Top 10+ Music, Movies, and Visual Art of the Week (2020 - 2026) - Music Diaries

AfterHours · 2020-01-03T12:42:55-05:00

WHAT IS THIS LOG??? This is a log where, over the course of a given week or set of weeks, I consistently track about 90% (or even as much as 100%, but not always) of the Rock, Jazz and Classical music I am listening to, and/or the Films, Paintings/Visual Art I am viewing. Sometimes I track all of it but when I am extra busy this is almost never the case. For the given week(s) I also rank all the selections. The rankings on this log only reflect how much I favored them during the given period of time, not "overall" or "all-time". Therefore, while higher rated works will more frequently out-perform works rated lower than them, this will not always be the case -- they will not always reflect the same rankings on my "Greatest" lists. Just because a work is rated above another does not mean I enjoy it more 100% of the time (just most of the time; closer to 100% the wider the ratings differential). Many factors can make me temporarily favor a lesser rated work over a higher rated one, including but not limited to: -Very often, a new work to me will rank higher than it usually might, even above others with higher ratings, due to being temporarily enhanced by the excitement of discovery. There can be a similar "excitement of discovery" when I've made a new realization about a familiar work, and especially if I've just upgraded it to a higher rating, or am considering doing so. -My mood or perhaps even something in my personal life during the given week(s) may cause me to temporarily favor a particular genre or expressive type. -I may be particularly focused on a genre or artist or type of art (etc) so my interest is more heightened towards those over others during the given week(s). -One of the factors taken into account for the rankings here is how much time I spent on a work and/or how much I listened to, viewed or evaluated the work during the given week(s). Ex: If I listened to Highway 61 Revisited 10 times but Velvet Underground and Nico only 1 time, there is a very good chance I was much more consumed by Highway 61 Revisited during that time frame, and it will likely out-rank it here, even if otherwise I usually would favor, rate and rank Velvet Underground and Nico above it. These kinds of factors are temporary and are ultimately not given permanent consideration in my overall ratings and rankings as they usually only apply for a matter of days or a week or two, so would tend to represent a minority of my experiences with a work. My overall ratings reflect the ranking and rating that work most consistently sustains over the course of time, not fleetingly. On this log, a higher ranking than expected for a lower rated work can be a legitimate reflection that I am strongly considering upgrading it. Similarly, a lower ranking than expected for a higher rated work can be a legitimate reflection that I am considering downgrading it. But neither of these are always the case -- just an indication that it might be. Sometimes, more revisits may be needed to make a final determination, especially if with a work that has been stably rated and ranked for a considerable period of time before that. To qualify for inclusion here, the work has to rate 6.8 or above -- or at least did so at some point during the given week(s). If I include an additional "Top 10+" for lower rated works (such as 4.8/10-6.7/10) then of course those can be included as indicated. Below the "Top 10+" list(s), you will find where I log any ratings changes to the music, films or paintings/visual art for the given week(s). This has usually been reserved for ratings changes to works rated 6.8/10+ (or upgraded to this), unless otherwise indicated. Ratings updates initially colored in BLUE are those I've revisited within the given week(s) or, if not, very recently before that (close enough). Ratings updates initially colored in RED are not based on a revisit of the work DURING the listed week(s) or very recently, but usually a result of ratings tweaks being made in comparison to others or it may be part of a "domino effect" of changes that can follow from a change in my ratings scale or a general reconsideration of an artist, type of work, genre, etc. Below that you will find where I track my "Top 50 Works of Art of the Year". These are what I favored the most over that year, whether the work is new or old to me. The higher the ranking, the more I favored that work and the more it dominated my interests over the course of that year. Again, this will not always reflect the same rankings as one will find on my overall "Greatest" lists, as it is for that year only, but will certainly tend to favor the higher rated works. Very rarely does anything below 8.8/10 end up winning for the year, and if it did, it was probably considered 8.8/10 or above at that time even if not any more. This log started back around 2008-2009 on a site called listology (that crashed later) and began as just a really good way to track what I was listening to or viewing and also became a good foundation from which to build my lists from as they were rapidly growing at that time (especially as these had expanded between rock, jazz, classical, cinema, and later, paintings). Updates could be difficult to keep up with as my lists expanded and this log became a good source to see them all in one spot so one didn't have to keep checking each individual list out to see if anything had changed. This log also soon became a good source from which a lot of interesting discussion would take place, and this remains my favorite reason for keeping it running. It is also just sort of a personal "game" (so to speak) with myself, to keep my interest and discipline peeked along the way, to help keep my mind "sharp" in thinking with and determining ratings/rankings along the way and across a huge scale of qualitative increments. Outside of that, the "Top 10+" rankings for each week or set of weeks, the "Top 50 of the year" rankings, and so on, are rather meaningless in the scheme of things, in that they're ultimately not too essential for the main lists that I work on but rather "notes" or a reflection of my thinking along the way. It's all terribly nerdy, of course, but it works for me, and over the years some users across listology and BEA seem to have found it of some interest too, and that community and discussion has been helpful for me in fine tuning my lists, my views, criteria, analyses, etc (and hopefully, helpful both ways, too). Ultimately, my favorite result is if the log leads to interesting discussion about the works themselves, about ratings/rankings, about discoveries in art, and the like. So if you feel inclined to share your thoughts or have a question, or have a recommendation, you are more than welcome to do so. I try to take up all discussion and answer all questions. Generally speaking, all are welcome (particularly those that are genuine, not trolling). Naturally, those questions best aligned to which works/genre(s) I'm most currently featuring on this log (which also displays my immediate, active interests), are (usually) those that get the better and quicker responses. If I am very focused on a particular art or genre, I am not usually all that good at discussing much about another, as I am best with those I am actively invested in, being inspired by and actively thinking about. While there are certain common denominators that make all art comparable, each art tends to require its own way of thinking and evaluating it in its own contexts, and I tend to get fairly immersed in this alone when I am seriously invested in a particular genre or type of work, therefore I find it difficult to shake that mindset and discuss other works as freely and with as much interest. That said, if you have something to say or ask about any of the various arts I pursue, whether I am actively logging it or not, just go for it. It can never hurt and I'm not here to stop or inhibit you from saying what you want when you want to say it. Even if I don't give a good answer right then and there, it's harmless to get it out there and we can always come back to it when it's more aligned to my active interests (and you can always remind me later too). One last note: I lead a fairly busy life and when I am replying or posting on BEA, it is usually in between things plus often from my phone (not the best for typing). So although I usually keep a BEA tab open throughout the day for quick access, I am not (usually) ACTIVELY on the site for more than short spurts of time here and there and am often hurried when I reply or say something. So forgive me if those replies can be haphazard (poorly written, punctuated, descriptively rushed, etc). They are usually a bit sloppy with me banking on the hope that I still got the gist of my main idea(s) across. You are always welcome to follow up if you want clarification or don't know what the hell I meant! I can usually explain something better if I return to it with a little more time or by the second or third crack at it (we hope), but I usually don't try and further clarify any of these unless someone continues the discussion or asks me to. My more official reviews/analyses for a given work (though infrequent) tend to be better, more well thought out, better detailed and specified, examples of what I actually think about said work(s) than my often haphazard replies or the notes in this log, which are usually more the "gist" or "general idea" or an "abbreviated version" of my thoughts. So take my more haphazard replies/notes with that in mind, and feel free to ask further if I haven't explained myself well enough. I do hope to add more official reviews/analyses in the future. _________________________________ Top 10+ Music, Movies, and Visual Art of the Week (2020) NOTE: This is a log of my favorite works of music, cinema and/or visual art for the given week(s). The rankings here will not necessarily parallel my overall rankings, as these are only what I favored for the given week(s). To qualify for inclusion, the work must be rated 6.8/10 or better (or at least was at some point during the week). This log will also include updated ratings for my various lists (below the "Top 10+" section) Below that, there will be a running listing of my "Top 50 Works of Art of the Year". This is simply a log of my favorite art over the course of this whole year, whether old or new to me. This list is cumulative, week-to-week, until its final standings at the end of the year. Recommendations and suggestions welcome. For my criteria, go here: http://www.besteveralbums.com/phpBB2/viewtopic.php?t=15503 Bold = Newly added Bold + Italics = Was already listed but recently upgraded/downgraded Top 10+ Music, Movies, and Visual Art of the Week(s): 1-1-2020 - 1-12-2020 The Doors - The Doors (1966) Blonde On Blonde - Bob Dylan (1966) Highway 61 Revisited - Bob Dylan (1965) The Third Man - Carol Reed (1949) A Genuine Tong Funeral - Carla Bley/Gary Burton (1967) Volunteers - Jefferson Airplane (1969) We Insist! Freedom Now Suite - Max Roach (1960) All Bitches Die - Lingua Ignota (2017) Let the Evil of His Own Lips Cover Him - Lingua Ignota (2017) ...NOT RATED YET ... but probably at least 7.5+ & excellent chance at 7.8+ with further listens Sunset Boulevard - Billy Wilder (1950) Millions Now Living Will Never Die - Tortoise (1996) History of Heat - Sadaf (2019) ...NOT RATED YET ... but probably at least 7.3+ & solid chance at 7.8+ with further listens Everybody Knows This is Nowhere - Neil Young (1969) Suspicion - Alfred Hitchcock (1941) Once Upon A Time In Hollywood - Quentin Tarantino (2019) ...Echoes Tarantino's influences throughout, such as Sergio Leone, Welles (Touch of Evil), Scorsese, old B movies (etc). The whole film plays with the idea of a "western within a western", and its nostalgic recreation of late 60s Hollywood makes several references to the present while also being the past. The ending in which Tarantino subverts history, replaces it with his own ultra violent resolution, thus giving the middle finger to his critics that have denounced him for this very thing, can be viewed from several angles. Here he seems to be using it to alter the course of history, as a force of "good", to rearrange the trajectory of the very period and sort of filmmaking that shaped his own, but this is also left very ambigious, open ended and allusory for the viewer to recreate how events may have transpired in this new "course of history", and thus rendering the whole period lovingly immortal instead of its actual horrific end. Here he seems to transform the "end of the 60s" (which Tate's murder symbolized) into an immortalization of it, lending extra creedence to the nostalgia trip we've partaken in with him in all the previous scenes (which seemed shaky in their necessity, or were they?). Is Tarantino also alluding to not just a salvaging of a bygone hollywood era but perhaps Polanski too thus rewriting the trajectory of his life and potentially altering a key historical precedent to the recent Hollywood climate to which Tarantino himself has been lambasted for ("#Metoo" etc)? Im not sure but the film begs many such possible questions/ambiguities and interpretations in its apparent motivations and in its many quotations (of Leone, Welles, through the revisionist characters and events, etc) and the many possible allusions stemming from this. This may all hold the potential for one of the better films of the decade, potentially very intriguing in the context of a swansong and the conflation of period, Hollywood, Tarantino's influences, personality and juxtaposition with the time-line and inspiration of his life and career. Quite an interesting work and extraordinary in ways, but overall I am somewhat torn on just how great it is. But as noted, there seems potential left for much more interpretation and significance depending on just how profoundly Tarantino has conflated these elements and influences with his own art and how well this holds up through multiple views (does it hold up AS cinema, IN the filmic language itself or is too much of this only relevant if you know the history, backstories etc?). At times Tarantino's integration seems significant while during stretches I wasn't sure, or perhaps missed the correlation... Well worth another viewing or more, with potential for upgrade. Are You Experienced? - Jimi Hendrix (1967) Miracle in Milan - Vittorio de Sica (1951) Pavilion of Dreams - Harold Budd (1978) Let My Children Hear Music - Charles Mingus (1972) Late For the Sky - Jackson Browne (1974) Laura - Otto Preminger (1944) Odd Man Out - Carol Reed (1947) A Better Tomorrow - John Woo (1986) This Year's Model - Elvis Costello (1978) Blood On The Tracks - Bob Dylan (1975) FAMILIAR ROCK/JAZZ ALBUMS - RE-RATED: Highway 61 Revisited - Bob Dylan (1965) 8.2/10 to 8.3/10 Let My Children Hear Music - Charles Mingus (1972) 8.3/10 to 8.2/10 Pavilion of Dreams - Harold Budd (1978) 8.3/10 to 7.9/10 NEWLY ASSIMILATED ROCK/JAZZ ALBUMS - RATED: All Bitches Die - Lingua Ignota (2017) 7.6/10 FAMILIAR FILMS - RE-RATED: The Third Man - Carol Reed (1949) 7.3/10 to 7.6/10 Miracle in Milan - Vittorio de Sica (1951) 8.1/10 to 7.6/10 Suspicion - Alfred Hitchcock (1941) Not Rated to 7.3/10 Laura - Otto Preminger (1944) 7.3/10 to 7.0/10 A Better Tomorrow - John Woo (1986) Not Rated to 7.0/10 NEWLY ASSIMILATED FILMS - RATED: Once Upon A Time In Hollywood - Quentin Tarantino (2019) 7.1/10 Odd Man Out - Carol Reed (1947) 7.0/10 TOP 50 WORKS OF ART OF THE YEAR (2019) PAST WINNERS: 1995 - 2018 (NOTE: My series of "Top 10 of the Week" lists only actually goes back to 2008. Prior to that are simply my noted favorite works of each given year without any attempt to keep further record) 2018: Symphony No. 9 in D Minor "Choral" - Ludwig van Beethoven (1824) 2017: Sistine Chapel (Ceiling & The Last Judgement) - Michelangelo Buonarroti (1512; 1541) 2016: Sistine Chapel (Ceiling & The Last Judgement) - Michelangelo Buonarroti (1512; 1541) 2015: Astral Weeks - Van Morrison (1968) 2014: Sistine Chapel (Ceiling & The Last Judgement) - Michelangelo Buonarroti (1512; 1541) 2013: Requiem - Giuseppe Verdi (1874) 2012: Citizen Kane - Orson Welles (1941) 2011: Citizen Kane - Orson Welles (1941) 2010: Symphony No. 9 in D Major - Gustav Mahler (1910) 2009: Nostalghia - Andrei Tarkovsky (1983) 2008: The Black Saint & The Sinner Lady - Charles Mingus (1963) 2007: Trout Mask Replica - Captain Beefheart (1968) 2006: Rock Bottom - Robert Wyatt (1974) 2005: A Love Supreme - John Coltrane (1964) 2004: Kid A - Radiohead (2000) 2003: Yankee Hotel Foxtrot - Wilco (2002) 2002: In the Aeroplane Over the Sea - Neutral Milk Hotel (1998) 2001: Astral Weeks - Van Morrison (1968) 2000: Symphony No. 9 in D Minor - Ludwig van Beethoven (1824) 1999: Violin Partita No. 2 in D Minor - J.S. Bach (1723) 1998: OK Computer - Radiohead (1997) 1997: The Bends - Radiohead (1995) 1996: 2001: A Space Odyssey - Stanley Kubrick (1968) 1995: Throwing Copper - Live (1995) TOP 50 WORKS OF ART OF THE YEAR (2019) 1. Rock Bottom - Robert Wyatt (1974) 2. The Doors - The Doors (1966) 3. Sistine Chapel (Ceiling & The Last Judgement) - Michelangelo Buonarroti (1512; 1541) 4. Ys - Joanna Newsom (2006) 5. Piano Sonata No. 32 in C Minor - Ludwig van Beethoven (1822) 6. Symphony No. 9 in D Major - Gustav Mahler (1910) 7. Blonde On Blonde - Bob Dylan (1966) 8. The Velvet Underground & Nico - The Velvet Underground (1966) 9. Das Lied von der Erde - Gustav Mahler (1909) 10. String Quintet in C Major - Franz Schubert (1828) 11. Mass in B Minor - Johann Sebastian Bach (1749) 12. Symphony No. 9 in C Major "The Great" - Franz Schubert (1826) 13. Symphony No. 5 - Gustav Mahler (1902) 14. Requiem - Guisseppe Verdi (1874) 15. Symphony No. 9 in D Minor "Choral" - Ludwig van Beethoven (1824) 16. Down Colorful Hill - Red House Painters (1992) 17. Symphony No. 5 in C Minor - Ludwig van Beethoven (1808) 18. Elektra - Richard Strauss (1909) 19. Don Giovanni - Wolfgang Amadeus Mozart (1787) 20. Symphony No. 41 in C Major - Wolfgang Amadeus Mozart (1788) 21. Dreamtime Return - Steve Roach (1988) 22. Electric Ladyland - Jimi Hendrix (1968) 23. Pulp Fiction - Quentin Tarantino (1994) 24. Piano Sonata No. 29 in B-flat Major "Hammerklavier" - Ludwig van Beethoven (1818) 25. Symphony No. 3 in E-flat Major "Eroica" - Ludwig van Beethoven (1804) 26. Winterreise - Franz Schubert (1828) 27. Trout Mask Replica - Captain Beefheart (1969) 28. The Blue Angel - Josef Von Sternberg (1930) 29. M - Fritz Lang (1931) 30. Jagged Little Pill - Alanis Morissette (1995) 31. Desertshore - Nico (1970) 32. Pelléas et Mélisande - Claude Debussy (1898) 33. Peter Grimes - Benjamin Britten (1945) 34. Variations in Dream-time - Anthony Davis (1982) 35. Symphony No. 5 in E Minor - Pyotr Ilyich Tchaikovsky (1888) 36. The Days of Wine & Roses - Dream Syndicate (1982) 37. Sonata in G minor for Piano and Cello, Op. 19 - Sergei Rachmaninoff (1901) 38. Exile On Main Street - The Rolling Stones (1972) 39. Loveless - My Bloody Valentine (1991) 40. Glagolitic Mass - Leos Janacek (1926) 41. Symphony No. 8 in G major - Antonin Dvorak (1889) 42. Quartet for the End of Time - Olivier Messiaen (1941) 43. Fidelio - Ludwig van Beethoven (1805; revised 1806-1814) 44. Dimension Gate - Aurora (1994) 45. Master Of Puppets - Metallica (1986) 46. Post to Wire - Heather Duby (1999) 47. Frigid Stars - Codeine (1990) 48. Hejira - Joni Mitchell (1976) 49. Astral Weeks - Van Morrison (1968) 50. Music for Strings, Percussion and Celesta - Bela Bartok (1936) TOP 50 WORKS OF ART OF THE DECADE (2010-2019) 1. Sistine Chapel (Ceiling & The Last Judgement) - Michelangelo Buonarroti (1512; 1541) 2. Symphony No. 9 in D Major - Gustav Mahler (1910) 3. Symphony No. 9 in D Minor "Choral" - Ludwig van Beethoven (1824) 4. Rock Bottom - Robert Wyatt (1974) 5. The Velvet Underground & Nico - The Velvet Underground (1967) 6. Citizen Kane - Orson Welles (1941) 7. The Doors - The Doors (1967) 8. Brazil - Terry Gilliam (1985) 9. Peasants' War Panorama - Werner Tubke (1987) 10. The Garden of Earthly Delights - Hieronymus Bosch (circa 1500) 11. In the Aeroplane Over the Sea - Neutral Milk Hotel (1998) 12. Ys - Joanna Newsom (2006) 13. Symphony No. 9 in C Major "The Great" - Franz Schubert (1826) 14. Requiem - Guisseppe Verdi (1874) 15. Down Colorful Hill - Red House Painters (1992) 16. Blonde On Blonde - Bob Dylan (1966) 17. Piano Sonata No. 32 in C Minor - Ludwig van Beethoven (1822) 18. Trout Mask Replica - Captain Beefheart & His Magic Band (1969) 19. Symphony No. 15 in A Major - Dmitri Shostakovich (1971) 20. Symphony No. 4 in E Minor - Johannes Brahms (1884) 21. Mass in B Minor - Johann Sebastian Bach (1749) 22. Touch of Evil - Orson Welles (1958) 23. Nostalghia - Andrei Tarkovsky (1983) 24. Faust - Faust (1971) 25. Symphony No. 5 in C Minor - Ludwig van Beethoven (1808) 26. Glagolitic Mass - Leos Janacek (1926) 27. The Black Saint & The Sinner Lady - Charles Mingus (1963) 28. A Love Supreme - John Coltrane (1964) 29. Metropolis - Fritz Lang (1927) 30. Symphony No. 9 in E Minor "From the New World" - Antonin Dvorak (1893) 31. Symphony No. 41 in C Major - Wolfgang Amadeus Mozart (1788) 32. Symphony No. 3 in F Major - Johannes Brahms (1883) 33. Symphony No. 3 in E-flat Major "Eroica" - Ludwig van Beethoven (1804) 34. Have One On Me - Joanna Newsom (2010) 35. The River - Bruce Springsteen (1980) 36. Even the Sounds Shine - Myra Melford (1994) 37. Variations in Dream-time - Anthony Davis (1982) 38. Lady of the Mirrors - Anthony Davis (1980) 39. Improvisie - Paul Bley (1971) 40. Philosophy, Medicine & Jurisprudence - Gustav Klimt (1907) 41. The Reminiscences of Judge Schulze (Parts II, III, & VII) - Werner Tubke (1967) 42. The Beethoven Frieze - Gustav Klimt (1902) 43. Vertigo - Alfred Hitchcock (1958) 44. Astral Weeks - Van Morrison (1968) 45. Werckmeister Harmonies - Bela Tarr (2000) 46. Afternoon of a Georgia Faun - Marion Brown (1970) 47. Ptah, the El Daoud - Alice Coltrane (1970) 48. Pulp Fiction - Quentin Tarantino (1994) 49. Taxi Driver - Martin Scorsese (1976) 50. Hex - Bark Psychosis (1994)

AfterHours Profile
The Zone

Facetious wrote:

Friends is a good tune that would've fit well on Loaded, and Louise is a decently While My Guitar Gently Weeps ripoff. The rest...I don't remember very well, and I'm not sure revisiting would help.

I (begrudgingly) added it while cringing to type it as a “Velvet Underground” album 🤣

I would rather hold onto the denial that it just never happened and doesn’t really exist. Sort of like (older) Beatles fans with Let it Be I guess… at least that’s still the actual Beatles laying an egg…

On the other hand, it’s been a long time since I listened so maybe that will trick me into getting excited about it!

Naturally I blame Madhattan for that inevitable 33 minutes that I’ll never get back!
_________________
Best Classical
Best Films
Best Paintings

theredkrayola Profile

AfterHours - your perpetual need to revisit The Beatles confounds me. I personally never want to hear the Beatles again, for obvious reasons. Your constant revisitations are particularly surprising considering the fact that you haven’t (to my knowledge) heard Year of the Horse or Pragmatic Quartet (both 8/10s from scaruffi). The Pragmatic Quartet album is particularly interesting - there are moments of breathtaking grandeur and moments that are lame and amateurish. I’m surprised he even bothered listening to the whole thing considering how awful the (long) opening track is

Also, DommeDamian - i checked out your music. GuILLty caught me by surprise - your skills as a rapper are above what i expected. However, Ghost II You felt superficial and trivial to me. I didn’t like it, and i don’t think scaruffi would either. Circlegate was fun to listen to, albeit obviously derivative of Suicide

DommeDamian Imperfect, sensitive Aspie with a melody addiction Profile
Spire City

theredkrayola wrote:

Also, DommeDamian - i checked out your music. GuILLty caught me by surprise - your skills as a rapper are above what i expected. However, Ghost II You felt superficial and trivial to me. I didn’t like it, and i don’t think scaruffi would either. Circlegate was fun to listen to, albeit obviously derivative of Suicide

Wow thank you so much for listening, I appreciate it. You might be the first person I know that doesn't like Ghost II You and I fully welcome that. Though my next record is much more dream pop in vein of my song Waffles. And yes, Circlegate I recorded in hours in a phase where I listen to that Suicide on repeat, daily.
_________________
My Top 100 :
www.besteveralbums.com/thechart.php?c=4...amp;page=1

My music:
- www.hyperfollow.com/dommedamian

Facetious Profile
Somewhere you've never been

theredkrayola wrote:

AfterHours - your perpetual need to revisit The Beatles confounds me. I personally never want to hear the Beatles again, for obvious reasons. Your constant revisitations are particularly surprising considering the fact that you haven’t (to my knowledge) heard Year of the Horse or Pragmatic Quartet (both 8/10s from scaruffi). The Pragmatic Quartet album is particularly interesting - there are moments of breathtaking grandeur and moments that are lame and amateurish. I’m surprised he even bothered listening to the whole thing considering how awful the (long) opening track is

Also, DommeDamian - i checked out your music. GuILLty caught me by surprise - your skills as a rapper are above what i expected. However, Ghost II You felt superficial and trivial to me. I didn’t like it, and i don’t think scaruffi would either. Circlegate was fun to listen to, albeit obviously derivative of Suicide

Is it really that shocking that he would revisit one of the most critically acclaimed bands of all time? I love Scaruffi 8/10s like Year of the Horse and Pragmatic Quartet's ⩞ but also revisit Beatles regularly myself (some of whose work I would rate higher than the aforementioned albums despite how much I enjoy those), and to my knowledge quite a few "Scaruffi-pilled" people like the Beatles more than Scaruffi does.

AfterHours Profile
The Zone

theredkrayola wrote:

AfterHours - your perpetual need to revisit The Beatles confounds me. I personally never want to hear the Beatles again, for obvious reasons. Your constant revisitations are particularly surprising considering the fact that you haven’t (to my knowledge) heard Year of the Horse or Pragmatic Quartet (both 8/10s from scaruffi). The Pragmatic Quartet album is particularly interesting - there are moments of breathtaking grandeur and moments that are lame and amateurish. I’m surprised he even bothered listening to the whole thing considering how awful the (long) opening track is

They are among the most ideal bands to fine tune my scale from 3/10 to 7/10. You may have noticed this has been a point of importance to me for a bit. Especially short tracks, and especially because I’m already so familiar with them (they were once among my favorite bands a mere 🤣 25 years ago! I once ranked Revolver the 3rd greatest rock album ever and had like 3 Beatles albums in my top 15 or something and all the main ones in my top 50)… There is of course some enjoyment to be had too even in the lower ones (and above that for their better works) but I suppose the main purpose behind my reasons are far less “honorable” than they might appear without that context that I’m (to some degree) kinda just using them to fine tune my ratings

Additionally, their song ratings are of interest to users (whether “Scaruffists” or not) because of their legend so can make for interesting discussion, recs, and comparisons whether with VU or The Doors, or Taylor Swift or whoever… and I’ve had several requests for those ratings over the years so it’s good to give them a shot (for years I didn’t track ratings below 7, and before that below even 7.8, but this was a bit of a mistake on my part, causing a lot of additional work later)

I would recommend to anyone, not only sticking with masterpieces (even if that’s the main meal) but also finding what’s actually good and interesting about 6.5s, 6s, 5.5s, even (gasp!) 5s (or lower!) of the world. It’s actually an important point of comparison that only helps with the higher ratings and working out the differentials between echelons. Revisiting VU Nico, for instance, yesterday was an incredible experience right after listening to so many 3s-6.5s, while it also serves to continuously bring home the differences between higher and mid and lower ratings. It’s like exercising a muscle (best with repetition and comparisons, ideally if one is familiar with the whole scale enough to make those)
_________________
Best Classical
Best Films
Best Paintings

Last edited by AfterHours on 03/14/2025 23:46; edited 2 times in total

theredkrayola Profile

AfterHours and scaruffi have similar opinions about the Beatles, hence it is surprising he would revisit them when there are literally thousands of better albums to choose from. Not to mention he’s heard the albums countless times

DommeDamian - Waffles is an intriguing track. I found it somewhat reminiscent of Mount Eerie. If you’ve moved away from the style of Ghost II You and towards the style of Waffles, i’m predicting a solid album (certainly better than most, if not all, Beatles albums)

theredkrayola Profile

Fair enough. Your stance has evolved quite a bit from the days when you refused to listen to Skylarking due to piero “only” rating it 7.5/10

AfterHours Profile
The Zone

theredkrayola wrote:

Fair enough. Your stance has evolved quite a bit from the days when you refused to listen to Skylarking due to piero “only” rating it 7.5/10

I don’t even recall that at all but that’s hilariously Elitist with a capital E 🤣 🤣 🤣
_________________
Best Classical
Best Films
Best Paintings

DommeDamian Imperfect, sensitive Aspie with a melody addiction Profile
Spire City

AfterHours wrote:

I would recommend to anyone, not only sticking with masterpieces (even if that’s the main meal) but also finding what’s actually good and interesting about 6.5s, 6s, 5.5s, even (gasp!) 5s (or lower!) of the world. It’s actually an important point of comparison that only helps with the higher ratings and working out the differentials between echelons. Revisiting VU Nico, for instance, yesterday was an incredible experience right after listening to so many 3s-6.5s, while it also serves to continuously bring home the differences between higher and mid and lower ratings. It’s like exercising a muscle (best with repetition and comparisons, ideally if one is familiar with the whole scale enough to make those)

I fully agree with this. Listening to inferior records always enhance the core feeling and - for lack of a better term - knowledge to what is an outstanding piece of art (whether would be music or cinema or whatnot). E.g. me listening to much commercial crap held as masterpieces, or stuff influenced by it, and then go for another ride in The Parable of Arable Land or Lorca.

theredkrayola - I would recommend you listen to these three albums that have inspired my next album
So Tonight That I Might See by Mazzy Star (Scaruffi gave it a 7.5/10)
Just For A Day by Slowdive (Scaruffi gave it an 8/10)
On Fire by Galaxie 500 (Scaruffi also gave it an 8/10)

AfterHours - what's your opinion on Scaruffi's #1 song of 2005 Dubi Dam Dam?
_________________
My Top 100 :
www.besteveralbums.com/thechart.php?c=4...amp;page=1

My music:
- www.hyperfollow.com/dommedamian

theredkrayola Profile

DommeDamian - I’ve heard all of those albums. They’re all excellent. However (and i’m sure AfterHours would agree), Loveless remains for me the masterpiece of the dream-pop/shoegaze scene. Which segues into a question - AfterHours (or anyone else), how do you feel about the lame and inept “drumming” on Loveless? The album basically consists of tinny sampled beats repeated over and over, and it’s the album’s sole weakness (aside from one or two mediocre songs). Can you imagine how intense the album would have sounded with a drummer like Mo Tucker or Keith Moon plodding through the chaos?

Also, AfterHours - you rate Private Dancer 7.2/10. Is it getting points deducted for having no original compositions? What score would you have given if she had written the songs herself? On that note, does Safe as Milk get a deduction due to the fact that Beefheart hired a “professional songwriter” to “polish” some of the songs?