What was the last album you listened to?

vbimport

#3868

So lets start the day with a little punk rock, and what better to listen to some Bad Religion, a band that is one of the few punk/rock bands that I like (the other one is called Ramones and i am sure the know one knows them :bigsmile: ), so here is todays play list starting with suffer, and moving on to no control and ending with what i consider my favorite, recipe for hate.


#3869

and i am sure the know one knows them :bigsmile:

Any nutcase would, at least one who grew up during the '70s in an atmosphere covering any rock related style and then some :bigsmile:
Tbh, I have the two first on vinyl and then initially lost them until '94 when I did catch up with them again after discovering Pennywise which I presented the record ‘About Time’ from a page or so ago… and of course found the three albums above which I have on CD.
It doesn’t stop there, but avoiding the bleeding obvious includes, New York Dolls, Dead Kennedy’s, Sham69 etc. etc. etc.
Ramones! Yep, go back and listen to them totally unbiased… Do you hear what I hear? They owe loads to surf music of the late sixties! - Love 'em though :wink:

I have always been a sucker for New Wave, even Punk (most aggressive, groovy, art, stylized, whatever rock related music really, it is only the last 20 or so years I have seriously dived into all the other styles and genres and developed the hobby music historian I am today by deep diving into catalogs and plowing genres).

Now, to compliment that pick, here’s one oddity - A Norwegian-Polish Alternative Rock/New Wave act (sung in Polish by Andrej Nebb).

[B]De Press[/B] - [B]Block to Block[/B] (1981)

//youtu.be/Kq82UflNbn4

‘Bo jo cie kochom’ an immensely popular song in Norway back in '81/'82


#3870

Beach House - Depression Cherry. The best album that I have heard in a long time.

//youtu.be/Cy5MiOqarYs?t=16m37s


#3871

[QUOTE=Xercus;2770189]and i am sure the know one knows them [/QUOTE]

:o
Proof that i need coffee so that i can do the very basics, like typing.
here is the corrected??? phrase, and i am sure that no one knows them :p:p:p:p


#3872

Proof that i need coffee so that i can do the very basics, like typing.
here is the corrected??? phrase, and i am sure that no one knows them :p:p:p:p[/QUOTE]

:bigsmile:


#3873

I think you need absolutely no coffee “I am sure the know one knows them” is a very expressive line, simply does not come better :smiley:

The Wall is a very expressive album, and I love the successor as well. ‘The Final Cut’, while being political ‘of the day’ still stands rock solid until today… actually I love the Roger Waters era Pink Floyd as a whole. Then came a record which was good, ‘The Pros and Cons of Hitch-Hiking’, Eric Clapton on guitar and all, it still lacked a little magic. The next ‘Radio Chaos’ I never have figured out and subsequently filed under ‘unnecessary releases’. Then it all clicked in place…

[B]Roger Waters[/B] - [B]Amused to Death[/B] (1992)

//youtu.be/UPMD9x6lDWc

A very welcome return to past glory imo and the only worthy follow up to his ‘[I]magnum opus[/I]’ ‘The Wall’. While the latter told a story of the past and the chain of events leading up to it, ‘Amused to Death’ imagine a future where the human race has almost amused itself to death and oblivion by watching too much TV.
In the world of today world where movies and social media seem to be our lullaby, I find that his line “Give any one species too much rope and they’ll fuck it up” amuses me to death :wink:


#3874

^agree about Pink Floyd and Roger Waters, except that I do enjoy Radio K.A.O.S. :slight_smile:
I think I have all the regular albums starting with Dark Side of the Moon with the exception of the 2014 Endless Rivers album.


#3875

[QUOTE=DrageMester;2770203]^agree about Pink Floyd and Roger Waters, except that I do enjoy Radio K.A.O.S. :slight_smile:
I think I have all the regular albums starting with Dark Side of the Moon with the exception of the 2014 Endless Rivers album.[/QUOTE]

You need at least ‘Obscured by Clouds’ from the year before ‘Dark side’ added to that collection as it leads up to it. Personally, I got the entire collection x3 at least (I was dumb enough to buy the Discovery box as well)… and I love ‘Atom Heart Mother’ and ‘Meddle’ too. A tad more uneven earlier than that.
Fast forward to post Roger Waters era and I can sum the studio part up in one album… ‘The Division Bell’ :flower:


#3876

[QUOTE=pepst;2770190]Beach House - Depression Cherry. The best album that I have heard in a long time.[/QUOTE]

Thanks pepst, Last record I heard was ‘Devotion’ from 2007 or 2008 so not exactly up-to-date.

Oooh, waking up to dream-pop is like waking into another dream, awake but asleep. Track one ‘Levitation’ was a challenge just before 6AM, but by the time ‘Sparks’ take over I still find I am somewhat awake and then ‘Space Song’ brings a nice melody that is a slow morning worthy.
O.k, awake - good :slight_smile:
Layers of lush sound? Not really, it is dreamy, but there is a good sense in simple melody-lines which blends in with the rest of the music. It is way more dreamy than ‘Devotion’ which has a much more acoustic feel to it, but ‘Depression Cherry’ do seem a natural evolution. Still, I prefer ‘Devotion’…

…then again, anything I write in this thread is only $00.02 worth and others may disagree - It’s not exactly science. In other words…

//youtu.be/WSLXEdI5ZVs


#3877

When it comes to metal* there are very few groups that the phrase “a step forward with every new album” makes sense,
and surely [B]Death[/B] is on of those bands, as I said, every new album was a step forward from the raw death metal of
scream bloody gore and leprosy, to the more technical spiritual healing and human, after that it was always a
step forward and mostly away from death metal, up to the very end with the last LP the sound of perseverance.

But I am only going to focus on Symbolic, an album that i think is the benchmark not only for the death metal fan but also to anyone that likes metal in general.
Not only great music but also at this point the lyrics were very good, away from the early horror and gore themes, it still scares me reading the lyrics from 1000 eyes.

Privacy and intimacy as we know it
Will be a memory
Among many to be passed down

Here the youtube link.

[B]*[/B]probably this also applies to other music genres.


#3878

I’d say you’re but a step away from a definition :wink:
“When it comes to music there are very few groups or artists that the phrase “a step forward with every new album” makes sense.” - and your home :bigsmile:

You know, dang! There are some years of your life you miss out on even music. Getting a child is one such leap of time and in my case, that means roughly 1996-2000. Add to it a year or two in other musical genres before that and I think I just may be able to explain it too…
I had heard ‘Scream Bloody Gore’ and ‘Leprosy’ and though ‘ok’ and then forgot all about Death… Until today that is when I started to listen to another so-so record I thought… Blasted my head off, dang what music! Naturally I have listened to ’ The Sound of Perseverance’ and found it yet another leap when compared to ‘Symbolic’.

:flower:


#3879

There will for most be a period early in your life when you are more accessible, like the years 7-15 (1972-1980) were for me.
I notice I am a little less critical when it comes to revisiting material from that period and have come to the conclusion that it all comes down to the memories attached to the music.

In the last part of that period, one album I still play at least twice a year is this:

[B]Various Artists[/B] - [B]Hair (Original Soundtrack Recording)[/B] (1979)

YouTube playlist

Of course, today I enjoy the Broadway version too, just not as much as there are quite some memories attached to it.

…and as likely as not, they managed to screw it up when it was released on CD. In an effort to squash it down to one CD, the songs ‘[B]Party music[/B]’ and ‘[B]My conviction[/B]’ were left out. Only years later, the original double vinyl was released as a proper 2CD.


#3880

Okay, Pink Floyd bowed out with ‘The Final Cut’ in 1983 - What a vacum! Hard to describe really unless you were there when it happened, What now?
Well it may have been the emptiness left behind, but it became rather popular in Norway and ‘everybody’ tended to compare the release to Pink Floyd - Absolute rubbish of course, but Tony Carey manages to keep it all from getting too pretentious and Pink World is a curiously interesting work that has managed to achieve a certain cult status.

[B]Planet P Project[/B] - [B][B]Pink World[/B][/B] (1984)

//youtu.be/xNqSNmSx9uI

Like the first Planet P Project, the music comes with an emphasis on synthesizers with a good dose of guitar giving the record appeal to rock fans. Pink World is a record full of solid melodies like the surging title cut “Pink World”, the brooding “What I See”, and the more folk related “A Boy Who Can’t Talk”.

The album tells a dystopian story of a group of people who were sheltered from nuclear attack in an area called the Zone, which itself was created through the psychic powers of a speechless seven-year-old boy named Artemus (spelled both “Artemus” and “Artemis” in the lyrics in the CD booklet), or Artie. These supernatural powers came to the boy following exposure to polluted water in a lifeless river, which flows past a factory that makes household goods. In addition to gaining numerous psychic powers, including psychokinesis and clairvoyance, the boy is condemned to live forever, and he prevents any of the inhabitants of the Zone from aging physically.

Artemus is held by officials of an unnamed government (the nation had an arsenal of Cruise Missiles and Minutemen, though the United States is not directly named) who fear his powers yet want to use them militarily. As part of this plan, they persuade him to construct the Zone, and they present him to the people as an inspiring nationalistic symbol. Once the Zone is completed, the government launches a first strike nuclear attack against an unnamed foe. From that point on, life for the survivors in the Zone becomes distinctly Orwellian, revolving around the will of the omnipresent Artemus, who is accepted by the people as a benevolent messianic figure. The boy can read the thoughts of anyone in the Zone, and the people find that comforting. He has absolute power, though he is influenced by flattery to enforce the will of the government officials. Throughout much of the story, Artemus is confused and unsure of what he should do, which adds to his vulnerability to official leadership.

The story concludes with Artemus vanishing from the Zone, leaving behind only a “little pink pool” and a basket at the orphanage, a “baby at the door.” The barriers enclosing the Zone begin to fade, and the fearful inhabitants realize they no longer need him.


#3881

Going back to what I listened to yesterday, The Clash. No it was not ‘London Calling’, but its lesser known successor.

[B]The Clash[/B] - [B]Sandinista![/B] (1980) {Yep, I do suffer from chronologic heart disease} :bigsmile:

https://www.youtube.com/watch?v=HnSQFaHvxTI&list=PLw8I74P--tlVmX53NXBA_YtzoovpSfdlU

Good pick :clap: Prompted me to listen to:

[B]The Clash[/B] - London Calling


#3882

[B]The Rocky Horror Show: The Whole Gory Story[/B]

This was the only complete cast recording released. It isn’t the original cast - that was only released as selected songs - and was recorded for audio release (i.e. is not a live show performance).

Originally to be called ‘The Rocky Horror Radio Show’, it features the cast of the 1990-91 UK revival. With [B]Tim McInnerny[/B] as Frank N. Furter, [B]Gina Bellman [/B]as Janet Weiss, [B]Edward Tudor-Pole [/B]as Riff Raff and [B]Adrian Edmonson [/B]as Brad Majors. (Watching Blackadder will never be the same again ;))

The singing can’t match the stellar cast of The Rocky Horror Picture Show, and one must overlook the heresy of Rock speaking! (A necessary compromise for it to work as a purely audio show.)

But personally I rather like it. It has more character than the RHPS audio release, even the singing. And having the whole show, not just selected songs, makes a huge difference to the experience. Many complained about Gina Bellman’s ‘kooky’ Janet, but I don’t think it was a deliberate affectation - that’s just how she is (see Coupling).

It also brings back memories from my first day of high school and a genuinely terrified biology teacher. :bigsmile: (Nothing to do with me, honest!)

//youtu.be/KoaKIz2uVyE


#3883

“It is true to say that The Beatles revolutionised rock music like no other act has done before or since.
Indeed, that sea-change of influence was perhaps more keenly felt in the U.S. than in the U.K., jump starting the careers of literally thousands of bands, from New York to Los Angeles and all points in between.
It also heralded the arrival of the Boston sound, a scene built around local Boston club bands keen to emulate the Beatles popularity. It was an influence that permeated well into the 70s and something that was not lost on one of Boston’s finest exports, New England.
Formed in the late seventies, and handled by Kiss manager Bill Aucoin, this four piece unit issued one of the finest debut albums of all time, on the ultimately ill-fated Infinity label before switching allegiance to Elektra Records for this, their second album.
Produced by Mike Stone (Journey, Queen, Asia) and originally issued in 1980, ‘Explorer Suite’ undoubtedly takes its starting point from the Beatles, but thoughtfully fuel-injects a heavy, melodic rock element comparable to the greatest pomp rock acts of the era.
Reference points include Styx, Electric Light Orchestra, The Cars, Cheap Trick and, as previously mentioned, the Beatles. Crammed full of incredibly energetic songs such as ‘Livin In The Eighties’, ‘Honey Money’, ‘Searchin’ and ‘Hey You’re On The Run’, New England’s penchant for melody was obviously second to none.
Truly one of the most talented groups of their time.”

[B]New England[/B] - [B]Explorer Suite[/B] (1980)

//youtu.be/x1bDq3ucoP8


#3884

Sunday again and so why not revisit some slow music. Synth music of the '80s that is :slight_smile:

Frank Duval have worked in the broadcast industry on soundtracks and musicals since 1965, but it was not until 1977 that he found his true calling: writing and producing musical scores to TV series, of which the 120+ episodes long ‘Derrick’ is the most notable example.
First notable hit, the title cut from ‘Angel of Mine’ released in 1981. I have listened to most of his catalog as part of a synth-genre projects some years ago and was left with one album that I still play.

[B]Frank Duval[/B] - [B]Living Like A Cry[/B] (1984)

//youtu.be/A5fW8vSlBzk


#3885

[B]Savatage[/B] - Edge of thorns & Wake of the Magellan


#3886

Still Sunday, and I am dwelling in a slow corner with my headphones on and currently play this record…
They must have thought he was out of his mind, and many tried to put him off this project. However, Willie Nelson is not your average ‘anybody’, went through with the project and created a true classic in the process.

[B]Willie Nelson[/B] - [B]Stardust[/B] (1978)

YouTube playlist

I usually say that you either love or love to hate listening to Willie Nelson because of his characteristic voice, but I have long since ventured past that and have found a remarkable artist and father of songs among many others not in the Country genre at all like Patsy Cline’s ‘Crazy’.
The album consists entirely of pop standards, originally 10 tracks. A reissue was made in 1999, with two previously unreleased tracks. In 2003, the album was ranked number 257 on Rolling Stone magazine’s list of the 500 greatest albums of all time. The album stayed on the Billboard Country Album charts from the time of its release in 1978 until 1988. I guess they did not try to put him off his current release ‘Summertime: Willie Nelson plays Gershwin’ which extends his multi-genre chart history and debuted at No. 1 on both the Billboard Traditional Jazz Albums and overall Jazz Albums charts. :smiley:

[B]Tracklist[/B]:

01.     Stardust -(Hoagy Carmichael, Mitchell Parish)                 
02.     Georgia On My Mind -(Hoagy Carmichael, Stuart Gorrell)                 
03.     Blue Skies -(Irving Berlin)                 
04.     All Of Me -(Seymour Simons, Gerald Marks)                 
05.     Unchained Melody -(Hy Zaret, Alex North)                 
06.     September Song -(Kurt Weill, Maxwell Anderson)                 
07.     On The Sunny Side Of The Street -(Dorothy Fields, Jimmy McHugh)                 
08.     Moonlight In Vermont -(John Blackburn, Karl Suessdorf)                 
09.     Don’t Get Around Much Anymore -(Duke Ellington, Bob Russell)                 
10.     Someone To Watch Over Me -(George Gershwin, Ira Gershwin)                 
        [B]**Bonus tracks only found on the 1999 reissue**[/B]
11.     Scarlet Ribbons -(J. Segal, Evelyn Danzig)                 
12.     I Can See Clearly Now -(Johnny Nash)

#3887

Sure you know at least her, even though the name Linda Perry may not sound familiar. She used to be vocalist in the group ‘[B]4 Non Blondes[/B]’ singing on the worldwide hit ‘[B]What’s Up[/B]’ back in 1992 from their only album ‘Bigger, Better, Faster, More!’.
She did release two albums as a solo artist, ‘In Flight’ from 1996 and ‘After Hours’ from 1999 before retiring from the artist career and becoming a much sought-after songwriter/producer for other artists. Then in 2011, together with Tony Tornay (drummer for a.o. Fatso Jetson) came this:

[B]Deep Dark Robot[/B] - [B]8 Songs About a Girl[/B] (2011)

//youtu.be/Iln5F1YOVoI

Linda Perry did not exactly hold back on anything for this release, using her relationship anxiety to pen eight distinctly personal songs for an album entirely about a woman-woman relationship.
‘8 Songs About a Girl’ is more than just musical and conceptual innovation, it’s also a love story. It’s a love story that impressed one of our generation’s best and most prolific songwriters into writing an entire album about…a girl. It’s at the core of it two people who really did want to be together…but just couldn’t.