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YoungPunk
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- #11
- Posted: 02/16/2018 23:41
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I definitely agree with Sgt. Peppers not being at the top. I like that it is progressive, but it's relatively boring compared to other progressive albums. It has nothing that really grabs me. I stopped streaming it after the awful sitar song, which is a no.
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #12
- Posted: 02/16/2018 23:56
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| Ashmark wrote: | | I agree with your assessment. I don’t listen to it often but I always enjoy it-loud. It might qualify as another “lightning in a bottle” creation, an expression used in reference to In an Aeroplane Over the Sea. I am not sur Alannis reached these heights before or after. Some of its shine is lost because it was overplayed when it came out. It will be in my top 100, but probably second half. |
Thanks  Glad I'm not the only one (wouldn't have deterred me though).
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #13
- Posted: 02/17/2018 00:06
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| YoungPunk wrote: | | I definitely agree with Sgt. Peppers not being at the top. I like that it is progressive, but it's relatively boring compared to other progressive albums. It has nothing that really grabs me. I stopped streaming it after the awful sitar song, which is a no. |
While I do agree that it's quite overrated from a historical/"best ever" vantage point, I do actually feel it's a superb album and the last of their oeuvre I would call boring. A 7/10 album on my scale is, it seems, much higher than a 7/10 on most other scales so it's not uncommon for someone to assume I'm downplaying an albums' merits if I rate it as such. In a sense I am, to someone that might feel Sgt Pepper is a masterpiece on the order of Beethoven's greatest symphonies (or the like). Also, I think Within You Without You is one of their greatest achievements, just behind A Day in the Life as the best song on the album, but I'm not surprised we don't see eye to eye after your dismissal of so many Classical works I champion  
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YoungPunk
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- #14
- Posted: 02/17/2018 04:48
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Yeah. I'm basically a radical when it comes to music. I tend to make weird stuff too
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #15
- Posted: 02/17/2018 05:01
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| YoungPunk wrote: | | Yeah. I'm basically a radical when it comes to music. I tend to make weird stuff too |
Nothing wrong with having a little Beef in your Heart
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hereforashortime
Gender: Male
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- #16
- Posted: 02/19/2018 01:57
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Why is graceland in bold, is there a reason or just a typo?
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #17
- Posted: 02/19/2018 02:05
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| hereforashortime wrote: | | Why is graceland in bold, is there a reason or just a typo? |
Only because I just added it. The list is not updated and I am in the process of revisiting old favorites and started doing so a few days ago. Plus I may add entries that are new to me if I discover any that are 7/10+ that I've never heard.
With only occasional exceptions in short spurts, I've been consumed by Classical music for most of the last two years and am just now returning to Rock (and some Jazz and Paintings and Films on the side).
But if the bold also draws people's attention to Graceland too, that's okay -- great album
Bold = recently added
Bold + Italics = recently upgraded/downgraded by 0.1 or more
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Tha1ChiefRocka
Yeah, well hey, I'm really sorry.
Location: Kansas
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- #18
- Posted: 02/20/2018 00:08
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What's your take on Van Dyke Parks? I think he's one of those musicians that attempted to push the boundaries of what was considered "Pop Music".
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #19
- Posted: 02/20/2018 00:14
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| Tha1ChiefRocka wrote: | | What's your take on Van Dyke Parks? I think he's one of those musicians that attempted to push the boundaries of what was considered "Pop Music". |
I haven't revisited him in years (including this recent go round -- yet) but Song Cycle is one of the greatest pop albums for sure (see 7.5 section). The accolades re: "pushing boundaries/creativity/revolutionary" generally applied to albums like Sgt. Pepper are much more applicable to that work, and wouldn't sound so exaggerated anymore (not that Sgt Pepper isn't great).
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AfterHours
Gender: Male
Location: originally from scaruffi.com ;-)
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- #20
- Posted: 02/21/2018 22:36
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RE: On Avery Island - Neutral Milk Hotel (1996) 6.8/10 to 7.3/10
I've long thought this was an excellent, better-than-advertised album (much overshadowed by its now-legendary follow-up, In the Aeroplane Over the Sea), but I've now upgraded it because it is more extraordinary than I previously realized.
On Avery Island combines the melodic tragic-ecstacy of Pearls Before Swine, the spontaneous combustion and low-fi pop art of Guided By Voices, and the hypnotic trance and claustrophobic tone-deaf noise of The Velvet Underground and Stereolab.
The key to the whole album is that it is immersed in both the tragedy and the miracle of birth, and the songs strike startling juxtapositions and associations between this dichotomy, instrumentally and vocally.
The lead singer, Jeff Mangum, is fraught with a tragic, unfulfilled attachment to his mother, mired in the uncomfortable sensation of being born, of a painful nostalgia to a lost childhood. His pleading, pained, catatonic and grieving voice carries the sonority, diction and elocution of both an adult and child simultaneously, trapped in a psychological paralysis between the two.
The songs strike parallels between melody and noise, between birth and death. They are bludgeoned by pummeling tone-deaf noise and fuzzy, womb-like cataleptic distortions and pulsations. They are constantly emerging from this "wreckage of the womb", and then submerging back into it as they end unceremoniously. Sudden bouts of noise consume them at inopportune times and intervals, upsetting the flow. They are (physically, compositionally) being born out of this murk, salvaged from the brink, with funereal fanfares and marching bands announcing their arrival, or various instrumental nuances leading them along. Mangum spins haunted lullabies and fairy tales along phantasmagoric streams-of-consciousness that, with their circular and expanding verses, keep emerging further and further from the birth canal, into life but with the inevitability of death.
The album ends with an apocalyptic 14-minute pulsating drone of paralyzed dissonance. It begins in cataclysm and drains into a devastated infinity of torturous tone-deaf noise that keeps swelling into a monolith of abstract expressionism. It is perhaps the looming emergence of a stillborn fetus, dilated to the point of up-close confrontation, the haunting tragedy and horrified shock growing into an enlarged, grotesque image that cannot be exorcised from one's mind.
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