. Mac DeMarco - 2
4. Sunfighter - Sweet Machine
Not gonna pretend about my friends either.
5. Ariel Pink's Haunted Graffiti - Mature Themes
6. Animal Collective - Centipede Hz
Yeah, it's their weakest in a while, but still great, no need to be so harsh, everyone!
7. The Mallard - Yes On Blood
I hope they'll finally admit they're way better than Thee Oh Sees now.
8. Mac DeMarco - Rock and Roll Night Club
9. Guided By Voices - Class Clown Spots a UFO
This one has their best songs of the year.
10. Tame Impala - Lonerism
Top 5 Songs:
2. Super River - "Origami Heart" - not sure if I'm just being modest here, though.
3. Animal Collective - "Applesauce"
4. Swans - "The Seer"
5. Nite Jewel - "In The Dark"
These lists mean nothing. The best show I went to this year (or ever) was BIG (now Ewox)/Johnny's Retirement Fund in my living room.
Tuesday, October 2, 2012
Animal Collective at the Hollywood Bowl
Took a while to get to this since I was busy the past week with AMAZING, unreviewable shows by Ewox, the Darflers, Sunfighter, Super River, the Spencer Owen Limited, The Midnite Snackers, The Buttgays, Spacehook, and an all-star group featuring myself, Kathryne Dameron, Alex Heerman, Miles Marsico, Alex Halitsis, Theresa Rife, and Danielle Peña.
So then the weekend before...
I didn't catch all of the first act, Huun Huur Tu, but what I saw was pretty incredible. The Central Asian group had a droning sound that mixed traditional music with the future. It was very easy to see why the members of the headlining group like them so much. The first song featured an electronics guest we nicknamed "DJ Barack Obama" because of his appearance. That part was real cool, but the rest of the set was no less future-oriented.
Flying Lotus is an artist that doesn't make my kind of music. Despite this I like most of what I had heard prior to the set, so my expectations were sort of high. I don't think he's really ideal for such a large venue, and I am certain I would have enjoyed his set much more in a smaller, more danceable venue. It had some really cool moments, but I found there to be too many dramatic changes, especially in the way of getting a groove going. Some of his bass sounds were linked to use of ecstasy, so as a drony bass player that turned me off ever trying that drug. That's the trouble with most new electronic music. However, his talent is evident, and as a local it was exciting to see him play the Bowl for the first time. His light show was quite good at times too, perhaps even more consistently than the headliner's.
If you can believe it, this was the first time I had seen Animal Collective after many years of being a fan. I instantly regretted all the times I missed out on them in smaller venues, but this show had its own set of privileges. You will seldom get the chance to see this band with such a familiar set list. There was only one new song, which I can't really remember. Most of the new record was played, and my appreciation for it grew, though not to the level of the previous four. Of those songs "Applesauce," "New Town Burnout" and the Deakin-sang "Wide Eyed" were the standouts. Their older material was represented better than I would have expected, particularly from Merriweather. The set opened with "Also Frightened" and not surprisingly "My Girls" was a major standout, but not as much as "Brother Sport" which also had the best light show. They dug out not only "Peacebone" (which sadly was brought down by the barely-believably obnoxious kids behind us), but also "Cobwebs."
I was glad to have Deakin onstage for my first Animal Collective show. His contributions on the Merriweather material was perfect, adding more to the arrangement without attracting any specific attention. Likewise, the shift to him on lead vocals made things flow even better. He played electronic percussion about as much as electric guitar. Other members (not Geologist of course) surprised me with their set-ups as well. Panda sat at a kit, though one far from traditional and very visible. However, he was seated the whole time. Avey wasn't close behind in that aspect. I had never thought of him as a keyboard player, but he was on them at least half the time, always seated, in addition to electric guitar.
As expected it was a near-perfect show, the only complaints I could give are the size of the venue and that there was too much sitting, both from the band and the audience.
So then the weekend before...
I didn't catch all of the first act, Huun Huur Tu, but what I saw was pretty incredible. The Central Asian group had a droning sound that mixed traditional music with the future. It was very easy to see why the members of the headlining group like them so much. The first song featured an electronics guest we nicknamed "DJ Barack Obama" because of his appearance. That part was real cool, but the rest of the set was no less future-oriented.
Flying Lotus is an artist that doesn't make my kind of music. Despite this I like most of what I had heard prior to the set, so my expectations were sort of high. I don't think he's really ideal for such a large venue, and I am certain I would have enjoyed his set much more in a smaller, more danceable venue. It had some really cool moments, but I found there to be too many dramatic changes, especially in the way of getting a groove going. Some of his bass sounds were linked to use of ecstasy, so as a drony bass player that turned me off ever trying that drug. That's the trouble with most new electronic music. However, his talent is evident, and as a local it was exciting to see him play the Bowl for the first time. His light show was quite good at times too, perhaps even more consistently than the headliner's.
If you can believe it, this was the first time I had seen Animal Collective after many years of being a fan. I instantly regretted all the times I missed out on them in smaller venues, but this show had its own set of privileges. You will seldom get the chance to see this band with such a familiar set list. There was only one new song, which I can't really remember. Most of the new record was played, and my appreciation for it grew, though not to the level of the previous four. Of those songs "Applesauce," "New Town Burnout" and the Deakin-sang "Wide Eyed" were the standouts. Their older material was represented better than I would have expected, particularly from Merriweather. The set opened with "Also Frightened" and not surprisingly "My Girls" was a major standout, but not as much as "Brother Sport" which also had the best light show. They dug out not only "Peacebone" (which sadly was brought down by the barely-believably obnoxious kids behind us), but also "Cobwebs."
I was glad to have Deakin onstage for my first Animal Collective show. His contributions on the Merriweather material was perfect, adding more to the arrangement without attracting any specific attention. Likewise, the shift to him on lead vocals made things flow even better. He played electronic percussion about as much as electric guitar. Other members (not Geologist of course) surprised me with their set-ups as well. Panda sat at a kit, though one far from traditional and very visible. However, he was seated the whole time. Avey wasn't close behind in that aspect. I had never thought of him as a keyboard player, but he was on them at least half the time, always seated, in addition to electric guitar.
As expected it was a near-perfect show, the only complaints I could give are the size of the venue and that there was too much sitting, both from the band and the audience.
Thursday, September 13, 2012
THE WITHERS/PEOPLE'S TEMPLE/BLANK TAPES
Firstly, I don't review local bands so no comment on the Withers in this forum.
People's Temple come from Lansing, Michigan which I would have seen as a good sign if they hadn't already been commanding the stage before announcing that. As I found out after buying both their LP and latest single they are comprised of two sets of brothers which brings me to my one detraction that they were a bit too masculine. Nothing wrong with that, especially when you never stop or slow down. This band had me hooked pretty much the entire time. Looking and sounding like everything great about the 70s their tight energetic hard rock ran the gamut from funky kraut to glammy new wave and everywhere in between. It would be unfair to call the lead guitarist the standout, but his unique Les Paul style was something to behold especially when simultaneously evoking Dick Dale and Phil Manzanera. The drumming was relentless in it's power and as Miles commented, the player reminded him of Grant Hart at his peak. The songs made you move while frying your brain which is really what I look for most in a band. Towards the end of the set there was one real stinker though that made me question if I had even liked them up to that point despite witnessing the best harmonica playing of my life mere moments before. I don't know what happened but they recovered and solidified their status as the best 70s rock band you will live to see.
I didn't stick around for much of Blank Tapes for personal reasons, but that's okay. They were from San Francisco and it was really obvious. In fact they should be called "Four Nice Kids from San Francisco," but then no one would see them. The bassist wore a goofy hat and played a violin bass, the girl played a snare and floor tom with mallets and the twang in her voice wasn't sincere. The guy playing a hollow body guitar was a better vocalist, but the whole thing was just too light. Then there was a guy with glasses and one tambourine in the back.
I haven't listened to the People's Temple records yet, but that will change soon. Either way they are to the 70s what the Brian Jonestown Massacre was to the 60s.
People's Temple come from Lansing, Michigan which I would have seen as a good sign if they hadn't already been commanding the stage before announcing that. As I found out after buying both their LP and latest single they are comprised of two sets of brothers which brings me to my one detraction that they were a bit too masculine. Nothing wrong with that, especially when you never stop or slow down. This band had me hooked pretty much the entire time. Looking and sounding like everything great about the 70s their tight energetic hard rock ran the gamut from funky kraut to glammy new wave and everywhere in between. It would be unfair to call the lead guitarist the standout, but his unique Les Paul style was something to behold especially when simultaneously evoking Dick Dale and Phil Manzanera. The drumming was relentless in it's power and as Miles commented, the player reminded him of Grant Hart at his peak. The songs made you move while frying your brain which is really what I look for most in a band. Towards the end of the set there was one real stinker though that made me question if I had even liked them up to that point despite witnessing the best harmonica playing of my life mere moments before. I don't know what happened but they recovered and solidified their status as the best 70s rock band you will live to see.
I didn't stick around for much of Blank Tapes for personal reasons, but that's okay. They were from San Francisco and it was really obvious. In fact they should be called "Four Nice Kids from San Francisco," but then no one would see them. The bassist wore a goofy hat and played a violin bass, the girl played a snare and floor tom with mallets and the twang in her voice wasn't sincere. The guy playing a hollow body guitar was a better vocalist, but the whole thing was just too light. Then there was a guy with glasses and one tambourine in the back.
I haven't listened to the People's Temple records yet, but that will change soon. Either way they are to the 70s what the Brian Jonestown Massacre was to the 60s.
Wednesday, September 12, 2012
The Mallard with Thee Oh Sees and Sic Alps 9/9/12
Wow, it's been a real long time since I posted, but it takes a lot to motivate me away from my own band Super River which has occupied most of my time for the past year.
So I went to this show with three of my band mates Sunday night. We missed the first band that played. I heard they were good, but that came from someone whose taste I question. We were planning to miss the second band as well, but thank god that didn't happen.
The curtain went up at the El Rey and the four-piece was lined up in a row. Apparently they don't do that all the time which is disappointing but immediately my eyes were locked on their drummer despite him being flanked by two beautiful women slinging guitars. His beats and motion were unlike anything else I've seen, innovative, clean, yet painful. It helped that everything else about this band was great. They had a cohesive noisy sound with by far the best energy and songwriting I saw all night. While performing they were such a single unit it was impossible to tell if they even had a single leader. I found out later it's frontwoman/guitarist/songwriter/engineer Greer McGettrick, but what can you do? The rest of the band was no less talented, especially evident after lead guitarist and bassist switched instruments and revealed themselves to be better in the latter role. We seemed to be the only people in the audience who got it, sadly, despite for the relatives of one member standing near us. Well with that crowd what could you expect...
The Sic Alps were revealed and their hippie-ish lead guitarist stuck out the most. His playing was one of the best parts, but who cares? The singer and drummer were both wearing baseball caps which begged the comparison to the Beastie Boys. It was embarrassing, especially after I heard that the band used to just be the two of them. So apparently they used to not have a bass player. More on that later... Bottom line they lacked any essence, I couldn't even tell what they were going for. None of us could! I may have thought they were okay apart from the aesthetic if I hadn't just seen the Mallard, but I was the lucky one, not them.
Then there was Thee Oh Sees. For years this band had never connected with me. I had just been waiting them to be my next Deerhunter and finally catch up and hear what I'd been missing. Turns out I wasn't missing a thing. Judging by the crowd's reaction, the band's energy and enthusiasm, and the tightness of the songs I am certain this was not just an "off night."
If I hadn't already known that this "band" was a product of the god-awful New England hardcore scene of yore I would have known it instantly. It's like ska, even if you move to SF and drop a lot of acid that's still what you are. Then I see there's no bass player, just some skinhead with a guitar and an octave pedal playing repeated bass lines like a machine. Wow. This review should end there. It's almost always the worst choice to not have a bass player (local newcomers Spaceships suggest otherwise), but if you're gonna cut it at least CUT IT. So I stood there for hours of this hardcore kid soloing while his backing band did a job that could be done more easily with Fruity Loops. This band I from now on will describe as "The Olive Garden of Psychedelia" was actually more boring live than on their rushed, spotty records.
So basically buy the below record and forget the other two bands exist. If you're reading this I'm sure you don't have time for them.
So I went to this show with three of my band mates Sunday night. We missed the first band that played. I heard they were good, but that came from someone whose taste I question. We were planning to miss the second band as well, but thank god that didn't happen.
The curtain went up at the El Rey and the four-piece was lined up in a row. Apparently they don't do that all the time which is disappointing but immediately my eyes were locked on their drummer despite him being flanked by two beautiful women slinging guitars. His beats and motion were unlike anything else I've seen, innovative, clean, yet painful. It helped that everything else about this band was great. They had a cohesive noisy sound with by far the best energy and songwriting I saw all night. While performing they were such a single unit it was impossible to tell if they even had a single leader. I found out later it's frontwoman/guitarist/songwriter/engineer Greer McGettrick, but what can you do? The rest of the band was no less talented, especially evident after lead guitarist and bassist switched instruments and revealed themselves to be better in the latter role. We seemed to be the only people in the audience who got it, sadly, despite for the relatives of one member standing near us. Well with that crowd what could you expect...
The Sic Alps were revealed and their hippie-ish lead guitarist stuck out the most. His playing was one of the best parts, but who cares? The singer and drummer were both wearing baseball caps which begged the comparison to the Beastie Boys. It was embarrassing, especially after I heard that the band used to just be the two of them. So apparently they used to not have a bass player. More on that later... Bottom line they lacked any essence, I couldn't even tell what they were going for. None of us could! I may have thought they were okay apart from the aesthetic if I hadn't just seen the Mallard, but I was the lucky one, not them.
Then there was Thee Oh Sees. For years this band had never connected with me. I had just been waiting them to be my next Deerhunter and finally catch up and hear what I'd been missing. Turns out I wasn't missing a thing. Judging by the crowd's reaction, the band's energy and enthusiasm, and the tightness of the songs I am certain this was not just an "off night."
If I hadn't already known that this "band" was a product of the god-awful New England hardcore scene of yore I would have known it instantly. It's like ska, even if you move to SF and drop a lot of acid that's still what you are. Then I see there's no bass player, just some skinhead with a guitar and an octave pedal playing repeated bass lines like a machine. Wow. This review should end there. It's almost always the worst choice to not have a bass player (local newcomers Spaceships suggest otherwise), but if you're gonna cut it at least CUT IT. So I stood there for hours of this hardcore kid soloing while his backing band did a job that could be done more easily with Fruity Loops. This band I from now on will describe as "The Olive Garden of Psychedelia" was actually more boring live than on their rushed, spotty records.
So basically buy the below record and forget the other two bands exist. If you're reading this I'm sure you don't have time for them.
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