Adelaide Festival, March , www. Neither work provides easy access—Bloodland is delivered largely in the Yolgnu tongue of Eastern Arnhem Land without subtitles in a discursive often movement-based narrative, while Gross und Klein elliptically tracks the emotional state of a woman whose life is falling apart in increasingly surreal episodes. With great vocal and physical ease, Blanchett sustains a remarkable sense of spontaneity and increasing unpredictability so that when Lotte trips into surreal scenarios, dances crazily or argues with God, we can go with her.
Benedict Andrews who took over the production from French director Luc Bondy has directed contemporary German plays here and in Berlin and is the perfect match for Botho Strauss he has also directed three plays by Martin Crimp for STC. Gross und Klein is a must see—a great play, equally demanding and rewarding, and an immaculate production with an astonishing central performance that demands we step back and take a look at our lives through a new frame—to see just how sane or not are we and the society that tolerates us.
Bloodland posits its non-indigenous audience as outsiders, witness to Indigenous language, ceremony and social tensions largely foreign to us. Later, Aboriginal English and a greater orientation to movement make meaning more transparent. But that initial sense of being an outsider is important, not that it ever leaves us—we are, as usual in the theatre, pretend voyeurs, but here moreso than usual.
However, we are not the only outsiders—the clan society we observe has its own. Billy Kelton Pell is city-educated, but denied involvement in ceremonies by clan elder Djurrpun Banula Marika.
Individual plights are amplified by tension between clans, by arguments between the women—as they make bread—over the obligations of sharing and exacerbated by the gap between learning ceremony and the appeal of hip hop and MP3 players for the teenagers. Added to which is collective despair over control of Indigenous land rights and language by a distant white government.
The set for Bloodland amplifies this prevailing sense of darkness and disconnection: a damaged wire fence spans the stage, cage-like, behind which, dimly discerned at first, is nature—evoked abstractly as grasses and spindly trees amidst which members of a clan stand and ominously watch or a dog David Page growls ferociously or a clan elder sings while carefully butchering a kangaroo. Near centre-stage, a power pole, sparking dangerously at its peak, leans perilously over land scarred by mining and a people caught between past and present.
By the end, we have come to see both the Indigenous individual and their society as outsiders. Bloodland is a significant if flawed creation, its theatre-cum-dance hybridity feeling at times unresolved, our sense of the key characters too impressionistic, its multiplicity of important issues spread thin in a short work. Otherwise, the oscillation between easy-going naturalism and movement based ceremony worked well, although the protracted funeral at the end, for all its sense of ritual and powerful grieving, seemed disproportionate to what had gone before.
But, I write as an outsider, witnessing Indigenous Australians made outsiders in their own land, enacting their plight in their own language and powerfully performing it. You can see footage of Bloodland at www. At the centre of Black Capital is I Am Eora I am of this place , a large-scale work with some 30 artists bringing together performance, film, literature and music under the direction of Wesley Enoch, artistic director of the Queensland Theatre Company.
Three key figures in I Am Eora and in the history of Aboriginal Sydney are the warrior Pemulwuy, the resilient nurturer Barangaroo and the reconciler Bennelong. How have you worked on this? Did you start with a script or did it come out of collaboration and improvisation…?
The beginning point was a discussion with Sydney Festival Director Lindy Hume—this is like four odd years ago—about the seminal stories, the important stories of Aboriginal Sydney. We were looking at a whole range of moments in time and what I landed on were the archetypes, if you like, that are based on the Warrior, the Nurturer, the Interpreter. These repeat themselves throughout each cycle of development in terms of the history of Aboriginal Sydney or Aboriginal Australia—to take the metaphor further.
These historical figures—Bennelong, Pemulwuy and Barangaroo—started a way of understanding how we are today. Koori Radio has emphasised how music is a real strength, especially in NSW, in terms of bringing things forward. We said, well, we want to do more than that. He was considered in some respects almost super-human, surviving near fatal attacks twice before being killed with seven shots. What would that look like?
A little by chance; a little by design. The casting evolved. But the spirit of Bennelong is being played by one man, Jack Charles, who has a connection through the Wiradjuri people [of central NSW]. We were trying to go for stories that were also shared or stories that have come through oral traditions, and different ways of looking at story.
Did you find these Indigenous stories easily or did you have to seek people out? People come forward and tell us bits and pieces and so in some respects the whole show is a provocation to think in this particular way—even the title, I Am Eora, comes from a number of different sources.
And so I Am Eora is as much about saying how can people in the audience walk out after the show thinking, I need to feel like I am from here, I need to be of this land. A lot of people think of Sydney as a place where Aboriginal connections to the past are tenuous, where most of the clans were wiped out. But this will hopefully generate a strong sense of presence.
We draw a line down through connection to him. And you think wow! It makes sense. Of course there are still people living in the land who draw connections down years or more to these people.
It is fascinating. One of the contemporary manifestations of Barangaroo we think is Mum Shirl. Finally, what about your own connection with Sydney through I Am Eora? You lived here when you were directing for the Sydney Theatre Company. The support for and investment in me and my career and in me doing what I want to do, all that has been pretty incredible. We do have to pay our dues. The conversations are not easy. There have been some very heated discussions around the material.
To be learning all the time is really important. That YouTube thing! In the late 70s a community of artists started to inhabit the building and through the next three decades it quickly developed into the hub of the avant-garde downtown arts scene. The RetroFutureSpective Festival was an exhaustive two week event.
It included an All Day Dance Class—informal workshops with influential choreographers—followed by a night-time screening of the Alan Parker movie Fame which was shot on location at PS in the 80s. The luminaries of the downtown performance scene from past and present were invited to perform back to back in this four-night marathon of short works—artists such as Penny Arcade, John Zorn, The Wooster Group, Eric Bogosian, Sonic Youth front man Thurston Moore, The Elevator Repair Service, all coming to pay their respects to the space that helped form their early careers.
The building was wrapped in nostalgia; the downstairs theatre was converted into a lounge hosted by Lori E Seid, a respected production manager. The artist edited 30 years of PS archival footage into a one hour minute, three-channel video installation.
Sitting through over an hour of performance footage from three decades of live works might sound like a serious chore for some, particularly when live works rarely translate well into film. In another moment, retro footage of The Blue Man Group emerges, while images of Gray dissolve into the raps and melodic raves of Reggie Watts. At MONA artists are invited to collaborate and create conceptual works that exist in the imagination alone.
For this festival, Praxis created a ghost tour, presented in a disused back room. The artistic director of the company, Korean-born Young Jean Lee, was recently named by American Theatre magazine as one of the 25 artists who will shape American theatre over the next 25 years.
The title of the work refers to the town where Lee grew up, but instead of watching a linear presentation of personal anecdotes we experience a non-linear series of provocations about the confusions of day-to-day living. On a bare stage a man stands facing the audience, the house lights are up. The starkness and explicitly truthful nature of the text and presentation was completely original to me, and Pullman, WA provided me with one of those rare moments in the theatre where I felt somehow changed.
The final night became a four-hour epic, the house packed beyond capacity. The Wooster Group provided the last official work on the program, presenting the infamous Hula performed by a near naked Kate Valk. But the real finale was reserved for Phillip Glass who played a rendition of his work Closing. The PS building is a space that many artists call home I could not help but reflect on the old Performance Space venue on Cleveland Street in Sydney.
As PS vacates, Gantner will be maintaining a balancing act over the next three to five years creating a program that exists across sites and venues throughout the city, with a vision of creating an engaged online social environment for PS The new development parallels the urban and social transformation of Manhattan, with the renovations being a positive and necessary step for the much loved but well-worn performance establishment.
The next three years will be a challenge, an opportunity for Gantner and his strong team to create the future history of performance across New York City.
The festival is intended as a showcase of discussion, art, film and performance which has no home in the mainstream cultural milieu. This is, of course, a problematic remit at a time when the mainstream is not easily defined and when the culturally subversive is always being aggressively co-opted by outside interests. It is perhaps just as well then that the festival persistently offsets its own brief through self-deprecation and knowing indifference.
The printed program itself is instructive, full of hand-drawn images and text and unfinished, jokey guest biographies. This is, after all, a festival in its infancy—though infinitely closer in spirit to adolescence: shambolic, oppositional, coyly idealistic. It is a show that may once have been described as a happening, perhaps now, in less vivid times, as a performance event.
The soundtrack—a throbbing, mostly discordant fusion of electric bass and guitar and hip-hop-ish vocalisations—initially jarred but the enduring effect was hypnotic rather than braying. Ideas and actions are twins. It was a peculiarly numbing climax to what had been an evening rich with expression and potential; perfectly unpopular. The actors themselves look like an audience of two: seated, blank-faced, expectant. They are, however, swiftly corralled into action by a commanding female voiceover whose task, it seems, is to propel these indolent young people into adulthood.
They are expected to dress like grownups Alice chooses black business clothes, Peter cycling shorts and a loud shirt , go on dinner dates together, make office small talk and discuss important issues without excessive inebriation. Needless to say, the apathetic Alice and the gormless but congenial Peter do not find these enforced routes to adult success and respectability easy and it all ends in hopeless abandonment amidst a pillow fight which is partly flirtatious but mostly childlike.
A Little Horseplay is also a work in progress, having enjoyed a second stage of creative development following an initial showing at the Adelaide Fringe Festival. Written, directed and mostly performed by Steve Sheehan, A Little Horseplay is a playful exploration of the ridiculous, an attempt to mine internal rather than external sources of comedy. It is a show which bears little superficial correlation to any recognisable world of the real, inhabiting instead a kind of psychic, Dadaist space in which the comedy is not derived from gags but rather dreamlike juxtapositions of the sublime and the banal: classical music and bad jokes, opera and fly-swatting, a real miniature horse and a joke shop horse-head mask.
If A Little Horseplay bears any relationship to more conventional comic forms, then it is to the charged, teasing spaces that separate jokes from their punch lines. It is a show almost wholly devoid of such lines; those which do arise are disconnected, neutralising rather than climactic; melancholic rather than mirthful. The major theatre companies have launched their programs for Year by year these become more and more fascinating indicators of the expanding parameters of theatricality in mainstage programs dance, contemporary performance, puppetry, opera, physical theatre, Indigenous performance and the collaborative interplay between companies, not merely cost sharing but exploratory, nor a closed circuit as large companies take on board the likes of Hayloft, version 1.
While plays are still central to theatre company programs they have become part of the broader ambit of performance involving an expanded range of authorship. The following overview of programs will give you some idea of the extended range of performance and the interconnectedness that has come with a new generation of artistic directors.
Belvoir, version 1. The intriguing thing about The Splinter is that the child will be represented by a puppet. Alice Osborne is the puppetry and movement director. Kate Cherry directs. Resident company, Four LarksTheatre see article , will create The Plague Dances, about massive, manic outbreaks of dancing across the centuries. From Brisbane, via the world, comes the physical theatre company Circa with their stripped back, highly intelligent circus.
A perfect villain to come and fascinate me. And I should ask him quite humbly to lead me to my ruin. This return season of a hit for Griffin in is a prelude to a tour to Canberra, Albury, Wollongong, Parramatta, Melbourne and Brisbane. Between Two Waves is the first play to be produced out of the Griffin Studio.
The Award is given annually to a NSW-based writer under the age of 35 for an outstanding work which has been performed. Although Leigh has since moved into filmmaking in her own right see Sleeping Beauty, see review , the author has remained outside the adaptation process of her first novel, the film instead being steered by director Daniel Nettheim, whose television work on shows such as Love Is A Four Letter Word and All Saints seems to have prepared him well for the challenges of feature direction.
An American mercenary, operating under the name Martin David Willem Dafoe , is given an assignment by a shadowy biotech company, Red Leaf: travel to Tasmania and find the last Thylacine, or Tasmanian Tiger, kill it, then harvest its blood, skin and reproductive organs to be used for undisclosed research.
With Lucy in a self-medicated stupor, Martin is forced to negotiate with the children whose assistance seems dependent on his promise to search for their father, though his interest in them sharpens as he realises that the unspeaking boy may have sighted the elusive Thylacine. Indeed, neither can the degree panoramic helicopter shots of Dafoe trudging through the spectacular landscape of the central Tasmanian plateau.
Brilliantly cast as the bland, craggy everyman, Dafoe seems to completely inhabit the role, predatory eyes hinting at a coldly utilitarian intelligence. Martin moves through a staggeringly beautiful landscape with profound disinterest, his mind completely focused on his task, constructing snares and traps for the creature with meticulous patience.
Each action unfolds with an unerringly ruthless logic: in one scene the hunter guts a wallaby only to throw the body away once a particular organ has been conserved as bait. This notwithstanding, the demands that commercial cinema have placed on the plot seem to have fundamentally altered the emphasis of the narrative. While other alterations to the narrative—such as injecting additional tension by heightening the animosity with the loggers and the hidden presence of Red Leaf—result in strong cinema, this larger change sits uneasily with the material, a fact compounded both by the deeply ambiguous resolution that the filmmakers have given their version of the narrative, but also by the cloyingly saccharine coda that manages to undercut all that has gone before.
I wonder if perhaps the Age of Loneliness has already begun, its effects far more complicated than we realise. Narrative niggles notwithstanding, Nettheim's film is an important contribution to Australian cinema. Weightier and more ephemeral elements were juxtaposed in a piece that arose out of human apprehension of the recent calamities rather than from any cosmological vantage point.
The five-week residency concluded with an evening outdoor presentation attended by not only the senior Gija painters who advised Samartzis and Cornish but also roadhouse staff, police officers, fellow arts workers from Kununurra and local families. The presentation of the work was followed by a barbecue and a ceremonial dance joomba led by elder Patrick Mung Mung in a sung and spoken commentary. Unlike its presentation in Perth as a work for eight spatialised loudspeakers, the work was not presented in Warmun in an immersive way.
Samartzis did not hesitate to follow her advice and so this first version was mixed with the images in mind while ensuring that image and sound were not synchronised. At the performance, the audience was attentive and there were many moments of animated recognition with even the dogs responding to the canine sounds in the work.
In subsequent days, the painters continued to check with Samartzis and Cornish that they had not forgotten to capture particular sounds before their departure. Samartzis has undertaken residencies all over the world. Like most Australian artists, he has sought to prove himself in institutions, generally located in the Northern Hemisphere, that have an international reputation for their artform before travelling as a more mature artist to destinations such as Antarctica where the production and presentation of art is less prescribed.
Despite his experience, however, Samartzis confessed to some anxiety about going to Warmun. He questioned the timing of the residency knowing that his presence would place demands on a traumatised community. Community members have spent most of the year in an evacuation camp in Kununurra and are now back in construction camp lodgings in Warmun awaiting the completion of housing. Samartzis also felt the weight of the artistic traditions of the region, of which painting has the highest profile.
Warmun is home to artists such as Mung Mung, Mabel Juli and Lena Nyadbi who command the attention of curators and collectors across Australia and beyond. By framing the residency in this manner, Samartzis imagined himself working alongside artists who are primarily painters while also envisaging that the artists could potentially make sound works in the future. Samartzis also generated his work during a time when there has been a revival of interest in carving and other three-dimensional processes at the Centre.
During my visit to Warmun, artists told me of this development and their recent success at the Darwin Art Fair. Together with Samartzis and Cornish, they quietly acknowledged the sustaining nature of the artistic processes associated with both rendering sound and expressing Ngarranggarni Dreaming images and stories and how from the Warmun perspective they have always intersected.
Andreacchio is one of those marginalised figures in Australian cinema who is frankly interested in establishing commercial filmmaking. The Dragon Pearl goes straight to the question: how can Australia work with China to make commercial cinema? On the surface, it is an enjoyable spunky-kids-with-bikes movie, but I wonder if Andreacchio has not also made the boldest piece of Australian political cinema this year.
The question of how Australia can manage its relationship with China is clearly of immense importance at present. This film suggests the need for Australians to stop acting like they are still Little Britain and move beyond their lack of sympathy for Asia as a place in which cows are slaughtered inhumanely or refugees are mistreated. The young Chinese heroine has undoubted powers and the boy has to find a way to respect that and tailor his talents around it.
There is a global aspect to this too, as sinister Americans or at least, an Australian affecting a Yankee accent are hovering, intent on stealing the treasure. Chinese media production is taking off and Andreacchio warns that we have a small window of opportunity to establish a foothold.
For Andreacchio and his Chinese partners, the question of an international cinema that does not include Hollywood is a particularly salient one. China is looking increasingly like the centre of a regional film industry, but whether that regional grouping includes Australia remains a matter of conjecture. Some of these insights were established during an OzAsia panel discussion that paired Andreacchio with veteran Brian Trenchard-Smith, skyped in from Los Angeles.
Trenchard-Smith is another pioneer from the margins of Australian cinema. Trenchard-Smith now looks like a visionary for his early enthusiasm for Hong Kong martial arts and his attempt to build a bridge from Australia to a vibrant commercial cinema. This collaboration was similarly framed within a star system that combined local stars Wang Yu and George Lazenby who had enough global recognition to get the project across the line.
The Man From Hong Kong deliriously proposes that a surfeit of mindless violence might just be the currency of co-operation, and that the two film industries might complement each other with the Chinese martial arts specialisation and the Australian fixation on automobile destruction.
Andreacchio also explained his film as an attempt at bridging genres in the two countries. Hence, in China The Dragon Pearl foregrounded its small martial arts component and the presence of its Cantopop star in the cast.
The Dragon Pearl represents the massive increase in scale that becomes a possibility opened up by Chinese co-production. Back home, the film opened only in Adelaide on a handful of prints.
Pauline Chan was a line producer on The Dragon Pearl while preparing her own 33 Postcards, which screened this year at the Sydney and Melbourne film festivals. This is a smaller film that resides more comfortably within an Australian tradition of the actor-driven cinema of quality. An astonishingly innocent young Chinese orphan girl comes to Sydney to find her Australian aid sponsor, only to discover that he is a convicted criminal Guy Pearce addicted to method acting.
While the film attempts to debunk the paternalistic basis from which it begins, it never really succeeds. Australian filmmakers would be well advised to give this some serious aesthetic thought and work out their own strategies to profit from that strength.
As the vocal intrusion grows louder the singers lift their heads, increasing the clarity of the sparkling, close chords. The song fills the room as the choristers break away from their groupings. The four groups of mixed voices break with standard groupings, shifting the focus away from gendered tone colour to extended vocal timbres. Instead of singing at us in a line, the singers move about the space producing surround-sound effects. By combining voices of different types on the same line, Slater is able to produce a homogeneous, almost synthesised texture.
The layering of the parts in lush jazz-inspired chord progressions almost sounds like one person singing over themselves. After the blossoming sound world of the opening the choreography was more subdued. Hand gestures would muffle voices or swaying would bring out certain harmonies over others. It was unusual to see Speak Percussion accompanying the Invenio Singers from the back of the stage, though each performer was given the chance to exhibit their prowess in small improvisatory numbers performed by the four colour groups.
Eugene Ughetti expertly handles a foot pump during a chorus of breaths and Peter Neville rocks a talking drum amid a group scat. At all times there was a feeling of freedom within restraint as each individual navigated the sound palette carefully chosen by Slater to give the sense of micro-cultures surviving within larger social units. There is a book to be written about the relationship between musical texture the arrangement of simultaneous voices and social organisation. With the performers standing side by side and singing through megaphones at the audience, Slater raises the criticism that despite technological synchronicity we are otherwise isolated from each other.
From then on the diagnosis is fairly positive: happy little groups improvising before joining together for choreographed moments of harmonic splendour. It was more an exploration of musical ensemble than social togetherness. The question remains: why are musical metaphors for social organisation interesting? What can they tell us that we could not have known otherwise? Perhaps the connection between music and society is not to be found in their formal similarity, but in their technological links to each other.
Slater is not just a conductor-composer but a composer-sound engineer, using real breath and meat to produce tape-era special effects. Or perhaps even effects of the digital age. North-east off the coast of Townsville, the Fantome Island leprosarium and its Aboriginal inhabitants were shrouded in secrecy by the state health authorities.
The film tracks the journey back to the island by a survivor, Joe Eggmolesse, whose articulate reflections—evidently extracted from hours of interview—are skillfully used to bind and humanise the story. Fantome Island is the kind of profoundly humane documentary experience that resonates with a rigorous awareness of the social conditions from which it arises. As the eternal resting place of family spirits, a place where the living gather to remember and honour their dead, the spirit house occupies a central position in the community.
Over the course of Uma Lulik, we follow the remaking of a spirit house, beginning with palm-fringed jungle daybreak, through the fashioning of building materials to erection of the structure. As it documents this communal act of devotion, the film provides us with access to the Timorese sensibility to do with the dead—not as departed but as ever-present, woven through and very much dwelling within the community, resident in the divine structure of the spirit house.
Acclaimed filmmaker Marina Goldovskaya pieced together the final years of her friend, showing her to be by turns fearful of and defiant towards the corrupt Russian authorities into whose activities she clearly probed too deeply.
The relaxed Sunday afternoon screening time for this film unfortunately clashed with another tribute to an Australian rebel, the retrospective of Sydney experimental film and surf movies guru Albie Thoms.
Kim retreated to a remote country house with only his nervy cat for company following the harrowing experience of shooting his film, Dream, during which one of his actresses nearly died. Brisbane International Film Festival , Nov , www. Jon caricatures the Overground curatorial process and skews an important discussion to support some inchoate conclusions.
There were also specific restrictions, principally to avoid direct disruption of the other acts, especially very quiet ensembles. The arrangement was navigated brilliantly without regulation by about 20 disparate performers on the day. It felt justified at the time, and in effect fitting to the kamikaze-like logic of her own interventionist action.
It also ignores the fact that the Overground organisers are all active participants in that very underground. Gabriella Smart is a pianist, festival director, teacher and entrepreneur and she has a clear philosophy. For over 20 years, she has championed new music, making a unique and significant contribution to the music scene nationally and internationally.
She credits her teacher, Russian-born and trained pianist Eleonora Sivan, with helping her find that devotion and discipline. That foundation makes new music exciting. There is a feeling of emancipation through new music. She has always emphasised excellence in programming, production and performance and this approach won the Soundstream Festival a Ruby Award for Best Event in South Australia. Reviews of the and festivals can be found in RT93, p49 and RT99, p The unmistakable spirit of musicians at their peak, bound together by a still-hot desire to make music that is brewed within the bones, love, quiet revelation and the perfectly-evoked euphoria of being alive is what makes Lightsleeper such a gorgeous progression in the Finn family musical history.
A number of tracks on the rarities compilation are making their first appearance on vinyl. Includes the highly autobiographical "I Was A Robot," which hit 6 on the German club charts, as well as a quasi-sequel to the Kraftwerk classic "The Model" called "Cover Girl" and many more superb house, industrial, and techno tracks! Beginning in upstate New York in as the recording project of songwriter and multi-instrumentalist Katie Bennett, the band has since expanded to include a rotating cast of friends and musicians.
While these songs are a return to Katie's comfortable home-recording beginnings, they also lay the foundation for a growing project based on collaboration, experimentation, and intentional arrangements. Limited edition of copies on "Easter Yellow" colored vinyl.
Includes download code. Double LP on black vinyl in wide spine jacket. Includes Includes coupon for full download. Black vinyl. Double LP on opaque yellow blob in clear vinyl in same packaging as standard 2-LP. Indie-only "yellow in clear" vinyl. Originally released on November 26, He signed with the label Columbia in March following his exit from Motown. The final album to be released before his death, it ultimately became the most successful album of Marvin's entire career. The shows were recorded just a few weeks before the band released its seventh studio album, From The Mars Hotel.
The transfers from the masters were transferred and restored by Plangent Processes, further ensuring that this is the best, most authentic that this show has ever sounded. Angular yet irresistibly catchy, this collection of pop songs pulls influence from powerful groups like The Slits, ESG, Gina X, and early Madonna, with sing-speak vocals from Kassie Carlson nodding to legendary artists like Laurie Anderson, Grace Jones, and Lizzy Mercier Descloux - combining this all into a twisted, crystalline concoction.
First time sourced from the original masters with lacquers cut at Sam Phillips Recording Studio. Pressed on gram color vinyl at Record Industry in the Netherlands and comes in a deluxe gatefold tip-on Stoughton sleeve. Includes 4 bonus non-LP singles making their debut on full length vinyl. Each record comes numbered and strictly limited based on pre-orders. Five years old and now in it's seventh pressing, the album has aged beautifully sounding every bit as timeless as it did when it came out, while still remaining in step with contemporary acts within the genre.
To celebrate the album's anniversary, Have Mercy will be hitting the road for a full US tour all summer and we've put together this one-time pressing. Mao's explorations often cast themselves against danceable structures, creating a duality of crisis and escapism. The end result is enthralling, inventive and even more melodic than anything they've previously released. Limited edition Pink vinyl. Includes download card.
Horn hooks show up like ninjas swinging in through warehouse windows on songs like "I Feel Strange" and the Costello-ish "Get Along.
An Imperial Sound song is like a semi-polished gem - beautiful, but unpretentious and still a bit rough around the edges. The best of them, like "6 to a Room" and "Daylight," are sophisticated tin structure, yet endearingly straightforward.
Inflicting and dispensing their nightmares through cavernous faith and conjuring a new gospel for those neglected and forgotten apparitions. KRIEG contributes their only song written and recorded since 's Transient as well as more obscure older material set to create a miserable sonic experience for the listener. For the first time since 's Our Love to Admire, Interpol have opened themselves up to the input of a producer.
This is the first collection of Bert's entire solo career, with insightful liner notes by Bernard Butler Suede who compiled this selection with the Bert Jansch Estate. While Journey Mitchell is laden with new wave-influenced synths, keyboard melodic and infectious dance beats, Dessert Rock is an avalanche of appetizing amalgams that incorporate hints of calypso, sci-fi, psychedelic, rock, electro and funk. You are going to want seconds after sampling this dessert!
A classically trained vocalist, she explores experimental terrains in subtle and extreme expressions. Her latest release, Mysterium Tremens by her ethereal psyche persona, Rococo Jet, is a surrealist concept album concerning the boundaries of reality. The title means "to tremble in the face of the Mysteries. Soulful vocals, swirling synths, guitars, multifaceted layered harmonies intertwined with hypnotic sound college create a intricate landscape of instrumentation.
The unblinking bulging eyes of the furie that is Nora Keyes. She thrusted her arms forward as if to rip the heart from an invisible demon, then tossed her head back and howled across three octaves - she is, effectively, a one woman rock opera finding drama and glamour in every measure.
Weekly Nora Keyes has been a fixture in the LA underground music scene since the mids. But what many of Keyes' cult followers don't realize is that she's a classically trained painter, and her art is just as awe-inspiring, transgressive, and culturally significant as her music. And now, with the original line-up of Donita Sparks, Suzi Gardner, Jennifer Finch, and Dee Plakas back together and out on the road, and a new documentary out, it is way past time to reissue their masterpiece Hungry for Stink for the first time on vinyl.
This is the record with such fan favorites as "Fuel My Fire" and "Andres," along with "Shirley," their tribute to drag racer Shirley Muldowney, and "Questioning My Sanity," which unflinchingly tackles the subject of depression, among other highlights. Our Real Gone reissue includes the lyric sheet that came with the original and very rare LP release, and comes in a red vinyl pressing limited to copies.
Must be turned on loud or not at all! They made fun of the Sunset Strip's bouffants and machismo while playing the same kinds of flying-V guitars. They also had no patience for grunge's gloom, even though their friends were in bands like Nirvana, Mudhoney and Soundgarden. A raunchy punk stampede that predated both grunge and girlpower, L7's self-titled debut is proof that chicks can rock just as hard, if not harder, as any guy.
Originally released in , What Another Man Spills celebrates 20 years in Album cover illustration by Vic Chesnut. As befits a record called With Animals, these dusty songs feel like they were created in the company of the denizens of the night.
Analogue and dust flecked, it's as if Lanegan and Garwood have been holed up in a '60s recording studio while the apocalypse rages outside. Over the last decade, Lanegan and Garwood have worked in tangent on 's Black Pudding as well as on Lanegan's solo records 's Blues Funeral and 's Gargoyle after which Garwood toured as part of Lanegan's band.
On the 4-LP set, Page made a change to the track sequence, allowing the epic, minute version of "Dazed And Confused" to be featuring in its entirety on one side of vinyl for the first time.
The performances in the film were recorded July , at Madison Square Garden during the band's tour for its then-current studio album, Houses Of The Holy. The dark, bleak and brutal tracks are set atop of today's despairing and desolate industrialised landscape. The album will be released on August 24, via Prosthetic Records. Bands sharing a distaste for the status quo, or a dissatisfaction for the world around them may not be something new, but few bands are doing it with the vitriol and vehemence that is offered up on You Took The Sun When You Left.
Go To School tells the heartbreaking coming of age story of Shane, a pure of heart chimpanzee raised as a human boy as he comes to terms with the obstacles of life. Todd Rundgren and their real life mother Susan Hall play Shane's parents. The Litter's late '60s output, includiing the all-time classic "Action Woman," has been hailed as some of the finest psych garage rock to come out of the States and this lost album will be welcomed with open arms by fans of vintage rock!
Limited to 1, copies worldwide. Since , Alan Sparhawk and Mimi Parker - the married couple whose heaven-and-earth harmonies have always held the band's center - have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music's most steadfast and vital vehicles for pulling light from our darkest emotional recesses.
But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive and, paradoxically, most empowering album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low's career.
With new packaging design by Frank Olinsky and updated audio fidelity, it's a dream come true for Luna collectors. This album brilliantly captures the band's youthful arrogance and the angst of the early 90s. A co-founding member of Pink Floyd, he is the only constant member of the group, performing on all of their albums as well as all of their live shows.
Unattended Luggage is a further celebration of Nick Mason and his undeniably significant contribution to music. The albums come in sleeves that faithfully re-create the original releases, including gatefolds for Kick Out The Jams and High Times. All three are housed in a hard slipcase with new art and previously unseen photographs by world renowned photographer Raeanne Rubenstein.
The band performed for several years before making its first record. From their first show in to their impending dissolution at the end of , the Seattle band thrived on the musical awakening in the era of the mp3, the internet, poptimism, and the crosspollinations generated from an expanded consciousness of new music forms. With their final EP, Fair Enough, Minus the Bear closes the book on their hybrid of art-rock, indie pop, and warehouse party appeal. The opening track "Fair Enough" went through a variety of permutations before the band found new meaning in its lyrical lament of lost passions and finding "the exact moment we turned it off".
The other songs of Fair Enough are a continuation and culmination of Minus the Bear's diverse sounds. The up-tempo drumbeats, lush electronics, and nimble guitar work that initially set them apart are on full display during "Viaduct".
The EP closes with a nod to their ongoing remix collaborations, this time with a rave-up reinvention of "Invisible" by Sombear. LP includes a 27x39" poster. Like their beloved soundtracks to Atomic and Les Revenants, KIN uses the band's original score as the genesis and point of departure for an expanded, fully developed album of new songs. KIN is cinematic maximalism and synth-rock minimalism delivered with the signature introspective grace that has defined and refined Mogwai's decades-long reputation.
The Hawk Is Howling is the sixth studio album by the Scottish post-rock band Mogwai, originally released on September 22, It was primarily recorded in a basement in Port Townsend, Washington and was originally released in The album is base level, lo-fi, couldn't give a fuck trashy white boy indie rock. The record absent-mindedly skips genres the way children click TV channels, from fragile acoustic folk and savant hip hop to amplified garage punk sing-a-longs.
First vinyl pressing in 15 years. So consider their new Flowers In The Spring a meticulously plotted counterattack against all things Moloch-ian, with clear, concise, immediate, undeniable, simple, direct pop songs.
A year later he was to feature on the cover of TIME magazine, one of only for 4 Jazz artists ever to do so. Pressed on gram vinyl at Record Industry in the Netherlands and comes in a deluxe gatefold tip-on Stoughton sleeve with additional artwork. Limited to copies worldwide. This Is Morrissey. A collection of studio classics, live tracks and the alternative Mael mix of the ever-popular 'Suedehead', all chosen by the man himself. He explains all on this brand new interview for tremr.
Arm's raw yawp and his bandmates' long-honed chemistry make Digital Garbage an ideal release valve for the pressure cooker. For its first-ever vinyl reissue, we've pressed up a limited edition of copies in "Herman" green vinyl, just in time for Halloween!
The songs stare down the dark realization that love may not be enough to keep two people together through distance and differing needs. By asking these difficult questions about her relationships, Nadler has found a stronger sense of self and a sharper voice as both a songwriter and a vocalist, culminating in her most evocative entry in an already impressive discography. Accurately titled, Live Darkness now brings that live-onstage experience to your home stereo!
The box set features 10 vinyl LPs - newly remastered versions of all five of their albums, plus five LPs of bonus tracks and rarities, all carefully curated by Pylon Records and the original artwork expanded into gatefold sleeves, with embossing and spot UV finish.
It also contains a large size page booklet with liner notes by Douglas McCarthy and Bon Harris and unseen photos, flyers and artwork, detailing their entire career in chronological order from Essex to Los Angeles. These albums have been out of print since the early 90s and have never been reissued. The actual two-piece box is made of hard board stock, wrapped with leather paper and the UV design is hot foil stamped. The box also has space to accommodate their first self released album from and their last release from , to complete the collection by the fans, as these titles have been in print in recent years.
Captured by renowned producer John Agnello Sonic Youth, Dinosaur Jr, Kurt Vile at Dreamland Studio in Woodstock, NY, Dance On The Blacktop is a stirring collection of songs accentuating the band's love for all sounds 90s from both sides of the pond; from alternative rock and shoegaze to the realms of pop and post-punk.
Across the course of 45 minutes, NOTHING weave together nine tales of heightened confusion, anxiety, paranoia, depression and chronic pain juxtaposed against angelic yet apocalyptic, reverberating walls of shimmering sound.
Dance On The Blacktop is a fervent, emotional tour-de-force, the sound of a band at the peak of their individuality. Painstakingly remastered exclusively for this vinyl release, Robin Beanland's charming and crass and charmingly crass lavatorial libretto has never sounded better! But its events unfold at a very specific time and place; namely, the last day of the school year in Austin, Texas, a moment in rock and roll time which Linklater and his cohorts unerringly capture with a soundtrack that has spawned not one but two releases, of which this is the second.
LP debut, pressed on very trippy Purple with Pink Splatter vinyl inside a jacket featuring production stills from the film. Limited to copies! Musically, it wobbles just like the gelatinous fighters in-game - vacillating between bass heavy, dance party bounty and electric rock riffs. When married with 4-player frenzy, it's motivating and energetic - a perfect compliment to the on-screen action.
Blasting this record outside of gameplay, however, is an entirely new sensation designed to take full advantage of your living room speaker set up. You'll feel beat-drenched thumps in your chest, yet at the same time, be awash in a soothing trance of relaxation.
The film, which also stars Hollywood icons Tracii Guns of L. Featuring 26 songs, 24 of which are from the first 3 seasons of the show, and 18 of which were composed by Ryan Elder specifically for the show. The album also includes songs by Mazzy Star, Chaos Chaos, Blonde Redhead, and Belly, all of which have been featured in the show, as well as two new tunes from Chad VanGaalen and Clipping inspired by the show.
Limited to copies. You may have seen his awesome work for Run the Jewels and Wavves. Only 3, of these are being pressed on yellow and green vinyl, so don't hesitate! But this invasion is more of an anomaly - an inspired collision of musical cues from the legacy of Super Mario and the equally fantastical world of the riotous Rabbids. Bolstering the fun is an impossibly adorable package, complete with a fuzzy mustache no joke and a paper doll playset to enhance your own whimsy.
Internationally famed artist and Skyrim superfan Aled Lewis, celebrates his favorite sights and sounds in an excruciatingly customized package - from subtle paper textures to even more subtle visual illusions hidden within its diecut gatefold, some so microscopic that you'll need to examine in-person to catch them all. Omori's winsome vocals crisscross 70's art rock and classic songwriting all within the span of 40 minutes. Gibbons who hailed the band's "fine singing, authentically talented harp work, sweet guitar tones Dispensing with the digital FX and metallic tinges that some might call a Papa M signature, David Pajo instead relies on guitar only this time - and acoustic guitar at that plus a bit of drums.
The slow-unfolding nature of the compositions is given dynamic depth by creative layering of the guitars and the deep-focus nature of the production, making for a journey through resonant landscapes - in other words, classic Papa M! In a period of rampant world commercialism, what would happen next?
Another crucial era for the band unraveled, Pere Ubus journey charted new undulating territory and so began a three-album escapade that retooled our understanding of what pop music is. Things were further obscured with Cloudland when they released their industrial strength equivalent of a class Beach Boys album from musicians more familiar with factories than surf. Greg Kot, Chicago Sun Times. Solid as the band can be, it's also likely to dissolve songs from the bottom up.
In , Worlds In Collision became the most atmospheric, carefully sculpted recording in the band's album catalog. Tom Moon, Spin. An American Treasuremarks the first release of Tom Petty music since the artist's tragic passing in October Vaughan Oliver has returned to reinterpret his original artwork.
We made the decision to stick to just the original albums for the vinyl release, to give it room to breathe across two glorious slabs of wax. So, if bonus tracks are your thing, the 2-CD set will have you covered! Extremely limited edition White vinyl. The album also includes a reimagined duet with Elvis and his daughter, Lisa Marie Presley, on the album's title track and spiritual touchstone.
The private rehearsal provides a rare, intimate glimpse into Prince s creative process as he worked through songs which include 17 Days and Purple Rain neither of which would be released until , a cover of Joni Mitchell's A Case Of You, Strange Relationship not released until on his critically acclaimed Sign O' The Times album , and International Lover. The Deluxe Edition features the album on both CD and gram vinyl formats, and includes a 12" booklet featuring brand new liner notes written by Prince's then engineer Don Batts, as well as candid shots of Prince including never before seen images.
Working again with long time producer Toshi Kasai, the duo has integrated more shades of unlikely forms and timbres along with their always-present penchant for abrasive noise punk. Snuh is at once both playful and belligerent, switching abruptly from heavy to soft, screaming to crooning, sweet to hostile.
With Dino Valenti back at the helm as lead vocalist and keyboard wizard Nicky Hopkins Rolling Stones on board alongside the classic Cipollina-Duncan-Freiberg-Elmore quartet, QMS rips through several new songs and old favorites with outrageous energy and spirit! Also includes the legendary blues harpist James Cotton trading licks with the band on 2 extended jam sessions!
MONA MOJO The limited edition vinyl will be bound in a linen-like cover with gold-foil stamping. Influenced by science fiction and B-movies, The Rezillos brought an abundance of fun and color to the late 70s punk scene. Captivating and upbeat, Can't Stand the Rezillos is essential first-wave punk that promises a good time with every spin. This high energy set includes several covers dotted perfectly amongst their original material, including songs that did not make it onto Can't Stand the Rezillos.
Limited edition Translucent Purple vinyl. The new album focuses their simultaneously sharp and wobbly DIY pop aesthetic, taking in the wooziness of Young Marble Giants, the bite of Devo and the busy melodies of the Television Personalities. Although they were one of the best Seattle bands of the early '90s, they never achieved the commercial success of bands like Nirvana, Pearl Jam and Alice in Chains.
The song "Nearly Lost You" became the Screaming Trees' biggest hit after being featured on the soundtrack of the movie "Singles. The Shadracks are a three-piece rock n' roll group hailing from Medway, Kent, with Babylonian overtones. Drawing lyrics from the forgetfulness and lost hope the group aims to play 40 years in the past, but with modern precision.
The origins of the group date back over 6 months when Huddie Shadrack and Ellisa Abednego had a brief encounter in deserted park land. With a sheared an interest in incompetent punk and beat music it became paramount that they form a group, and quickly. At that very moment they heard the dulcet twang of old onion strings being plucked in the near versinity. Scouring the herbaceous borders the two friends happened upon Elle Meshack, harp in hand. Could she fix them into shape?
After just two rehearsals the cocky kids decided it was high time they recorded a daybut LP. And so it came to pass. Produced by Simon and Roy Halee, who have worked together since the s, the album features a talented cast of musicians who have joined Simon to lend fresh perspectives on 10 of the artist's favorite though perhaps less-familiar songs, drawn from his unparalleled body of work. It was Simon's first album for Warner Bros. Like its predecessor, Graceland , the album gained commercial success and received mostly favorable reviews from critics.
It was released in September by the record label Polydor. Pressed on gram vinyl. It was recorded at Surrey Sound studio with Nigel Gray as co-producer, and was released on June 6, Two singles were released from Juju: "Spellbound" and "Arabian Knights".
The album is a collection of cover versions. It was co-produced with Mike Hedges and released in March on Polydor. It was the band's first full-length effort recorded with then-new guitarist John Valentine Carruthers. Two songs were released as singles between late and early , "Cities in Dust" and "Candyman". Sparklehorse's acclaimed debut, Vivadixiesubmarinetransmissionplot, is full of sad, beautiful, weird moments of spacey rural folk-rock and contains the alternative radio hit "Someday I Will Treat You Good.
Download card included. The album improved on their debut on several fronts, not least of which is the stellar production: the guitar tone is nicely crunchy, especially for its time. The technical performance of all musicians in the band - always a high point with STRIFE - had progressed in the intervening three years, as well. Although unfortunately failing to capture the same success as such other bands, STRIFE were more than a match in quality.
In particular, their sound was as unique and forward-thinking as any of those legends. North" - Basement Demo, 2 bonus lyric sheets, A4 sticker sheet, a reproduction of Joe's California Driver's License and an enamel pin badge. Finding comfort in the negative spaces within each track's borderland was the trio's primary goal in writing the four massive tracks comprising Love In Shadow.
Sun Ra is still trying to get our attention 50 years after dispatching this transmission. Humanitys path since then makes his message even more urgent today. Years after Herman Poole LeSonyr Ra Blount left the planet hes still trying to reach us, to wake us up and to change our destiny. Sun Ra and the Arkestra werent a traditional studio band, and every star in the vast galaxy of their discography reflects this. The origins of these records can be hard to pinpoint at times, but when it comes to Thunder Of The Gods, its a bit easier.
The raucous title track and Moonshots Across the Sky are unearthed from the 66 Strange Strings sessions. Modern Harmonic has once again paired Ras sonic art with the visual art of The Father of Modern Space Art, Chesley Bonestell, whose work Formation of the Earths Continents spralls across the front and back covers. His use of Auto-Tune technology is not gratuitous. Ghost Ramp is proud to present the reissue of 's incredible record Eternal Champ for the first time on any physical format!
The album is a benchmark for the duo and an absolute fan favorite. Sample-heavy, tripped out beats pull the listener into a psychedelic, bit wonderland. Floating somewhere between video game nostalgia, cutting edge hip-hop obsession and sludged out California stoner-ism, Eternal Champ sets the standard for instrumental beat records. Coinciding with the release of the new sequel Eternal Champ II, this limited colored vinyl release is the perfect entry point into the fantastical, experimental and endlessly fun world of the brothers Williams.
Six years have passed since Sweet Valley's cult classic release Eternal Champ. Brothers Williams are back with the conceptual sequel to the record that started it all. Eternal Champ II is both a sonic and thematic partner to the original with an even more advanced tilt.
Their video game influenced beat oriented music leaps to new heights on ECII. Samples cut through driving dance grooves at a manic pace creating a truly memorable mix-tape experience.
The album cover art is a higher fidelity interpretation of the original cover by video game artist Karsten Schreurs. Over one million copies sold. Limited edition audiophile pressing. Housed in a Stoughton old style tip-on jacket. Remastered from the original analog tapes. Officially sanctioned by original members Charles Bullen and Charles Hayward. In many ways, the nuanced sound worlds created in the studio by This Heat are tailor made for sedentary headphone listening.
But pulling off such complicated, genre defying compositions live was surely something to witness. Until now, there was no real official document of the group's live performances. Made Available collects This Heat's two Peel Sessions, recorded for BBC Radio 1 in April and October of and features essential songs that would later appear on their debut album, This Heat and the follow-up, Deceit , as well as electroacoustic works unique to these sessions.
These are the earliest public recordings of the band, showing even in their infancy, masterful use of live tape loops and radical song structure. Each track on the album was recorded in analog, with minimal overdubbing. Richard Thompson's new album, 13 Rivers, is the artists first self-produced record in over a decade. Though often lumped in with New Orleans sludge bands like Eyehategod and Crowbar, Thou shares a more spiritual kinship with '90s proto-grunge bands like Nirvana, Alice in Chains, and Soundgarden all of whom they've covered extensively, both in the studio and onstage.
Some Hindus are unhappy about liberties being taken with their religion in this way. The group tried to record some material at Houston Studios in California in late June but those recordings were discarded as inferior. This album serves up a diverse set of songs. It is the tale of an extra-terrestrial who comes to Earth and is disappointed by the planetary damage inflicted by humans on their home planet. The lyrics were inspired by the Spanish Castle, a dance hall in Des Moines, Washington, where Jimi played guitar in his high school days.
On 18 December Reprise Records in the U. A plate-glass window is smashed in the melee. Hendrix is arrested by police but is subsequently released. A fine is levied which the visiting musician dutifully pays. On 26 February Reprise Records in the U. No tracks from that album are issued as singles in the U. King and Buddy Guy to play the blues all night. This disc is assembled by Track Records in the U. There is a U. Redding continues to play with The Jimi Hendrix Experience but his time is now divided between the two acts.
In an inversion of his previous custom, the U. Linda Eastman, who will marry Paul McCartney in , was lined up to take the photo. Instead, Reprise Records used a blurred red and yellow snap of Hendrix taken by Karl Ferris during a gig at the Saville Theatre in London as the cover photo.
Even some of the women in the photo protest that the shot is unflattering and just displays them like pieces of meat. It is produced by Jimi Hendrix. The recording sessions took place in July , December , January and April to August Eddie Kramer and Gary Kallgren act as recording engineers. With two discs to fill, Jimi Hendrix stretches out on this album.
The cryptic, poetic imagery of the song is harnessed to a propulsive rhythm that brooks no opposition. Jimi plays bass on many of the tracks on this set because Noel Redding was sometimes unavailable due to his activities with his own band Fat Mattress. The latter had been released as a single in the U. It is a steamy mix of rhythm and blues and rock with dabs of keyboards from guest musician Al Kooper.
Although this is released as a single on both sides of the Atlantic, the U. The backing vocals are supplied by Noel Redding and Dave Mason. In one incarnation it is a lengthy slow blues workout; in the other incarnation it is a shorter, punchier hard rock anthem. Reprise got it right on the U. In later years the two songs follow either the Reprise or Track models depending on the country of origin of the reissue or compilation. The first minute is astonishing.
Blazes of guitar fire abound and there is a sound like a jet-fighter executing a barrel roll and purposeful stall.
Initially, the duo simply plans to re-open the club under their stewardship but this plan does not come to pass. The property instead will be developed into a recording studio which will be named Electric Lady Studios.
Supposedly, his girlfriend is still Kathy Etchingham but he is also romantically linked with at least two other women in Hendrix is said to be involved in with a white U. She is part of a group called Cake She is still involved with him in Jimi Hendrix continues to appear as a sideman on recordings released in by other artists. Hendrix also shows up on three albums. None of these albums sell well enough to reach the popular sales charts. Hendrix has been absent for six months.
However if the reunion is a happy one it also appears to be relatively short-lived. In Hendrix and Etchingham split up for good. They play gigs in Scandinavia, Germany and two shows in France. Since mid Redding has also been working with his own band, Fat Mattress. When a burglary takes place, Hendrix accuses his friend Paul Caruso of theft. The pair gets into a fight. Barrero requires stitches above her eye from this injury.
He is charged with possession of heroin and hashish. The guitarist claims a fan gave the drugs to him and he put it in his baggage without checking the contents of the package. The legal proceedings arising from this arrest hang over Hendrix for the rest of the year. The Jimi Hendrix Experience plays at the festival. On 28 June Jimi Hendrix announces that he plans to work with new musicians. Jimi is sensitive to such criticism.
Thus he announces he will be joined by two black musicians. On bass is Billy Cox with whom Hendrix has been rehearsing for around six weeks. However he is probably best known for his work alongside white guitarist Mike Bloomfield in the brass-enhanced rock band Electric Flag. Also playing at this festival is Creedence Clearwater Revival. Soon after the last Jimi Hendrix Experience gig, Jimi begins lodging at an eight-bedroom dwelling called Ashokan House.
It is near Boiceville, Woodstock, New York. Jimi had taken a vacation there in mid Jimi Hendrix makes his first U. Jimi Hendrix is part of the star-studded line-up for the festival. Four hundred thousand fans attend the site in upstate New York, but only about one hundred and fifty thousand are left when Hendrix appears on stage at 8.
This assemblage is known as Gypsy, Sun And Rainbows. A couple of new Jimi Hendrix singles are released — but both are made up of songs from earlier albums. Neither single nor album makes it to the charts. The album is released in June.
This suggests there is no lasting enmity between Jimi and his former bassist — though it should be noted that Jimi only plays percussion on one track on the album; he contributes no guitarwork. On 7 December Jimi Hendrix is arrested again by Canadian customs officers when the guitarist returns to face trial for his earlier Canadian drugs bust on 3 May In further good news, the court finds Hendrix not guilty on the charges from May and he is acquitted.
The show is recorded for a live album that will be released a few months later. Monika Danneman 24 June April is a white, German painter. She was a former figure skater. The nightclub Jimi Hendrix bought in and refurbished to become Electric Lady Recording Studios is first put to use by the guitarist on 15 January Electric Lady does not open for business until 25 August It is sponsored by the Vietnam Moratorium Committee and is a benefit show to raise funds and protest against the war in Vietnam.
Jimi Hendrix seems to be at a musical crossroads around this time. Where once Hendrix was an expatriate American championed in the U. In the photo, the multi-coloured lights projected across the guitarist are an example of the work of the Joshua Light Show.
In the U. This is done to settle legal issues dating back to when Hendrix was signed to a three-year recording contract with Chalpin that was abandoned but the contract remained in force.
Jimi is backed by Billy Cox bass and Buddy Miles drums. The album is produced by Jimi Hendrix under the pseudonym of Heaven Research. Faithful Eddie Kramer remains on board as the recording engineer. Instead, it offers a taste of what this group may have gone on to record.
It is more rhythm and blues oriented and there is more improvisation. It is loud and funky with an off-kilter rhythm. There is a stuttering effect on guitar simulating machine gun fire in the instrumental mid-section of this lengthy over twelve minutes song. This non-charting album is released on 1 April. Hendrix plays bass on one track on this disc. Timothy Leary is famed primarily as a promoter of the use of psychedelic drugs. This is fated to be the last new Jimi Hendrix single released in his lifetime.
This triple album is the soundtrack to a documentary film that will not be issued until later in the year. This is, of course, music from the milestone rock festival. Jimi Hendrix is among the artists on the soundtrack but with seventeen acts strewn across three discs, he is hardly the only notable performer. This album is full of noteworthy contributors. However it is claimed that Hendrix did not want to work with Noel Redding again. In the first half of Hendrix also works sporadically on material for his next album.
Jimi Hendrix plays this festival on 4 July — American Independence Day — and, appropriately, includes in his set list his interpretation of the U. Hendrix is the biggest name at the festival but the list of performers includes bluesman B.
The Atlanta Pop Festival is the largest U. Woodstock may have been bigger but most of the crowd had left before Jimi appeared at Woodstock. Around this time, Jimi Hendrix seems to have a few different projects in various stages of completion. In addition, Hendrix is said to be writing the music for an occult film heavily influenced by the fortune telling tarot cards.
All this takes place against the backdrop of a U. There are thirty-two shows played in this concert tour. It winds up in Honolulu, Hawaii, on 1 August The grand opening party is held the next day but Jimi has to take off for European concert commitments.
Hendrix is somewhat reluctant to go because he is keen to use his new studio. Hendrix is apprehensive about playing in the U. Jimi fears the audience will have forgotten him. This is a live album featuring multiple recording artists. It chronicles the Monterey Pop Festival from June The last concert is on 6 September at the Fehmam Festival in Germany.
On 9 September bassist Billy Cox quits the tour. Cox is said to be ill, though it may be LSD-induced paranoia. Billy Cox goes home to his parents in Philadelphia to recover. Jimi Hendrix returns to London. By this time, whatever was going on between Jimi Hendrix and Kirsten Neffer is history.
Hendrix talks about splitting up with his manager Michael Jeffery. Monika Danneman later claims that Jimi asked her to marry him around this time. Hendrix stays up late. Sometime after midnight, Hendrix vomits then passes out. When Monika Danneman awakes at Danneman phones for an ambulance. There is some uncertainty about whether Hendrix was placed in the ambulance in an upright sitting position or laid on his back. In any case, Jimi Hendrix dies without regaining consciousness.
He is pronounced dead at p. Jimi Hendrix was 27 years old. His body is interred at Greenwood Cemetery, Renton, Washington. Jimi Hendrix is the subject of some movies. A series of live recordings come to the surface.
In order to try to make this plethora of Hendrix products manageable, for the most part only the albums and singles that make it to the popular charts will be listed here. The recordings will be divided into three categories: posthumously released studio recordings, live albums and compilation albums.
Perhaps the most important facet of the posthumous musical legacy of Jimi Hendrix is the unreleased studio recordings. Nearly all of these recordings were laid down in and There is little unreleased material from or The material on this disc was originally cut in after The Jimi Hendrix Experience disbanded.
Polydor issues another U. Reprise issues this album on 14 January. The non-charting U. He was 39 years old. The next four posthumous Jimi Hendrix albums are created under the stewardship of Alan Douglas. Boyd put Douglas in touch with the Hendrix estate and work began on shaping this mass of recordings into individual albums. These three albums all come out on Reprise U. In Polydor dusts off a couple of Jimi Hendrix singles put together from previously released material.
These U. Jean Giraud. Her appointment to this role is contentious. Al adopted Janie so she is also his adoptive daughter. Janie was born around the same time that Jimi went into the army i. Janie met Jimi only twice for a few minutes when she was 8 or 9 years old. Janie never lived in the same house as Jimi. Janie never saw Jimi play in concert. Again the recordings on this disc come from late in the career of Jimi Hendrix.
The following listing of posthumously released recordings of Jimi Hendrix performing live in concert is confined to discs that sell well enough to register in the popular sales charts for albums. This is a second trawl through the recordings made during the historic June music festival.
It starts a trend of albums of various artists playing live on British radio in the s. MCA releases the next five Jimi Hendrix live albums. Perhaps, but the differences would likely have been disadvantageous. Hendrix was wasting his talents in the U. His ability may have been eventually recognised, but there is no way of knowing for sure.
His geometric rise to notoriety, due to his time in the U. Success undoubtedly brought extra temptations — such as drugs — but Hendrix had been doing Benzedrine and cough syrup as a teenager. He already displayed a predisposition towards drugs. His death may have been unavoidable on either side of the Atlantic. No one else played guitar in such a way that the instrument appeared almost sentient; it howled, sighed and moaned in the hands of Jimi Hendrix.
Ann is the lead singer of a band called Heart. The members are all born in the U. It might be imagined that a young woman fronting her own band may not be thrilled to see her kid sister dogging her steps. There are actually three siblings; they have an elder sister named Lynn. Their father serves with the U. Marine Corps. Ann and Nancy Wilson look quite dissimilar. Dark-haired Ann takes after her father while Nancy, a petite blonde, resembles their mother. Immediately, the girls decide they want to be in a band.
At school, they form a four-part vocal harmony act called The Viewpoints. In August the girls attend a Beatles concert. The Viewpoints put on their own first show at a folk festival on Vashon Island in the U. State of Washington in Now 17, Ann Wilson knows some of the local musicians in Seattle. These two are in a band known as The Army. This outfit also includes Don Wilhelm lead vocals, guitar, keyboards and Ray Schaefer drums. From to , White Heart play gigs in the local area, sometimes calling the band, simply, Heart.
In , fearing he is going to be drafted into the U. Army and sent to fight in the Vietnam war, Mike Fisher decides to move to Canada. Roger Fisher reorganises White Heart in , ousting everybody else from the band. His old buddy from The Army the band that is, not the military Mike Fisher is evading , Steve Fossen, is brought in on bass. Filling out their ranks are David Belzer keyboards and Jeff Johnson drums. In late , this line-up moves to Canada to join Mike Fisher. Washington is the northernmost State on the west coast of the U.
In early White Heart officially becomes Heart. Mike Fisher becomes an active member of the band, playing guitar. However, the group is in need of a vocalist, so they advertise. Although the Wilson sisters are indelibly identified with Heart, they did not create the band. Mike Fisher resumes his behind-the-scenes role as manager as Nancy Wilson becomes second guitarist and backing vocalist.
Their younger siblings follow suit with Nancy Wilson and Roger Fisher also becoming a couple. So there is the unusual situation of the two Wilson sisters pairing up with the two Fisher brothers. One more line-up change takes place before things click for the band. At this point, Nancy Wilson is largely confined to strumming an acoustic guitar in the background.
As the years progress and her skill and confidence grow, she becomes a more noticeable musical presence. It Is really her boyfriend, Roger Fisher, who is the musical focus of Heart. He is quite remarkable and his ability is sometimes ignored by latter-day fans.
Heart, generally, swap between gentle acoustic ballads and blasting rock, with the latter being their public image. Heart also tries some other kinds of songs over the years. It is the first of five Heart albums produced by Mike Flicker. The instrument moans and sighs like a living thing. In those days no one expected us to have a hit. CBS Records. This prompts Mushroom to sue the group for breach of contract, stranding their partially completed follow-up in legal limbo.
A galloping Roger Fisher guitar riff spirals off into a breakneck rocker. The subject of the song is an American record company executive. This track is co-written by the Wilson sisters and Sue Ennis, a songwriter they will work with a number of times in the future. In the relationships between the Wilson sisters and Fisher brothers come to an end with the same virtual simultaneity as they began. Mike Fisher relinquishes his role as manager and Roger Fisher leaves the band — without being replaced.
Heart downsizes from a six-piece band to a five-piece unit. Although of necessity it means Nancy Wilson takes on more responsibility as a guitarist, it is actually Howard Leese who most often is lead guitarist. This is a double album consisting, as the title suggests, of a collection of hits on one disc and live recordings on the other.
There is a price to pay. Their corporate masters have more in store for them. So Heart are groomed for maximum airtime. This being the s, it means big hair, big shoulder pads and big heels.
The song was originally offered to Stevie Nicks and it is easy to see how it would have suited her witchy stylings. Instead, it becomes a rare showcase for Nancy Wilson as lead vocalist.
She sounds surprisingly similar to Ann, but maybe a little quieter and gentler. Holly Knight returns on this album. She positively hates it. The song was originally intended for Don Henley, best known for his country rock days with The Eagles.
Although unmarried and apparently unattached to any man, Ann Wilson adopts a daughter, Marie, in She later also adopts a son, Dustin, in Heart steers an unusual course over the next few years. They put together The Lovemongers, an acoustic quartet, in which they are joined by Frank Cox and their songwriting buddy, Sue Ennis.
The Lovemongers issue a four song EP in and full-length albums in and Then from to Heart is put on hiatus all together. With the aid of an egg-donor and surrogate, Nancy Wilson and Cameron Crowe become the parents of twin sons, Curtis and William born 23 January Heart is reactivated again in as Ann and Nancy Wilson again join forces.
Howard Leese does not return to the fold. Subsequently, a rather bewildering array of other musicians shuffles through the ranks of Heart. This was when the band was free to exercise their individuality and write their own music. The s era Heart was less distinctive.
However, if the band had not been willing to make the changes required of them e. For at least some of their fans, Heart in the s was the definitive version.
It was certainly the most commercially prosperous incarnation. George Harrison. In , the wife of U. George is one of the four members of The Beatles, the British band whose success is so phenomenal George is one of the wealthiest young men in the world. Ohios finest came into their own with the weary, urbane poetry of their fourth album: songs of taut melancholy building to the screaming rampage of Mr November thedrunker they get. Polished and posthumous, Joplins final album remains an unfinished but fitting epitaph to one of the s most tragic, wild and distinctive psychblues-folk voices, as outspoken and damaged as her final years.
Daft Punk? Tacky religious glitz, futile wars, ecological disaster and economic struggle; on album two, Arcade Fires world expanded as wide as their sonics. Ubiquitous on pub jukeboxes in gritty TV dramas, the nocturnal and nightmarish atmospheres of Massive Attacks third album stepped out of trip-hop into esoteric electronica, preparing the ground for Burial as it did so.
Like Joy Divisions Closer if the drugs worked, the Bunnymens second album was steeped in doomy grandeur but kept one cheek turned to the sunlight. Faithfulls drug-fucked croak matched the traumas and vulnerabilities of a moving, inventive and foul-mouthed punk-pop album soaked in years of homelessness, infidelity and addiction. In the wake of Blue Monday, New Order cranked up the synths and lit up the nervous system of the monster we call dance.
George Clintons funk mothership beamed into the disco age with this melting pot of hard rock, psych and, yes, funk, primed for maximum dancefloor communion. Stephin Merritts aweinspiring theatrical revue rarely dipped in quality over three hours of genre-hopping melodic brilliance, from baroque ballads to industrial electro pop. A romantic, audacious and breathtaking record. The hammer clicks back on gangsta rap. Straight Outta Compton was the fierce and confrontational bark of LAs socially chained black youth and, sentiment-wise, was not exactly hug-a-copper.
Jackos transformation from drive-in dreamboat to bad-boy biker spewed pure pop gold Man In The Mirror, Bad, Dirty Diana from its exhaust pipe. Whether wrapped in wintry twilight torch songs or snowboarding on melodic glaciers, Beach Houses third album epitomised the new decades dream-pop delirium. A band whose career was killed by an unrepresentatively chipper hit single, its easy to forget this post-shoe groundbreaker that boasted thebrilliant Lazarus.
It also contained a number of songs that were written for Princes pitched-up alter ego Camille. This album in particular has some of my favourite songs on it. Its got that real anthemic thing going on.
Its a wicked blend of soulful rocknroll, but with the hardest, grungiest shit. They have the highpitched singing against rough, gritty music; Guns NRoses are the perfect medium between hard and soulful.
This album could inspire someone to pick up a guitar, because theyve got Slash one of the greatest guitar players ever plus one of the greatest drummers. They have some of the best music ever made.
The apex of heavy metal art, was how David Fricke described this. And despite being built on big, dumb rifing and much double entendre, its now the fourth-highest selling album of all time.
Sometimes I want to smack your face was this albums charming opening statement. There was more chauvinism on the arseadmiring Peaches, but also anangular, proggy sensibility.
But theres loads of others on there. If I Fell, thats brilliant. I wish Id made it, and met a model girlfriend on set like George Harrison did. Like a bar-room jukebox playing 70s favourites Allmans, The Band, the Eagles , Gold came packed with familiar rootsy tropes, but there was also a whimsical homage to Sylvia Plath. Their stated intention was to make records to make girls dance, and despite the unlikely source materials Orange Juice, Josef K Franzs funksome debut worked the nations Club NMEs like a charm.
Inventing shoegazing as efortlessly as Loveless would destroy it, MBVs debut album proper was a brutally hazy, disorientating delight. Im the Sinatra of my day, rapped Hova, as he instinctively rewrote the rulebook on modern-age rapping. Blueprint also introduced the world to beats by a young Kanye West, and a coterie of melodic smurfs. I nearly shit myself by Christ it was loud: thats how Pink Floyds engineer remembered hearing the band for the first time.
Heretheir extended freakouts met Syd Barretts more childlike whimsy. Todds cosmic calling card to the universe was a kaleidoscope of psychedelic prog-glam with the occasional white soul diversion. Reportedly recorded on mushrooms, naturally. Clear-sighted and newly of the dope, John Coltranes angry sax blowing on his three-track epiphany became the soundtrack to the civil rights movement.
Often cited as thealbum that defined modern hip-hop, Paid In Full is packed with James Brown samples, while Rakim is the master of rapping aboutrapping.
The stately post-Richey 90s benchmark wherein orchestras crashed like freedom fighters over the barricades on A Design For Life and the ethics of Sunday-supplement war photography came under fire on Kevin Carter.
Kele Okereke: This was the first time I realised how powerful instrumental music could be. I had mainly been listening to more traditional British guitar music up until I heard this, but Young Team sent me on a diferent path. Lush, baroque and stirringly ambitious, the pizzicato strings and massed tubas of Want One came across like the work of a metrosexual Brian Wilson.
Incorporating funk and reggae into punk, Entertainment! After Aladdin Sane, Bowies next persona was a purveyor of plastic soul. This slick and funky album contains contributions from the young Luther Vandross andDavid Sanborn. Conor Oberst at his most saccharine, Im Wide Awake merged political protest, tremblesome romance and bawling heartache to enthralling alt. Conceived in aWelsh cottage without electricity, its no surprise that Led Zeps third album went back to basics, with Davey Graham, Bert Jansch and JohnFahey looming large.
A double album with an extra four-song EP, Wonders celebrated recording was the work of more than musicians, including Herbie Hancock and George Benson. Perfume Genius: They played Today on the radio station that I listened to and I was obsessed with it, like the first chords and everything.
It was the perfect teenager album. Jamie Smith, The xx: It influenced a lot of the stuf that Ive done to date, and it was one of the first electronic albums that inspired me. I must have been about 10 when I got it. Unabashedly artful, unashamedly lusty pop, topped by the falsetto vocals of Hayden Thorpe.
Jarvis Cocker turned his unflinching eye from acrylic afternoons to long, dark nights of the soul on this unsparing epic. A record that set the template for the next generation of guitar bands My Bloody Valentine, Pixies a template that read more feedback. The Bad Seeds were at their most high gothic here, all primal drums, churchy organ and spooked guitar.
Cave was also at his bloodcurdling best. Jason Pierce is a genius. We met him. Hes really nice and he had enormous sunglasses. I was expecting him to be intense, but he was just a nice guy.
Undoubtedly the only live album to be recorded at 9. The result was a big influence on Bowie and the punks. Twelve tales of domestic despair from lyricist and vocalist Matt Berninger, increasingly fted ashis generations Morrissey. A sprawling 16 tracks of Bruce Springsteen narrative given the throbbing Depeche Mode synth treatment. Agitprop never sounded so motorik. Rou Reynolds, Enter Shikari: My uncle said, Listen to this, its like nothing youve ever heard before!
I remember almost being scared listening to it. My uncle was right. It was like nothing Id ever imagined. It blew my mind completely. The recruitment of Flood marked PJ Harveys first venture into production. The resulting release was rich in Bible imagery and plentiful nods to Captain Beefheart. Its cut to 35mm film tape to sound intentionally weird. There was more than a touch of the cult-rock Carrie about PJ Harveys debut.
It wasnt just the references to breasts as dirty pillows unused since Stephen Kings horror benchmark but the gory, violent coming-of-age of a supernatural talent. But it was the primal, visceral agony of Oh My Lover aheavingchested Harvey begging her cheatinglover to stay no matter what the cost that knocked us clean of our feet, turned our spines to ice and announced the arrival of a passionate and celestial songwriter, while the avant-garde chamber ballad Plants And Rags hinted at how boldly shed challenge rock forms in the future.
Not quite British rap, not quite UK garage, Mike Skinners debut sketched a new, and commercially viable, direction for English urban music. He hired a violin player he saw walking down the street and wrote a song about an ex-boxer charged with murder.
Dylan was never less predictable. Widely considered to be the greatest reggae album of all time, Natty Dread positioned Marley as both groundbreaking musician and socio-political icon. It would be his appearance at Woodstock that made the guitar virtuoso a superstar, but this debut built Hendrixs legend.
From the dumb-ass rap-rock of their frst album Licensed To Ill to s punky, played-on-theirown-instruments Check Your Head via s sample-heavy Pauls Boutique, the group seemed unsure whether they were serious musos or skateboarding thrashers crushing beer cans on their foreheads.
Moving on, they were bent on perfecting something that tied those threads together, and Ill Communication did exactly that. The album put them at the leading edge of a type of hip-hop built on scratchy funk and jazzy samples, best epitomised by the single Sure Shot, and sowed the seeds for sundry rap-rock crossovers of the future with the wild, rif-laden Sabotage.
Shedding Britpops taint for narcotic rock thrills, Song 2 was supposed to take the piss out of grunge and its fans. Instead it became their new anthem. The New York 21st-century garage-rock trios debut cemented theclaims to greatness made by their early EPs. Dev Hynes: Iremember when it came out I got a copy of it from a friend who I used to skate with, he burned it for me.
I listened to it nonstop. Im still surprised at how many people really liked it. It was so big you couldnt avoid it. Paul Weller: Its one of my all-time favourite records. When it came out in this type of music was completely unheralded.
Its very English, with wistful melodies. In away, the vocals are quite similar to what Fleet Foxes do now a sort of hymnal, choral thing. They were so amazing live. My favourite track on the album is probably Beechwood Park.
The frst time I heard it was long after it came out, a reissue in the mids. It was in the autumn and its stuck with me, that kind of feeling. Languid backbeats, chiming clocks, serpentine guitar lines and spacious production meet the occasional bit of legendary prog songwriting. Stoners lives would never be the same again. I still like it, even though lyrically its a bit shit. But its not about that, its about the way he sings and dances.
Interpols debut helped to usher in a new wave of American bands who were indebtedto British indie rock ofthe s. Blurs sixth album sounded like the stuf of a band striving boldly for new purpose as the post-Britpop comedown started to bite.
It was somehow otherworldly, yet accessible in terms of melody and sounds. Stir in humour and a game show. Change the world. A record about turning belief in music into your life, Dexys debut was a manifesto you could dance to, a political polemic you could fall in love with. Its very pop, and at the same time its a deep and handmade bit of artistry.
For six months I listened to it at least six days a week. As alt. No-one nails the struggle against a stacked deck like the Boss. But the desperate, screaming sex-angst of the second Weezer album is stronger and far more ambitious. Carl Bart: I heard it when I was 14 and still know every word. We were all getting into our teenage angst and hating our parents, but my rage waned after their second album. Wu-Tang Clans debut hit hip-hop like a fst to the throat, but if anything the subsequent solo albums had a greater impact, introducing the world to acast of individuals as colourful as any crime drama.
GZA was the most senior member, old enough to remember hip-hop exploding across the Bronx, and his wise fow saw him earn the nickname Genius. Liquid Swords is proof such a sobriquet was well-deserved. Add to this some of the RZAs best-ever beats, ghostly strings and snapping snares, and youve got the essence of Wu: pure atmosphere honed to a katana edge.
History is made. Nick Frost, actor: Even from a very young age, from when I heard of him, for some reason I felt close to him I felt a connection. Weve got the same electric gypsy look thats what Im known for, really. After Zaireeka, a set of four discs to be played at the same time, Wayne Coyne and co tried a new gambit: tunes.
It worked. For over a decade, Kraftwerk had peered into the distance for inspiration, pioneering new electro-soundscapes for things that were yet to come. By , though, the revolutionary sound theyd coined had gatecrashed the mainstream thanks to the riseof synthpop, and everyday life was being warped by newfangled technology.
Rather thanrebooting everything they held dear, theyresponded with Computer World: arguably the last of their bona-fde great albums, and an exploration of how humans co-existed with computers. From the pokerfaced whizz-and-burr of Pocket Calculator to the cold, lonely chimes of Computer Love, it was the sound of the ultimate man-machines proving that they didnt need to fght for relevance; as ever, they were the ones setting the agenda.
Nicky Wire: That was the album whenThe Smiths really nailed it for me. Songs such as Reel Around The Fountain and debut single Hand In Glove shine through the slightly tinny production hey, it was the 80s , setting the first marker of what became a generation-defining career. Dave Maclean, Django Django: Iremember going into Our Price with my mum and asking the guy for some Public Enemy; my mum wasnt sure but when I got it home it didnt leave my Walkman for months.
I was used to the 60s music in my folks LP collection, and that was mind-expanding enough, but this felt like my music, speaking for my generation, and it blew my tiny, Scottish head. Now credited with inventing post-rock, its hushedtones, cognoscenti-led reputation just seems to increase every single year. Semen-stained mountaintops. Ecstatic suicides, carrot-fower kings and an existential spirit guiding Anne Frank through avariety of war-torn reincarnations. These days it reads like a particularly morbid edition of Noel Fieldings Luxury Comedy, but those familiar with debut album On Avery Island wouldnt have been surprised at the grotesque surrealism that infected Jef Mangums second album as Neutral Milk Hotel; the debuts standout track Song Against Sex, was, after all, a joyous carnival romp about passionless beds, suicide pacts and Biblical apocalypse.
In The Aeroplane Over The Sea, though with its creepy circus feel and cover art doctored from an old European seaside postcard was so much more haunted, damaged and seeping with tragedy, both personal and historical. This, remember, was an album inspired by Mangums recurring dreams of a Jewish family surviving the Holocaust, largely written during all-night sessions brought on by night terrors and sung to the ghost in his haunted wardrobe.
Thus began the most fruitful period in the Stones long history. The first single, Street Fighting Man, reflected the turbulent times without resorting to the mediocre parodies theyd been churning out a year earlier.
Jagger put himself in Beelzebubs shoes on opener Sympathy For The Devil, blazing atrail through history while Richards came on like the soundtrack to the apocalypse. Jason Lytle: Grandaddy had the pleasure of touring with these guys. One of their songs, Ohio Heat, was named after the time one of our road crew got a text message from well, lets call her a young lady.
All their records are great, but this one is terrific. What made In The Aeroplane a seminal alt. Even the records downbeat moments were given an elegiac luster: Communist Daughter was ahallucinogenic dope-doze while the domestic violence of The King Of Carrot Flowers bristled with bravado. In The Aeroplane crystallised the no-f psych-folk ethos of the Elephant 6 collective that Mangum emerged from but, clearly a man on the edge, the cult success of the record heaved him over.
Freaked out by the attention, he disappeared into one of indies most curious reclusive periods, rarely recording or playing live for nigh-on 12 years amid rumours of a paranoid breakdown. In Mangums absence, the albums legend only ascended. Prince was big before Purple Rain, but his sixth studio album and soundtrack to the film of the same name made him massive by mixing first-rate songwriting with his mastery of genres from funk to hard rock to psychedelic pop. As the Purple One himself might put it, its close 2 genius.
But then he went one better. Few artists ever capture themoment like this, and Skinner hooked it all around the story of a stoner losing awedge down the back of the TV. He made the mundane seem epic. Mixing pop sensibilities with a brash experimental spirit, its songs about new dance crazes and lust for an inflatable doll attracted attention from devotees such as Morrissey.
Its a record dominated by Brian Enos warped genius his departure from the band shortly afterwards pushed them firmly towards the mainstream. The longing of Last Goodbye, the lump-in-the-throat heartache of Lover, You Shouldve Come Over and the haunting Dream Brother are all the more eerie from beyond the grave.
Its romantic depiction of smalltown America all fresh-faced girls next door, drinking beer in parking lots, classic cars and broken hearts has never been bettered.
From Thunder Road to Jungleland, its Motown influences make for aparticularly emotive kind of rocknroll. Shedding the distortion of their debut, Live Through This ventured into unexpectedly gentle territory with acoustic track Softer, Softest. Their newly developed sound would spur on their breakthrough, inspiring young women across the world in the process.
Were they not mostly Canadian, Robbie Robertsons crew wouldve seemed like hucksters, as opposed to documenting the times with almost telepathic instrumental interplay. It was Carole as one of the most accomplished and King.
How about You Make perfect collections of personal songs. Also Carole King. Tapestry is the mother of the refective Even when Carole King was in high school, records of that era; so comforting, she inspired classic American songwriting.
Carol was written about easy but foolish to forget to thank it for former girlfriend you guessed it Carole its guidance. EB King. Together with songwriting. I Feel The Earth Move 2. So Far Away truly became a singer3.
Its Too Late 4. Home Again 5. Beautiful 6. Way Over Yonder songwriter in her own right. One 7. Youve Got A Friend 8. Where You Lead 9. Smackwater Jack Tapestry Raw Power is probably the best Stooges album, because its so loud. Its been mastered very high in the mix, so it leaps out of the speakers at you. Taking the blues as a starting point, he extrapolated horn-led jazz towards infinity, and made a statement of stoicism, defiance and fortitude in the volatile pre-civil-rights era.
John Coltrane and Julian Cannonball Adderley on saxophone are the perfect foils for Miles wistful trumpet. Cue the new blues barrage. In , anti-government concept albums and Broadway musicals seemed a long way of for Green Day, but they did manage to release the definitive punk-pop album of the decade. Its centrepiece Basket Case remains one of the greatest singles in modern rock notbad for a band named after a slang term for a day spent smoking weed.
Having had his mind blown by Reeds band The Velvet Underground, David Bowie and his then guitarist Mick Ronson returned the compliment by aiding that groups notoriously surly former singer on his second solo album producing, arranging, playing and singing on arecord that features some of Reeds best-loved songs Satellite Of Love, Walk On The Wild Side, Perfect Day.
The title was appropriate, as the record turned Reed into an international star not that you would ever see him smiling about it. Eschewing the trends of commercial rap in the early 90s, Nas and DJ Premier combined minimalist production with funk, soul and jazz samples to create an album against which any future rap release would be judged. His fifth album caused shockwaves that were to be felt long after its release, with rowdy tracks like Subterranean Homesick Blues and Maggies Farm a major influence on the folk-rock scene that exploded into life during the rest of the decade.
But its on a harrowing tale of heroin abuse, the acoustic The Needle And The Damage Done, that we witness the real Young: raw, heartfelt and unflinchingly honest. Did you see the stylish kids in Arguably, there has never the riot?
Time For Heroes been another musical Doherty refers to the London May Day riots of , when militant anarchists used the generally snapshot as vividly raw and peaceful May Day protests to begin attacking real and drop-dead exciting as The shops around Tottenham Court Road. Libertines debut album. Recorded in a scuzzy frenzy by The Clashs Mick Jones, the record sounds I saw two shadowy men on the lapel-grabbingly urgent rather than lo-f Vallance Road Up The Bracket and unfnished.
From the crunchy opener The two men in question may well be the Kray twins, since they were brought up on Vallance Vertigo through the Jam-y Horrorshow Road in Bethnal Green, east London.
Did you see the stylish kids in the riot? Vertigo 2. Horrorshow 4. Time For Heroes 5. Boys In TheBand a triumph edgy street style 6. Radio America 7. Up The Bracket 8.
Tell The King 9. The gelling with passionate pop BoyLooked At Johnny Begging The Good Old Days poetry in a manner that happens I Get Along once a generation. Radio Free Europe was their fuzzed-up rallying cry and Perfect Circle a sign of bounteous alt. Van Morrison sounded possessed and driven, his voice another Celtic-soul instrument, as the multiplicity of supporting players cajoled their instruments to speak in tongues.
This eventually bordered on the divine, as well as something cracked and broken. The seven-minute Champagne Supernova hinted at the cocaine sprawls of Be Here Now, but nonetheless trapped the early-Oasis lightning in a Bolly bottle. There was a time when Radiohead just wrote brilliant tunes. The global group-hug of Everybody Hurts ofset the gorgeous skinny-dipping piano snapshot Nightswimming and sombre funeral paean Sweetness Follows, while Sidewinder and Andy Kaufman tribute Man On The Moon were wake-rousers extraordinaire, reflecting REM at their most balletic.
Solidifying his status as the greatest songwriter of the 20th century, it kicked of with the monumental Like A Rolling Stone and ended with him harking back to his acoustic roots with the epic Desolation Row.
Songs are like tattoos sang Joni Mitchell on the title track of her fourthalbum. If thats at all true, Bluewas the equivalent of flesh inked with the names of ex-lovers, minus the stomach-churning regret. Extremely personal but invitingly intimate, it was a record that opened a window on Mitchells loves and losses witha poetic eloquence. So I bought Surfer Rosa because of that. I reckon Id have been about 11, so I never realised it was a seminal record or anything.
But I remember thinking that it was great. Hot on the heels of two of the greatest albums ever made, this sprawling double LP confirmed Dylans status as his generations superlative songsmith.
Not everything here works, but when it does the ramshackle, last-take-of Stuck Inside Of Mobile The Robots. The Model. Neon Lights. Their seventh record is the one that saw Kraftwerk deliver their definitive text, and fire the starting gun of the synthpop revolution. It was horrible, but Sound Efected Records was its crown jewel. I was getting into punk and I was searching out records and the owner of the store was like, Youre trying to get into punk and you dont know The Clash?
So him and his friend actually bought the record for me. I went back and gave him the money because I was like, This is awesome. Young was in his mid-twenties, but wrote and sang like a man whod already seen too much. It was an album that teetered between rage Southern Man , resignation Birds and resolve Dont Let It Bring You Down , yet its weary mood never tires, instead creating a sense of warm euphoria. For many aficionados, this record hasnt really stood the test of time aswell as s post-punk flavoured third album Mezzanine but its this, the collectives debut record, that marked the invention of trip-hop and the birth of the Bristol movement.
Taking in dub, soul, breakbeat and reggae, the trio forged a new type of electronica. And with the sweeping grandeur of Unfinished Sympathy, they dreamt up itsunsurpassable blueprint.
A more joyous, winsome listen than the downbeat Let It Bleed from the get-go, Brown Sugar collided Jaggers libidinous swagger with the controversial story of a slave trade worker to a din of honky-tonk pianos and roaring guitars, while the albums ballad Wild Horses showcased their tender side AH. The merits of those actions are still being debated now, but whats not is the quality of the music. Then, having started recording in , Thom Yorke later admitted that during this period, We spent a long time in the studio just.
A bold, cold goose-step towards the Berlin era, and one that would send dank Teutonic chills down the spines of those soon to form new-wave pioneers Magazine, Joy Division and Talking Heads. Its because Rumours travels the entire breadth of human emotion and at the heart of the record lies all the elements of an addictive rocknroll soap opera that never ceases to fascinate its fans. Having struggled with it for so long, its ironic that the saga ended with Radioheads most loveable album, no matter what price you decided to pay for it.
Frontman David Byrne had been experimenting with streamof-consciousness writing, inspired by American baptist preachers and African mythology. Enlisting the help of producer Brian Eno, he wound this into an album of driving polyrhythms that were fired with an ecstatic fervour, nowhere better than on the modern spiritual Once In A Lifetime.
Dont Believe The Hype 4. Being scared or confused sound, here violins and cellos were thrashed can be uplifting too. On England lie, surrounded by bloodied earth. He arranges a contract with Brunswick Records. The contemporality of many overlaying and intersecting levels of public and private modes of interaction was neatly surveyed by USA-based curator Christiane Paul in her keynote on the shift to network cultures. The Windmills Of Your Mind 9. It seems equally Fountain (Part 2 From Breathe) - Various - Ghostly International: Avant-Pop (CD) that, like his adult athletic prowess, he would have considered the achievements of Hunters And Collectors to be the result of sheer hard work. While traveling as a bassist and keyboard player, Zahn started recording synthesizer experiments in his off time.
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