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Mercury
Why do people have to love people, anyway?


Gender: Male
Age: 29
Location: St. Louis
United States

#431 | Posted: 01/30/2018 18:14 | Post subject: Reply with quote

The Piper At The Gates Of Dawn by Pink Floyd

This is the next album that I have never once gotten in to. But I have only heard all the way through 2 or 3 times. A few years ago was the last time I really tried to dig it. I didn't that much. Like, I recognized the impressive aspects of the epic interstellar overdrive and a few other moments didn't sound to me like dumb psychedelic wank.

Now I am listening for a second time in 4 days. And do I like it? by and large, yes. Do I love it? nope.

Okay, here's the thing, weird music, and psychedelic music, music which is designed to to woozy and fluuctuating and disorienting and feel like a trip is just not interesting to me. The influence these albums and this one in particular, is cool and I appreciate it. Some of the technical acheivements of this album and some of the boiundary-pushers of this genre are still impressive from a certain perspective. But overall, the music doesn't illicit any emotional connection. It doesn't make me move or feel any physical cohesion with the sound. The music doesn't really make me think. It just is a vehicle for a lot of brilliant little ideas which are cool and very groundbreaking for 1967, but that's mostly it.

As mentioned before there are indeed some songs, like songs and moments, which communicate to me. Namely, "Lucifer Sam" kicks fuckin ass sooo hard! It sounds like a song I'd find on Nuggets, and it feels defiant and cool. The opener is actually a great pop song which I really enjoy. as mentioned Interstellar Overdrive has moments of transcendance. The 3rd track is actually really ominous and beautiful, (Matilda Mother).

Other than that I hear some things and experiemnts on here which are impressive as hell. Like the closer "Bike" does weird things with the vocals and the creepy closing music which is mindblowing on a technical level. And there are mom,ents so strange and out there all over this album which I super respect.

But I don't love it. Its a good album, and I appreciate its uniqueness, but I don't personally connect with it much.
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Mercury
Why do people have to love people, anyway?


Gender: Male
Age: 29
Location: St. Louis
United States

#432 | Posted: 01/30/2018 21:39 | Post subject: Reply with quote

Selected Ambient Works 85-92 by Aphex Twin

I'm listening to this now for a third time. I am discovering a greater affinity for it each time.

As someone who is honestly pretty much completely unfamiliar with the genre of IDM, or the history and development of electronica music or what-have-you and also pretty illiterate regarding the musical milieu this album and this artist came out of, I suppose I feel someone lacking in hot takes or insightful commentary on this album.

Obviously I have known of the towering persona of Richard D. James for a very long time. He's a complete Icon of music it seems. As a result of this bedrock understanding when I went into this album I knew I was handing myself over to a master of his craft. And the album doesn't disappoint in that regard. As I listen, I am taken further and further into this world which the artist created, I am being introduced to new sounds and concepts and ideas, then escorted to the next batch of sonic riddles and conversations and pictures. By the time I get to the end I feel refreshed, informed, enlightened even.

Vague, metaphorical, somewhat impressionistic descriptions of this album aside, I really love this record in a lot of ways. The way most of the tracks build from the bedrock of a atmospheric synth part overriding the cut, with other rhythmic and melodic elements sprouting up from there, then hearing them morph, dance around, try new things, voice new ideas and whims, it all just works to put my mind both at ease and yet thoroughly engrossed in the textures which are fed into my ears.

Each track is great in its own way. I don't really have any favorites. The whole record is a long interconnected series of musical packets. And whenever I've started the album I have finished it, I almost can't help but let the album play out - completely unconcerned with a part coming up or just ended that I wanna avoid or reach for. The album in that way feels like a nice amusement park ride which takes you from place to place. Willy Wonka is there at the front of the ride for some reason. Smile

In closing, despite going into this record with not much context I have learned to love it based wholly on what is there. Much like the first time I listened to The Shape of Jazz To Come for the first time, I went into this record with some consternation and concern that I just wouldn't get this genre, and came out wanting more and more and more.
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Mercury
Why do people have to love people, anyway?


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Location: St. Louis
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#433 | Posted: 01/30/2018 23:29 | Post subject: Reply with quote
Okay, and there ya go friends. we did it. we got through all 100 albums. I now have heard newly or enough times to have a clear idea (relatively) of all these top 100 albums on RYM. That was fun. I now will just be a typical BEAers and list the top 100 in ranked order based of how much I love them.

One thing I want to say 'fore doing this pointless activity, I am happy to see that I didn't dislike any of these albums. A solid 10 have become new favorites and a couple have even risen to my pantheon of untouchable works of pure gold, unassailable in my mind. Even the albums I only liked I liked. There was no album I heard here that I said is garbage. One album I'm hung up on is Bitches Brew, and I will be playing that as I compose this list and we shall see where it finally lands. I'll toggle it up and down throughout making the list and we'll see where it lands.

As for why I have had so few negative hthoughts on these albums, I am wondering this myself. Am I easily amused and pleased? Do I just tend to assume that these albums are adored and held in such high regard by so many people for a good reason and I bend to that? Is this a good thing, indicating a nimbleness in thought and a generally positive outlook on the art of extraordinary humans who have gifted us with musical inspiration for all these years? Or is it an indicator that I have no identity, or critical thinking skills, and that I'm perpetually open to being molded and influenced by my peers to love the music even if I don't really REALLY actually like it? Is it an emperor's new clothes situation? Let mw know what you think. Or don't. I don't care. Scratch that I do care but whatever.

Okay, and here we go with the top 100 ranked by your favorite Ryan on BEA:


1. Kind of Blue by Miles Davis (1959)
2. Spirit of Eden by Talk Talk (1988)
3. Blood On The Tracks by Bob Dylan (1975)
4. Highway 61 Revisited by Bob Dylan (1965)
5. Bringing It All Back Home by Bob Dylan (1965)
6. Close To The Edge by Yes (1972)
7. Either/Or by Elliott Smith (1997)
8. To Pimp A Butterfly by Kendrick Lamar (2015)
9. A Love Supreme by John Coltrane (1965)
10. London Calling by The Clash (1979)

11. After The Goldrush by Neil Young (1970)
12. Nevermind by Nirvana (1991)
13. Hounds of Love by Kate Bush (1985)
14. Daydream Nation by Sonic Youth (1988)
15. In A Silent Way by Miles Davis (1969)
16. good kid, m.A.A.d city by Kendrick Lamar (2012)
17. Pink Moon by Nick Drake (1972)
18. Pet Sounds by The Beach Boys (1966)
19. Laughing Stock by Talk Talk (1991)
20. Souvlaki by Slowdive (1993)

21. Liquid Swords by GZA/The Genius (1995)
22. Sgt. Pepper's Lonely Hearts Club Band by The Beatles (1967)
23. Rain Dogs by Tom Waits (1985)
24. Master of Puppets by Metallica (1986)
25. The Black Saint and The Sinner Lady by Charles Mingus (1963)
26. Sticky Fingers by The Rolling Stones (1971)
27. Are You Experienced by The Jimi Hendrix Experience (1967)
28. Illmatic by Nas (1994)
29. Loveless by My Bloody Valentine (1991)
30. My Beautiful Dark Twisted Fantasy by Kanye West (2010)

31. Forever Changes by Love (1967)
32. Who's Next by The Who (1971)
33. Blonde On Blonde by Bob Dylan (1966)
34. Bitches Brew by Miles Davis (1970) (ended up falling pretty hard for tHis album as I did these ranks and listened to this epic.)
35. Unknown Pleasures by Joy Division (1979)
36. In The Aeroplane Over The Sea by Neutral Milk Hotel (1998)
37. The Velvet Underground and Nico by The Velvety Underground (1967)
38. OK Computer by Radiohead (1997)
39. In The Court of the Crimson King by King Crimson (1969)
40. The Bends by Radiohead (1995)

41. Revolver by The Beatles (1966)
42. Rubber Soul by The Beatles (1965)
43. Spiderland by Slint (1992)
44. Ride The Lightning by Metallica (1984)
45. In Utero by Nirvana (1993)
46. Remain In Light by The Talking Heads (1980)
47. The Queen Is Dead by The Smiths (1986)
48. Future Days by Can (1973)
49. Doolittle by The Pixies (1989)
50. Lift Yr. Skinny Fists Like Antennas to Heaven! by Godspeed You! Black Emperor (2000)



51. Selected Ambient Works 85-92 by Aphex Twin (1992)
52. Station To Station by David Bowie (1976)
53. Songs of Leonard Cohen By Leonard Cohen (1967)
54. On The Beach by Neil Young (1974)
55. Black Sabbath by Black Sabbath (1970)
56. Wish You Were Here by Pink Floyd (1975)
57. Electric Ladyland by The Jimi Hendrix Experience (1968)
58. The White Album by The Beatles (1968)
59. Disintegration by The Cure (1989)
60. The Doors by The Doors (1967)

61. Kid A by Radiohead (2000)
62. Endtroducing... by DJ Shadow (1996)
63. Closer by Joy Division (1980)
64. Surfer Rosa by The Pixies (1988)
65. Enter The Wu Tang (36 Chambers) by The Wu Tang Clan (1993)
66. Homogenic by Björk (1997)
67. Odessey and Oracle by The Zombies (1968)
68. In Rainbows by Radiohead (2007)
69. Abbey Road by The Beatles (1969)
70. Magical Mystery Tour by The Beatles (1967)

71. Amnesiac by Radiohead (2001)
72. Hunky Dory by David Bowie (1971)
73. White Light/White Heat by The Velvet Underground (1968)
74. Tago Mago by Can
75. Paranoid by Black sabbath (1970)
76. What's Going On by Marvin Gaye (1971)
77. Led Zeppelin II by Led Zeppelin (1969)
78. Marquee Moon by Television (1977)
79. The Dark Side of The Moon by Pink Floyd (1973)
80. Led Zeppelin IV by Led Zeppelin (1971)

81. The Low End Theory by A Tribe Called Quest (1991)
82. Five Leaves Left by Nick Drake (1969)
83. Illinois by Sufjan Stevens (2005)
84. Dummy by Portishead (1994)
85. Low by David Bowie (1977)
86. Hot Rats by Frank Zappa (1969)
87. The Rise and Fall of Ziggy Stardust and the Spiders From Mars by David Bowie (1972)
88. MTV Unplugged In New York by Nirvana (1994)
89. Fun House by The Stooges (1970)
90. The Velvet Underground by The Velvet Underground (1969)

91. Red by King Crimson (1974)
92. Led Zeppelin by Led Zeppelin (1969)
93. Madvillainy by Madvillain (2004)
94. Ágætis byrjun by Sigur Rós (1999)
95. F♯A♯∞ by Godspeed You! Black Emperor (1997)
96. Funeral by Arcade Fire (2004)
97. Animals by Pink Floyd (1977)
98. Master of Reality by Black Sabbath (1971)
99. The Piper At The Gates of Dawn by Pink Floyd (1967)
100. Meddle by Pink Floyd (1971)


----------------------

GREAT. now it looks like i loathe Pink Floyd and worship Bob Dylan when only one of those things are true.

I may come back with more details later. But right now i really got go to the br. That list took way way way longer than i anticipated.

Let me know your thoughts.
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-Ryan

New Blues

Old Blues


Last edited by Mercury on 01/31/2018 17:30; edited 1 time in total
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bobbyb5



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#434 | Posted: 01/31/2018 03:50 | Post subject: Reply with quote
Mercury wrote:

Selected Ambient Works 85-92 by Aphex Twin

I'm listening to this now for a third time. I am discovering a greater affinity for it each time.

As someone who is honestly pretty much completely unfamiliar with the genre of IDM, or the history and development of electronica music or what-have-you and also pretty illiterate regarding the musical milieu this album and this artist came out of, I suppose I feel someone lacking in hot takes or insightful commentary on this album.

Obviously I have known of the towering persona of Richard D. James for a very long time. He's a complete Icon of music it seems. As a result of this bedrock understanding when I went into this album I knew I was handing myself over to a master of his craft. And the album doesn't disappoint in that regard. As I listen, I am taken further and further into this world which the artist created, I am being introduced to new sounds and concepts and ideas, then escorted to the next batch of sonic riddles and conversations and pictures. By the time I get to the end I feel refreshed, informed, enlightened even.

Vague, metaphorical, somewhat impressionistic descriptions of this album aside, I really love this record in a lot of ways. The way most of the tracks build from the bedrock of a atmospheric synth part overriding the cut, with other rhythmic and melodic elements sprouting up from there, then hearing them morph, dance around, try new things, voice new ideas and whims, it all just works to put my mind both at ease and yet thoroughly engrossed in the textures which are fed into my ears.

Each track is great in its own way. I don't really have any favorites. The whole record is a long interconnected series of musical packets. And whenever I've started the album I have finished it, I almost can't help but let the album play out - completely unconcerned with a part coming up or just ended that I wanna avoid or reach for. The album in that way feels like a nice amusement park ride which takes you from place to place. Willy Wonka is there at the front of the ride for some reason. Smile

In closing, despite going into this record with not much context I have learned to love it based wholly on what is there. Much like the first time I listened to The Shape of Jazz To Come for the first time, I went into this record with some consternation and concern that I just wouldn't get this genre, and came out wanting more and more and more.


I think because I liked Selected Ambient Works Vol. 2 better, I thought this one sounded kind of thrown together. But now I agree with you that it works as a whole and is of a pretty consistent quality. The difference is that volume two seems like it was conceived as a single idea where the tracks seem related to each other, and volume one at first felt like a bunch of odds and ends. But when you're completely familiar with it it doesn't feel that way at all. Anyway, the two albums couldn't be more different sounding, which makes them both doubly impressive. Volume two was anything but a repeat of volume one. Then of course his next several albums were just as different from each other as these two. Which is what makes him better than all of his peers.


Selected Ambient Works Volume II by Aphex Twin


...I Care Because You Do by Aphex Twin


Richard D. James Album by Aphex Twin
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Mercury
Why do people have to love people, anyway?


Gender: Male
Age: 29
Location: St. Louis
United States

#435 | Posted: 01/31/2018 17:17 | Post subject: Reply with quote
bobbyb5 wrote:
Mercury wrote:

Selected Ambient Works 85-92 by Aphex Twin

I'm listening to this now for a third time. I am discovering a greater affinity for it each time.

As someone who is honestly pretty much completely unfamiliar with the genre of IDM, or the history and development of electronica music or what-have-you and also pretty illiterate regarding the musical milieu this album and this artist came out of, I suppose I feel someone lacking in hot takes or insightful commentary on this album.

Obviously I have known of the towering persona of Richard D. James for a very long time. He's a complete Icon of music it seems. As a result of this bedrock understanding when I went into this album I knew I was handing myself over to a master of his craft. And the album doesn't disappoint in that regard. As I listen, I am taken further and further into this world which the artist created, I am being introduced to new sounds and concepts and ideas, then escorted to the next batch of sonic riddles and conversations and pictures. By the time I get to the end I feel refreshed, informed, enlightened even.

Vague, metaphorical, somewhat impressionistic descriptions of this album aside, I really love this record in a lot of ways. The way most of the tracks build from the bedrock of a atmospheric synth part overriding the cut, with other rhythmic and melodic elements sprouting up from there, then hearing them morph, dance around, try new things, voice new ideas and whims, it all just works to put my mind both at ease and yet thoroughly engrossed in the textures which are fed into my ears.

Each track is great in its own way. I don't really have any favorites. The whole record is a long interconnected series of musical packets. And whenever I've started the album I have finished it, I almost can't help but let the album play out - completely unconcerned with a part coming up or just ended that I wanna avoid or reach for. The album in that way feels like a nice amusement park ride which takes you from place to place. Willy Wonka is there at the front of the ride for some reason. Smile

In closing, despite going into this record with not much context I have learned to love it based wholly on what is there. Much like the first time I listened to The Shape of Jazz To Come for the first time, I went into this record with some consternation and concern that I just wouldn't get this genre, and came out wanting more and more and more.


I think because I liked Selected Ambient Works Vol. 2 better, I thought this one sounded kind of thrown together. But now I agree with you that it works as a whole and is of a pretty consistent quality. The difference is that volume two seems like it was conceived as a single idea where the tracks seem related to each other, and volume one at first felt like a bunch of odds and ends. But when you're completely familiar with it it doesn't feel that way at all. Anyway, the two albums couldn't be more different sounding, which makes them both doubly impressive. Volume two was anything but a repeat of volume one. Then of course his next several albums were just as different from each other as these two. Which is what makes him better than all of his peers.


Selected Ambient Works Volume II by Aphex Twin


...I Care Because You Do by Aphex Twin


Richard D. James Album by Aphex Twin


Hey thanks for the response!

I see what you mean re: SAW 85-92 vs II. As I listened to SAM 85-92 I realized I had indeed not listened to this all the way through before, but I had listened to the follow up. And that album as I recall kinda blew me away with its flow and its more ambient feel. As I listened to his Aphex Twin debut I was wondering where is the ambient music? I just had the 2 albums confused. And yeah I have heard also The Richard D James Album, I own it actually and its cool and hectic and very different too. Now that I had kind of a firm affinity of his earliest Aphex Twin release I think it will be easier and more natural to branch out and assimilate his later albums pictured above. Really looking forward to it.
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Mercury
Why do people have to love people, anyway?


Gender: Male
Age: 29
Location: St. Louis
United States

#436 | Posted: 01/31/2018 17:39 | Post subject: Reply with quote
Okay, and I was gonna do a whole breakdown of that top 100. Then I decided against it.

Basically going through that 100 album batch lead to new favorites in the form of Close To The Edge, another album which I now love in Selected Ambient Works 85-92. Also it made me reappraise my opinions on such classics as Loveless, Laughing Stock, Station to Station, Bitches Brew, Daydream Nation, In The Court of the Crimson King, to name just a few of the highest risers.

This next batch of 100 includes a whopping 16 albums I have never listened to in full including a couple I have never touched with a 10 foot pole (similar to that Yes album, I'm hoping to get a similar reaction.) That's an 8X increase in full blindspots to shore up. I figured it would grow exponentially, but still, this is looking to be an intense and enlightening project over the next wee bit.

And we'll get our first Archival release on this next hundred, and won't have to wait long (its number 101 and then 104 again....finally!)

okay, I'll be back later. with the next 10.
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Mercury
Why do people have to love people, anyway?


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Age: 29
Location: St. Louis
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#437 | Posted: 01/31/2018 18:04 | Post subject: Reply with quote
Okay, here are the next 10 as ranked on RYM all time chart of albums (including with Live and Archival albums checked and included). I discovered that compilations aren't included on this. That is a seperate RYM list which can be compiled. That's fine but sadly that means that Delta blues and other forms of blues which I was hoping to see on here will never appear - sorry, no thoughts on King of the Delta Blues by Robert Johnson will be given on this diary. See my 60 Shades of the Deep Blues chart if you wanna get an idea of the great albums we won't be seeing appear here ever.

okay here goes...

----------------------------------

#101

The Smile Sessions by The Beach Boys

Here it is! I own this album. It's 2 hours and 21 minutes of prime amazingness. I have heard it once through whilst distracted and not giving it its proper attention. Its a classic of Norman Bates and he is a cool cat and I have always wanted to understand why he loved it so. So I will surely be diving into this album for all its glories.

I was wondering how I should look at this release.... I mean I could read up on it on the ol' internet. But basically it looks like the first half is laid somewhat like the album would have been released and the second disc/half is variations of those songs. Is that right? Can I cheat with a close listen to the approximated album proper the first few times and THEN dive i to the alternate cuts? Advice appreciated from y'all.


#102

Let It Bleed by The Rolling Stones

Great album. I have heard this to death and its great on many levels. I place it firmly as my 3rd fave stones album behind Fingers and Exile, but still there is some truly transcendent and badass rock here.


#103

Another Green World by Brian Eno

Back in 2013 when I was a new member of BEA one of the first things I used the site for and the forums was to explore Eno. I listened to this and was blown away and very intrigued about this genius which I'd never exploired and I asked for recs from the BEA community. That lead me to my fave Eno, his ambient work. But I have not listened to this classic and this highest ranked and rated of Eno's discog in probably 3 or 4 years at least. So I will be revisiting this for this project. Listenin g to it now actually. And its really good. Will have more thoughts later.


#104

Reign In Blood by Slayer

One of my top 10-20 favorite albums ever. Nothing I have ever heard quite has matched the feeling this album gives me. Its just... awe-inspiring and pure gold. The greatest metal album i've ever heard. and it's not close in my mind.


#105

Harvest by Neil Young

#106

Everybody Knows This Is Nowhere by Neil...razy Horse

ah yes and a couple NY albums which just missed the top 100. They're both great and strikingly different. I am very familiar with both, and won't be revisiting for this project. If I had to choose between the 2 I'd go with the more uniquely genius "Everybody Knows This Is Nowhere" cuz a lot of what makes "Harvest" great is apparent and even greater in "After The Goldrush", but Everybody Knows... has a sound and fury completely its own. The beginning of a string of solo albums and albums with Crazy Horse which transformed Neil into one of the greats.


#107

The Bootleg Series Vol. 4: Bob Dylan Li... Bob Dylan

ah yes here it is. I misspoke it is 107 not 104. But here is a live album and an archival album. And its just absolutely monumental and I need an excuse to revisit it and talk a bit about it, so I will listen in full for the first time in a few years for this little diary.


#108

The Wall by Pink Floyd

ugh.... i knew this day was coming. Okay, I will listen to this in full for this project. I think I may have finished this monlith some years ago. But I can't remember the deets. Maybe I'll learn to love it??? we shall see.


#109

Siamese Dream by The Smashing Pumpkins

Grew up with this album and many of its songs are all time great alt rockers. I have not been much of a pumpkins fan. And I recently revisited this for this diary and I liked it well enough. But won't be revisiting it for this project.

and finally #110


Exile On Main St. by The Rolling Stones

I expected this to be way way higher up. I thought I had accidentally skipped it actually. I thought it was conventional wisdom that this was the best Stones album. At least I think that is what I grew up hear with some consistency.

Anyway, in my opinion this is one of the nastiest, vilest, most swaggering, disgusting, drug-out, strangely spiritual, amalgamations of rock and gospel and blues and garage and so many other things ever made. It's a whole world of music contained in it 60 minutes. I adore it. And its my fave Stones'.

---------------------

Okay, there ya go, I have 4 albums to listen to, one by The Beach Boys, one by Eno, one by Dylan, and one by some british guys who people seem to worship. I'll get on it.
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Mercury
Why do people have to love people, anyway?


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#438 | Posted: 01/31/2018 19:29 | Post subject: Reply with quote

The Smile Sessions by The Beach Boys

Okay, I'm listening to this for the second time in a row right now. I'm sticking to disc 1, the reassembled album. I will get around to the alternate takes and all those goodies once I've heard this "album" enough times for the outtakes, of which there are a lot, would actually mean a hoot to me.

My thoughts, generally, on this are positive. Brian Wilson was a genius, and he imbues this album and these songs with so many rich harmonies and artistic decisions its kinda mind-blowing. The basslines are especially gorgeous and vibrant, and the parts when the album goes silent suddenly, then sprouts up again with some bass line or some piano or some harmony are consistently surprising and excellent.

However, with even with Pet Sounds it took me many listens to really warm to the record and find real emotional depth on all the copious sweet sweet harmonies and pop fillips. I eventually did hear the emotional core of Pet Sounds, but at first the album just sounded like really really elaborate and stomach-ache-inducing sunshiney pop music. I am running into the same considerations at this time. But, as expected, this second listen in a row and 3rd overall is starting to peel back the layers, and put the innate theme on display.

For example, the version of "Surf's Up" here is playing now, and its stunning. Its so sad and earnest and yet hopeful. All the harmonies and parts have a purpose and are making for a truly beautiful highlight. The same can be said for the opening salvo of "Our Prayer/Gee/Heroes And Villains", where once I was like "ooh that's prty", now I am hearing a lot of depth and next-level musical craft in that run of music.

All in all this is an album which I can sink into, and depending on my state of mind at the time, I can just let it be background music to a sweet lazy sunday afternoon, or I can pay close close attention to every ingenious detail. That's a strong endorsement. And as I type I become more and more smitten with this album. Its a keeper.

And its cool cuz I have never really had a plan B for the beach boys. I had Pet Sounds and then... that's it. None of their other albums really had any hold or magnetism for me, and I never knew what album to go to to get more of my fill of the greatness of The Beach Boys. I now have this first disc of the Smile Sessions to unravel, and from here I hope I can finally click with their other albums.

Okay, I'm gonna finish this listen then maybe listen Another Green World again and give my thoughts on that album.

Peace.
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Mercury
Why do people have to love people, anyway?


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#439 | Posted: 01/31/2018 20:31 | Post subject: Reply with quote

Another Green World by Brian Eno

So, as already mentioned, I am a big fan of this album. But with this record it seems I had more of a general impressionistic idea of the album rather than a rock solid, track by track memory. I don't know why that is. I mean I listened to this classic maybe 15-20 times only a few years ago, and yet all I could recall about it was the feelings and ideas it stirred up inside me. The song titles almost receded into the background. Much like the cover art, I thought of this album as a strangely beautiful, inspiring, artifact with no clear form, almost indistinct, hazy, implied meanings abounded.

After listening to this 2 times today, remarkably this is still the case! Eno manages to create an album which floats by, never settling, like some kind of gossamer in a shaft of sunlight, I can see the form briefly before the light shifts and I forget all the exact details of the form.

That's not to say there aren't fairly convential sounding (at first) pop and rock songs here, cuz there are. But even those songs such as "St. Elmo's Fire" and "I'll Come Running", there is a fleet footed, mercurial element which makes me wonder what the whole point of what I just heard was. He just doesn't follow exact rules on this album. I think that makes sense, I suppose he took cues from his Oblique Strategies and "Discarded an Axiom" with each track. But even so I find it hard to put my finger on what Axioms he discarded. What did he "turn upside down"?

The whole album actually reminds me of my favorite of these Oblique Strategy cards he apparently refered to in the creation of this album... "What is Most Important is what is Most Easily Forgotten". I mean that nails, the thing about this album is it seems to touch on basic important truths in music and creativity. Then like a whim of an idea, a moment of divine inspiration, if you don't latch onto it in that moment it is gone and its hard to say when and if it will ever return.

Okay, now as for details of what I love about this album, I'll get more into that now. I won't do a full track by track breakdown. But some things do standout and I'll say some things about those aspects now quick before they are forgotten.

There is an ingenious mix of harsh, grounded, tangible sounds with fleeting, paraphysical feelings and sounds all over this album. Right from the jump, with "Sky Saw", there is that deep thumping bass going to town and while that catches your ear as it grows and morphs and chats with a strange guitar wah wah sounding thing, there is also a lot of open space and a persistent ethereal synth part which you sometimes can't even hear until the other sounds rest for a split second. The bass continues to kill it on "Over Fire Island" and with that bass there is strange sound effects coming in from the right side, and there is that lazy and droopy synth part which comes in to say hello occasionally. The drums get more intense and within this little instruemntal less than 2 minute song you get just non stop unique inspiration. Then its gone.

And then "St. Elmo's Fire" which is almost indescribably great. The solo on there from the guitar is stunning, the strong way rhythmicly the vocals contribute to the clicking drum sound, and the way these elemnts all crescendo, my goodness.

uh oh, looks like I am doing a track by track kinda thing, doesn't it? Oh well.

The strides Eno made in the development of Ambient music on this album are stunning. He later went on to focus his immense genius on perfecting and building on these aspirations, but right here with the spooky and yet inviting sound of "In Dark Trees" and the overwhelmingly emotional swelling genius of "The Big Ship" (which is only matched by An Ascension in my opinion in his discog in terms of moments of such divine ambient music. ). I mean, I am getting teary eyed now as I hear The Big Ship, when I close my eyes I see my life, I feel such gratitude such inspiration and omg. How does Eno manage this?!??

----- compose myself after that explosion of joyful crying----

Okay, and another aspect of this album which makes it so rich, is it is so perfectly balanced. There are a million ideas for future musics here, and he manages to move so nimbly from for example The Big Ship to the next song which is superficially just a pop love song "I'll Come Running". I'll Come Running....my goodness, what is going on? The rhythm is incessant with these quick blasts of little tinny somethings. The bass rolls, the melody and vocals sound so familiar and yet something is so different about it from any music I had heard before and perhaps have still ever heard. The piano bounces beautifully. The lyrics are so observational. and simple and austere. And then the guitar comes in and blows our minds and tug on our heartstrings in 20 seconds flat and then Eno raises the quality again somehow with these freaking back up vocals while he harmonizes about coming running to tie my shoes. I don't even know what to say.

Treack 7, bearing in mind 1-6 were all mindblowing, keeps the pure inspiration and idea a second pace of the album going, with these big synth washes and the slowly growing loudness of the synth and guitar with the ever so steady bass guitar. Then it fades out. I mean only this artist would think the title track of his album should be a minute and a half, austere ambient pass by. It works so perfectly as the middle of the album to bridge it to the second half.

Then the next 3 tracks, "Sombre Reptiles", "Little Fishes" and then the most lyrically oriented song here "Golden Hourse", roll by with each a distinct idea and form, each implying so much and laying out so little. Each is beautiful, fantastic, and utterly just gah...i love em.

Then maybe my fave track here is its most serene and austere, "Becalmed". Its wind sounds its sad loneliness, its introspective feel. The whole 4 minutes is a portal to a place so absolutely singular and gorgeous. Its so intensely beautiful. I am becoming redundant with my words, I know. But yeah, that's just how it is.

Zawinul/Lava is another great sketch of a new ambient vista. Then the next track "Everything Merges With The Night" is a woozy, dreamy, poetic, masterpiece. On almost any other album this would be the stone cold stand out. On this album it floats in and out like a breeze or a still and transient deja vu moment. Its here, you are at peace, you seem to recognize its outline from some life gone by, you recognize some truth, then it passes by. The piano trickles out in repetive patterns and Eno sings conversationally over top.

The album closes with yet another stunning track "Spirits Drifting". The title works with the music. The song features a really cool synth melody that is drifts about. And, of course, the track doesn't offer some grand pay off as so many albums do for a closing track. It just kinda washes over you. It lets you in briefly and you feel and merge with it. Then it ends. And then you realize a few seconds later that the album is over. You can't quite trace how you got here, but you're glad you experienced it. Like a pleasant dream of which you only have the slightest memory of. Almost without thinking, you push play again on the album, as if you're going back to sleep to recapture that fleeting peace you felt in the dreams you just had.
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Mercury
Why do people have to love people, anyway?


Gender: Male
Age: 29
Location: St. Louis
United States

#440 | Posted: 02/01/2018 22:43 | Post subject: Reply with quote

The Bootleg Series Vol. 4: Bob Dylan Li... Bob Dylan

Okay, this is an album I adore and I know inside and out. I have not listened to it in some years, so that is why I included it here. Also, I just want to reward myself every once in awhile. I listened to this 1 1/2 hopur, tale of 2 halves/sets, album yesterday. And I do feel rewarded.

Its probably my fave Live album ever. Its first half is beautiful, tortured at times, and Dylan just sounds bvored and puckish on other points. The set works well despite the fact that he was ready to bash these folky's brains in.

But yeah this first half is especially excellent as table setting for the rabid, raw, dirty, filthy, blues rock/garage rock bombardment Dylan and the Hawks (The Band) placed upon the ears of the crowd. Lure them to sleep, then rudely wake them up. Its so goddamn inspiring, groovy, and excellent start to finish.

P.S. This Album Rocks My World

----------------------

Okay, and I can put it off no longer...*sigh*
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