Good catch, mecca, that was actually an oversight on my part, as I did hear both of those albums. For what it's worth, Brian Eno thinks Stranded was Roxy Music's best album. As for Mott, I remember having trouble getting into it. I think I'll give it another try now.
I have to say, as much as I love Ziggy and Electric Warrior, most of my other experiences with glam have been uninspiring. Glam is fun for an occasional change of pace, but the albums just don't pull me in.
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As for Mott, I remember having trouble getting into it. I think I'll give it another try now.
Yeah, Mott is nowhere near the level of Electric Warrior or Ziggy. I've never been a huge fan of Mott. of everything I've heard by them I very much prefer Mad Shadows for the over the top vocal performances. But I think I'm alone in thinking it's the best thing they've done
Stooges' Raw Power should also be thrown in there. He's shiny as shit on the cover and when Iggy was in LA he was in a glam phase, at least as described by several LA punks in the book We Got the Neutron Bomb.
Stooges' Raw Power should also be thrown in there. He's shiny as shit on the cover and when Iggy was in LA he was in a glam phase, at least as described by several LA punks in the book We Got the Neutron Bomb.
Was kinda thinking about how Lou and Iggy could probably be included. Then there's also Queen. _________________ http://jonnyleather.com
Stooges' Raw Power should also be thrown in there. He's shiny as shit on the cover and when Iggy was in LA he was in a glam phase, at least as described by several LA punks in the book We Got the Neutron Bomb.
I was gonna list it in a later category, but you're right about the cover and it's a classic for sure. Lou Reed's Berlin is another borderline case (it will also show up in a later post).
Quote:
As a side note, Christgau is fucking retarded.
I used to have the same opinion, but I've developed respect for him since my early '70s listening. He doesn't hesitate to shit down the throats of even the most respected prog rock bands and he was one of punk's biggest early supporters. I find myself agreeing with his '70s reviews more often than Rolling Stone, for example. By the '90s, he seemed to completely lose touch with reality, though.
The group was the most popular act the country had ever seen at that time. It's admirable the HUGE success they had, in the middle of the dictatorship, given how confrontational they were, both in lyrical content and in the way they presented themselves.
The album is absolutely gorgeous and a load of fun. It's been my favorite album at some point of my life, some of my favourite songs and lyrics ever are here. I'd take it over any Bowie album anytime, and I adore Bowie.
The group was the most popular act the country had ever seen at that time. It's admirable the HUGE success they had, in the middle of the dictatorship, given how confrontational they were, both in lyrical content and in the way they presented themselves.
The album is absolutely gorgeous and a load of fun. It's been my favorite album at some point of my life, some of my favourite songs and lyrics ever are here. I'd take it over any Bowie album anytime, and I adore Bowie.]
1973: Germany
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The early-to-mid ‘70s were an exciting time in German music as ground was quietly being broken beneath the din of progressive and glam rock. By 1973, the “krautrock” sounds typified by the early work of Can, Kraftwerk, and Amon Düül II were out and many German bands were placing an increasing emphasis on electronic synthesizers and ambient soundscapes. Here are some landmarks from the year:
It’s morning in the Blue Mountains of southeastern Australia. My wife and I are awake early for a hike along the edge of the Jamison Valley, the entrance to which is a giant rock stairway. We stand at the top of the rocky descent, looking out at the distant mountains. A fog has settled over the valley, obscuring the tree line but leaving the mountain peaks in clear view, and a chorus of disjointed bird songs arises from the valley. This is the natural world, order arising from chaos, order within chaos…
Future Days is the culmination of a three-album run, starting with Tago Mago and Ege Bamyasi, that to me symbolizes the human struggle. In the first installment, we are simple primitives striving only for survival amidst a chaotic and often confusing world, while the second shows us in control of our environment but perpetually unsure of ourselves. Future Days envisions an end to all struggles, as we finally make peace with the natural world, as well as our place in it. A certain amount of chaos underlies all three albums, the difference lies only in how we cope with that chaos.
Anyway, listen to this. It’s one of Can’s last masterpieces and their last with vocalist, Damo Suzuki.
After their masterpiece debut album escaped the attention of anybody with money to spend, Neu! found themselves a bit short on cash for recording their second album. The result is half an album of new material and half an album of remixes of their single, "Super/Neuschnee". While this drew a lot of criticism in 1973, it’s now a standard practice in electronic and dance music and I actually prefer it to the first side of the album. While Neu! 2 is probably the weakest of their first three offerings, I still highly recommend it.
IV would turn out to be Faust’s last album for over 20 years, as their record label, Virgin, rejected their attempt at a fifth entry. This is by far the most accessible of their albums, though don’t expect a simple walk in the park. It is undeniably scattered, but not as fully committed to that philosophy as their earlier work, passing for a mutant child carefully decorated with make-up. I wouldn’t play it for my mom, but she might play it for me if she wanted to look cool. Also, check out The Faust Tapes from the same year, a compilation of bits and pieces of their earlier work that was foisted on the English public for the price of a mere single.
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