part 2 of You must listen to the album below you:canon edition by 
Mercury 
- Chart updated: 03/15/2022 17:15
- (Created: 08/26/2021 19:56).
- Chart size: 100 albums.
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Went ahead and listened to Discipline by KC as well. This 1973 album is as good as I remembered vaguely. It is a cool, equal parts cerebral and physically intense album. The grooves and the quasi-metal parts are so awesome, inspired and intimidating. The more hushed and subdued tracks and the more beautiful melodic bits are also stunning and the band manages to marry these cool sounds excellently here. I may still love Red the most, I mostly feel like Red is just one of the ultimate statement rock records i've ever heard, on this they almost achieve that same level of almost scary intensity while also doing more light stuff beautifully as well. Title track part 1 is one of their best songs that I've heard. Its just so eerie the way it builds and then so awe-inspiring the way it culminates and explodes.
The band here is superb of course. I think Yes of this era is better than KC ever was, but this is about as close as any band I've heard has come to matching the chemistry and brilliance of 1971-1974 Yes.
Discipline which I'm finishing up now as I write this is also great and has a chance to be there at the top tier of King Crimson favorites alongside their debut and Red. Its really a wild departure from their earlier sound. [First added to this chart: 08/26/2021]
The band here is superb of course. I think Yes of this era is better than KC ever was, but this is about as close as any band I've heard has come to matching the chemistry and brilliance of 1971-1974 Yes.
Discipline which I'm finishing up now as I write this is also great and has a chance to be there at the top tier of King Crimson favorites alongside their debut and Red. Its really a wild departure from their earlier sound. [First added to this chart: 08/26/2021]
Year of Release:
1973
Appears in:
Rank Score:
2,433
Rank in 1973:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
30
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This is a GREAT album. This may be my 2nd or lowest 3rd fave Mingus yet. Its such a killer album start to finish. It has a soulfulness and a humanity that is so warm and relatable. It also manages not to sacrifice any of its next-level arrangements to achieve this warmth and familiarity. So, I guess I'm saying, it communicates deeply in both an emotional and mental way. The music is mysterious and gorgeous, and its adventurous and swinging. It's all things and it flows beautifully. Despite being the longest of Mingus' albums I've heard, it flows and so nicely and never wears out its welcome with any track, so it feels like a 45 minute album when its really 60.
I am no jazz expert or fan (although I do adore Miles Davis and some Mingus and Colktrane and a few oddballs outside of that big three) so I tend to have a hard time pinning down what a great jazz album to my ears does well. If its too technical I tend to drift off and stop caring. Also if its too familiar and set in a familiar mode, I also juist drift off and get bored. For the records I adore in this "genre" (hardly a genre, its a whole musical vista, with more variety than can be said to exist in a "genre) I think that there has to be both a compelling mood and style that keeps me engaged, it has to be complex and unpredictable enough to keep me on my toes, and it has to be full of gorgeous or aesthetically impactful moments (such as with solos or hooks or whatever...something that almost takes my breathe away and makes me say "whoa!".)
This album has those qualities. As of now it goes for me, off the top of my head:
#1. Black Saint and the Sinner Lady - 9.5/10
#2. Mingus Ah Um - 8.5/10
#3. Let My Children Hear Music - 8.5/10
#4. Roots and Blues - 7.8ish/10
#5. Tijuana Moods - 7.5/10
#6. Mingus Mingus Mingus Mingus Mingus - 7/10
those are the ones I really remember. May have heard others but it hardly counts.
Anyway, great stuff. Glad I heard it. [First added to this chart: 08/26/2021]
I am no jazz expert or fan (although I do adore Miles Davis and some Mingus and Colktrane and a few oddballs outside of that big three) so I tend to have a hard time pinning down what a great jazz album to my ears does well. If its too technical I tend to drift off and stop caring. Also if its too familiar and set in a familiar mode, I also juist drift off and get bored. For the records I adore in this "genre" (hardly a genre, its a whole musical vista, with more variety than can be said to exist in a "genre) I think that there has to be both a compelling mood and style that keeps me engaged, it has to be complex and unpredictable enough to keep me on my toes, and it has to be full of gorgeous or aesthetically impactful moments (such as with solos or hooks or whatever...something that almost takes my breathe away and makes me say "whoa!".)
This album has those qualities. As of now it goes for me, off the top of my head:
#1. Black Saint and the Sinner Lady - 9.5/10
#2. Mingus Ah Um - 8.5/10
#3. Let My Children Hear Music - 8.5/10
#4. Roots and Blues - 7.8ish/10
#5. Tijuana Moods - 7.5/10
#6. Mingus Mingus Mingus Mingus Mingus - 7/10
those are the ones I really remember. May have heard others but it hardly counts.
Anyway, great stuff. Glad I heard it. [First added to this chart: 08/26/2021]
Year of Release:
1972
Appears in:
Rank Score:
1,042
Rank in 1972:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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This was excellent. I felt while listening that this is a gorgeous and consistent and melodically rich album, that is subtle. Subtler than Selling England by the Pound and The Lamb Lies Down on Broadway. What I mean is quite simplistic - there are few “WHOA! HOLY SHIZ!” moments on Foxtrot. There are moments of grandeur and moments of propulsive heaviness on Selling England… and The Lamb… which this album doesn’t have. At least based off what I noticed this time through.
Also this album doesn’t sound super dated. The main thing in old Prog of this era that, for me, dates it and can admittedly make me feel a little embarrassed is that super bright, outlandish keyboard sound. That sound I didn’t notice until the massive end track “Supper’s Ready”. It was good keyboard playing and technical and expressive - but was less my thing than most of the other art rock, literate softness that dominated the first tracks and most of the rest of Supper’s Ready.
Supper’s Ready tho, I have to say, was incredible. When I saw 23 minutes (broken into 7 parts that aren’t noted on Apple Music) I was a little daunted. My experience with these types of MASSIVE suites in Prog is hit and miss. I consider Yes’ Close to the Edge to be perhaps the single greatest “song” I’ve ever heard and I worship it. But I consider Jethro Tull’s Thick as a Brick to be mostly a slog. And even Yes couldn’t capture that same level of brilliance in subsequent albums with 18-22 minute tracks (though none of them are less than great). Anyway, back to Supper’s Ready, I thought the lyrics and the whole equal parts philosophical and heart-wrenching writing to be masterful and the way it builds and crescendos at the end would put GY!BE to shame.
The rest of the track list was cool. Need a few more listens to really pinpoint particularly great moments. But there were half a dozen times I was struck by some chord change or melody and thought it was cool as hell.
Great album. Will revisit.
Oh and I went ahead and listened again to The Lamb Lies Down on Broadway. After Foxtrot I was just in a Genesis/Peter Gabriel mood. And… it was great. Like awesome. Not sure which brand of artsy Prog I liked more - Foxtrot or Lamb - but both were excellent in unique ways. Genesis really were on a tear in the early 70s. I’ve heard Nursery Cryme is also quite good. Will get to that in this game eventually - but probably I was skip ahead and listen to it before we get that far down (or up this list - as we are working from both sides). Peter Gabriel vocally and personality wise is one of the most strange and unique and genius rock musicians of all time. I kind of already knew that but this last 2.5 hours of listening sort of cemented that take. [First added to this chart: 08/26/2021]
Also this album doesn’t sound super dated. The main thing in old Prog of this era that, for me, dates it and can admittedly make me feel a little embarrassed is that super bright, outlandish keyboard sound. That sound I didn’t notice until the massive end track “Supper’s Ready”. It was good keyboard playing and technical and expressive - but was less my thing than most of the other art rock, literate softness that dominated the first tracks and most of the rest of Supper’s Ready.
Supper’s Ready tho, I have to say, was incredible. When I saw 23 minutes (broken into 7 parts that aren’t noted on Apple Music) I was a little daunted. My experience with these types of MASSIVE suites in Prog is hit and miss. I consider Yes’ Close to the Edge to be perhaps the single greatest “song” I’ve ever heard and I worship it. But I consider Jethro Tull’s Thick as a Brick to be mostly a slog. And even Yes couldn’t capture that same level of brilliance in subsequent albums with 18-22 minute tracks (though none of them are less than great). Anyway, back to Supper’s Ready, I thought the lyrics and the whole equal parts philosophical and heart-wrenching writing to be masterful and the way it builds and crescendos at the end would put GY!BE to shame.
The rest of the track list was cool. Need a few more listens to really pinpoint particularly great moments. But there were half a dozen times I was struck by some chord change or melody and thought it was cool as hell.
Great album. Will revisit.
Oh and I went ahead and listened again to The Lamb Lies Down on Broadway. After Foxtrot I was just in a Genesis/Peter Gabriel mood. And… it was great. Like awesome. Not sure which brand of artsy Prog I liked more - Foxtrot or Lamb - but both were excellent in unique ways. Genesis really were on a tear in the early 70s. I’ve heard Nursery Cryme is also quite good. Will get to that in this game eventually - but probably I was skip ahead and listen to it before we get that far down (or up this list - as we are working from both sides). Peter Gabriel vocally and personality wise is one of the most strange and unique and genius rock musicians of all time. I kind of already knew that but this last 2.5 hours of listening sort of cemented that take. [First added to this chart: 08/26/2021]
Year of Release:
1972
Appears in:
Rank Score:
5,882
Rank in 1972:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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Of all the recent albums I’ve been listening to for the RYM top 1000 list, this is probably my fave. Off screen I went and listened ahead and listened to Fiona’s When A Pawn… and that was another one I adored and gave 4.5 score to. It’s rare that I hear an album and like it so much so quickly. This album is stellar.
I don’t know exactly why I love it so much. I think because it has an emotional core to it that I don’t find in much Prog. Some of the melodies especially the keyboard parts and a good amount of guitar lines are so gorgeous and soaring and powerful. The guitar line/reoccurring melody on Lady Fantasy is sublime and some of the coolest and most rich stuff I’ve heard in awhile.
The band also can rock more intensely when needed. It’s awe-inspiring when they just “let loose” (in quotes because they are always controlled and precise even in the more intense rocking moments).
Also technical mastery has always been something that is almost a direct index of how much I can really relate to music. I guess on either extreme I don’t feel a connection. If a band or artist sucks and can’t play for shit I also don’t like it much or connect. (Usually). But certainly when I hear intensely technical Prog or prog death metal or fusion sometimes this just sorta bewilders and hard me out of the moment. This happens a lot with those genres. But with this album and hopefully band (I’ll soon listen to their other classics) while sure there is a precise sound and there are rhythm changes and I’m sure what is happening is complex and is cat nip for Prog heads, I can’t think of a single time I weird change or uptick in technicality took me out of the heart of the song. My immersion is never broken with this album. I think this is because the songs and the melodies or gorgeous and so well written and logical.
The vocals are the only part I don’t think is 9-10/10. They are fine and they sound peaceful and they work well in the context of the music and it’s great not hearing a showboat lead singer, one who just embodies the song and does his job in a rock solid way. They aren’t super distinctive, but they’re good and basically just what this album needs.
Anyway, I love this. Listening for the 3rd time now. And I think I like it more. This is possible overall chart worthy once I take it off private. Certainly going high on a super super stacked decade chart. I highly recommend this album to all ye music fans. Even if you don’t generally love Prog rock. [First added to this chart: 08/26/2021]
I don’t know exactly why I love it so much. I think because it has an emotional core to it that I don’t find in much Prog. Some of the melodies especially the keyboard parts and a good amount of guitar lines are so gorgeous and soaring and powerful. The guitar line/reoccurring melody on Lady Fantasy is sublime and some of the coolest and most rich stuff I’ve heard in awhile.
The band also can rock more intensely when needed. It’s awe-inspiring when they just “let loose” (in quotes because they are always controlled and precise even in the more intense rocking moments).
Also technical mastery has always been something that is almost a direct index of how much I can really relate to music. I guess on either extreme I don’t feel a connection. If a band or artist sucks and can’t play for shit I also don’t like it much or connect. (Usually). But certainly when I hear intensely technical Prog or prog death metal or fusion sometimes this just sorta bewilders and hard me out of the moment. This happens a lot with those genres. But with this album and hopefully band (I’ll soon listen to their other classics) while sure there is a precise sound and there are rhythm changes and I’m sure what is happening is complex and is cat nip for Prog heads, I can’t think of a single time I weird change or uptick in technicality took me out of the heart of the song. My immersion is never broken with this album. I think this is because the songs and the melodies or gorgeous and so well written and logical.
The vocals are the only part I don’t think is 9-10/10. They are fine and they sound peaceful and they work well in the context of the music and it’s great not hearing a showboat lead singer, one who just embodies the song and does his job in a rock solid way. They aren’t super distinctive, but they’re good and basically just what this album needs.
Anyway, I love this. Listening for the 3rd time now. And I think I like it more. This is possible overall chart worthy once I take it off private. Certainly going high on a super super stacked decade chart. I highly recommend this album to all ye music fans. Even if you don’t generally love Prog rock. [First added to this chart: 08/26/2021]
Year of Release:
1974
Appears in:
Rank Score:
2,578
Rank in 1974:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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The second i pushed play and heard those acoustic chords a wave of recognition and warmth washed over me. I HAVE heard this and many times but somehow I had forgotten how great it is. I love this album, truly. Some of the coolest guitar work, rhythm parts, melodies and vocal harmonies I've heard. Masterpiece through and through. Not much else to say, its just a fantastic album. Thanks for nominating it!
[First added to this chart: 08/26/2021]
Year of Release:
1972
Appears in:
Rank Score:
3,209
Rank in 1972:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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Zappa is a perplexing and fascinating character and legend in music history. I have known this for most of my life, but every time I push play on anything Zappa-made (very rare, for some reason) the same realization and understanding comes to me. You just never know what you are going to get. He is one of the greatest guitarists i've ever heard - managing to be both one of those classic rock-era virtuosos to equal all of 'em while never sounding like the Page's and Beck's and Clapton's of the time... not remotely. He's also a great and unique vocalist, all evillll and strange and funny and ironic. And his production skills and the way he visualizes or crafts the music is legendary and rightfully so. This album fratures all these insanely rare and brilliant qualities - God-level guitar brilliance, pristine and modern sounding production even nearly 50 years later, and a streak of brilliantly done vocal performances. Still.... there is also that certain something that keeps me from haead-over-heels loving this album. I should, based off the sum of its parts. But instead I JUST really REALLYT like and respect it. Maybe its just that I have not gotten grips on his humour and sneering side, it rubs me the wrong way still (still this is way better and less annoying than Freak Out!). But when I think about it I feel like I should love that funny un-serious side to his songwriting. It distinguishes him even more and only when I hear a Zappa or Mothers album it seems do I really reflect on how self-seriousness and artsyness has dominated rock forever. This should make me respect his albums more I suppose. But alas it doesn't and it is still a hindrance.
Here I go again dwelling on the negatives with an album I was quite impressed with. I think outside of Hot Rats this is my fave Zappa that I have heard. And, considering this is only my first listn, my opinion could rise with a few returns. It's a funky, beautifully produced rock album that flirts with mainstream sounds with that classic Zappa twist. [First added to this chart: 08/26/2021]
Here I go again dwelling on the negatives with an album I was quite impressed with. I think outside of Hot Rats this is my fave Zappa that I have heard. And, considering this is only my first listn, my opinion could rise with a few returns. It's a funky, beautifully produced rock album that flirts with mainstream sounds with that classic Zappa twist. [First added to this chart: 08/26/2021]
Year of Release:
1974
Appears in:
Rank Score:
1,520
Rank in 1974:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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God I was a dolt to ignore this for so long. This is really really good. Somehow Blondie manages to maintain their street cred punk rock energy enough here while making some of the most buoyant, brilliant pop this side of '65. The pure pop gems have a similar innocent yet sophisticated beauty of those great girl group records of the early to mid 60s. Also the rock tracks like the all time classic album opener are absolutely gritty, sexy, invigorating all time rock classics.
The fact that half these songs AT LEAST are basically perfectly crafted pop rock gems and classics is amazing! Even the ones I'd say aren't classic or don't have that extra zing to push to transcendence are still quite good to great in their own right.
"One Way or Another" holds up as a badass rock song. And as for the obvious standout here, "Heart of Glass" well what can I say. Its mesmerizing. Its so damn timeless and bubbly and they manage to pull off that disco stomp perfectly while marrying it to this new wave rock sound. Every line, beat, melody and part are brilliant. The fact that this one song doesn't swamp the impact of the rest of the album (at least not completely) is a testament to the quality of the rest of this album. I have the idea that some good albums are so thoroughly overshadowed by ONE MASSIVE hit that is perfect. Having a hard time remembering an example.... maybe Donna Summer's I Remember Yesterday album which is generally great but the closer "I Feel Love" is so clearly the standout that it leaves very little oxygen for any other track. There are other examples I'm sure but can't remember. Anyway, my point was that this album is good enough throughout that it doesn't suffer that fate.
Overall, this instantly goes from a famous album that I am ambivalent to to one of my fave pop rock albums of the 70s if not maybe all time. Deserves many more listens and I suspect it will get them. [First added to this chart: 09/02/2021]
The fact that half these songs AT LEAST are basically perfectly crafted pop rock gems and classics is amazing! Even the ones I'd say aren't classic or don't have that extra zing to push to transcendence are still quite good to great in their own right.
"One Way or Another" holds up as a badass rock song. And as for the obvious standout here, "Heart of Glass" well what can I say. Its mesmerizing. Its so damn timeless and bubbly and they manage to pull off that disco stomp perfectly while marrying it to this new wave rock sound. Every line, beat, melody and part are brilliant. The fact that this one song doesn't swamp the impact of the rest of the album (at least not completely) is a testament to the quality of the rest of this album. I have the idea that some good albums are so thoroughly overshadowed by ONE MASSIVE hit that is perfect. Having a hard time remembering an example.... maybe Donna Summer's I Remember Yesterday album which is generally great but the closer "I Feel Love" is so clearly the standout that it leaves very little oxygen for any other track. There are other examples I'm sure but can't remember. Anyway, my point was that this album is good enough throughout that it doesn't suffer that fate.
Overall, this instantly goes from a famous album that I am ambivalent to to one of my fave pop rock albums of the 70s if not maybe all time. Deserves many more listens and I suspect it will get them. [First added to this chart: 09/02/2021]
Year of Release:
1978
Appears in:
Rank Score:
6,277
Rank in 1978:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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First off the production here is fucking crisp-crisp-crispy as hell. It sounds so alive and tangible and downright modern! I thought this album may sound like good but harmless and dated pop rock. But heck no it isn't like that at all. The whole sound here has a liveliness and energy that is mindboggling. Adore it.
Next, this album along with Ram and my realization that that album is amazing as well as this one, is making me realize McCartney is really good. It's like "well, yes. of course. What are you stupid or something?" But yeah I really was dumb. For some reason I have never given the time of day to Paul McCartney. Just wasn't interested in him and for some reason his persona of the romantic heartthrob in the band and just everything made me infinitely less interested in him than George and even John.
Next, this album starts off as good as any album basically ever or at least since, like, the Babylonians. The first track is perfect head to toe in all its small parts and its maybe the coolest distillation of the greatness of McCartney as a songwriter. Then the absolute rocking badassery of "Jet", followed by the sweetness and gorgeousness of "Bluebird" which is every bit as great as Band On The Run and more focused and less suite-like to boot (which is a good thing to me.), then followed by Mrs. Vanderbilt and "Let Me Roll It' - 2 more absolute classics, .... what the fuck?! 5 straight masterclasses?!
The streak is a bit dampened by the very fine but comparably unremarkable "Mamunia". "No Words" is similarly very good to great if a tier down from the first 5, Still, damn the guitar is so sexy and fiery at the end. Then the album closes with a couple very very different types of classics on a plain with the first 5. "Picasso's Last Drink" is very playful and fun and makes fun references to other melodies (or at least one) and its just excellent. And finally the stomp and swagger of the closer "Nineteen-Hundred and Eighty-Five" is to die for. Again, this damn track sounds like it could be a hit in the 60s, 70s, 80s, 90s, 2000s, today, it just has a badass groove and a smooth as silk vocal part and the way it switches between those different parts is just incredible.
The folk rock stuff here is brilliant and he does it to perfection. The pop rock and, well, just rock rock, he does just as well. Basically he was just clicking with this album and whatever sound he was going for he was nailing and sticking the landing every time.
Overall, I have been sleeping on this Paul McCartney guy. Lyrically he is no Dylan or even Paul Simon or even even John Lennon (actually just as good as Lennon whilst tackling different topics) but that hardly matters when you have the musical touch and feel and pop chops that he does. I can finally say I am a fan of Paul. Kind of weird. Great nomination/choice for me, Baystateoftheart! [First added to this chart: 09/06/2021]
Next, this album along with Ram and my realization that that album is amazing as well as this one, is making me realize McCartney is really good. It's like "well, yes. of course. What are you stupid or something?" But yeah I really was dumb. For some reason I have never given the time of day to Paul McCartney. Just wasn't interested in him and for some reason his persona of the romantic heartthrob in the band and just everything made me infinitely less interested in him than George and even John.
Next, this album starts off as good as any album basically ever or at least since, like, the Babylonians. The first track is perfect head to toe in all its small parts and its maybe the coolest distillation of the greatness of McCartney as a songwriter. Then the absolute rocking badassery of "Jet", followed by the sweetness and gorgeousness of "Bluebird" which is every bit as great as Band On The Run and more focused and less suite-like to boot (which is a good thing to me.), then followed by Mrs. Vanderbilt and "Let Me Roll It' - 2 more absolute classics, .... what the fuck?! 5 straight masterclasses?!
The streak is a bit dampened by the very fine but comparably unremarkable "Mamunia". "No Words" is similarly very good to great if a tier down from the first 5, Still, damn the guitar is so sexy and fiery at the end. Then the album closes with a couple very very different types of classics on a plain with the first 5. "Picasso's Last Drink" is very playful and fun and makes fun references to other melodies (or at least one) and its just excellent. And finally the stomp and swagger of the closer "Nineteen-Hundred and Eighty-Five" is to die for. Again, this damn track sounds like it could be a hit in the 60s, 70s, 80s, 90s, 2000s, today, it just has a badass groove and a smooth as silk vocal part and the way it switches between those different parts is just incredible.
The folk rock stuff here is brilliant and he does it to perfection. The pop rock and, well, just rock rock, he does just as well. Basically he was just clicking with this album and whatever sound he was going for he was nailing and sticking the landing every time.
Overall, I have been sleeping on this Paul McCartney guy. Lyrically he is no Dylan or even Paul Simon or even even John Lennon (actually just as good as Lennon whilst tackling different topics) but that hardly matters when you have the musical touch and feel and pop chops that he does. I can finally say I am a fan of Paul. Kind of weird. Great nomination/choice for me, Baystateoftheart! [First added to this chart: 09/06/2021]
Year of Release:
1973
Appears in:
Rank Score:
6,695
Rank in 1973:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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This album is both very strange and very familiar. Even at its strangest (such as Sentimental Journey) it's never utterly hard to listen to and challenging. Also, even at its most familiar punk rock badass moments (Non-Alignment Pact or Title track) there is something eschew and something not quite right about it - in a great off-kilter way.
I love this to be honest but I'm not finding much analytical things to say. Kinda frazzled at the moment after a loooong weekend. The riffs here are dope, the bass playing is great consistently - especially love the rumbling explosive bass attack on Street Waves. Love the atmosphere and almost dreamy feel of some moments/tracks especially Humor Me. Humer Me is so strange probably because the track builds and every second is phenomenal and dynamic and yet the vocals seem strange and un-fitting in a fun and funny and weird way. Lets talk about the vocals briefly... they are weird and unorthodox yes. They are dorky, and they are abrasive. Yet the more I listened and the further into the album on first revisit I liked em more and more. And then on return listens (listened 4 times in last few days) I liked em more and more. They are so damn weird and un-badass and hard to pin down what emotion they express. There is some punk anger, but there is also a whole lot of just weird non-sequitor-ness that I like.
Overall this album is so cool and unique even after 43 years. The whole band is punk rock and yet precise enough to pull off the tracks. LOve the occasional horn sounds. It has a badass first half and the second half doesn't let it down too bad. Sentimental Journey is maybe the one song I generally don't love but still find it brazen and wild to just have this onslaught of literal broken glass and what sounds like exploding lightbulbs.
33 minutes and no shit and its just a succinct and creative and cool statement of an album. Very glad I revisited it. 4/5 I suppose. [First added to this chart: 01/04/2022]
I love this to be honest but I'm not finding much analytical things to say. Kinda frazzled at the moment after a loooong weekend. The riffs here are dope, the bass playing is great consistently - especially love the rumbling explosive bass attack on Street Waves. Love the atmosphere and almost dreamy feel of some moments/tracks especially Humor Me. Humer Me is so strange probably because the track builds and every second is phenomenal and dynamic and yet the vocals seem strange and un-fitting in a fun and funny and weird way. Lets talk about the vocals briefly... they are weird and unorthodox yes. They are dorky, and they are abrasive. Yet the more I listened and the further into the album on first revisit I liked em more and more. And then on return listens (listened 4 times in last few days) I liked em more and more. They are so damn weird and un-badass and hard to pin down what emotion they express. There is some punk anger, but there is also a whole lot of just weird non-sequitor-ness that I like.
Overall this album is so cool and unique even after 43 years. The whole band is punk rock and yet precise enough to pull off the tracks. LOve the occasional horn sounds. It has a badass first half and the second half doesn't let it down too bad. Sentimental Journey is maybe the one song I generally don't love but still find it brazen and wild to just have this onslaught of literal broken glass and what sounds like exploding lightbulbs.
33 minutes and no shit and its just a succinct and creative and cool statement of an album. Very glad I revisited it. 4/5 I suppose. [First added to this chart: 01/04/2022]
Year of Release:
1978
Appears in:
Rank Score:
2,249
Rank in 1978:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
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The music fits the album name. This is mostly quite languid; relaxed, slow building and never crescendoing too intensely. Instead it seems to sort of groove in its own separate mental and spiritual place. The music is okay off each other delicately and with a nice familiarity. There are few real freak outs or explosions, there is a lot of groove and soul.
I listened a couple times and I really liked it. Not what I was expecting perhaps because I know Sun Ra is a wild man and makes some truly unrelenting and uncompromising stuff. This is an album which is not commercial and it is uncompromising in its own way. Just quite groovy, peaceful, contemplative. Very cool.
In terms of Fusion, this is more along the lines of In A Silent Way than some of the more over the top rockin fusion of the mid to late 70s. I like that. I prefer the early Return to Forever, In A Silent Way, early pre Jaco Jaco Weather Report sound. I like that cerebral, floaty, exploratory feel that is present here on Lanquidity and on those other albums/works. Despite there being often times a rock solid bass and drum groove or horn sound, there is always an almost detached Electric piano or horn somewhere off in the song smelling the roses and looking about and in its own world. [First added to this chart: 01/04/2022]
I listened a couple times and I really liked it. Not what I was expecting perhaps because I know Sun Ra is a wild man and makes some truly unrelenting and uncompromising stuff. This is an album which is not commercial and it is uncompromising in its own way. Just quite groovy, peaceful, contemplative. Very cool.
In terms of Fusion, this is more along the lines of In A Silent Way than some of the more over the top rockin fusion of the mid to late 70s. I like that. I prefer the early Return to Forever, In A Silent Way, early pre Jaco Jaco Weather Report sound. I like that cerebral, floaty, exploratory feel that is present here on Lanquidity and on those other albums/works. Despite there being often times a rock solid bass and drum groove or horn sound, there is always an almost detached Electric piano or horn somewhere off in the song smelling the roses and looking about and in its own world. [First added to this chart: 01/04/2022]
Year of Release:
1978
Appears in:
Rank Score:
851
Rank in 1978:
Rank in 1970s:
Overall Rank:
Average Rating:
Comments:
Total albums: 12. Page 1 of 2
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part 2 of You must listen to the album below you:canon edition composition
| Decade | Albums | % | |
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| 1930s | 0 | 0% | |
| 1940s | 0 | 0% | |
| 1950s | 2 | 2% | |
| 1960s | 7 | 7% | |
| 1970s | 12 | 12% | |
| 1980s | 6 | 6% | |
| 1990s | 35 | 35% | |
| 2000s | 24 | 24% | |
| 2010s | 14 | 14% | |
| 2020s | 0 | 0% |
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| Neurosis | 2 | 2% | |
| Charles Mingus | 2 | 2% | |
| Queens Of The Stone Age | 2 | 2% | |
| ボリス [Boris] | 2 | 2% | |
| Between The Buried And Me | 2 | 2% | |
| Isis | 2 | 2% | |
| フィッシュマンズ [Fishmans] | 2 | 2% | |
| Show all | |||
| Country | Albums | % | |
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55 | 55% | |
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17 | 17% | |
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5 | 5% | |
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5 | 5% | |
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3 | 3% | |
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3 | 3% | |
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2 | 2% | |
| Show all | |||
part 2 of You must listen to the album below you:canon edition chart changes
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