Music: Last Album You Listened to and Rate It II

[Hippasus]

Did what? Beefheart might be the most singular artist I've ever indulged stylistically (Alain Robbe-Grillet is another) and the VU are probably the first band to mix a literary tradition with experimental rock and roll but I wouldn't compare their work to what I've heard of Twin Infinitives. The latter feels far less tight in terms of execution on a practical basis, whereas White Light/White Heat's orchestration always sounds very dignified and conscious to me, despite its brash quality.

Did an amateurish sort of off-ness, intentionally and in an apparently un-self-conscious manner unlike actual amateurs perhaps would. I like Captain Beefheart's example for it's earliness and intensity, but I contend that Royal Trux's rendition of this concept is even more pure and extreme.

 

[Shareefruck]

Abbey Road (50th Anniversary Remix) by The Beatles - 3.5 (Great)

It's a clear technical improvement over the previous remasters, but it's also not nearly as mind-blowing of a step up as the 50th Anniversary remixes of Sgt. Pepper's and the White Album were. Abbey Road was already sonic-ly close to perfect to begin with, and basically started out way ahead of the other Beatles albums-- now all the remixes are pretty equal in sound quality.

Drums, Bass, and Harmonies are way more clear and beautiful, and the soundstage/presentation is livelier and more like you're really there. The most startling improvement for me was how good "Because" sounds-- It's now my favorite track on the album. There's also a pretty cool quirk where the dueling Guitars in "The End" now pan in different areas-- McCartney can be heard playing to the left of you, Harrison to the right, and Lennon is dead center as they trade solos back and forth.

Abbey Road as a whole is not close to my favorite Beatles album, and that hasn't changed. Octopus' Garden and Maxwell Silver's Hammer are outright lame tracks that completely detract from the experience, in my mind, and I'm not the hugest fan of "You Never Give Me My Money", "Her Majesty", and "Oh Darling" (although they're very serviceable). The rest of the album is incredible-- very perfectionist, pristine, and satisfying, but lacks the raw energy, attitude, charm, and experimentation of some of the preceding albums. If anything, the fact that the tone of the album is so pristine and perfectionist makes the weaker tracks negatively stand out even more (whereas in the White Album, they're a charming feature that genuinely adds to the incredible mood of the album).

Standouts for me as a whole are still "Because", "Come Together", and the final three McCartney tracks of the Medley ("Golden Slumbers", "Carry That Weight" & "The End"). Harrison's contributions are great, but his supposed ascension to greatness on this album is totally overblown-- he was already at least this good in previous albums-- neither of his tracks are close to the level of "While My Guitar Gently Weeps" or "Love You To", and I might even lean towards preferring stuff like "Within You Without You" or "Long, Long Long".

I didn't hear anything particularly special or worthwhile from sampling the bonus tracks, personally (especially compared to the 50th Anniversary Remix of the White Album, which had some incredible additional content).

Overall, I love this series of Beatles projects that Giles Martin is taking on and do not for the life of me understand the "It's like painting over the Mona Lisa!" people. If you can improve and illuminate something great/iconic without compromising/cheapening its integrity or misleading the reputation of the original in the process, you should absolutely do it, and if they are truly better, they should be newly canonized as such and MAKE history, IMO. Usually attempts to superficially improve classics are likely to make them worse (this happens most often with video game remasters), but for instances where that's not the case, nothing should be sacred.

I really hope they cycle back to doing Rubber Soul and Revolver soon rather than focus too much on the significance of a literal 50th Anniversary-- I mean who really cares? Those two albums are in greatest need of this treatment and would likely skyrocket up my favorites if they were given it. Instead, they'll probably do Let it Be next, which I don't really care too much for (unless they get really ballsy and decide to completely ignore the Specter arrangement and turn it into a great album-- very unlikely).

Edit: Huh. Did not expect that to become a word vomit, but it did.

 

[ItsFineImFine]

Tindersticks - The Something Rain (2012) - 7/10

Pumarosa - The Witch (2017) - 7/10

Keane - Cause & Effect (2019) - 7/10

Ride - This is not a safe place (2019) - 7/10

Vetusta Morla - Un Dia en El Mundo (2008) - 7/10

The Night Cafe - 0151 (2019) - 7/10 tracklisting is probably too long

Happyness - Weird Little Birthday (2014) - 7/10

 

[YoSoyLalo]

Abbey Road (50th Anniversary Remix) by The Beatles - 3.5 (Great)

It's a clear technical improvement over the previous remasters, but it's also not nearly as mind-blowing of a step up as the 50th Anniversary remixes of Sgt. Pepper's and the White Album were. Abbey Road was already sonic-ly close to perfect to begin with, and basically started out way ahead of the other Beatles albums-- now all the remixes are pretty equal in sound quality.

Drums, Bass, and Harmonies are way more clear and beautiful, and the soundstage/presentation is livelier and more like you're really there. The most startling improvement for me was how good "Because" sounds-- It's now my favorite track on the album. There's also a pretty cool quirk where the dueling Guitars in "The End" now pan in different areas-- McCartney can be heard playing to the left of you, Harrison to the right, and Lennon is dead center as they trade solos back and forth.

Abbey Road as a whole is not close to my favorite Beatles album, and that hasn't changed. Octopus' Garden and Maxwell Silver's Hammer are outright lame tracks that completely detract from the experience, in my mind, and I'm not the hugest fan of "You Never Give Me My Money", "Her Majesty", and "Oh Darling" (although they're very serviceable). The rest of the album is incredible-- very perfectionist, pristine, and satisfying, but lacks the raw energy, attitude, charm, and experimentation of some of the preceding albums. If anything, the fact that the tone of the album is so pristine and perfectionist makes the weaker tracks negatively stand out even more (whereas in the White Album, they're a charming feature that genuinely adds to the incredible mood of the album).

Standouts for me as a whole are still "Because", "Come Together", and the final three McCartney tracks of the Medley ("Golden Slumbers", "Carry That Weight" & "The End"). Harrison's contributions are great, but his supposed ascension to greatness on this album is totally overblown-- he was already at least this good in previous albums-- neither of his tracks are close to the level of "While My Guitar Gently Weeps" or "Love You To", and I might even lean towards preferring stuff like "Within You Without You" or "Long, Long Long".

I didn't hear anything particularly special or worthwhile from sampling the bonus tracks, personally (especially compared to the 50th Anniversary Remix of the White Album, which had some incredible additional content).

Overall, I love this series of Beatles projects that Giles Martin is taking on and do not for the life of me understand the "It's like painting over the Mona Lisa!" people. If you can improve and illuminate something great/iconic without compromising/cheapening its integrity or misleading the reputation of the original in the process, you should absolutely do it, and if they are truly better, they should be newly canonized as such and MAKE history, IMO. Usually attempts to superficially improve classics are likely to make them worse (this happens most often with video game remasters), but for instances where that's not the case, nothing should be sacred.

I really hope they cycle back to doing Rubber Soul and Revolver soon rather than focus too much on the significance of a literal 50th Anniversary-- I mean who really cares? Those two albums are in greatest need of this treatment and would likely skyrocket up my favorites if they were given it. Instead, they'll probably do Let it Be next, which I don't really care too much for (unless they get really ballsy and decide to completely ignore the Specter arrangement and turn it into a great album-- very unlikely).

Edit: Huh. Did not expect that to become a word vomit, but it did.

Maxwell’s Silver Hammer and Octopus Garden are the best songs on the album

 

[Shareefruck]

Maxwell’s Silver Hammer and Octopus Garden are the best songs on the album

You're free to think that. I think they're pretty lame. Like the rest of the album, they're very well produced/catchy (the latter not necessarily being a positive quality for me) and the contrast between Maxwell Silver's Hammer's dark content and lighthearted sound is mildly amusing, and that's about all the credit I can give them.

Personally, I'm not a fan of when McCartney goes into cute/light-hearted/catchy/traditional dance-hall jingle mode in general (which usually accounts for at least two or three tracks on every album)-- so much so that it kind of single-handedly keeps The Beatles from being higher up my list of favorite artists.

 

[peate]

You're free to think that. I think they're pretty lame. Like the rest of the album, they're very well produced/catchy (the latter not necessarily being a positive quality for me) and the contrast between Maxwell Silver's Hammer's dark content and lighthearted sound is mildly amusing, and that's about all the credit I can give them.

Personally, I'm not a fan of when McCartney goes into cute/light-hearted/catchy/traditional dance-hall jingle mode in general (which usually accounts for at least two or three tracks on every album)-- so much so that it kind of single-handedly keeps The Beatles from being higher up my list of favorite artists.

I wouldn't call them lame, but not my favourites. Obladi Oblada, now that's lame.

 

[Spring in Fialta]

Man, The Beatles are agonizingly hit and miss. Harrison was cool but I can't help but think how much better they could have been if they'd given Lennon sole creative control. McCartney blows.

 

[Shareefruck]

Man, The Beatles are agonizingly hit and miss. Harrison was cool but I can't help but think how much better they could have been if they'd given Lennon sole creative control. McCartney blows.

I would say, though, that irrespective of individual song quality, McCartney does appear to contribute in a ton of other ways that would potentially be lost if Lennon had sole creative control-- McCartney was basically like a second producer and album concept/structure architect, something that I think added a ton to the overall greatness of The Beatles (he's a huge part of the reason Tomorrow Never Knows sounds the way it does too, even though you wouldn't necessarily think it-- most of those effects are because of him).

But yes, I think my idealized bizarro fantasy version of The Beatles would have McCartney play more of an ego-less background supportive role (kind of like Holger Czukay does in Can) and contribute significantly fewer songs (including most of the ones he usually writes for Ringo, with the exception of "With a Little Help From My Friends"), while still keeping Lennon as the de-facto leader like they did earlier in their career, giving Harrison the same power that McCartney has, and replacing the two to four McCartney/Ringo dance-hall/jingly songs on virtually every album with Lennon and Harrison tracks..... and if they don't have the prolific material for that, then slow down their album output rate (which was pretty nuts) until they do and/or get rid of their "no singles on the album" rule (which I see as a shame, personally).

You always hear people say that Lennon and McCartney both have their same fair share of stinkers (with Lennon's being the pretentious experimental equivalent of McCartney's granny-songs or something), but that hasn't been my experience at all, personally.

 

[peate]

I always preferred John's stuff to Paul's. George had some gems too.

 

[peate]

The Gentle Storm - The Diary

Featuring Anneke Van Giersbergen on vocals. A double disk album with identical track list. One done in traditional folk and the other in a more gothic metal style. Both superb. I've really fallen in love with Anneke's varied musical styles. 9/10

 

[Spring in Fialta]

Double Fantasy by John Lennon and Yoko Ono (1980) - Bleh. Mostly straight-forward, bland rock with lyrics I did not pay attention to. There's the odd quirky vocal moment that I found endearing or well-crafted composition but Lennon mostly sounds washed-up and out of originality by that point and Yoko Ono's competent voice is ruined by her own over-the-top execution and sensibilities. The album passes the time but is not worth revisiting outside of the potential odd track.

Favorite tracks: Beautiful Boy (Darling Boy), Dear Yoko, Every Man Has a Woman Who Loves Him

 

[Shareefruck]

Was vaguely trying to find other stuff like DJ Krush with some of these, but to no avail. Nujabes' instrumentals are solid, but man, I hate how cheesy and amateurish the rappers/vocalists he uses sound, to my ears anyways.

The Planets by Gustav Holst (Dutoit) - 4.0 (Flawless)
The only thing that keeps it from being a total favorite for me is that I seem to have this thing with classical music where even when it feels compositionally masterful and perfectly structured, the performances always seem a tiny bit too clinical to me and never feel entirely definitive to me the way that a studio album favorite does-- might also be a tad too reminiscent of dramatic/epic movie soundtracks for my tastes. Other than that, it's incredible. Mars, Jupiter, Saturn, Uranus, and Neptune in particular were stellar.

Symphony No. 5 by Jean Sibelius (Gibson) - 3.0 (Very Good)
Atrocity Exhibition by Danny Brown - 2.5 (Good)
You're Dead by Flying Lotus - 2.5 (Good)
--
Velocity: Design: Comfort by Sweet Trip - 2.0 (Positive) [I can acknowledge that it's technically solid, but I still can't totally get behind it]
Modal Soul by Nujabes - 1.5 (Neutral)
Metaphorical Music by Nujabes - 1.5 (Neutral)
--
Kaleidoscope by DJ Okawari - 1.0 (Negative)
Psyence Fiction by Unkle - 1.0 (Negative)
Mirror by DJ Okawari - 1.0 (Negative)
50 Days For Dilla Vol. 1 by Ta-Ku - 1.0 (Negative)

 

[Shareefruck]

Also, just lots of movement in general over the past couple of months.

Favorite Albums

5.0 (Masterpiece)
1. Tago Mago by Can
2. Lick My Decals Off by Captain Beefheart
3. White Light White Heat by The Velvet Underground
4. Here Come the Warm Jets by Brian Eno
5. Rock Bottom by Robert Wyatt
6. Interstellar Space by John Coltrane
7. Closer by Joy Division
8. The Velvet Underground & Nico by The Velvet Underground
9. The Unseen by Quasimoto
10. The Ascension by Glenn Branca
11. King Tubby Meets Rockers Uptown by Augustus Pablo
12. Bootleg 4: Live 1966 by Bob Dylan
13. Possible Musics by John Hassell
14. Another Green World by Brian Eno
15. Metal Box by Public Image Ltd.
16. B*tches Brew by Miles Davis
17. Revolver by The Beatles
18. Music For 18 Musicians by Steve Reich
19. Future Days by Can
20. A Love Supreme by John Coltrane
21. Loveless by My Bloody Valentine
22. The Real McCoy by McCoy Tyner
23. Point of Departure by Andrew Hill
24. Unknown Pleasures by Joy Division
25. Marquee Moon by Television
26. Spirit of Eden by Talk Talk
27. Selected Ambient Works Vol. II by Aphex Twin
28. Kind of Blue by Miles Davis
29. Trout Mask Replica by Captain Beefheart
30. Live at the It Club by Thelonious Monk
31. Taking Tiger Mountain By Strategy by Brian Eno
32. The Velvet Underground (Closet Mix) by The Velvet Underground

4.5 (Brilliant)
33. The Black Saint and Sinner Lady by Charles Mingus
34. On Land by Brian Eno
35. Spiritual Unity by Albert Ayler
36. Faust IV by Faust
37. Outside the Dream Syndicate by Tony Conrad
38. Jupiter Symphony by Wolfgang Amadeus Mozart (Walter)
39. In a Silent Way by Miles Davis
40. Ege Bamyasi by Can
41. The Beatles (50th Anniversary Mix) by The Beatles
42. The Complete Live at the Plugged Nickel by Miles Davis Quintet
43. Neu! by Neu!
44. Third by Soft Machine
45. The Complete Village Vanguard Recordings by John Coltrane
46. Rockers Meets King Tubby in a Firehouse by Augustus Pablo
47. The Complete Village Vanguard Recordings by Bill Evans Trio
48. Preludes: Book 1 by Claude Debussy (Michelangeli)
49. Nocturnes by Frederic Chopin (Moravec)
50. Opposite People by Fela Kuti
51. Dream Theory in Malaya by Jon Hassell
52. Faust by Faust
53. In Rainbows by Radiohead
54. Mm.. Food by MF Doom
55. Animals by Pink Floyd
56. Drukqs by Aphex Twin
57. Ki-Oku by DJ Krush
58. Long Season (98.12.28 Version) by Fishmans
59. Moanin' by Art Blakey & the Jazz Messengers
60. Plastic Ono Band by John Lennnon
61. Goldberg Variations by Jean Sebastian Bach (Gould '81)
62. Music For Airports by Brian Eno
63. Sgt. Pepper's Lonely Heart's Club Band (50th Anniversary Mix) by The Beatles
64. Laughing Stock by Talking Heads

4.0 (Flawless)
65. Three Ragas by Ravi Shankar
66. In C by Terry Riley
67. Shiny Beast/Bat Chain Puller by Captain Beefheart
68. Neu!2 (Side A) by Neu!
69. The Planets by Gustav Holst (Dutoit)
70. Atlantis by Sun Ra
71. Highway 61 Revisited by Bob Dylan
72. Earth 2: Special Low Frequency Edition by Earth
73. E2-E4 by Manuel Gottsching
74. Structures from Silence by Steve Roach
75. In Person at the Blackhawk by Miles Davis
76. Appassionata by Ludwig Van Beethoven (Richter)
77. Hosianna Mantra by Popol Vuh
78. East of the River Nile by Augustus Pablo
79. Madvillainy by Madvillain
80. The Disintegration Loops by William Basinski
81. Illmatic by Nas
82. Rubber Soul by The Beatles
83. The Modern Dance by Pere Ubu
84. Entertainment! by Gang of Four
85. The Shape of Jazz to Come by Ornette Coleman
86. Tri Repetae by Autechre
87. Days of Radiance by Laraaji
88. Out to Lunch by Eric Dolphy
89. A Tribute to Jack Johnson by Miles Davis
90. Brilliant Corners by Thelonious Monk
91. Kid A by Radiohead
92. The Freewheelin' Bob Dylan by Bob Dylan
93. Pop by Gas

3.5 (Great)
94. Treasure by Cocteau Twins
95. Roseland NYC by Portishead
96. After Bathing at Baxters by Jefferson Airplane
97. Low by David Bowie
98. Geogaddi by Boards of Canada
99. Vision Creation Newsun by Boredoms
100. Harmony in Ultraviolet by Tim Hecker

 

[ItsFineImFine]

I've been listening to the new Johnny Marr album from this year and while not all the songs have grown on me yet, I do have to say that I love the guitars on this, they sound great.

Also found a used copy of Oasis' What's The Story and Keane's Hopes & Fears (North American version) for a loonie each at a thrift store, my 3rd copy of the Keane album lol. Two of the best modern British rock albums ever made for $2, kinda sad but also kinda neat, made my weekend.

British Sea Power - Open Season (2002) - 7/10

Elbow - Giants of All Sizes (2019) - 6/10

 

[Spring in Fialta]

Dwight Spitz by Count Bass D (2002) - Having masterminded the best track on MF DOOM's Mm..Food (Potholderz), I got curious to check out his own albums. Fantastic album that rubs shoulders with the best of MF DOOM and I'm starting to get highly curious in checking out the works of their own little peripheral clique that they have going, which includes MF Grimm, who I'll be checking out next. There's sonic similarities between Count Bass D's album structure and MF DOOM's aesthetic, such as the use of television interludes at the beginning or ending of tracks but about 70-80% of this album is a fine collection of claustrophobic and layered vignettes that rarely go beyond the 1:40 mark. I find that fairly creative and it's a work that doesn't concern itself with basic song structure (even less so than MF DOOM does) and shows an uncanny ability to mix sounds/melodies/beats and bizarre quirks creatively. It kind of reminds me of Captain Beefheart in its approach. There's even instances of sloppy, free jazz that complements the rapping perfectly. Sometimes the female vocal samples (which were prominent in the early 00s) aren't rewarding but it's a slight flaw in what is a work of serious talent. Even the album cover is awesome.

Favorite tracks: Jussa Playa, Postmeridian, Truth to Light, Blues For Percy Carey, Make a Buck, Take Control

 

[Mikeaveli]

Dwight Spitz by Count Bass D (2002) - Having masterminded the best track on MF DOOM's Mm..Food (Potholderz), I got curious to check out his own albums. Fantastic album that rubs shoulders with the best of MF DOOM and I'm starting to get highly curious in checking out the works of their own little peripheral clique that they have going, which includes MF Grimm, who I'll be checking out next. There's sonic similarities between Count Bass D's album structures and MF DOOM's aesthetic, such as the use of television interludes at the beginning or ending of tracks but about 70-80% of this album is a fine collection of claustrophobic and layered vignettes that rarely go beyond the 1:40 mark. I find that fairly creative and it's a work that doesn't concern itself with basic song structure (even less so than MF DOOM does) and shows an uncanny ability to mix sounds/melodies/beats and bizarre quirks creatively. It kind of reminds me of Captain Beefheart in its approach. There's even instance of sloppy, free jazz that complements the rapping perfectly. Sometimes the female vocal samples (which were prominent in the early 00s) aren't always rewarding but it's a slight flaw in what is a work of serious talent. Even the album cover is awesome.

Favorite tracks: Jussa Playa, Postmeridian, Truth to Light, Blues For Percy Carey, Make a Buck, Take Control

This is an excellent album. The early 2000s might be my favourite era of hip-hop. This is in that second tier of releases from that period for me (below stuff like Madvillainy/MM.. FOOD, Fantastic Damage, The Cold Vein, The Unseen, Aesop Rock's first 2 albums, etc.) but still a rewarding listen.

Also one of my favourite album covers!

 

[Shareefruck]

I am intrigued.

Edit:
Sampled these, and they didn't really grab me, but I'll keep listening.

The Cold Vein by Cannibal Ox - 2.5 (Positive)
Dwight Spitz by Count Bass D - 1.5 (Neutral)
Fantastic Damage by El-P - 1.5 (Neutral)

 

[Spring in Fialta]

Aural S(ECT)s is badass too.

 

[Shareefruck]

Ki-Oku by DJ Krush - 4.5 (Brilliant)
Favorites: Ha-Doh, Mu-Chu, Fu-Yu, Ko-Ku

The Unseen by Quasimoto (Madlib) - 4.5 (Brilliant)
Favorites: Astro Travelin, Bad Character, Microphone Mathematics, Come On Feet

I've been absolutely obsessed with these two albums lately. Both are essentially perfect recordings with little to no weak points of reservation and both are rapidly edging their way into my favorites. Hip-Hop is dramatically more satisfying when it's jazz-influenced, IMO.

I finally warmed up to Quasimoto's vocals and the whole thing just has such a palpable surreal, hazy, off-kilter, and psychedelic atmosphere to it.

 

[Spring in Fialta]

Been more on a rap kick recently but stumbled upon this gorgeous version of New Order's Leave Me Alone. It's credited to Joy Division, but I'm certain is isn't so. I believe it's a demo version from New Order. Infinitely pretty. Better than the original, which is a masterpiece in and of itself. The candy-like melodies sound so much more strident in the best of ways.

 

[Shareefruck]

Been more on a rap kick recently but stumbled upon this gorgeous version of New Order's Leave Me Alone. It's credited to Joy Division, but I'm certain is isn't so. I believe it's a demo version from New Order. Infinitely pretty. Better than the original, which is a masterpiece in and of itself. The candy-like melodies sound so much more strident in the best of ways.

Ooh, I do like that one a lot more than the original. The weird thing with New Order for me is that despite it being well documented that they struggled to find their sound early on and became more polished and comfortable as they went on, personally, I think I still prefer the type of approach they had earlier on (even though the material was weaker), during the Movement era, when they still had ties to Joy Division's post-punk sound and when Sumner had greater insecurity about the way his voice sounded, as odd as that is to say. Between Movement, the Western Works demo of Ceremony, and this, that seems to be a trend for me, anyways.

Now I'm curious to hear if the other demos have a similar quality. Does anyone know if/where it's available?

 

[Spring in Fialta]

Ooh, I do like that one a lot more than the original. The weird thing with New Order for me is that despite it being well documented that they struggled to find their sound early on and became more polished and comfortable as they went on, personally, I think I still prefer the type of approach they had earlier on (even though the material was weaker), during the Movement era, when they still had ties to Joy Division's post-punk sound and when Sumner had greater insecurity about the way his voice sounded, as odd as that is to say. Between Movement, the Western Works demo of Ceremony, and this, that seems to be a trend for me, anyways.

Now I'm curious to hear if the other demos have a similar quality. Does anyone know if/where it's available?

Yeah, I've been listening to it a lot in the past few days. Quite better than the original. Just a perfect piece. I love how more pronounced yet bare the bass and vocals are.

 

[Mescaleroman]

Now I'm curious to hear if the other demos have a similar quality. Does anyone know if/where it's available?

Believe this is a Joy Division / New Order cover band called Digital.

 

[Spring in Fialta]

Believe this is a Joy Division / New Order cover band called Digital.

Really? The vocals definitely sound like Bernard Sumner.

 

[Mescaleroman]

Really? The vocals definitely sound like Bernard Sumner.

I didn't think it sounded like Sumner or Curtis , thought it sounded more like early Bowie actually , so checked a couple of the vids on Youtube - one with a different thumbnail had an explanation that it was this cover band.
Searched Digital Leave me Alone as well and there were a few vids.