Really cool record. ESG (Emerald Sapphire & Gold) started as four sisters from the Bronx, and they were one of the foundational bands of the dance-punk genre. You can hear a heavy funk influence, and the album has great grooves, if not always substantial songwriting. LCD Soundsystem fans who want to know the history of their sound - check it out. 3.5/5.
24. From Gardens Where We Feel Secure - Virginia Astley
42. Thank Your Lucky Stars - Beach House [4/5 as of 2016]
Tap's Chart (#2): No albums left to hear
babyBlueSedan's Chart (#3):
78. Are We There - Sharon Van Etten [3.5/5 as of 2016]
89. Painted Shut - Hop Along [3.5/5 as of 2016]
Arthurknight's Chart (#4):
22. Paix - Catherine Ribeiro + Alpes
34. Bílé Inferno - Iva Bittová & Vladimír Václavek
51. Desertshore - Nico [4/5 as of 2016]
64. Eli And The Thirteenth Confession - Laura Nyro [4/5 as of 2015]
74. Carol Of Harvest - Carol Of Harvest
77. Spleen And Ideal - Dead Can Dance _________________ Join us in the canon game :) / Add me on RYM
Last edited by baystateoftheart on 03/26/2019 03:36; edited 1 time in total
baystateoftheartNeil Young as a butternut squashProfile Massachusetts
1.
I'm 99% sure that the main reason I had this rated so low is because of the hidden track at the end, which involves an annoying six minutes of silence.
First time I've heard this as a negative thing (silence and then a hidden track)... tell me more about why you don't like it?
So like Endless Nameless or whatever it's called at the end of KidA? I think those are genius tracks and somehow like the whole "subconscious journey into a tunnel" and then popping out on the other side with something unexpected.
Beck and U2 have them, but they aren't songs... it's like warnings the album is over (like a bell or alarm going off) and those I don't care for because it's not really a hidden musical track.
I actually have no problem with hidden tracks with gaps of silence. It's just that usually I don't find the length of the silence to be defensible. A minute or two? Fine. This was overkill, and there are other tracks that are even worse, like a Black Keys closing track with about 20 minutes of silence. I don't want to disconnect from the music and reflect for more than a couple minutes before finishing it. So I have to keep notes on when the music starts again and skip accordingly. I do much of my listening while driving, and I have to exclude albums with hidden tracks from my driving playlists, which is annoying.
I have a problem with gaps of silence. So much so that I go through the trouble of editing them out of my digital collection whenever I find myself annoyed by them.
If a track goes Song-Silence-Song, I split it into two tracks and eliminate the silence almost entirely. If it's Song-Silence-BitOfNoiseOrWhatever (e.g. with Beck), then I simply edit down the silence to a reasonable length--usually from minutes down to seconds.
I always make an effort to have the result feel right and flow well. Sometimes this calls for a longer silent gap than at other times. If ever I run into a case of Song-Silence-Song that doesn't sound right without a significant gap of silence left between the two songs, I'll probably have the silence be its own separate track so both songs won't feel out of place on shuffle or in playlists. But I've yet to encounter a situation where a hidden song feels awkward playing immediately after the previous song. Which makes the practice of leaving these huge silent gaps all the more annoying. I mean, what's the point?
RoundTheBendI miss the comfort in being sadProfile Ground Control
1.
I'm 99% sure that the main reason I had this rated so low is because of the hidden track at the end, which involves an annoying six minutes of silence.
First time I've heard this as a negative thing (silence and then a hidden track)... tell me more about why you don't like it?
So like Endless Nameless or whatever it's called at the end of KidA? I think those are genius tracks and somehow like the whole "subconscious journey into a tunnel" and then popping out on the other side with something unexpected.
Beck and U2 have them, but they aren't songs... it's like warnings the album is over (like a bell or alarm going off) and those I don't care for because it's not really a hidden musical track.
I actually have no problem with hidden tracks with gaps of silence. It's just that usually I don't find the length of the silence to be defensible. A minute or two? Fine. This was overkill, and there are other tracks that are even worse, like a Black Keys closing track with about 20 minutes of silence. I don't want to disconnect from the music and reflect for more than a couple minutes before finishing it. So I have to keep notes on when the music starts again and skip accordingly. I do much of my listening while driving, and I have to exclude albums with hidden tracks from my driving playlists, which is annoying.
Anyway, as I said, I've stopped holding it against albums in terms of rating.
That's totally respectable and I noticed you said that. Just was curious about the logic behind it.
RoundTheBendI miss the comfort in being sadProfile Ground Control
I have a problem with gaps of silence. So much so that I go through the trouble of editing them out of my digital collection whenever I find myself annoyed by them.
If a track goes Song-Silence-Song, I split it into two tracks and eliminate the silence almost entirely. If it's Song-Silence-BitOfNoiseOrWhatever (e.g. with Beck), then I simply edit down the silence to a reasonable length--usually from minutes down to seconds.
I always make an effort to have the result feel right and flow well. Sometimes this calls for a longer silent gap than at other times. If ever I run into a case of Song-Silence-Song that doesn't sound right without a significant gap of silence left between the two songs, I'll probably have the silence be its own separate track so both songs won't feel out of place on shuffle or in playlists. But I've yet to encounter a situation where a hidden song feels awkward playing immediately after the previous song. Which makes the practice of leaving these huge silent gaps all the more annoying. I mean, what's the point?
Yeah - really I like the concept I mentioned before, but do I sit through the 8 minutes of silence to hit the track... nope. Never intentionally... so yeah, totally jive with this too.
As a matter of fact I've seen re-releases that do exactly what you are mentioning.
I think it was just a thing you do because you could do it around the CD age. Rarely had a real reason other than that.
Last edited by RoundTheBend on 03/26/2019 00:44; edited 1 time in total
RoundTheBendI miss the comfort in being sadProfile Ground Control
OOHHHHHHHHHH SHIT, this is hot. Like Will Smith looking through some binoculars hot. I was looking forward to listening to this one after I read that it was Seattle area hip hop, an area that I know next to nothing about when it comes to a rap scene. This did not disappoint. I am dead serious when I say that this is a perfect compilation from a record label that is obviously underrated. I thoroughly enjoyed almost all of the songs beatwise, lyricswise, emceewise; there were very few things to complain about unless you don't like interludes.
Baystate, listen to Carol of Harvest. It's an obscure one and I doubt anyone else would pick it :D. I've only listened to it once, but it was pretty good.
Mental Dimension- MD's .....On the Come In
Ill Biskits- Chronicle of Two Losers
Citizen Kane- Deliverance
Live Poets- What's It All About
Street Poets- Street Poets
Bakers of the Holy Bread- The End of a Cold Experience
Greer - Ill Visions
Red Money- II Much Red
StreeThugs- Not to Be Fu•?ed With
Rappin' Ron & Ant Diddley Dog- Bad N Fluenz
baystateoftheartNeil Young as a butternut squashProfile Massachusetts
I was really in the mood to hear this album, the last one of my Women's History Month run through Tap's chart, so I didn't wait until it was picked for me. Listen if you like out-there 60s psych folk in French with powerful vocals that are always interesting and sound primal in a mostly good way. Great, engaging record. 4/5.
Very nice progressive folk rock album that apparently became a cult classic after only a few hundred copies were pressed in 1978. Everyone in the band was very young and still in school when it was recorded. I was surprised to learn they were German, because the singer doesn't seem to have an accent. The middle tracks are more folk-oriented, and the bookends are more prog rock-oriented. Beautiful singing and tight instrumentals. 4/5.
~~~~~
2. I love the band name Bakers Of The Holy Bread. Give that a try.
~~~~~
3. Tilly's Chart (#1):
24. From Gardens Where We Feel Secure - Virginia Astley
42. Thank Your Lucky Stars - Beach House [4/5 as of 2016]
Tap's Chart (#2): No albums left to hear
babyBlueSedan's Chart (#3):
78. Are We There - Sharon Van Etten [3.5/5 as of 2016]
89. Painted Shut - Hop Along [3.5/5 as of 2016]
Arthurknight's Chart (#4):
22. Paix - Catherine Ribeiro + Alpes
34. Bílé Inferno - Iva Bittová & Vladimír Václavek
51. Desertshore - Nico [4/5 as of 2016]
64. Eli And The Thirteenth Confession - Laura Nyro [4/5 as of 2015]
77. Spleen And Ideal - Dead Can Dance
81. Illuminations - Buffy Sainte-Marie [4/5 as of 2016] _________________ Join us in the canon game :) / Add me on RYM
RoundTheBendI miss the comfort in being sadProfile Ground Control
1.
Africa/Brass by John Coltrane Quartet
Solid but nothing really stood out as amazing. I did find Coltrane's work himself as a bit more bold here than nearly anything else I've listened to. It seems on other albums he was a great band leader, but his solos were in a respectable style as opposed to blaring something out, and this seemed counter to that. He was featured more is probably a better way to say it. Also I kinda miss corduroy to be honest. 85.
2. I've liked some dead can dance stuff and some not so much - give 'er a try: Spleen And Ideal - Dead Can Dance
3.
256. Still Life by Opeth (1999)
274. Human by Death (1991)
309. Seasons in the Abyss by Slayer (1990)
322. Hvis lyset tar oss by Burzum (1994)
324. Bergtatt: Et eeventyr i 5 capitler by Ulver (1995)
332. Ashes Against the Grain by Agalloch (2006)
343. Selected Ambient Works Volume II (1994)
349. The Sound of Perseverance by Death (1998)
354. In the Nightside Eclipse by Emperor (1994)
360. Desertshore by Nico (1970)
362. Red House Painters [Rollercoaster] by Red House Painters (1993)
363. Iron Maiden by Iron Maiden (1980) - needs a rating
365. Silent Hill 2: Original Soundtrack by 山岡晃 (2001)
367. Get Up With It by Miles Davis (1974)
370. NEU! '75 by NEU! (1975) (assuming this is different
371. Stress: The Extinction Agenda by Organized Konfusion (1994)
373. Script of the Bridge by The Chameleons (1983)
374. Altars of Madness by Morbid Angel (1989)
375. Moment of Truth by Gang Starr (1998)
378. Individual Thought Patterns by Death (1993)
379. Mingus Mingus Mingus Mingus Mingus by Charles Mingus (1964)
380. Heaven and Hell by Black Sabbath (1980)
381. Youth of America by Wipers (381)
386. Storm of the Light's Bane by Dissection (1995)
387. Ghost Reveries by Opeth (2005)
390. Lanquidity by Sun Ra (1978)
395. You Won't Get What You Want by Daughters (2018)
396. Taking Tiger Mountain (By Strategy) by Eno (1974)
399. Astigmatic by Komeda Quintet (1966)
400. flood by Boris (2000)
Beats on point, lyrics and delivery are OK to good, but rarely great. This album gets extra points though because this is a hip hop album from Sweden, and I can definitely say that's a first for me. They launch attacks against all of the major hip hop artists of the time, which is a pretty bold move.
This one is called Black Christ, so give it a listen.
Seth, your list is full of a lot metal. Let's have you tackle one of my favorites, a classic, Emperor's "In the Nightside Eclipse".
Mental Dimension- MD's .....On the Come In
Ill Biskits- Chronicle of Two Losers
Citizen Kane- Deliverance
Live Poets- What's It All About
Street Poets- Street Poets
Greer - Ill Visions
Red Money- II Much Red
StreeThugs- Not to Be Fu•?ed With
Rappin' Ron & Ant Diddley Dog- Bad N Fluenz
Kilo G- The Bloody City
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baystateoftheart
Rhyner
RoundTheBend
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