In order for me to pass any judgement, I'll need to know what percent of writing he is credited for. I'll also need to know the details of the contract he has with the label. I suppose I'll need to know if he was paid upfront for his work, too.
These stories of musicians feeling like they are entitled to more $ than they receive, are often missing key facts that would help the public understand where the money is really going.
EDIT: From allmusic.com; "Composed by Kevin Kadish / Meghan Trainor"
Because KISS are a highly influential heavy metal band.
To downvotesr: Heavy metal is a sub genre of rock. Yes, KISS are a rock band, but some of their music is definitely heavy metal: http://www.allmusic.com/artist/kiss-mn0000084209
Never forget: Creedance Clearwater Revival is from El Cerrito. Before they became famous as CCR, however, they were known as The Golliwogs and featured Tom Fogerty on lead vocals. It wasn't until John Fogerty took the lead role and the band changed names that they hit it big with their "...concise synthesis of rockabilly, swamp pop, R&B, and country."
Now, I'm not saying you need to change your name and get a new singer, but do remember that you are in a new place and have a perfect opportunity to re-invent yourself. That person you are in job interviews? Be her everywhere. Be awesome.
Carbon copy is probably the wrong term for it but self-referential material is hardly a pop-music crime. In this case it's entirely possible that this was written after it was decided that "All About That Bass" was to be released as a single. And if she's writing her own songs (stories have indicated as much but her AllMusic profile for the record is pretty intense. I mean, who really claps on their own album? http://www.allmusic.com/album/title-mw0002769775/credits) she's already a step or two above the rest.
Harmless and pop. And as said by another poster, "let's twist again like we did last Summer."
I just defended Meghan Trainor. I think I need a shower.
So would the main difference between Cash playing the prisons and Metallica playing a prison be the amount of fame and solidarity in their career?
Like you said, Cash was generally unestablished as an artist and playing these shows because of his mental association with the inmates. Metallica played because San Quentin is close to their hometown of San Francisco. If Metallica had been a more underground band at the time (they had already released albums up through St Anger and had won 6 Grammys by that point), in the same way Cash was, would there have been more controversy with this performance?
B.B. King, blues guitarist, also recorded a live album at SQ, aptly titled Live at San Quentin. What was the backlash like when this album was released?
I found this guy - Paul David Wells. I can only find one album to his credits, but it's a country album. The album and the first song are both called "Sounds Good To Me", and came out in 1990. Still looking for a sample or video. His daughter runs a Facebook page for him, may want to contact her there.
Edit: There's not much out there about my guy, but he did do a video for "Sounds Good To Me", there's a credit for it here.
Edit 2: I sent a message off to Paul's daughter to see if the video still exists anywhere. I don't want more gold if she sends it.
To be fair, Paul was probably the most musically gifted Beatle. Paul recorded the drums for Back in the USSR, if anyone's interested in giving his drumming a listen in the context of the Beatles.
Another good example, on Chaos and Creation in the Backyard Paul plays just about every instrument.
Well according to this, at one point they played Mozart's Symphony No. 40 in about 26:38 but that was with George Szell so maybe it's gotten faster.
Apparently the kids on /r/trees don't appreciate jazz, so I cross-posted this here instead.
>Dope & Glory: Reefer Songs is a collection of '30s and '40s vocal jazz music with marijuana as the single defining theme. New Orleans, the original reefer city, is represented here through Louis Armstrong among others, and Chicago and the jive culture center of Harlem are conjured and referenced by the likes of the archetypal "reefer man," Milton "Mezz" Mezzrow. Marijuana is mentioned in every song, whether as "reefer," "jive," "weed," "viper," "golden leaf," or "Texas tea." There's a certain levity to hearing Julia Lee sing about trying "spinach" in "Spinach Song," or the grooviness of Cab Calloway's semi-sinister "The Man From Harlem." But the jazz music on Dope and Glory stands on its own as sublime, uplifting, and influential regardless of the theme. For one thing, Dope and Glory proves how pervasive reefer culture was amid the jazz scene. Luminaries accepted by mainstream America -- like Benny Goodman ("Texas Tea Party"), Cab Calloway, Louis Armstrong, Nat King Cole ("Hit That Jive Back"), and Tommy Dorsey -- appear throughout the collection.
According to hip hop legend, Snoop wrote most of The Chronic, at least his and Dre's parts. According to this, Snoop at least wrote on every song but 3 out of the 16 tracks (1 of which he didn't write on is a skit)...and he was featured on 11 songs, also, he's the only writing credit on "Nuthin But a G Thang". Dr. Dre wrote on 11 tracks, which means Snoop had 2 more writing credits on Dr. Dre's album than Dr. Dre. So, take it for what it's worth.
I'm a big fan of the movie, as well. I enjoyed that it didn't romanticize paganism in any kind of way. These are people putting toads in their mouths to cure sore throats and killing people to prevent crop failure. I'm not saying that Christianity was an improvement or anything, only that the ancient heathens weren't crystals, rainbows, and lollypops, you know?
It's hard to find a movie that strikes these same chords, but I'd recommend "Black Death": a historical dark fantasy film starring Sean Bean. Trailer here.
Finally, if you really want to keep the party going, you should buy the soundtrack. I listen to it a good bit.
An aside: I played a druid based on Lord Summerisle in the last D&D game I participated in. The DM had set it in Ravenloft, the demi-plane of horror, so an arrogant, manipulative druid with a yen for human sacrifice fit in with very few problems.
The song is Jimi Hendrix - Who Knows from the Band of Gypsys album. Buddy Miles is on vocals with Jimi.
I have a great album for anyone interested, Early Blues Roots of Led Zeppelin. Basically, all of Led Zeppelin's most famous songs were originally blues licks from the early 20th century. When the levee breaks, Nobody's Fault But Mine, Gallows Pole, Travelling Riverside Blues to name a few.
Ketil Bjornstad's The Sea.
Bit of a story. Years ago, when I was still cool, I brought a girl home. Black girl. Beautiful. Younger by five years or so.
We smoked some weed and lay in the dark, listening to this album, and while holding her hand, I felt and heard her orgasm next to me.
I asked her about it and she said she did. She'd never experienced anything like that before. Not your typical "Chill", but there you go.
> I'm a music kinda gal.
Weeellll... Will Smith was famous as half of DJ Jazzy Jeff & the Fresh Prince before he went into acting...
May not be so random as it appears. According to the AllMusic review of their album "the drum beats from the album have been feasted upon for samples so frequently that samples of the samples have likely been sampled." Do I think Kevin Parker just lifted the drum part without taking credit? No, but it's entirely possible that the beat originated with them or something. I don't know, these guys probably deal with random people sampling them all the time.
It's not really something modern sailors do much any more. For one thing, most of the jobs they would have sung shanties to, jobs that required a bunch of men pulling or pushing on something in a consistent rhythm, are mostly done by machines now on modern ships. (Similar to how there used to be a tradition of railroad worker songs, but modern workers laying rail tracks have machines and heavy equipment now, no need to sing to time the hammers.)
There are a few good collections of shanties out there though they can take some effort to track down. This collection called "Classic Maritime Music" from Smithsonian Folkways is even on Spotify.
"A Treasury of Shanties and Songs of the Sea" is another good one, especially since it has a version of "John Kanaka" on it which is a big favorite of mine. (I was disappointed it didn't make it into AC4.)
Also, it's not a terribly active sub but every once in a while someone posts a good discovery over in /r/seashanties
Freakiness is well documented in the literature; however, most studies have addressed making a girl more -- not less -- freaky. Professor Richard James, an authority in the field, reported that "once you get her off the street (ow girl!)," your girl will become superfreaky. So to make her less freaky, try putting her back on the street.
Do not be with her backstage with her girlfriends in a limousine.
Do take her home to mother.
Do keep her well clear of incense wine and candles.
Note that, should you follow this advice, it is hypothesized that your girl may no longer be "all right for" you. Further study is needed to test this hypothesis.
Smiley Smile was actually released in 1967 and was an attempt to cobble some sort of release from the failed Smile sessions. It's not Smile, but it's got a unique charm of its own.
Tripping Daisy - I Got A Girl
I never hear this song on the radio anymore, but I remember it getting a lot of plays in the 90's. It's pretty typical pop-rock with just the right amount of edge to climb the charts for a bit. Then the band was quickly shunned as a one-hit-wonder. Their sophomore album, Jesus Hits Like An Atom Bomb is a classic, offering a completely unique blend of grunge and psychedelia, but as far as I know none of its tracks made it to the radio. Tripping Daisy's frontman, Tim DeLaughter, went on to form The Polyphonic Spree.
My favorite quote about this band (well, about The Infanta in particular but really it applies to everything they've done):
"The Infanta," the thunderous opening track on the Decemberists' fluid and predictably studious Picaresque, rolls in like a ghost ship at 40 knots in a hail of cannon fire with a mad English professor at the wheel.
Post by Bjork.
EDIT: I'm glad to see there is some other love for Bjork here. Her artistry can be polarizing, but her vocal range and ever evolving sound make her unlike anyone else.
Actually, I think Ice Cube did write for Eazy Duz It along with MC Ren. They are credited as "composers" but I would assume these are writing credits.
According to this site, Rautavaara withdrew his original Symphony No. 4 and substituted the current version (Arabescata) for it. Could this be the original version of the symphony?
It's from this song. There is a much better version of the song on A Sonic Documentation of Exhibition and Banter, one of their other albums. I just thought it was a cool name that fit well for this account's purpose, which is to post comics and music stuff. :)
EDIT: Messed up the name of the album. Here's a link with samples.
<em>this belongs here.</em> its awesome for those of you who've seen then movie. These covers I personally enjoy more than the film versions. Plus the line up of bands on it is sick.
While both are pretty good I give it to Mustard Plug just because it opens with shouts- You can open with it, close with it, whatever.
"Beer" (as well as it's "sequel" "drinking") just don't grab my attention as much.
But let's not rule out the entirety of the compilation Skankaholics Unanimous... ;)
A good example of the 80's post-hardcore scene that kinda started emo is Rites of Spring. Another favorite record of mine is Embrace, a side-project of Minor Threat frontman Ian MacKaye.
It's interesting to listen to emo's roots and compare them to the more commercialized bands of the late 90's/early '00s. Personally, I like the older records a lot better because of the unpolished sound and rawness of the vocals. Also, the lyrics aren't as cringe-inducing as some of the more obnoxious emo bands.
I think the biggest thing all emo bands have in common is simply a point-blank appeal to teenage angst. At first, this started as a pop-punk thing, but it turned into a sort of genre-chameleon in the early 2000's, making it harder to pin down as an actual genre in itself. You have bands like Bright Eyes who adapted emo to folk, or the Postal Service adapting it to electro-pop, or Jesu adapting it to metal. You also have bands like At the Drive-In, bringing it back to its no-wave/post-hardcore roots. Now it's really become more of a descriptor than an actual genre. Of course, there are still your typical Hot Topic bands that churn out formulaic pop-punk/emo records, but you also have bands like Cloud Nothings who follow a similar formula with much more genuine affect.
The score that you hear when your radio is off is excellent, and there are already lots of mods in the Radio section on nexusmods.
Also, someone gave a link in /r/fo4 to this huge atomic themed playlist.
A little dated now, but 2003's Freddy vs. Jason featured mostly metal in the film, with a lot more on the soundtrack.
Busey was a musician before he was an actor. He played drums with Leon Russell and others, under the name Teddy Jack Eddy
He also acted under that name on a late night weekend show, Mazeppa. My friends and I would stay up late to watch these idiots.
This happens to be one of my favourite records of all time. There's something very, very special about it. Being a bit of a musical simpleton, I put it's brilliance down to two possible reasons, it's incredibly diverse, like most of Eno's pre-ambient solo work, this diversity exists not just between tracks but every track seems to evolve and twist across perfectly peculiar tangents, very rewarding to listen to. Secondly, I think you summed it up with "no one is trying to sound "good"". There is an experimental complexity (a pop driven one) that is unpretentious and raw. From what I understand Eno allowed the featured musicians (of which there were quite a few! album credits link below) a lot of headroom and creative control. Maybe this is the just the result of a musical genius, surrounded by other musical geniuses in a studio where the vibes were just right :)
This here says that it is from Tac Entertainment and their other stuff shown here makes me think this is obviously fake. It has Mac Miller releasing "You Don't Know" on the same day, so unless this is some WTT 2 with Mac and Kanye, this doesn't look real.
Freestyle Fellowship - Innercity Griots
After having to defend a casual comment I made about the Good Life crew, I've been listening to this album again. It's probably outside most comfort zones here, but the amount of talent on display is impressive after 18 years.
Story time. In around 2008 or so I once embarked on an epic quest to find the "Is it much too much to ask..." sample. This is before the wiki page listed it for everyone to see and whosampled and all that got popular. Eventually I tracked down a .zip on an obscure christian folk blog that linked to rapidshare(ahh, those days). Took like 3 days of downloading for it to finally finish. It's from a little-known psychedelic band from chapel hill north carolina known as "Nova Local" that released just one album "Nova 1" in 1967 before breaking up the same year. In the time since they've actually become more well-known just from the sample.
HOWEVER, the sample is not actually from this song, which is a common misconception. It's actually from a cover album made in 2000 by the original drummer's son, for his album "The Lovely Lovely Singing" with his band "Life In General". You can tell the sample is from the newer version listening to it. I think one of them just found it in a random bin or something.
Here's the original song by Nova Local https://www.youtube.com/watch?v=eXrp-7lTdYw
And the cover the sample is taken from http://www.allmusic.com/album/the-lovely-lovely-singing-mw0000116226
This concludes story time.
Maybe the closest to Soft Machine of that era is Frank Zappa's instrumental music. 'Course you have to navigate around a bunch of really stupid 'humor', but it's generally worth it. The Mothers Of Invention at their jazziest are particularly reminiscent of the Softs. Like King Kong. And Hot Rats. Other mostly instrumental Zappa/Mothers: Grand Wazoo, Waka Jawaka, Jazz From Hell, Burnt Weenie Sandwich, Weasels Ripped My Flesh, Uncle Meat, Ahead Of Their Time.
Don't overlook all the vintage Soft Machine material that has surfaced in recent years. Lots of great stuff on Cunieform, Hux, Voiceprint, etc.
Otherwise - Miles Davis from '69 to '75, and the first few Weather Report records.
In a roundabout way, that was suuuuper helpful.
This was the album, it was looking at all the names I haven't thought about in forever (kids soundtrack! moorcheeba!) that got into the right part of my memory. Thanks and I highly recommend this album.
This genre of march was known as a "screamer." Screamers were lively marches (typically at a much faster tempo than would be practical for actual marching, around 130-150 beats per minute) which would get the crowd excited for the spectacle. Frederick Fennell and the Eastman Wind Ensemble put together a recording of famous screamers in 1962; you can listen to snippets of the songs here.
Among these songs is "Entrance of the Gladiators," here under its title as released in North America, "Thunder and Blazes." The original was written by Julius Fučík in 1897, and it was arranged for band by Louis-Philippe Laurendeau, a Canadian composer. He published Fučík's march in 1910 with the publishing firm Carl Fischer, on which he served as an editor (and which still exists today). From there, it got picked up by circuses around the country, and the rest is history!
Man or Astroman? fits the bill. Campy instrumental sci-fi surf guitar from the 90s. They just reformed in 2010 and put out a record last year. I can also second the P-Funk recommendation below.
My personal favorite way to explore music is to browse around http://www.allmusic.com/. They have a TON of album reviews, all organized by genre/sub-genre, as well as by more vague mood adjectives. There are also suggested artists and albums for each individual review you're looking at. This opens up a ton of ways for you to explore.
For example, They Might Be Giants have a laundry lists of moods like "campy", "cheerful", "confident", and "humorous". If I just listened to one of their albums and really liked the band for their humor, I might click on "humorous" and see what other bands pop up. Or, if I really just liked the album as a whole, I could click on one of the related artists/albums that pop up on the review page. Or, maybe the band belongs to a weird sub-genre you didn't really think was a thing, like the tag "College Pop-Rock".
Tons of options for exploring, the only problem is you need a good source for the actual music, as you can usually only sample pieces of tracks here and there. I think spotify is probably the best legal service for exploring music. I would say about 7/10 albums I look for on allmusic show up on spotify, which is not bad if you think about the insane amount of music that is cataloged on allmusic.
That tuning trick was developed by Bill Keith in the 60s -- he developed a kind of locking tuner that allows you to slide down a whole step, as far as I understand it. A good example can be heard on the track "Auld Lang Syne" on this release: http://www.allmusic.com/album/long-journey-home-r95379
Recently I've been using the allmusic discover page to search through genres that I've had an interest but not much familiarity in.
For example, I set it to find Modern Big Band music from the past decade which they gave at least 4 1/2 stars. Came back with Children of the Sun by Joe Sample & the NDR Bigband, which I thoroughly enjoyed (this is my favorite tune if you want to take a listen).
You often do end up with a bunch of results, so it might not be exactly what you're looking for, but it's fun to explore either way.
Thanks for fighting the good fight with CDs! I've got over 2000 on several bookcases in our home and absolutely love them. They still sound great, I can put 100 into my CD player at home at a time, and they still make it easy to appreciate the entire experience.
Here's the collection, minus about a dozen or so that aren't on Allmusic
Ariel Pink's Haunted Graffiti - Before Today
The Flaming Lips - Embryonic (I'd say that this one sounds more like Cryptograms-era Deerhunter than Halcyon Digest, but it's similar, nonetheless.
Spiritualized - Ladies And Gentlemen We Are Floating in Space and Let It Come Down
All of the albums above were listed as "Similar Albums" on AllMusic.
And, these aren't exactly 100% modern, but try Stereolab's Emperor Tomato Ketchup or Dots And Loops and Roxy Music's For Your Pleasure if you haven't already. They're pretty big influences on Halcyon-era Deerhunter.
I've heard the same story from English and Scottish travellers too. Ewan MacColl recorded a lot of stories for his brilliant album The travelling people and one of the stories was that about the nails.
I mentioned in the other discussion that right now my prerogative is keeping up to snuff with new music as it is released. Getting 5 new albums a week until my budget can't handle it. Every Tuesday I go to AllMusic and Bandcamp to see the new releases for the week and I go down the list looking for anything that grabs me. For the most part new releases on AllMusic's listing has some way to test out the goods (youtube mostly), so I go down the list sampling them.
I like to go into anything mostly blind, whether movies, games, or music so I usually just try out one song. If I need a little extra convincing I might try one more. I don't even necessarily have to be in love with whatever I sample but if I decide there's enough there that I could see the album being good then I'll write the artist/album name down. Once I've collected all the stuff I'm interested in then I figure out a top 5 among them, which I'll then purchase in whatever way seems most beneficial to the band. iTunes is my last resort, I look at the band's website first, then if not that I check if they have a Bandcamp page, failing that, iTunes. Some weeks if I find that not enough's grabbing me to fill out the 5 then I'll use the vacancies to look into more personal interests (currently chipping away at John Foxx & R. Stevie Moore's discography).
As for what I'm looking for I think I'm fairly open. I have a safety zone for sure (I'm partial to psychedelic rock) but I'm trying to keep my intake fairly diverse. It's rewarding in the sense that I don't recall ever branching out to the degree I have been lately but at the same time it can also feel really unfocused to be taking in such a variety of music at once without really honing in on any particular thing. I figure I'll reach a point where I might use the same method as above but apply it to more specific genres or artists.
I don't know if I'd call that "one of the biggst metal producers in the game right now", especially since he seems to only work in a very narrow subgenre.
Not to dismiss the guy, he's doing stuff, but let's not exaggerate too much!
The album actually did poorly, although I'm in the "separate the man from the music crowd" whether we're talking about Chris Brown or John Lennon.
I seriously don't know his music but if I hear it and it turns out he's been making my favourite kind of music, guess what? Too bad white knights, I'll listen to what I want. If you want to be angry at the people who haven't judged him harshly enough maybe start with the women that still hang out with him in real life.
<em>The Philadelphia Experiment</em> (AllMusic.com link - interesting details)
I love this album. It's badass mix of jazz, soul and hip-hop. It's a document of the way music has overlapped and morphed - better or worse in some other cases - but this album is so thumpin' and swingin' at the same time. You gotta love the timbre and employment of Questlove's snare drum - it's as distinctive as anyone's voice. Christian McBride is a top tier modern bassist, and Uri Crane accentuates and ties everything together really nicely. Check it out, if you haven't heard of it.
I once knew a guy named Ballsizer. And I worked with a guy named Mike Hunt. Honorable Mention: I used to go out drinking with a guy named Joe Racetruck.
Edit: Surely you all have heard of the musician Bruce Cockburn...
This seems to fit the bill
One of her other albums was called "Widow," according to the discography. I say if the shoe fits... but I'm just spitballing so whatever.
Prydz and his fellow swedes have certain chains they run their music through.
The album was mastered by Mike Marsh, who has a really impressive catalogue! of album credits.
I redoubled my efforts and started checking spotify and last.fm and finally did a search for a music database... AND I FREAKING FOUND IT
Niblick Henbane! The album title is "And We Fall"
I feel SO MUCH BETTER. I kept thinking it was nick something or something nick. I WAS SO CLOSE.
I am using both at the moment, here is how I would assess it with regards to classical:
Metadata: Spotify is better
Radio: Apple is better but still bad
Library: Apple has newer Chandos releases but not their back catalogue and also a few small indie labels which spotify do not have.. overall Spotify is easier to search because of better tagging
Playlists: Don't know don't use them
I have asked spotify about the metadata before, and they say it is up to the labels to provide the correct data - some labels happily put forward the correct tagging, DG, Decca or Naxos for instance. Others are pretty crap (EMI) but their streams noticeably are down on even lesser known labels who tag properly perhaps because of that, so I think eventually the problem will solve itself, especially as streaming becomes a larger source of income. There are some really poor performances being high up the streaming charts of a particular piece at the moment just because of better tagging - I'm sure labels will twig.
Overall, I am probably going to stick with spotify as I have already invested a lot of time in making playlists there. When I am listening to classical and I decide I want to hear something for the first time or hear a new interpretation of something I already know, I usually use Presto Classical and All Music to find critically rated performances, and they are almost always on spotify.
"Cube" by Left Sensory Bypass? https://www.youtube.com/watch?v=uxCKztULXnY
EDIT: All Music mistakenly attributes this song to Liquor Store Bandits. It's possible that it was similarly misattributed (and misspelled) on Pandora, which is where you could have gotten robber or thief from. http://www.allmusic.com/album/lsb-mw0001908979
I wouldn't put Emily Lazar on that list. Everything I've heard by her is way too loud and squashed. I do believe we should have more women in recording, but it seems like she gets accolades just because she's a woman.
In her place let's put the incredible Paul Stubblebine. http://www.paulstubblebine.com/home/index.php
Better link: http://www.allmusic.com/artist/paul-stubblebine-mn0000032228/credits
Two of my favorites:
Sparklehorse - Vivadixiessubmarinetransmissionplot
Recorded almost single-handedly by Mark Linkous in a farmhouse in Virginia. The production is surprisingly sharp, but it is obvious this is the meticulous work of a very talented songwriter/producer, rather than the calculated product of a commercial studio.
The Microphones - The Glow Pt. 2
This album is pure lo-fi ear candy to me. It's a psychedelic folk album with a lot of emotional impact and some very interesting dynamics and textures. It can be quite the undertaking at 66 minutes long, but I think it is a very rewarding listen, especially through a good set of headphones.
I like allmusic's weekly roundup - around 30 reviews each time and their reviews are fairly straightforward and short. You can also filter by major genres.
Also NPR has several good music-related podcasts and the /r/hiphopheads banner is good for hip-hop releases.
Django's last sessions from March 10 - April 8, 1953 just before he died. They are by far the most advanced tunes he had produced to date. Just listen to his playing on Night and Day, it's amazing! I love the original Quintet's work, but nothing compares to these last sessions when it comes Django.
Can't find an artist, but here's a link to the cd: http://www.thefunkstore.com/TheHippoRoom/Ultimate_LateNightJazz_CD.htm
There's some copies on Amazon, at worst you could order a copy, the artist should be credited on the sleeve.
eta: Illustrator is Tom Patrick. Can't find a current link for him, but here's a list of some of his other music work: http://www.allmusic.com/artist/tom-patrick-mn0001892082/credits
just stop before it's too late and get yourself some Machaut polyphony, Palestrina and plain chant (bonus points: Ensemble Organum).
There are 2 wonderful recent recordings of Missa Papae Marcelli: 1) odhecaton. Big chorus and gutty performance. 2) new york polyphony. 1voiceperpart and polished sound.
As for Machaut I'd recommend diabolus in musica, they really deliver a punchy rendition in a perfect period-style french-inflected latin.
As for plain chant, this: http://www.allmusic.com/album/chant-de-leglise-de-rome-mw0001873907
If you want to stay "light": Zelenka, Lamentations (Chandos).
To substantiate: AllMusic also listed "Randy" for release during the week of September 16, and it was released as we know on the 14th. Seeing as the 14th isn't technically the week of the 16th as far as counting forward from 16 goes, it's safe to say that either "Randy" came out unexpectedly early, or that "Alakazam!" will either come out tomorrow or if not, then highly likely within the next week; I doubt it would get delayed further than that.
Listing Ruston, Louisiana as the origins of the band is a little bit misleading--it's a little more complicated than that.
If you want to make the claim that it was formed in Ruston, then you have to know that the only consistent member of the band from that period of time is Jeff Mangum. And at that period, it was basically him experimenting with mixing and making tapes and occasionally records for and with his friends.
Then a few years later we have a band called Neutral Milk Hotel recording On Avery Island with E6 (not sure if that was recorded in Denver where E6 was founded or in Athens where it eventually found its home). But even that album had an entirely different credits section than In the Aeroplane Over the Sea did (with the notable exceptions of Jeff Mangum and Robert Schneider).
So, you could say that it was formed in Ruston, if you think that Jeff Mangum making cassettes for his friends counts as him forming Neutral Milk Hotel.
Or you could say it was formed in Athens, GA where the majority of people that worked on it and were associated with it actually lived near each other and spent time working on NMH projects.
As an aside, Wikipedia is sourcing this AllMusic article when it makes the claim that the band was formed in Ruston, but the source clearly states that it was formed in Athens, GA (though it also says that it was formed in '89 in Athens, which I'm not sure is right, since I'm not sure whether Jeff was even living in Athens in '89).
Great post dude! When I started making a concentrated effort to explore jazz, I went through some "essential lists" in the same way. This was only about 5 years ago when I really started trying to branch out from the few favorite jazz albums I had known, and really explore the canon of "essential" records. My personal favorite styles began with modal Coltrane, to avant-garde, to spiritual jazz, and then to more of the late 60s and early/mid-70s Free stuff.
But if you love A Love Supreme and Albert Ayler, then I'd like to point you towards a few other albums of that are equally as meaningful to me:
And if you like Sonic Youth, check out this comp by Thurston Moore featuring free jazz from the BYG / Actuel label: http://www.allmusic.com/album/jazzactuel-box-set-mw0000591014
Lastly, if you have a chance, check out this series of compilations... they opened my eyes to a ton of musicians:
Well that was total crap I spewed. Turns out it was 150k for the camera it was filmed on: http://m.imdb.com/title/tt0077651/trivia
And carpenter wrote all the music himself and used a cheap synthesizer to play it.
"Although this hit soundtrack was recorded with cheap '70s synthesizers, the simple scores composed by John Carpenterare acclaimed masterpieces. Carpenter sets the mood for his horrific movie with such tracks as "The Shape Stalks," "Laurie's Theme," and, of course, his main theme, which consists of the beating out of a 5-4 rhythm. A definite first pick for those interested, this soundtrack even bests most scary music albums."
I've failed the intertubes.
It's easy to write her off as unconventional or weird, but she actually has a ton of range vocally. Listen to all the things she does on her triple album, Have One on Me.
Yes true, he plays bass and they are both deeper in the pop major label game more than you think...
Jai's vocals are on the new A.K. Paul track too... Based on the XL Article/Tweet I hope that Jai may finally have something "official' for us in 2015. IMO the leak was a mkting ploy, makes more sense to keep the golden child in the studio for a while rather than send him out on tour anyway.
It's not a hard-and-fast rule, but West Coast Hip Hop was grittier and angrier than East Coast Hip Hop, which subsequently changed the sound of East Coast Hip Hop. You can't possibly argue that any of the aforementioned had nearly as aggressive a sound as NWA and Ice-T, who were the main forbears of the new era.
I should correct myself, though - happy-go-lucky was more-so the mid-80s (all the groups/acts you named had their beginnings in the late 80s), stuff like Beastie Boys, Biz Markie, LL Cool J, Young MC, and The Fat Boys. It persisted until the gangsta rap era (again, started by the West Coast), as seen in positive rap such as that exemplified by A Tribe Called Quest (and even they bought into it a little - e.g. Beats, Rhymes, and Life).
It's also a line from a great poem, and it's a great album. Regardless, your comment did not contribute to the discussion here.
The first CD I acquired was Weird Al's Bad Hair Day when I was 10. My brother and sister took me to my first concert when I was 12. I didn't even know I was going to a concert or who I was going to see until I got there. You can't imagine my surprise seeing Weird Al performing "I'm Fat" in a giant fat-suit. I don't think I'll ever forget that. Thanks Weird Al for being so wonderful.
If you love Weird Al, check out UHF, and here's his interview with Eminem.
Miles Davis - Bitches Brew (1970) Jazz Rock
>Though Bitches Brew was in many ways revolutionary, perhaps its most important innovation was rhythmic. The rhythm section for this recording consists of two bassists (one playing bass guitar, the other double bass), two to three drummers, two to three electric piano players, and a percussionist, all playing at the same time. As Paul Tanner, Maurice Gerow, and David Megill explain, "like rock groups, Davis gives the rhythm section a central role in the ensemble's activities. His use of such a large rhythm section offers the soloists wide but active expanses for their solos."
>Bitches Brew was Davis's first gold record, selling more than half a million copies. Upon release, it received a mixed response, due to the album's unconventional style and revolutionary sound. Later, Bitches Brew gained recognition as one of jazz's greatest albums and a progenitor of the jazz rock genre, as well as a major influence on rock and funk musicians
If you search "Funk" on Allmusic and filter by "Artists", you might be able to find whoever your mom is looking for and go from there. You can do the same on Metrolyrics as well.
I have never picked bluegrass with Miyamoto. However, I would make a guess that it wasn't him at ROMP.
If I was to make a guess, I would guess it was Akira Otsuka. Akira was a member of the Japanese bluegrass band "Train 45" and is VERY active in the bluegrass community.
Here's a good write up on Bluegrass 45 and their impact on the bluegrass scene both in Japan and the U.S..
And here's a great video on Akira talking about John Duffy's mandolin that he owns.
I did get a chance to play with Akira and a number of other Japanese bluegrass players a while back when I went to IBMA.
Not sure that I much care for the sweet powderiness of Barbershop scents. A good shave overall, though it was interrupted by a phone call in-between the first and other passes.
[link to yesterday's LGSOTD]
Van Dyke Parks is a good example:
He's best known for co-writing the Beach Boys Smile album, but his debut, Song Cycle, is a great mixing of genres. It is attempt to compress all of 20th American music onto one album. It is not for everyone, but it is a good example.
Another good example is Mary Margaret O'Hara's Miss America--as a bit of trivia, this is Catherine O'Hara's sister. Great album that mixes country and jazz with a little Patti Smith punk.
Another poster mentioned fusion, but of a similar period you have producers like Norman Whitfield and bands like a Sly and the Family Stone that mixed r and b with psychedelic rock to create psychedelic soul.
Follow up -
Thank you everyone for your help... I think maybe writing out the description here flicked a switch, because after 10+ years I finally remembered it... Also even my description was halfway backwards.
It was The Smalls - Waste and Tragedy.
Thanks guys (also, those are some great mustaches!)
I've never even heard the term "bedroom player." Blair Sinta is way more of a "real world" drummer than /u/Mountain_Drummer can ever hope to be.
Blair's in the GTAV soundtrack, and a ton more "real" recordings.
Blair has a degree in Jazz Performance, and has a history of touring with real artists.
Blair also has an article on Modern Drummer.
All this shows up from a simple Google search.
So here's my question: who the fuck is /u/Mountain_Drummer and what right does he have to shit on this video?
Public Nuisance was, until the early 2000s, unknown to all but the most fervent 1960s garage rock fanatics, mostly for the very good reason that they never released a record. The Sacramento outfit did play quite a bit live in California in the last half of the 1960s, and did a lot of unreleased recordings in 1968 and 1969 that never saw the light of day. This condition was remedied in 2002, when an astounding full, double-CD of tracks was issued, Gotta Survive, mostly taken from those unissued late-'60s sessions. http://www.allmusic.com/artist/public-nuisance-mn0000307045
It's pretty extraordinary for a band who never even released a record to have a two-CD package prepared in their honor more than 30 years after they disbanded. That's what you get with this double-disc set, largely devoted to unreleased recordings by Public Nuisance from late 1968 and early 1969 http://www.allmusic.com/album/gotta-survive-mw0001893156
In fusion, electric bass is pretty much the norm. In more straight-ahead Jazz it's not as common, but there are some dedicated practitioners.
Try Steve Swallow. And Sonny Rollins has preferred the el bass of Bob Cranshaw for many years...
The Shape Of Jazz To Come was my point of entry into Jazz. If you are as captivated as I was and are also relatively new to the genre, first you might want to check out everything Ornette recorded for Atlantic. That body of work is almost unparalleled in Jazz for its consistency, breadth, and impact. Great stuff. Other than that, I found that The Shape... made it much easier for me to get into what came before and what came after. Specifically, both Bebop like Charlie Parker and Free Jazz like Albert Ayler now seemed entirely logical. I would recommend them.
On a self-planned and booked tour, we had a show in las vegas booked with another band.
We showed up, and the only people in the bar were the other band, us, and the bartender.
So, this bummed us out. We got up, played our set, we were very lackluster, and sat down.
The other band got up.
They played the gig, as if they were in front of 150,000 people in a stadium.
Their energy was off the hook, they really gave it everything they had. My whole group had an epiphany that day, and we talked about it the whole way, driving to the next state.
They were professional performers. We should ALL be professional performers. And who is or is not watching you does not matter.
Whether it's in practice, for no one, or recording a song, or for a huge crowd, you need to be going all in, every single time, because if you do, you will become a better performer.
And also, no one will ever leave a show you play, thinking you were forgettable.
I've played with a million tiny bands over the years, and I can't even remember the names of 99% percent of them.
But I'll remember the name of that band in vegas forever.
The heresay tao.
Not a group but Scott Walker made about the biggest change of style/experimentation of anyone I can think of off the top of my head.
Yes! Shit! I think I know what you're talking about. I stumbled across this album maybe 5 years ago? Skerik was one of the featured artists. I might still have it lying around the house. Let me get on it.
Was it The Clinton Administration: One Nation Under a Re-Groove?
...From what I remember, it was pretty okay. I'm a big fan of Robert Walter and Skerik so I gave it a chance.
> I agree, but who has followed their lead?
Many. Just because they have a varied catalog, doesn't mean that certain albums didn't inspire certain artists to stick to a certain genre. Maybe a band like Doves just wants to sound like The Bends, Muse wants to sound like OK Computer, M83 like Kid A.
Thanks to his success as the longtime conductor and arranger for Tennessee Ernie Ford, Jack Fascinato also recorded a handful of albums under his own name, one of which -- Music from a Surplus Store -- is today among the Holy Grails of space age pop collectors.
If you visit an artist's page on the All Music Guide and click "see all related artists," it shows you categories like that. If you visited it years ago, it would have looked considerably different, as they've changed their layout quite a bit over the years.
I'd like to think that way, but Ian Svenonius does have a leftist "Anything against America is good" belief so he might be serious about Castro:
On a related-not-about-a-not-so-related-note is the name of my new album.
Which has nothing on The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do
Hold on. That's Attila Csihar (Mayhem) singing. This was performed at Dømkirken Cathedral, in Bergen, Norway ("black metal capital of the world" according to the AllMusic review). Also, guitars come in for the rest of the album and it's a pretty metal affair after that. This track may not be very metal on its own but it's definitely of interest to metal-heads. It's also good music, so I have no trouble up-voting this submission.
After reading more about the influences of early Talking Heads records, particularly the one from which I borrowed user name, I discovered that David Byrne was partially influenced by this record. Chris Frantz gave it to Byrne, and his lines "Facts are simple and facts are straight, Facts are lazy and facts are late," are a direct result of this influence. So I really wanted to check it out. I had never heard it before and found a good copy on Discogs. It is an interesting listen...
Kurtis Blow was one of the first commercially successful hip hop artists. This was his first record, and it is a mixed bag of very fun, funky beats, party rapping and some odd choices.
The first half is definitely better than the second half. This is due in large part to the last two songs of the album when Blow attempts to sing an R&B soul song before finally singing "Takin' Care of Business." Yes, that song. All Music said it best:
...how many other old school rappers attempted to sing soul, let alone arena rock? -- the fact remains that rapping, not singing, is Blow's strong point.
On the other parts of the album Blow is entertaining, and the first side of this record would be a fun choice to play at a party. The music is actually very good, and it kind of reminds me a lot of early Talking Heads – simple, effective funkiness. Blow's rapping is ok, if a little silly. This was all well before any kind of obscenity really found its way into hip hop. While he does play to his audience with a few too many "Oh yeah" call and responses, and perhaps the "throw your hands in the air; wave 'em like you just don't care" is completely played out in the ears of today's listeners, he remains consistent.
Is it amazing? No. Is it fun? Yes. Definitely should be heard by anyone interested in where music has been.
[Edited for syntax, etc...]
"tightly coiled productions with overwhelming bass lines and reverberant drum patterns, clipped samples, and occasional vocals".
Pretty sure you're wrong. Also sure I will get downvoted for this. Am also sure i don't care. No, wait, that's just Chuck Testa
Allmusic.com lists NIN as:
Café Tacuba. [allmusic] [wikipedia]. There is no way not to like them. I recommend you listen to their "Ré" record.
Paul McCartney and Carol Kaye were both notable and prolific early pick users for bass.
James Jamerson is famous for using one finger to pluck all his Motown basslines. (The Hook)
I don't know if you could draw any strong division of pick vs finger by genre, necessarily. Even some speed metal bassists use their fingers, and some laid back folkies may use pick. It's simply a matter of personal preference.
To substantiate: AllMusic also listed "Randy" for release during the week of September 16, and it was released as we know on the 14th. Seeing as the 14th isn't technically the week of the 16th as far as counting forward from 16 goes, it's safe to say that either "Randy" came out unexpectedly early, or that "Alakazam!" will either come out tomorrow or if not, then highly likely within the next week; I doubt it would get delayed further than that.
If you want to go right to the source, check out The 13th Floor Elevators. Their self-titled debut has one of the original psychedelic tunes, "Reverberation (Doubt)." For my money, their second album, Easter Everywhere, is a stone cold classic, not least because of the epic "Slip Inside This House."
The British edition which this article is referring to opens with Bohemian Rhapsody, the American edition has different songs (Under Pressure for example isn't on the British one it's on Greatest Hits II in the UK)
I'm going to share this track from the band Honcho Overload that just happens to have 2 of the members of Hum. The album this is on came out the year before You'd Prefer an Astronaut.
The guitar part in the chorus of Alt-J's Taro was recorded and added to the final version backwards. The band had to work out a way to play the song live, and their guitarist ended up tapping his strings with a roll of tape to re create the sound.
The two guitar bridges in "Give it Away" by The Red Hot Chili Peppers were added in backwards to the final version of the song as well.
Steve Earle. His sound has changed over the years but definitely not the quality of his music. Check out his Allmusic discography page 4 to 5 stars (save one live album) for every one of the 16 albums he has made throughout his career. That's pretty fucking impressive.