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Thread: T. Moon's 1,000 recordings to hear before you die

  1. #91
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    Quote Originally Posted by BroncoJoe View Post
    I came across this not too long ago - pretty cool:



    (don't mean to muck up your thread...)
    Muck to your heart's content.

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    68. The Beau Brummels, Triangle (Rock, 1967) C-

    Enjoys fine production and that dungeons and dragons-esque quality of the better hippy music of the late sixties/early seventies. Good songwriting. Worth a few listens to find out if it fits you. It's like a mix of Bob Dylan/Dave Alvin/Bowie/HotGypsySex, but doesn't reach the ecstatic heights of any of those.

    If you enjoy a good storyteller type bard, you'll like this one.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    69. Sidney Bechet: Ken Burns Jazz (Jazz, 1930+) D+



    The first international jazz musician, Bechet (1897–1959) was largely unknown in America.
    Youtube comment:
    Bechet was every inch the musician that Louis Armstrong was...IMO. He just lacked Louis' charisma and he was a powerful personality; so much so he couldn't play the game like Louis could. He wouldn't and couldn't. I love him for that.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    70. Beck, Mutations (Rock, 1998) D-

    This album did nothing for me. I like Beck's creative side. Odelay at the time was like, uh... cool I guess. But a bit too pop? I was into weirder things and it struck me as forcibly alternative. This was the Jackson Browne version of Beck, and it's not Jackson Browne.

    On Tom's blog, a commentor said, and I paraphrase, FTW?

    tom's response:

    Hey and thanks for the comments.

    Artists like Beck—those who change styles and approaches frequently—presented me with some of the biggest challenges in doing this project.

    Odelay is the obvious choice, the commercial breakthrough, and a great record. Ditto Midnite Vultures. Sea Change is my personal favorite, a great example of an artist “zagging” away from what’s expected.

    I sought a record that would serve as an introduction for the uninitiated and at the same time offer a satisfying full album experience. any of the above could have worked—ultimately it was the staggering diversity of styles on Mutations that tipped it for me.

    btw, not that you asked, the “path” I’d recommend for Beck exploration goes like this:

    Mutations
    Odelay
    Midnite Vultures
    Sea Change
    One Foot in the Grave

    thanks for those comments!

    tm
    I made a promise to myself, or at least carry an intention, to revisit the first 100 records with some real gusto. So my evaluation may change. but I doubt it. I mean, think of all these damned recordings. If you want to get through them, at some point you need to quit forcing yourself to enjoy something and just play what you like. Freaking discipline can be so lame.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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  6. #95
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    71. Beethoven, Archduke Trio, Kreutzer Sonata (Classical, 1927 recording) D

    The musicians, as is the case with these poor-quality recordings, benefit from a rose-tinted nostalgia that the music cogniscentia lay on their gravestones. I get that Cortot was a great pianist, but not enough to overcome listening to shitty hiss-crackle-pop low-pass-filter recordings. Bump up the grade to C- if quality is solid.

    The piece of music itself is pretty solid. Beethoven is a baller composer. Take a listen.



    and for those like me that hate to waste time on crap quality when it doesn't improve the experience...a higher quality recording with similar musicianship (I mean, Rostropovich and Gilels..c'mon)

    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    72. Beethoven, String Quartets Opp. 131, 135 (Classical, w/e's on yearstamp) F/C

    I'm giving this an F and I didn't even listen to it. How bad is that? I don't care.

    Here's the deal. Beethoven's string quartets are outstanding. They take a lot of time. They are the ultimate wash over you after millions of listens and you eventually 'get' them.

    That's cool. . for those with patience and a desire to enjoy the finer compositions of man, dig in!

    But here's why the F. Tom assumes you will get his little variant, listening to these string quartets as orchestral pieces. I mean...I don't get it. Just share your best interpretation of the quartets. It's not like an orchestral version (which implies a second set of hands in the composition part of the shebang, a set not named Beethoven) is an improvement. Or is it? I didn't even listen. Don't really want to.

    So, if I'm grading the string quartets, I give it a C. But this gimmick? Pass.

    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    73. Beethoven, Missa Solemnis conducted by Klemperer (Classical), D+



    Someone calls this a recording of the century. So you know some old ass dude or some effete professorial bitch is all up in this crap.

    Gotta say, there's nothing wrong with it. It's all a matter of taste. If you can hit the mute button on all your anxieties and enjoy this fine mass, you will feel rewards. Some people really like it...for example, this youtube comment:

    If you look up Western Civilization in the dictionary, it should have a note: "see Missa Solemnis"

    Beethoven's supreme artwork and possibly the greatest work of all time.
    A lot of people call it Sublime, but I don't hear Brad's fingerprints on this work at all. But it's aite.

    Ok, to be honest...classical take a lot of effort from me to really enjoy it. But when I invest the energy, it generally pays off. I'm about to get to that with some other of B-money's works. So I say, if you aren't into classical, this might be a good piece of music to try to make the jump to lightspeed. Let me know.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

  9. #98
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    74, 75. Beethoven, Piano Concertos (classical) A-

    Tom includes two entries. One is P-cons nos. 1-5 by Serkin (conductor, Gieseking on piano), the other is P-cons 4&5 ...ah, but

    When our modern orchestras gather to play Beethoven, are we hearing what the composer intended? According to those involved in the period-instruments movement, in many cases the answer is no—modern instruments, while more practical and easier to play in tune, are also louder and at times less subtle. The steel strings that replaced catgut strings for violin and cello are more brittle. And the ensembles are considerably larger: Beethoven wrote these works for piano and orchestra in 1807 and 1809 intending them to be played by twenty musicians (in a ballroom no less!), not an army of eighty or a hundred. What a composer intended as a fleeting coloristic dab can, in modern rendering, translate into a massive thunderclap.

    This recording offers an excellent encounter with the early-music philosophy, which shares a kinship with heirloom vegetable farming and other back-to-basics movements. From the very first notes of the Fourth Concerto, the Cristofori ensemble lures listeners away from the big, the towering, and the modern, and into a place where each attack is a discreet and precious event. This changes the entire dynamic of the music making: In many performances of the Fourth, the orchestra bullies the piano, and by the end there's a kind of chilly standoff. Here, it's as though we're embroiled in a deep discussion between the two different fields of sound. If there's a psychological winner, it's not the orchestra, as is usually the case, but the keyboard, with its nimble and fantastic flourishes glancing off the big string chords.
    Ok, that's neat. I'll have to give it a listen sometime.

    I'm giving this an A- because I've listened to P-cons 3,4 and 5 a ton. Especially 4. It's one of my favorite pieces of classical music ever. It's a good place to say, hey, let's see if this classical thing works on me.

    At one point, after listening to the 'top' 100 or so piano concertos, I had this ranked as #1. Listening to this is the closest I've been personally to Beethoven's intended 'mood' or whatever. Love the 4th. Listen the whole way through if you can...get a recording that you can get into during a workout or something. This is among the most powerful music I've ever experienced.

    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    76. Beethoven, Symphonies 1-9 (classical) __

    I'm not going to grade this...I mean. C'mon dude. Just all the symphonies? Not even picking one as a point of departure? You really think we have time for this crap? What's next, Mahler, symphonies 1-9? That kind of exploration takes months...and if you aren't into the genre, maybe years!!

    I'd say to you, reader, jump into the 9th and see how a beethoven symphony suits your musical palette. It is catchy at points.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    77. Bix Beiderbecke, Singin' the Blues Vol. 1, (Jazz, 1927) D

    Of all the hotshots who made important music between early jazz and the rise of swing in the 1930s, the cornetist Bix Beiderbecke (1903–1931) is among the least appreciated. That's partly because he wasn't a typical hotshot: The self-taught musician gravitated toward the downcast and the contemplative, using his pure, piercing tone to make a potent first impression. Like every jazz aspirant of the 1920s, Beiderbecke toiled in the shadow of Louis Armstrong. But the lean, pomade-wearing kid born to second-generation German parents from Davenport, Iowa, wisely didn't try to imitate Satchmo. Instead, Beiderbecke pursued a sound that emphasized finesse over raw power. He understood the stop-time tricks and other conventions of early jazz, and filled each break with disarmingly wistful phrases that could not be easily copied.
    I enjoyed it.
    Last edited by Hawgdriver; 04-30-2017 at 10:01 PM.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    78. Harry Belafone, Live at Carnegie Hall (Vocals, 1959) C+

    Among crooners, I actually like this dude. He's the 3/4 ton truck driving version of those other asshats. When it's time to get her to ask you to stuff her #5th round draft pick, this is the magic man to put on the stereo machine.

    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

  13. #102
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    79. Peter Bellamy, The Transports (Folk/Opera, 1977) F+
    The Transports uses period instruments and British ballad forms to tell the sad but true tale of Henry Cabell and Susannah Holmes. Convicted under British law of larceny, they were part of the "First Fleet" of criminals transported by boat to Australia in the eighteenth century. Bellamy starts by setting the scene in England, with songs that describe the socioeconomic forces that vex lower-class citizens ("Us Poor Fellows"). In the manner of opera, the songs are all sung "in character," with each of the principals played by a well-known folk singer (June Tabor, A. L. Lloyd, Martin Carthy, Mike and Norma Waterson, among others).
    I had a hard time finding a recording of this. I found something on youtube. It was someone else's performance of it. It conjured a profound yawn.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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    80. Belle and Sebastian, If You're Feeling Sinister (Rock, 1997) C-

    I'm a huge Belle and Sebastian fan. This is probably their best album. I've listened to it probably twenty times. The singer sounds super faggy. Sometimes a girl sings. None of my personal favorites are on this album, but it's a good album. You can tell right away if his singing style is a total turn-off. To many it is, at least at first. Here are the two finest cuts. This first one is an example of why I like steel guitar in alternative type music (u hear me, buff?)





    I find humor that the book on the cover art is Kafka's The Trial.
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

  15. #104
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    81. Bellini, Norma (Opera, 1954) C
    Those who don't know Norma may be surprised to recognize the hymn-like "Casta diva," Norma's first entrance in Act 1. It's the music Susan Sarandon is listening to while bathing her arms and breasts in lemon juice in an early scene of the film Atlantic City. The piece, one of the most famous tunes in all of opera, is Norma's rhapsodic description of the moon, a pagan hymn of worship. Sung here by the much-worshiped opera goddess Maria Callas, it's suffused with a particular kind of awe that sets up the story to follow, a retelling of the Medea legend casting Norma as a Druid princess in love with a Roman general. The plot, in a nutshell: Love sours, Norma threatens to kill the general's two children, tense confrontations ensue.
    Good opera. You have to wonder why they build things like this.



    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

  16. #105
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    82. Bembeya Jazz Nation, The Syliphone Years (World/Guinea, 1961-?) F
    Like most musicians, the assembled players shared a curiosity about music from all over the world. But they were canny enough to recognize that survival depended on what the government considered "authenticity"; so the tracks on the group's first album, from 1961, included a calypso, a mambo cha-cha, and four folkloric pulses identified as "rhythme Africaine."
    I can't really remember anything about this recording. I'll have to listen to it again.

    Ok, I listened to it again. Horn instruments and an island sound. Idk. Kinda boring, but maybe I should give it more of a chance. D-- as a grade for now. Nah, F.



    Challenge me on this? Did I just dismiss the best recording of the century?
    Quote Originally Posted by Sting
    "You know cos I just lost my parents--both my parents died in the same year...to this day, people come up to me and say 'my dad died and that album really meant a lot to me,' which is very nourishing {pats heart} for a songwriter to hear that your songs have a utility beyond just their own solace, that it actually helps other people."

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