*Your favourite record and what it means to you!
- Thread starter editor
- Start date
Wire -- The Ideal Copy
Not the best Wire album, nor even the best post-1985 Wire Album, but The Ideal Copy helped me work my way through the detonation and fallout of my first seriously soul-screwing relationship. It's lyrical, it's poignant, it's intelligent, it's surreal, it's cruel, it's got fierce energy, and it's cynical as Hell on a Monday. What the boy needed, is what I'm saying.
Unrefined, the final scam
It didn't rhyme, it didn't matter
A soundtrack for your silence
Insincere
which pretty much sums up the relationship as well. Why do I keep falling in love with mad women?
The new Plump DJs joint rox da hoss too.
Not the best Wire album, nor even the best post-1985 Wire Album, but The Ideal Copy helped me work my way through the detonation and fallout of my first seriously soul-screwing relationship. It's lyrical, it's poignant, it's intelligent, it's surreal, it's cruel, it's got fierce energy, and it's cynical as Hell on a Monday. What the boy needed, is what I'm saying.
Unrefined, the final scam
It didn't rhyme, it didn't matter
A soundtrack for your silence
Insincere
which pretty much sums up the relationship as well. Why do I keep falling in love with mad women?
The new Plump DJs joint rox da hoss too.
Miscellaneous
Princess
Evanescence's Hello sums up my favourite record to date.
Blue Lines - Massive Attack
This was the first full album I listened to and liked every song on it. I was more a singles type gal and never owned an album when I was younger.
When I met my boyfriend (now husband) we use to lie in his room and listen to his albums whilst getting canned and having the most amazing sex. Whenever I hear this album now I am automatically transported back to the summer of '95 to a little room, in a little suburban town in Manchester.
To me it was just so...NEW. I was use to listening to Rod Stewart, Motown and lots of mainstream pop. Blue Lines made me realise that there was a whole world of music out there that I wasn't use to. You couldn't really dance to it, you couldn't really sing to it - but you could float to it and just feel it.
This was the first full album I listened to and liked every song on it. I was more a singles type gal and never owned an album when I was younger.
When I met my boyfriend (now husband) we use to lie in his room and listen to his albums whilst getting canned and having the most amazing sex. Whenever I hear this album now I am automatically transported back to the summer of '95 to a little room, in a little suburban town in Manchester.
To me it was just so...NEW. I was use to listening to Rod Stewart, Motown and lots of mainstream pop. Blue Lines made me realise that there was a whole world of music out there that I wasn't use to. You couldn't really dance to it, you couldn't really sing to it - but you could float to it and just feel it.
Numbers
an ting!
never too late
Al Green - True Love Collection
The music drips with so much soul that your fingers get sticky! Every song is a gem of early seventies (Disco-free) soul. AL Green put so much feeling & emotion into his work you are still blown away by the quality these Records still have. The Man could show many Artists & Groups out now how it truly is done. His voice is what soul & feeling is all about.
My wife and I love the track God blessed our love to bits and had it as our opening dance/song at our wedding.
Al Green - True Love Collection
The music drips with so much soul that your fingers get sticky! Every song is a gem of early seventies (Disco-free) soul. AL Green put so much feeling & emotion into his work you are still blown away by the quality these Records still have. The Man could show many Artists & Groups out now how it truly is done. His voice is what soul & feeling is all about.
My wife and I love the track God blessed our love to bits and had it as our opening dance/song at our wedding.
The Stone Roses.
This album opened me up to music and its emotional effects. It was the first music I ever bought, ever chose for myself, the first that had any meaning in my life. My family was a bit nutty - didn't "believe" in music and it was actively discouraged as an activity in any way. The only record we had in the house was Band Aid's "Do they know it's Christmas", bought as a christmas present for me because it was for a "good cause" - the irony of us not owning a record player seemingly not a cause for concern.
<violins please>
The Stone Roses brought forth lots of feelings about being "stuck" in Manchester and the whole Madchester thing made fucked up kids like me feel a part of something bigger than ourselves. It's a cliche, but we really did feel like we were the centre of the universe for a while rather than a sidelined province.
For me and thousands like me it was an album you could go nuts with, laugh with, cry with. Took me away from the world I hated and gave me breathing space. Guitar that wrenched at your soul and a singer who knew exactly how to press myriad buttons.
Ian Brown - the most beautiful monkeyman in the world.
Of my three brothers one is now in a band and the one is a sound engineer. Well done mum and dad.
This album opened me up to music and its emotional effects. It was the first music I ever bought, ever chose for myself, the first that had any meaning in my life. My family was a bit nutty - didn't "believe" in music and it was actively discouraged as an activity in any way. The only record we had in the house was Band Aid's "Do they know it's Christmas", bought as a christmas present for me because it was for a "good cause" - the irony of us not owning a record player seemingly not a cause for concern.
<violins please>
The Stone Roses brought forth lots of feelings about being "stuck" in Manchester and the whole Madchester thing made fucked up kids like me feel a part of something bigger than ourselves. It's a cliche, but we really did feel like we were the centre of the universe for a while rather than a sidelined province.
For me and thousands like me it was an album you could go nuts with, laugh with, cry with. Took me away from the world I hated and gave me breathing space. Guitar that wrenched at your soul and a singer who knew exactly how to press myriad buttons.
Ian Brown - the most beautiful monkeyman in the world.
Of my three brothers one is now in a band and the one is a sound engineer. Well done mum and dad.
Traitor Ohio
Jelly Jubby
An answer to a previous statement?
Well I posted an article on Metallica's Ride The Lightning, which is still my number 1 album, I have some more additions to my favourite albums.
Everybody has heard of Pink Floyd right? I hope well so! Well I first got into them from a tape my mother gave me of The Wall: Live In Berlin 1991 and I loved it, played it over and over. But then my interest widened in the bands other albums. My father (yes the same one who lent me Metallica's Black Album) lent me two tapes of Floyd they were: The Final Cut and Obscured By Clouds. Man, life took a new direction. The Final Cut has become a cult classic in my mind, little known but lyrically and musically brilliant, it is possibly the most underrated P.F. album to date, don't get me wrong albums such like The Wall and Dark Side Of The Moon (also by P.F.) are legendary but in my mind they will never match up to the sheer brilliance of T.F.C. which coincedentally was the last album P.F. made with Roger Waters (hence The FINAL Cut).
Now, I still love Metallica and all/most heavy metal bands but I have a new found softer side and this includes bands such as: P.Floyd, Led Zeppelin (Houses Of The Holy, OMG!) et al
But I still think that, even though I respect Metallica for all they have/haven't done they in my mind have not influenced music today as heavily as I feel Pink Floyd have done.
"Long live Prog Rock and h/metal in a cruel and corporate world."
A solemn Traitor Ohio.
Well I posted an article on Metallica's Ride The Lightning, which is still my number 1 album, I have some more additions to my favourite albums.
Everybody has heard of Pink Floyd right? I hope well so! Well I first got into them from a tape my mother gave me of The Wall: Live In Berlin 1991 and I loved it, played it over and over. But then my interest widened in the bands other albums. My father (yes the same one who lent me Metallica's Black Album) lent me two tapes of Floyd they were: The Final Cut and Obscured By Clouds. Man, life took a new direction. The Final Cut has become a cult classic in my mind, little known but lyrically and musically brilliant, it is possibly the most underrated P.F. album to date, don't get me wrong albums such like The Wall and Dark Side Of The Moon (also by P.F.) are legendary but in my mind they will never match up to the sheer brilliance of T.F.C. which coincedentally was the last album P.F. made with Roger Waters (hence The FINAL Cut).
Now, I still love Metallica and all/most heavy metal bands but I have a new found softer side and this includes bands such as: P.Floyd, Led Zeppelin (Houses Of The Holy, OMG!) et al
But I still think that, even though I respect Metallica for all they have/haven't done they in my mind have not influenced music today as heavily as I feel Pink Floyd have done.
"Long live Prog Rock and h/metal in a cruel and corporate world."
A solemn Traitor Ohio.
Yu_Gi_Oh
天天好心情
Pearl Jam- Verses
When I first heard Pearl Jam I was stunned into silence, something that was unusual when I was 14. The music was a revaloution to my tastes and a catalyst for new friendships, I was amazed that I'd been missing out on such musical splendour! I still believe that if someone likes Pearl Jam then they can't be all bad and if they don't appreciate Pearl Jam than they're slightly lacking in some department.
The best album, in my opinion, that Pearl Jam did is Verses, it's the most anthemic, the most passionate, it has the best riffs. It's the album for all occasions; I cried to 'Rear view mirror' when I got dumped and was feeling better by the end. When I've argued with my Mum I've listened to 'Daughter'. Around my mates house it's the album we turn up loud and all sing along to, if anyone is leaving town for a while we all end up singing 'Old Woman...'. It is the album for emotional moments, the one I'll always use to cheer up my boyfriend, the musical equivilent to a cup of tea and a spliff.
If I didn't have Pearl Jam I would have cried longer and harder I'm sure, they Rock and they are the last word in grunge. Move over Nirvana.
When I first heard Pearl Jam I was stunned into silence, something that was unusual when I was 14. The music was a revaloution to my tastes and a catalyst for new friendships, I was amazed that I'd been missing out on such musical splendour! I still believe that if someone likes Pearl Jam then they can't be all bad and if they don't appreciate Pearl Jam than they're slightly lacking in some department.
The best album, in my opinion, that Pearl Jam did is Verses, it's the most anthemic, the most passionate, it has the best riffs. It's the album for all occasions; I cried to 'Rear view mirror' when I got dumped and was feeling better by the end. When I've argued with my Mum I've listened to 'Daughter'. Around my mates house it's the album we turn up loud and all sing along to, if anyone is leaving town for a while we all end up singing 'Old Woman...'. It is the album for emotional moments, the one I'll always use to cheer up my boyfriend, the musical equivilent to a cup of tea and a spliff.
If I didn't have Pearl Jam I would have cried longer and harder I'm sure, they Rock and they are the last word in grunge. Move over Nirvana.
coldharbardread
New Member
Exodus, because the words and the music are hynpotic. Reminds of the good old days.
Moody Blues - Days of Future Passed
This remains my favorite album, although there are many that come a very close second. The music, lyrics, poetry all resonated with me in my younger days when the album was released and still today. My son, now 21, also found it to be compelling when he first listened to it at age 15.
Cold hearted orb that rules the night,
Removes the colours from our sight,
Red is gray and yellow white,
But we decide which is right.
And which is an illusion?
Pinprick holes in a colourless sky,
Let insipid figures of light pass by,
The mighty light of ten thousand suns,
Challenges infinity and is soon gone.
Night time, to some a brief interlude,
To others the fear of solitude.
Brave Helios wake up your steads,
Bring the warmth the countryside needs.
Breathe deep the gathering gloom,
Watch lights fade from every room.
Bedsitter people look back and lament,
Another day's useless energy spent.
Impassioned lovers wrestle as one,
Lonely man cries for love and has none.
New mother picks up and suckles her son,
Senior citizens wish they were young.
Cold hearted orb that rules the night,
Removes the colours from our sight.
Red is grey and yellow white.
But we decide which is right.
And which is an illusion???.
This remains my favorite album, although there are many that come a very close second. The music, lyrics, poetry all resonated with me in my younger days when the album was released and still today. My son, now 21, also found it to be compelling when he first listened to it at age 15.
Cold hearted orb that rules the night,
Removes the colours from our sight,
Red is gray and yellow white,
But we decide which is right.
And which is an illusion?
Pinprick holes in a colourless sky,
Let insipid figures of light pass by,
The mighty light of ten thousand suns,
Challenges infinity and is soon gone.
Night time, to some a brief interlude,
To others the fear of solitude.
Brave Helios wake up your steads,
Bring the warmth the countryside needs.
Breathe deep the gathering gloom,
Watch lights fade from every room.
Bedsitter people look back and lament,
Another day's useless energy spent.
Impassioned lovers wrestle as one,
Lonely man cries for love and has none.
New mother picks up and suckles her son,
Senior citizens wish they were young.
Cold hearted orb that rules the night,
Removes the colours from our sight.
Red is grey and yellow white.
But we decide which is right.
And which is an illusion???.
Rock Bottom
Second Wind
Subhumans - The Day the Country Died
Picture the scene....It's the early 80's. Thatcher and Reagan are in power, funnelling funds to vicious dictators, squashing trade unions - as a result, emaciating a once proud working class - and slowly taking over the media. The apathetic public continues to lead their banal existences without thought for the consequences of the actions of their governments.
On both sides of the Atlantic, small groups of angry young men decide to pick up their guitars, make as much noise as possible, and try and wake people up from their blissful illusion. In America, The Dead Kennedys became so threatening to the establishment that they were reportedly under 24 hour observation by the FBI. On this side, we had the Subhumans, the grandfathers of the modern protest movement, for whom the self-styled anarchists on urban75 owe a massive debt if they are aware of it or not.....
I first picked up this record in about 1990, eight years after it first came out. The first thing that struck me was how much focused anger and energy it carried, from the opening power chords of "All Gone Dead", to the desperation of "I Don't Wanna Die", to the sadness of "No More Gigs", finally culminating in possibly the poignant comment on the apathetic nation we have become, "Black and White". It is hard to work out what vocalist Dick feels strongest about, taking on all range of topics such as apathy, cigarette dependance, drugs, police, and cultural death. Each topic is dealt with sincerely, and the emotion shines through in Dick's voice. Such is the effect of a listening, that afterwards, you feel like getting off your arse, and trying, in a small way, to improve the society you live in.
Since this golden period of protest punk, most of the exponents have disappeared, and noone has taken their place. It is a pity, because their rallying cries have never been more necessary, as toothless protests are no longer headed by those in power. Listening to this album, or to The Dead Kennedy's "Bedtime for Democracy", it suddenly sounds as fresh as it must have done 20 years ago.
Subhumans put out a few more albums after this, which had their moments, but they never again reached the heights of TDTCD. Soon after, they stopped washing, grew their hair, changed their name to Citizen Fish and became the unacceptable face of protest rock, resembling and sounding like the diabolical Levellers. Instead, remember them as they were - Angry, Loud, Important.
Picture the scene....It's the early 80's. Thatcher and Reagan are in power, funnelling funds to vicious dictators, squashing trade unions - as a result, emaciating a once proud working class - and slowly taking over the media. The apathetic public continues to lead their banal existences without thought for the consequences of the actions of their governments.
On both sides of the Atlantic, small groups of angry young men decide to pick up their guitars, make as much noise as possible, and try and wake people up from their blissful illusion. In America, The Dead Kennedys became so threatening to the establishment that they were reportedly under 24 hour observation by the FBI. On this side, we had the Subhumans, the grandfathers of the modern protest movement, for whom the self-styled anarchists on urban75 owe a massive debt if they are aware of it or not.....
I first picked up this record in about 1990, eight years after it first came out. The first thing that struck me was how much focused anger and energy it carried, from the opening power chords of "All Gone Dead", to the desperation of "I Don't Wanna Die", to the sadness of "No More Gigs", finally culminating in possibly the poignant comment on the apathetic nation we have become, "Black and White". It is hard to work out what vocalist Dick feels strongest about, taking on all range of topics such as apathy, cigarette dependance, drugs, police, and cultural death. Each topic is dealt with sincerely, and the emotion shines through in Dick's voice. Such is the effect of a listening, that afterwards, you feel like getting off your arse, and trying, in a small way, to improve the society you live in.
Since this golden period of protest punk, most of the exponents have disappeared, and noone has taken their place. It is a pity, because their rallying cries have never been more necessary, as toothless protests are no longer headed by those in power. Listening to this album, or to The Dead Kennedy's "Bedtime for Democracy", it suddenly sounds as fresh as it must have done 20 years ago.
Subhumans put out a few more albums after this, which had their moments, but they never again reached the heights of TDTCD. Soon after, they stopped washing, grew their hair, changed their name to Citizen Fish and became the unacceptable face of protest rock, resembling and sounding like the diabolical Levellers. Instead, remember them as they were - Angry, Loud, Important.
)GU009
My choice has to be Global Underground 009 Sasha in SanFrancisco
I first came across this album after a pretty nasty un-provoked kicking and eventual hospitalisation in good old brick lane. I'd always been a rave/techno/house/electronica (Electronic dance music OK!) fan and was always on the look out for more. I'd been to see sasha play numerous times in Shellys up in Stoke and wasn't vastly enamoured with his record choices but hey.
So I was in Virgins with the weirdest concussion and the ugliest face (think orangutang on heat) and happen to run into this on the shelves, it was odd to see a Sasha compilation and odder to see a tracklist that meant S.F.A to me but I thought fuck it I'll give it a go. I took it home and during that period had complications with my head and various visits to hospital but this CD became my security blanket.
Unlike most club based compilations this immediatly fished me in with an ambient scenario setting the scene as the first track which is obviously some audio footage taken from the streets then it slowly mutates into the first piece of music. The oddest bleep loop that seems to go on and on echoing and perfectly complimented by the other samples and a subtle beat that can be dismissed by the mind or could be devastating on a rig. the effect of the music with my concussion I must admit was a sublime and pretty trippy experience i was well on the road to an affair with this album that although I didn't see it would be my security blanket for a long time.
After that I started going with a lovely lady who is now Mrs Jusali who lived in Bristol I bought myself a little golf gti and every weekend I would bomb down to Bristol with my trusty Sasha taped off so I could play it in the car. I remember building a load of rollies for the journey and loading a few Russian Roulette stylee
and spending my time driving on down to my love. Accompanied by standout tracks that always seemed to happen in similar places, Van Bellen's mix of Protect your mind always played as I was bombing through the underpass from docklands towards tower bridge a melancholy vocal "Fighting for a way of life...........Can you feel it........" with echo delays and a beautiful little bass stab that sounded like raindrops but with the most exquisite chord change that kinda breaks your heart. This then mixed in to Classified Projects, Ressurection again almost the exact same bassline but this time it becomes happy and a a bit more gritty nasty trance trippin. Funnily enough aggro enough to get me through parliament square. Then Medway's Ressurection the drop, the breather wailing diva, ibiza strings and pads that has you imagining sunsets and feeling chilled with a big fuck of grin on me face (sometimes I'd be lucky enough to get the loaded singley aswell mmmm bliss). Then out of no-where in would come in the real aggressive stuff synth stabs, simple melodies and lots of moodiness, ideal for being on the M4 and I'd literally floor in as I felt little rushes come in through the tracks Sneaky alien and Travel Bulgarian moody posey progressive house/trance without being to Gatecrasher if you get my drift. Naturally most of the journey was M4 busy, lots of idiots and lots of delays a few nasty crashes and this cd perfectly complimented it. A natty little race with a similar motor whilst quivvers Everything's not you playing, again a vocal, male this time lamenting a breakup with his partner but reassuring himself he's happy without her "cause i don't need to drown my sorrows, i can wait until tomorrow oh oh oh " it fades and again another heavy right footed moment and that gentle push of acceleration and the rush as this badass bassline takes over and re-introduces you to that grittiness you'd forgotten about only seconds before.
I only ever had the first Cd on tape but I used to play both equally as much at either home at that time. I have all the individual tracks on vinyl (a bit anal I s'pose) and even today they're stand out classic tracks in the progressive type scene. Just go on ebay and look for Freaky Chakra's platform and you'll be paying in excess of twenty quid for it there's at least 7 tracks or so commanding silly money. Which shows a healthy interest even now in this sublime album.
Since I've moved to Bristol I still love music of this ilk unfortunately my friends don't geddit but most are the types not entirely affected by music in the way i am. I've been raving since 1989 and collecting music on and off since then I must have thousands of house, trance etc classics but still nothing really has the maturity the fluidity and the pure beauty this album conveys to me. I often sneak it on at dinner parties (I sneak or I get "not that rave stuff it's too much.....) and people are always saying " I love stuff like this but I can never find it....????" whether they are charming me or not is another story.............
Sasha Global Underground 009 San Francisco I salute you
T/L....
1/01 - Intro
1/02 Freaky Chakra - Platform
1/03 Attaboy - Solid Space Business
1/04 DJ Sakin & Friends - Protect Your Mind
remix by Van Bellen
1/05 Classified Project - Resurrection
1/06 Medway - The Resurrection E.P.
1/07 Slickmick - Lecture
1/08 Sneaky Alien - Blue Stream
1/09 Funk-Funktion - Empress II
1/10 Travel - Bulgarian
remix by Incisions
1/11 Joi Cardwell - Soul To Bare
remix by C. Hornbostel
1/12 Quivver - Everything's Not You (Quivver's Space mix)
1/13 Morgan King - I'm Free
remix by William Orbit
1/14 Libra Presents Taylor - Anomaly-Calling Your Name
remix by Albion
2/01 - Intro
2/02 Narcotik - Blue
2/03 Der Dritte Raum - Hale Bopp
2/04 Illuminatus - Hope
2/05 Dave Kane - Clarkness
2/06 Eclipse 8 - Acoustic Principles
2/07 Mana - Psionic
2/08 Breeder - The Chain
2/09 Paragliders - Change Me
2/10 Breeder - Twilo Thunder
2/11 Jark Prongo - Movin' Thru Your System
2/12 DJ Tomcraft - The Mission
2/13 Tilt - I Dream (Tilt's Resurrection Mix)
Jus
My choice has to be Global Underground 009 Sasha in SanFrancisco
I first came across this album after a pretty nasty un-provoked kicking and eventual hospitalisation in good old brick lane. I'd always been a rave/techno/house/electronica (Electronic dance music OK!) fan and was always on the look out for more. I'd been to see sasha play numerous times in Shellys up in Stoke and wasn't vastly enamoured with his record choices but hey.
So I was in Virgins with the weirdest concussion and the ugliest face (think orangutang on heat) and happen to run into this on the shelves, it was odd to see a Sasha compilation and odder to see a tracklist that meant S.F.A to me but I thought fuck it I'll give it a go. I took it home and during that period had complications with my head and various visits to hospital but this CD became my security blanket.
Unlike most club based compilations this immediatly fished me in with an ambient scenario setting the scene as the first track which is obviously some audio footage taken from the streets then it slowly mutates into the first piece of music. The oddest bleep loop that seems to go on and on echoing and perfectly complimented by the other samples and a subtle beat that can be dismissed by the mind or could be devastating on a rig. the effect of the music with my concussion I must admit was a sublime and pretty trippy experience i was well on the road to an affair with this album that although I didn't see it would be my security blanket for a long time.
After that I started going with a lovely lady who is now Mrs Jusali who lived in Bristol I bought myself a little golf gti and every weekend I would bomb down to Bristol with my trusty Sasha taped off so I could play it in the car. I remember building a load of rollies for the journey and loading a few Russian Roulette stylee
and spending my time driving on down to my love. Accompanied by standout tracks that always seemed to happen in similar places, Van Bellen's mix of Protect your mind always played as I was bombing through the underpass from docklands towards tower bridge a melancholy vocal "Fighting for a way of life...........Can you feel it........" with echo delays and a beautiful little bass stab that sounded like raindrops but with the most exquisite chord change that kinda breaks your heart. This then mixed in to Classified Projects, Ressurection again almost the exact same bassline but this time it becomes happy and a a bit more gritty nasty trance trippin. Funnily enough aggro enough to get me through parliament square. Then Medway's Ressurection the drop, the breather wailing diva, ibiza strings and pads that has you imagining sunsets and feeling chilled with a big fuck of grin on me face (sometimes I'd be lucky enough to get the loaded singley aswell mmmm bliss). Then out of no-where in would come in the real aggressive stuff synth stabs, simple melodies and lots of moodiness, ideal for being on the M4 and I'd literally floor in as I felt little rushes come in through the tracks Sneaky alien and Travel Bulgarian moody posey progressive house/trance without being to Gatecrasher if you get my drift. Naturally most of the journey was M4 busy, lots of idiots and lots of delays a few nasty crashes and this cd perfectly complimented it. A natty little race with a similar motor whilst quivvers Everything's not you playing, again a vocal, male this time lamenting a breakup with his partner but reassuring himself he's happy without her "cause i don't need to drown my sorrows, i can wait until tomorrow oh oh oh " it fades and again another heavy right footed moment and that gentle push of acceleration and the rush as this badass bassline takes over and re-introduces you to that grittiness you'd forgotten about only seconds before. I only ever had the first Cd on tape but I used to play both equally as much at either home at that time. I have all the individual tracks on vinyl (a bit anal I s'pose) and even today they're stand out classic tracks in the progressive type scene. Just go on ebay and look for Freaky Chakra's platform and you'll be paying in excess of twenty quid for it there's at least 7 tracks or so commanding silly money. Which shows a healthy interest even now in this sublime album.
Since I've moved to Bristol I still love music of this ilk unfortunately my friends don't geddit but most are the types not entirely affected by music in the way i am. I've been raving since 1989 and collecting music on and off since then I must have thousands of house, trance etc classics but still nothing really has the maturity the fluidity and the pure beauty this album conveys to me. I often sneak it on at dinner parties (I sneak or I get "not that rave stuff it's too much.....) and people are always saying " I love stuff like this but I can never find it....????" whether they are charming me or not is another story.............
Sasha Global Underground 009 San Francisco I salute you
T/L....
1/01 - Intro
1/02 Freaky Chakra - Platform
1/03 Attaboy - Solid Space Business
1/04 DJ Sakin & Friends - Protect Your Mind
remix by Van Bellen
1/05 Classified Project - Resurrection
1/06 Medway - The Resurrection E.P.
1/07 Slickmick - Lecture
1/08 Sneaky Alien - Blue Stream
1/09 Funk-Funktion - Empress II
1/10 Travel - Bulgarian
remix by Incisions
1/11 Joi Cardwell - Soul To Bare
remix by C. Hornbostel
1/12 Quivver - Everything's Not You (Quivver's Space mix)
1/13 Morgan King - I'm Free
remix by William Orbit
1/14 Libra Presents Taylor - Anomaly-Calling Your Name
remix by Albion
2/01 - Intro
2/02 Narcotik - Blue
2/03 Der Dritte Raum - Hale Bopp
2/04 Illuminatus - Hope
2/05 Dave Kane - Clarkness
2/06 Eclipse 8 - Acoustic Principles
2/07 Mana - Psionic
2/08 Breeder - The Chain
2/09 Paragliders - Change Me
2/10 Breeder - Twilo Thunder
2/11 Jark Prongo - Movin' Thru Your System
2/12 DJ Tomcraft - The Mission
2/13 Tilt - I Dream (Tilt's Resurrection Mix)
Jus
sistermidnight
New Member
Everyone has had great choices so far
Here is mine:
The Clash - Self-titled (U.K. version)
When I was eleven, if you asked me my favorite band I would probably have said "that band that sings Fade to Black." I was not, needless to say, very music-savvy.
As it should go, the Sex Pistols came first for me. Somewhere in my memory was a vague recollection of some guy with an awful, annoying voice, snarling "Eeeee-Emmm-AAAY!" I did not know then who Johnny Rotten was. When I found out who Johnny Rotten was, and re-discovered my love for Nevermind the Bollocks, leftover from my older brother's punk phase, I was officially born into the world of music.
Punk was a little different from the anthems of my childhood, "Crazy" by Patsy Cline and "Call Me Al" by Paul Simon, but I learned quickly. I decided to go out and buy an album by The Clash, and I bought the first one I saw, which happened to be the self-titled. For about a year, I never went a single day without playing it.
I was suddenly in it up to my ears. I read biographies and interviews. Posters and pictures became fixed to my wall. I developed a large crush on Paul Simonon and a larger crush on Joe Strummer. I also developed a love for many other bands, including The Adicts, The Exploited, G.B.H., The Buzzcocks, The Stooges, The New York Dolls, Patti Smith, Subhumans, Chelsea, Sham 69, The Germs, and The Slits.
The Clash is still my favorite ever album. From the blistering heat of tracks like "White Riot" and "London's Burning" to the pure emotion in "Garageland," the album is 14-odd perfect songs. While The Clash would go on to strongly influence me with all of their other albums, most especially "Give 'Em Enough Rope" and "London Calling," their self titled will always be the most important to me, forever engraved in my mind as my first love in the musical realm.
Honorable mentions:
The Who - Quadrophenia
The Smiths - The Smiths
Rolling Stones - Between the Buttons
Joy Division - Unknown Pleasures
The Adicts - Songs of Praise
The Buzzcocks - Love Bites
David Bowie - Ziggy Stardust
Here is mine:
The Clash - Self-titled (U.K. version)
When I was eleven, if you asked me my favorite band I would probably have said "that band that sings Fade to Black." I was not, needless to say, very music-savvy.
As it should go, the Sex Pistols came first for me. Somewhere in my memory was a vague recollection of some guy with an awful, annoying voice, snarling "Eeeee-Emmm-AAAY!" I did not know then who Johnny Rotten was. When I found out who Johnny Rotten was, and re-discovered my love for Nevermind the Bollocks, leftover from my older brother's punk phase, I was officially born into the world of music.
Punk was a little different from the anthems of my childhood, "Crazy" by Patsy Cline and "Call Me Al" by Paul Simon, but I learned quickly. I decided to go out and buy an album by The Clash, and I bought the first one I saw, which happened to be the self-titled. For about a year, I never went a single day without playing it.
I was suddenly in it up to my ears. I read biographies and interviews. Posters and pictures became fixed to my wall. I developed a large crush on Paul Simonon and a larger crush on Joe Strummer. I also developed a love for many other bands, including The Adicts, The Exploited, G.B.H., The Buzzcocks, The Stooges, The New York Dolls, Patti Smith, Subhumans, Chelsea, Sham 69, The Germs, and The Slits.
The Clash is still my favorite ever album. From the blistering heat of tracks like "White Riot" and "London's Burning" to the pure emotion in "Garageland," the album is 14-odd perfect songs. While The Clash would go on to strongly influence me with all of their other albums, most especially "Give 'Em Enough Rope" and "London Calling," their self titled will always be the most important to me, forever engraved in my mind as my first love in the musical realm.
Honorable mentions:
The Who - Quadrophenia
The Smiths - The Smiths
Rolling Stones - Between the Buttons
Joy Division - Unknown Pleasures
The Adicts - Songs of Praise
The Buzzcocks - Love Bites
David Bowie - Ziggy Stardust
Right after careful consideration I think it has to be Massive Attack blue lines. I remember my brother playing them and being fairly ambivalent about it - far more into jumping around to Ride at the time.
Then as I got older and started to fall in and out of love this album was always there as a security blanket (safe from harm) a reminder of the first rush you get when you realise you are falling in love (unfinished sympathy) and then the wonderful feeling of sitting on a rooftop in Bristol with me mates and a spliff and Horace Andy singing hymn of the big wheel. I can hardly type with the goose bumps on my arms!
Not only that it opened up dub and reggae to me, got me interested in soundsystems and introduced me to Tricky. And if anyone dares to call it coffee table fodder I will force you into a room with Morcheeba playing continuosly for 2 days - you might be able to tell the difference then.
I still like jumping around to going blank again by Ride though!
Then as I got older and started to fall in and out of love this album was always there as a security blanket (safe from harm) a reminder of the first rush you get when you realise you are falling in love (unfinished sympathy) and then the wonderful feeling of sitting on a rooftop in Bristol with me mates and a spliff and Horace Andy singing hymn of the big wheel. I can hardly type with the goose bumps on my arms!
Not only that it opened up dub and reggae to me, got me interested in soundsystems and introduced me to Tricky. And if anyone dares to call it coffee table fodder I will force you into a room with Morcheeba playing continuosly for 2 days - you might be able to tell the difference then.
I still like jumping around to going blank again by Ride though!
"Different Class" by Pulp.
I discovered Pulp in 2001 after not reallypaying much attention to them (I was always more of a Blur / Madness / chirpy band man). After a heavy ganja smoking session with a friend's houemate, listening to "Different Class", my favourite album changed from "Emergency on Planet Earth" by Jamiroquai to that album, and my music tastes have changed slightly to more soulful stuff. It starts with a bang with "Mis-shapes" (a fine song for revolutionaries), then "Pencil Skirt" (a perfect song for those feeling inadequacy), the masterpiece that is "Common People" (the definative song of the britpop era), "I Spy" (with its dark, soulful and mysterious undertones), and "Disco 2000" (another great song).
But my favourite song off the album is "Something Changed", a beautiful song with great strings. It reminds me of the summer, looking into the sunset with a glass of rum and a nice spliff. "Sorted for E's and Wizz" is another masterpiece, and we all know what that's all about!
I discovered Pulp in 2001 after not reallypaying much attention to them (I was always more of a Blur / Madness / chirpy band man). After a heavy ganja smoking session with a friend's houemate, listening to "Different Class", my favourite album changed from "Emergency on Planet Earth" by Jamiroquai to that album, and my music tastes have changed slightly to more soulful stuff. It starts with a bang with "Mis-shapes" (a fine song for revolutionaries), then "Pencil Skirt" (a perfect song for those feeling inadequacy), the masterpiece that is "Common People" (the definative song of the britpop era), "I Spy" (with its dark, soulful and mysterious undertones), and "Disco 2000" (another great song).
But my favourite song off the album is "Something Changed", a beautiful song with great strings. It reminds me of the summer, looking into the sunset with a glass of rum and a nice spliff. "Sorted for E's and Wizz" is another masterpiece, and we all know what that's all about!
THROBBING GRISTLE -Mission Is Terminated 12" / V/A - Nice Tracks LP (two record-set), Expanded Music, Italy, 1983
Sorry for going for a completely obscure one here, but this is genuinely my favourite record of all time. I bought this on the strength of the cover (featuring a Nuremberg rally with the Pope's head in a barbed-wire crown of thorns superimposed on top - something The Shamen nicked for their Gorby LP cover?). I managed to get it cheap as it had coffee stains all down the back cover - little did I know that at the tail-end of 2003 I'd be sitting on a computer writing about it.
This set was released as a 'freebie' with an Italian fanzine called 'Red Ronnie's Bazaar' (never mind free flexi discs, just give us a double album on the cover!). The Throbbing Gristle tracks are stunning, maybe the best thing they ever recorded (which is saying a lot), two live tracks that sound like dead souls being sucked from a gaping grave, plus a studio piece ( 'Medicine for Catholic Sex') comprising a porn soundtrack intercut with ominous church bells, organ music, orgasmic groans, heavy breathing and electronic mayhem.
But the 'Nice Tracks' compilation was something else. On first listens, it sounds like chaos incarnate - disjointed, all over the place, crude cuts and tracks and field recordings jarring into each other. After a few listens, I felt like I'd heard Luis Bunuel arranging a Phil Spector album.
'Nice Tracks' kicks off with a band called Confusional Quarter massacring the Italian national anthem - this version has to be heard to be believed. Other samples on this manic soundtrack of an album include a little girl discussing ice cream, Elvis sobbing and wondering where his career's gone, news reports of Nazi Germany's annexation of the Sudetenland, sex pants and groans, Spaghetti Western soundtracks, a car exploding, a drunken Mark Perry (Alternative TV) gatecrashing a Police (the group) promo party and screaming 'YOU'RE JUST A BUNCH OF FUCKING CUNTS!', bizarre piano music, members of Throbbing Gristle ordering pizza, Ari from The Slits reading some sort of political manifesto, Psychic TV doing a soundcheck, geisha girls, a girl singing 'Femme Fatale' to herself (live on a tube train), Mexican funeral rites, warped disco, and some homemade electro from people and bands who've never been heard of again.
Normally, DIY music compilations can result in really awful tracks, but every single song here has a beauty and passion that's life-affirming. OK, sounds soppy, but this is an album with heart, and listening to it reminds me of all the non-existent surreal film soundtracks I've played in my head over the years. Hot summers in Peckham, cold winters sitting round in my flat, listening to the sound of alien worlds, places I'd never explored, people I'd never meet and who'd never get a mention in the annals of pop. Give me this on a desert island and I'd be sorted.
Sorry for going for a completely obscure one here, but this is genuinely my favourite record of all time. I bought this on the strength of the cover (featuring a Nuremberg rally with the Pope's head in a barbed-wire crown of thorns superimposed on top - something The Shamen nicked for their Gorby LP cover?). I managed to get it cheap as it had coffee stains all down the back cover - little did I know that at the tail-end of 2003 I'd be sitting on a computer writing about it.
This set was released as a 'freebie' with an Italian fanzine called 'Red Ronnie's Bazaar' (never mind free flexi discs, just give us a double album on the cover!). The Throbbing Gristle tracks are stunning, maybe the best thing they ever recorded (which is saying a lot), two live tracks that sound like dead souls being sucked from a gaping grave, plus a studio piece ( 'Medicine for Catholic Sex') comprising a porn soundtrack intercut with ominous church bells, organ music, orgasmic groans, heavy breathing and electronic mayhem.
But the 'Nice Tracks' compilation was something else. On first listens, it sounds like chaos incarnate - disjointed, all over the place, crude cuts and tracks and field recordings jarring into each other. After a few listens, I felt like I'd heard Luis Bunuel arranging a Phil Spector album.
'Nice Tracks' kicks off with a band called Confusional Quarter massacring the Italian national anthem - this version has to be heard to be believed. Other samples on this manic soundtrack of an album include a little girl discussing ice cream, Elvis sobbing and wondering where his career's gone, news reports of Nazi Germany's annexation of the Sudetenland, sex pants and groans, Spaghetti Western soundtracks, a car exploding, a drunken Mark Perry (Alternative TV) gatecrashing a Police (the group) promo party and screaming 'YOU'RE JUST A BUNCH OF FUCKING CUNTS!', bizarre piano music, members of Throbbing Gristle ordering pizza, Ari from The Slits reading some sort of political manifesto, Psychic TV doing a soundcheck, geisha girls, a girl singing 'Femme Fatale' to herself (live on a tube train), Mexican funeral rites, warped disco, and some homemade electro from people and bands who've never been heard of again.
Normally, DIY music compilations can result in really awful tracks, but every single song here has a beauty and passion that's life-affirming. OK, sounds soppy, but this is an album with heart, and listening to it reminds me of all the non-existent surreal film soundtracks I've played in my head over the years. Hot summers in Peckham, cold winters sitting round in my flat, listening to the sound of alien worlds, places I'd never explored, people I'd never meet and who'd never get a mention in the annals of pop. Give me this on a desert island and I'd be sorted.
...can't remember the name of the man who sang it but it goes..
.." I can see clearly now the rain has gone,i can see all obsticles in my way...gone are the dark clouds......
gonna be a bright,bright,sunshiny day..."
My mum used to play it to me and my sis when we were little,always makes me want to cry and smile at the same time...you know all tingley.
.." I can see clearly now the rain has gone,i can see all obsticles in my way...gone are the dark clouds......
gonna be a bright,bright,sunshiny day..."
My mum used to play it to me and my sis when we were little,always makes me want to cry and smile at the same time...you know all tingley.
johnny nash did the famous version, miss peep, but there have been lots of covers..
had to be sashas airdrawndagger. it was so fluent, melodic and uplifting and redefined the words producing an album. i will forever cherish it.MOBY - Play
"Why does my heart feel so bad, Why does my soul feel so sad"
It’s not often you can find an album you can play from start to finish without having to skip tracks, but PLAY is so well composed that each song is almost a continuation of the previous, no abrupt change in tone or mood so no matter how your feeling you can just let PLAY take you away.
With well orchestrated instruments, (almost all played by MOBY himself) tweaked with production excellence, all over some eerie and moving vocals, PLAY put MOBY into international stardom. With almost every track on this album being used in either film or television, MOBY has forged a respectful name for himself in music history.
I picked up PLAY about 3 years ago on a trip back to New Zealand. I had made the trip to comfort my father as he went through chemotherapy, and as you could imagine I wasn’t in the best of spirits and heard from a friend that this album may help calm the nerves. The night I arrived, after seeing my dad in hospital, my brother, sisters and I headed for a relatives farm for the night. Needing something to subside the emotions, my brother and I sat on the deck over looking a quiet valley, popped a bottle of Jimi and let MOBY do the rest.
PLAY, the best album, ever.
"Why does my heart feel so bad, Why does my soul feel so sad"
It’s not often you can find an album you can play from start to finish without having to skip tracks, but PLAY is so well composed that each song is almost a continuation of the previous, no abrupt change in tone or mood so no matter how your feeling you can just let PLAY take you away.
With well orchestrated instruments, (almost all played by MOBY himself) tweaked with production excellence, all over some eerie and moving vocals, PLAY put MOBY into international stardom. With almost every track on this album being used in either film or television, MOBY has forged a respectful name for himself in music history.
I picked up PLAY about 3 years ago on a trip back to New Zealand. I had made the trip to comfort my father as he went through chemotherapy, and as you could imagine I wasn’t in the best of spirits and heard from a friend that this album may help calm the nerves. The night I arrived, after seeing my dad in hospital, my brother, sisters and I headed for a relatives farm for the night. Needing something to subside the emotions, my brother and I sat on the deck over looking a quiet valley, popped a bottle of Jimi and let MOBY do the rest.
PLAY, the best album, ever.
There are a few albums I would nominate - "Nevermind", Massive Attack's "Protection" and Joy Division's "Closer", but those are perhaps a bit too obvious. So instead I'm going to attempt to describe my feelings about an album by one of music's most influential, yet underappreciated, bands of the last 20 years, Sonic Youth's Daydream Nation.
Sonic Youth have been around a long time and done a lot of mainly very good music (which sometimes lapses into some awful self-indulgent mess).
The first album, of theirs that I heard was "Dirty". This was around about the time that NEvermind was at the height of its popularity, and Sonic Youth clearly were attempting to (quite rightly as grunge would probably not have existed without them) cash in on the success of grunge. Dirty was a good album, but not a fantastic one. So for a fair while I always regarded SY as just one of the older grunge bands, good but not in the same league as Nirvana or Soundgarden. Then, around the summer of 1994, I was beginning to get a bit bored of listening to rock alone, and started going into other sorts of music, reggae, dub, ambient, stuff you could lose yourself in as well as rock out to. I got "Daydream Nation" from the library. The first few times I listened to it, I thought, yes, decent album, I'll copy this.
Yet after that, the more I played it, the more that I realised that this is an album of almost incomparable brilliance. Its the ethos of punk married to the experimentation of jazz and the depth of classical. The only other thing that comes close is God Machine's "Scenes from the Second Storey" (another rock album which transcends the genre by being deep and atmospheric as well as heavy).
From the moment the first tinkly guitar sounds kick in, and Kim Gordon breathes "Spring desire... spring desire... we will fall" to the abrupt ending of the final track Trilogy, this album is a maze-like wonderland of incredible scope, colour and vision.
The defining moment of listening to this album and the moment that it will always make me think of, was when I was travelling in India in 1995. We were staying in Pushkar, and were getting the bus from there over to Jaisalmer. It was a very, very happy time for me generally. Before we got on the bus we drank a bhang lassi (yoghurt drink with hash in) which started kicking in when the bus left. At the same time that it kicked in, "Teenage Riot" began on my walkman. I can never remember hearing any song in such clarity or understanding what it meant so clearly, the feeling of travelling, school's over kids, we're travelling, we're going on a voyage, we're going to the beach.
Even to this day I can never get bored of this album, and still find I hear it in new ways that I hadn't noticed previously.
Sonic Youth have been around a long time and done a lot of mainly very good music (which sometimes lapses into some awful self-indulgent mess).
The first album, of theirs that I heard was "Dirty". This was around about the time that NEvermind was at the height of its popularity, and Sonic Youth clearly were attempting to (quite rightly as grunge would probably not have existed without them) cash in on the success of grunge. Dirty was a good album, but not a fantastic one. So for a fair while I always regarded SY as just one of the older grunge bands, good but not in the same league as Nirvana or Soundgarden. Then, around the summer of 1994, I was beginning to get a bit bored of listening to rock alone, and started going into other sorts of music, reggae, dub, ambient, stuff you could lose yourself in as well as rock out to. I got "Daydream Nation" from the library. The first few times I listened to it, I thought, yes, decent album, I'll copy this.
Yet after that, the more I played it, the more that I realised that this is an album of almost incomparable brilliance. Its the ethos of punk married to the experimentation of jazz and the depth of classical. The only other thing that comes close is God Machine's "Scenes from the Second Storey" (another rock album which transcends the genre by being deep and atmospheric as well as heavy).
From the moment the first tinkly guitar sounds kick in, and Kim Gordon breathes "Spring desire... spring desire... we will fall" to the abrupt ending of the final track Trilogy, this album is a maze-like wonderland of incredible scope, colour and vision.
The defining moment of listening to this album and the moment that it will always make me think of, was when I was travelling in India in 1995. We were staying in Pushkar, and were getting the bus from there over to Jaisalmer. It was a very, very happy time for me generally. Before we got on the bus we drank a bhang lassi (yoghurt drink with hash in) which started kicking in when the bus left. At the same time that it kicked in, "Teenage Riot" began on my walkman. I can never remember hearing any song in such clarity or understanding what it meant so clearly, the feeling of travelling, school's over kids, we're travelling, we're going on a voyage, we're going to the beach.
Even to this day I can never get bored of this album, and still find I hear it in new ways that I hadn't noticed previously.
I'd have to choose 'Led Zeppelin IV'. 'Rock & Roll' and 'Stairway To Heaven' just blew me away and they still do. Sounds just as fresh and inventive with every listen. Although the live version of 'Stairway...' on the movie 'The Song Remains The Same' soundtrack album is even better than the original album version.
Most of today's stadium rock bands owe a debt to Zeppelin of one kind or another, even those who aren't honest enough to admit the fact. The Darkness, Guns'N'Roses, Queen, I could go on.
A few years ago my life reached its absolute lowest, I remember walking into a record shop and seeing a copy of 'Remasters' on the shelf. I already knew of, and loved, 'Stairway...' of course and then i heard 'Rock & Roll' on a pub juke box. I was hooked from the off.
The sheer exuberance of 'Rock & Roll' was, and still is, enough to lift me out of my darkest, lowest moods. 'Stairway...' sounded like a call to arms, an appeal to our highest tendencies instead of our lowest. I needed that badly, and sometimes still do.
I ended up picking up the complete collection on vinyl and storing them away, safe from fingermarks and scratches. The great thing about Zeppelin is that they could pull off seemingly anything. Long songs, short songs, different styles, different tempos, they could do it all and more. Not like the current wave of so-called 'Nu' metal. They had style, grace, great songs and didn't mind playing a three hour set with encores. Try getting a modern band to play for three hours, then come back onstage for another thirty minutes, it isn't likely you'll succeed.
They were one of the biggest-selling acts of all time, and some of their single-gig attendance records stand to this day. They'll be forever remembered as one of the greatest, if not the greatest, rock bands of any era.
Thanks guys.
Most of today's stadium rock bands owe a debt to Zeppelin of one kind or another, even those who aren't honest enough to admit the fact. The Darkness, Guns'N'Roses, Queen, I could go on.
A few years ago my life reached its absolute lowest, I remember walking into a record shop and seeing a copy of 'Remasters' on the shelf. I already knew of, and loved, 'Stairway...' of course and then i heard 'Rock & Roll' on a pub juke box. I was hooked from the off.
The sheer exuberance of 'Rock & Roll' was, and still is, enough to lift me out of my darkest, lowest moods. 'Stairway...' sounded like a call to arms, an appeal to our highest tendencies instead of our lowest. I needed that badly, and sometimes still do.
I ended up picking up the complete collection on vinyl and storing them away, safe from fingermarks and scratches. The great thing about Zeppelin is that they could pull off seemingly anything. Long songs, short songs, different styles, different tempos, they could do it all and more. Not like the current wave of so-called 'Nu' metal. They had style, grace, great songs and didn't mind playing a three hour set with encores. Try getting a modern band to play for three hours, then come back onstage for another thirty minutes, it isn't likely you'll succeed.
They were one of the biggest-selling acts of all time, and some of their single-gig attendance records stand to this day. They'll be forever remembered as one of the greatest, if not the greatest, rock bands of any era.
Thanks guys.
Pilgrim said:
But that's a list of crud bands. If you went on would you eventually hit some good ones?
Led Zeppelin were good, then they stopped because something happened to the world and rock and roll switched sides. Traitorousosusos whore that it is.
My favourite record is Surfer Rosa by The Pixies. It doesn't mean anything, except that one day we're all going to die.
Similar threads
