Anteater's Top 30 Albums: * Free Booze inside *

Anteater · 08-19-2009, 12:30 AM

4.

The Residents - Not Available (1978)

1. Edweena (9:29)
2. The Making of a Soul (9:59)
3. Ship's A'going Down (6:34)
4. Never Known Questions (7:00)
5. Epilogue (2:21)

Introduction:

"The way is a never for severing two,
For beginnings are endings for all but a few."

And with that, let me begin by quoting a part of my review of this album from http://www.musicbanter.com/members-j...s-obscure.html-

Quote:

Of the dozens of albums within The Residents discography that have cropped up since they started recording officially in the early 70's, there are few which are quite as....odd, I suppose, as this particular record, both in terms of sound and the history of the album itself. The Residents themselves recorded this work after their debut, Meet The Residents, hit shelves in 1974, but afterwards locked it up for 4 years because they felt it provided too easy an entry into their minds and musical philosophy for the listener. So basically, this album would have never become available to anyone if they hadn't been pressured by Cryptic Corporation (their label and spokesmen) to release it after they fled to Europe, and hence the album's title as you see it here. They wanted this album to remain locked up forever, out of sight and mind. Good thing that little plan didn't pan out, because this material is far too good to remain buried in some locker. So...hooray for commercial interests! (for once, lol )

It's been a bloody long time since that original review, but if anything my love of this little slice of surreality has only gotten better with age.Not Available really is something special, possessing something of an almost classical porn-jazz approach combined with atonal spoken word/sing-song lyrics, an amazing enough combination in and of itself. However, the eerie world beat elements are oddly prevalent here in both the electronica and percussion....nearly half a decade before any rock bands would even attempt to incorporate such things into their sound! And that's not even taking into account the hundreds of other little touches that push it over the line from from mere masterpiece status to being (in more ways than one) remotely incomparable to anything else you might find out there.

Basically, mis amigos, this is The Residents as their strangest, most musical and serious, and perhaps the closest they ever came to showing you, the listeners, in all honesty why they lived and performed music the way they have for the last four decades even while most of humanity remains blissfully unaware of their existence.

And now for the tracks!

The Album:

1. Edweena: Blistering horn and drums emerge from the womb of some lost 60's spy flick soundtrack, where the end of the Caribbean horizon may just as well mark the end of all we know and love. The Residents themselves cruely cackle and sometimes sing beautifully throughout this odd yet wonderfully jazz-tinged fragment of lunacy. A creepy flute motif marks high water whenever it happens to emerge, making the whole task of "confusing grace with outer space" all the more difficult. Gosh, what an amazint track!

2. The Making of a Soul: The creepy pagan folk-with-sax backdrop becomes offset by drumming from the dark continent. Some spoken word is broken into new glass by the surprising and poignant entrance of a piano, followed by some orchestra. Weird vocals abound with this elegant landscape crying on behind it, and slowly but surely it all comes together over the rest of the track. Seriously, is this really the same band who did The Commericial Album? You're damn right it is!

3. Ship's A'Going Down: A freak-folk/classical excursion with some some of the most jarring vocal sampling ever. You really got to hear this to appreciate the strangeness of its woven web!

4. Never Known Questions: Proto-New Wave electronica popping opens up vocal harmonies that aren't harmonious in any sense of the word, followed by more oddness. It's all quite compelling regardless though, especially when the strangely jazzy accordion comes in near the end.

5. Epilogue: The creepy flute from 'Edweena' returns, along with some sparse, yet thoughtful lyrics to send you on your dreaming way. After its spoken...there is only silence.

"Opulent givings are seldom a dread.
They help you relieve all them lies in your head.
But for the giving begets a sure vain,
Leave open a window and let in some rain."

Conclusion:

My favorite album by this band and near the top of my list if for nothing else than I simply love its overall sound. It's got an interesting status within The Residents discography also in that its a near literal realization of their Theory of Obscurity, which states according to the man who thought it up, N. Senada (who advised The Residents in their early career)-

Quote:

An artist can only produce pure art when the expectations and influences of the outside world are not taken into consideration.

In other words, this album's a self contained musical world, influenced by nothing and aspiring to nothing other than being itself. Hell, it wasn't even made to be weird: it all sounds spookily natural, and that makes it about as close to essential as one can get with a group this eccentric.

Do yourselves a favor and give this album a whirl!

WeeLittleHobbit · 08-20-2009, 10:02 PM

You know, I absolutely love the Residents (based on the albums I've listened to so far), and I even have this album in my library, but I haven't given it a listen yet. Really, really need to get around to this, it seems...

Arya Stark · 08-20-2009, 10:28 PM

Quote:

Originally Posted by Anteater

6.

Dir En Grey - Uroboros (2008)

1. Sa Bir (2:00)
2. Vinushka (9:35)
3. Red Soil (3:24)
4. Doukoku to Sarinu (3:48)
5. Toguro (3:57)
6. Glass Skin (4:27)
7. Stuck Man" 3:34
8. Reiketsu Nariseba (3:33)
9. Ware, Yami Tote... (7:01)
10. Bugaboo (4:43)
11. Gaika, Chinmoku ga Nemuru Koro (4:22)
12. Dozing Green (4:05)
13. Inconvenient Ideal (4:23)

Introduction:

Among the more eclectic groups to achieve international recognition from the Land of the Rising Sun (AKA Japan), Dir En Grey have grown quite a bit since their poppy debut back in 1999, mixing up and incorporating industrial, nu-metal, and even progressive rock influences into their oddly arranged yet accessible way of playing music over their following three or four albums, never content to sit around and recycle the same ideas over and over again like the majority are content to do.

Anyway, I've come to favor these guys more and more since I was introduced to them last year, (to the extent where they've crawled to the top of my list here) and it is this here latest work Uroboros where everything they've cultivated comes together uncannily into a face the rest of the world can look upon in wonder. It's among the most varied of their efforts (you hear everything from post-hardcore to ambient here), and as a result it's my favorite from their discography. Hell, it even charted here in the U.S. despite the fact its mostly sung in Japanese...how's that for crossover appeal?

On another point of interest, Dir En Grey are in possession of one of the most frighteningly talented frontmen in contemporary music today, Kyo, who could be best described as a Japanese Mike Patton in terms of vocal range coupled with the emotional sensibilities of a less whiny Thom Yorke.

Lyrically, he's also a rather deviant in his songwriting; it's sometimes catchy and accessible, abrasively complex, and usually very disturbing no matter which category a song falls under. From the story of a guy running from a nymphmaniacally corpse to falling in love with a fish, this guy's got one hell of an imagination. But whether or not you bother to pay attention or look up what the words may mean, the music speaks for itself regardless on the instrumental front. Guitarists Kaoru and Die shred things up nicely when necessery, Toshiya's bass is quite jazzy, and Shinya the drummer holds everything together with his insane energy and precise percussive sense. Basically, everyone here is phenomenal.

And for those that may not have noticed yet, the cover art here was inspired by King Crimson's Lizard, so that's worth extra cool points in and of itself.

Track review time!

The Album:

1. Sa Bir: Eastern percussion, heavy beats and a bit of sitar that's straight out of Arabian Nights provide a wonderfully hypnotic introduction to my favorite metal album of the last five years.

2. Vinushka: A top class 9 minute prog-metal excursion into the subject of reincarnation and a decent indicator of the Dir En Grey's style for those who haven't heard them before. Kyo's vocals are almost mournful even when he growls or scats like some kind of monster. The acoutics near the 6 minute mark among the first of many memorable moments that follow rank across this record.

3. Red Soil: Mid-tempo/ATDI-esque fun that features some especially wicked drumming half-way through. Would have made one hell of a single!

4. Doukoku To Sarinu: Nothing special, but Kyo's voice is like the elevator of awesome here.

5. Toguro: A pseudo funk-metal escapade about the rise of chaos or somtehing like that. Some nice electronic influences come into play after the 2 minute mark.

6. Glass Skin: Opening with a fantastic dose of piano, this is my favorite track from the Uroboros and something of a throwback to this band's alternative-pop debut. It's sung in English, though unless you look up the lyrics you most likely won't understand them, haha. A very catchy ballad from start to finish!

7. Stuck Man: Funk-death metal-jazz-trip hop-hardcore in a green tea blender with extra punk. A highlight of the album and something that must be heard to be believed.

8. Reiketsu Nariseba: Kyo sounds really pissed off here, what with the hardcore breakdowns and carnival keyboards dancing around. Midway through we're treated to something like tribal jazz-ambient with the screams of the damned all around.

9. Ware, Yam Tote...: Here the listerner is treated to yet another side of this band. It's almost folky, with 7 minutes of flamenco guitar, heartfelt singing with occasional piano and drums. All in all, another prominent peak on an album with so much going for it already.

10. Bugaboo: An explosion of death metal anger presented uncharacteristically straightforward. Ideal for headbanging!

11. Gaika, Chinmoku Ga Nemurukoro: Ambient noises lead into carnival drums and a series of wazoo breakdowns. I like how it dissolves into something like audible mist near the end!

11. Dozing Green: The big single, a freakish love song balancing precariously between the soft and loud while still remaining of interest to those who pay attention to complex guitar work. Memorable moment: Kyo's screams of pain in the last minute that would make Patton proud.

12. Inconveniant Ideal: The album closer and among the best of this album. It starts of pretty and builds up ever so sharply to explosion, followed by some surprisingly proggy keyboard and guitar work before returning to the chorus. An...ideal end I'd say to an ideal album, hahahaa.

Conclusion:

Uroboros is a wonderfully violent album, vivid with spite and hopelessness even at its most idyllic. It exceeds and even laughs at genre boundaries in a world full of generic hardcore/metal bands who, along with their fans, tend to look down on anything that makes you think a bit. This album will certainly appeal to those kind of people, because it has its fare share of tracks that certainly get your blood boiling...yet still, it does more, tries more, and succeeds in ways that few others do.

For those open to something compelling, perhaps even taste-altering, this is certainly one hell of a place to start. For me, at least, the listening experience has always been worthwhile.

I've heard so much about this band.

I'm definitely looking into this more after reading what you had to say about it.

crazymenrunningback · 08-21-2009, 02:50 PM

woah residents are sick super trippyish

Guybrush · 08-22-2009, 09:08 AM

Wow, you've been really productive lately. I've finally read through your thread and I must say I'm impressed with the diversity here! Also quite a few brilliant mentions here like Island, Pharoah Sanders and Caravan and then of course so much I don't know here .. I have a lot of your recommendations now in my collection and I don't think I ever got one I didn't like so I'm looking forward to checking this stuff out

I can see I have a lot of work to do.

Also, kudos for great reviews! Of particular interest to me so far is that Genesis album. I'm surprised to see it mentioned here because I honestly haven't heard mention of it before (you know it's usually selling england and lamb) so I'm very much looking forward to checking that one out.

Also looking forward to see what your top 3 are gonna be. Keep it up!

Anteater · 08-22-2009, 04:49 PM

3.

Level 42 – Level 42 (1981)

1. Turn It On (5:38)
2. "43" (7:03)
3. Why Are You Leaving (4:34)
4. Almost There (5:42)
5. Heathrow (4:43)
6. Love Games (7:26)
7. Dune Tune (4:50)
8. Starchild (6:52)

Introduction:

Better known for their 1985 funk-pop album megaseller World Machine and as a key player in the jazz-funk/New Wave movement that swept through the early part of the decade, most people who at least know Level 42 by name are unaware that they started out as a jazz-fusion band themselves here on this self-titled, proving that instrumental chops could be quite danceable given the right context. Even though they’ve always been a bit too bright and shiny for some tastes, my favorite work of theirs is also the one most unlike what people hear from themm, for it was here and only here on this self-titled debut where the jazzier aspects of their playing overrode their pop-craft inclinations, closer in spirit to mid 70’s Herbie Hancock or Return to Forever than, say, Duran Duran or The Cars.

So without gushing too much, the appeal of this album is manifold for me despite the occasional foray into 80's pop music they’d be infamous for later. At least on this once-upon-a-time release, the instruments and songwriting proves sharp where it needs to be and chill when the occasion calls for it as well, and rarely has that dynamic been played so cleanly and without pretense as here. Key moments show more spunk and bombast than anything the band would do later on in their career, driven by a snappy, improvisational flickering bass (courtesy of Mark King) and sparkly keyboards with propulsive drum rhythms to texture out the angular guitar. Edgier than most art-pop but lacking the complexity of earlier jazz-funk albums, Level 42 occupies a unique position in the timeline of an oft-disliked group who are unfairly relegated to “one hit wonder” status despite being the only group who ever merged jazz-funk and pop in a way that really stuck with people in a time where godawful smooth jazz was quickly displacing the likes of Miles Davis.

The Album:

1. Turn It On: Some quick horns and lazy bass n' keyboard lickings are the first thing that greets your ears here on this album's poppiest track. This is also the first time we hear Mark King and Mike Lindup alternate vocal duties. A fine start to a fine album!

2. "43": An instrumental track, but one of the best cuts on here by far. The bass alone will make you salivate, and the keyboard quirkily skirts around the beat in a clever way. Gels magnificiently and with plenty of memorability in its fading notes.

3. Why Are You Leaving?: Ballads are always hit or miss affairs, but this one hits thanks to the the presence of the awesome Dave Chambers on tenor sax and some particularly tasteful bass lines that sets the rest of the pace from the first minute out. Very 80's, but not in a bad way!

4. Almost There: The energy picks back up here, mixing the harder-edged bass stylings from "43" with some of the dancibility of "Turn It On" with a cool result. The keyboards get pretty spacious round the 3:40 for extra cool points. Basically, one of my favorite tracks overall when all is said and done.

5. Heathrow: Another instrumetal, this time based around a chugging bass and even thicker keyboards that grows more and more layered as the track piles forward, with surprise sax at the 2:34 mark. Thinking of making a ringtone out of this, lol!

6. Love Games: Semi-Eastern vibe in the keyboards elevate this funky little piece into coolness in places, though I have no idea how this became a single. Weakest track on the album by far though, and unfortuately hasn't aged as well as some of the other material here.

7. Dune Tune: The lowest point on the album is now followed by one of the highest! Droning synths with some real spacey sound effects are followed by bluesy guitar and some distant sounding flutesy keyboards. A chill bass and some congas of all things shape this track into something that sounds like an acoustic Ozric Tentacles cut, and its my second favorite track on the album. Pay attention to those grooves on the last minute especially!

8. Starchild: Tribal drums open up some real disco-sounding keyboards and some of the best vocals this side of Saturn, followed by some cool vocal breakdowns of sorts. You'd think this would all be pretty cheesy, but its strangely enough the strongest piece on the album overall, if for nothing else than the fact it manages to be complex, very funky and catchy all simultaneously. A fun closer through and through!

Conclusion:

Love it or hate it, its hard to argue against the fact that Level 42 had a very unique sound crafted back in 1981 before outside pressure would force them into more commercial territory, and its entirelly thanks to this debut that they're one of the few hook-heavy bands I've ever encountered who I've never felt guilty about liking. It's just one of those records I can't help but get wrapped up in!

Recommended to those who want to hear what a perfect synthesis of funk, jazz-fusion and pop-rock would be like in an era that was sorely lacking in all three genres quality wise, and for an outstanding listening experience in general.

Anteater · 08-26-2009, 08:31 PM

2.

Terry Callier – What Color Is Love (1973)

1. Dancing Girl (9:03)
2. What Color Is Love (4:06)
3. You Goin' Miss Your Candyman (7:21)
4. Just As Long As We're In Love (3:42)
5. Ho Tsing Mee [A Song of the Sun] (4:21)
6. I'd Rather Be With You (6:40)
7. You Don't Care (5:29)

Introduction:

As annoyed as I am that my favorite soul artist of all time (and this album in particular) doesn't get mentioned at ALL when discussions of the genre arise here on MB, at the same time I am not really surprised that nobody here seems to know about this guy: unlike his childhood bud Curtis Mayfield, Terry Callier never enjoyed the sort of commercial success many fellow Motowners were enjoying back in the 60's and 70's despite his talent. We all know how stupid the industry is though, so such is far from a revelation for everyone reading this.

But then again, I guess anyone who blends jazzy soul with the best of folk, classical and blues isn't really destined for consumption by the masses anyway; What Color Is Love is a deliciously orchestrated gourmet meal for those with the stomach to digest it as a whole, and like the best of courses it will leave you asking for seconds the moment you finish.

And anyway, there's nobody out there who sounds like Terry Callier, and I love his discography to death!

The Album:

1. Dancing Girl: A windy acoustic guitar followed by the distinctively rich voice of Callier, lyrically propelled into a dream as the little orchestratal touches layer into a swell foundation that leads with the strum of a guitar into a magnificent jazzily vocal performance against a landscape of moody sax and spacious keys. The drums and keyboard and everything else come together wonderfully afterwards for the next several minutes as Callier's voice picks up and up with the tempo, fading back to the windiness that beget the song originally, lyrics and all. Overall, a cyclical yet brilliant piece!

2. What Color Is Love: Words cannot do justice to something as elegantly dusky as the title track here, the pentulimate highlight of this already steller album. The lyrics are simple yet musing, gorgeously crooned from a reticient and mournful Callier against lushful guitar, violin and harp. It's a throwback almost to the early soul of the 1950, but with enough Motown touches to make this a classic unknown piece of the 70's, and worth the price of admission in and of itself.

3. You Goin' Miss Your Candyman: Another favorite and highlight, a funk-rock excursion with some unusually bluesy delivery from our man Terry..and some killer tribal bongo drums to boot! It contrasts wonderfully to the prior title track, full of sunny vibrance and explosive percussion that stands out amidst the balladry. Probably my second favorite track overall.

4. Just As Long As We're In Love: How this rediculously catchy segment didn't become a chart-raping hit back in 1973 is a mystery to me; its easily on par with any soul classic of the period, if not all time. The chorus is certainly among the most memorable I've ever heard in ages anyway.

5. Ho Tsing Mee [A Song of the Sun]: The political lyrics aside, this track is another great one and combines a variety of instrumental moods together with some rather cool piano dispersed every once in awhile for good measure. Not as memorable as what's come before, but an amazing song nevertheless.

6. I'd Rather Be With You: Terry lets his folk inclinations out in full force here, letting his voice and some very chill guitar carry this lovely piece down the idyllic music stream for the most part. The harmonica is a particularly brilliant touch!

7. I'd Rather Be With You: A fantastic, if repetitive outro; Callier's voice isn't present at all! Rather, there's a choir of lovely females to serenade you a fond goodbye with the title verse. A fine finish indeed!

Conclusion:

This is a real treasure to me, and probably my favorite soul album of all time overall, and without a doubt the most essential thing you should own from Terry Callier's fantastic discography (which I recommend you all to check out if you enjoy/enjoyed this release).

Anyhow, I suppose what draws me to What Color Is Love the most is this uncanny unearthliness that lurks within each song. Musically ebbing into wistfulness, yet never forgetting the sun as the clouds pass over so high above it. It's a rare treat indeed to find romantic melancholy of such fine character in music of this kind, manifested without the overbearing pretense that has become so common in other genres of music these last few decades.

Soul, folk and jazz enthusiasts, move this one to the top of your "Must Have" list. Everyone else...check the videos below!

Bulldog · 08-27-2009, 04:22 PM

Quote:

Originally Posted by Anteater

3. Level 42 – Level 42 (1981)[/B][/CENTER][/SIZE]

So that's the Level 42 album I should get! My brother's been trying to get me into them for a while now but I've never really done anything about them. You've just prompted me to see about changing that soon, so kudos for that.

As for the rest of this list, rest assured that I am taking some names down. Looking forward to numero uno as well.

Guybrush · 08-27-2009, 05:13 PM

Terry Callier? What? Consider me completely surprised and thrown off!

Gonna give it a listen now, found that album and many more on Spotify

khfreek · 08-27-2009, 08:17 PM

Quote:

Originally Posted by Bulldog

So that's the Level 42 album I should get! My brother's been trying to get me into them for a while now but I've never really done anything about them. You've just prompted me to see about changing that soon, so kudos for that.

As for the rest of this list, rest assured that I am taking some names down. Looking forward to numero uno as well.

You're only getting it because Anteater likes it, not your own brother...

I'll be telling him about this

08-20-2009, 10:02 PM	#42 (permalink)
WeeLittleHobbit The Stain Specialist Join Date: Jul 2008 Location: Maryland Posts: 312	You know, I absolutely love the Residents (based on the albums I've listened to so far), and I even have this album in my library, but I haven't given it a listen yet. Really, really need to get around to this, it seems... __________________ Tommy: I'm funny how? Funny like a clown? I amuse you? I'm here to fcking amuse you? What do you mean, funny? How am I funny? Henry: You know, how you tell a story. Tommy*: I don't know. You said it. You said I'm funny. How am I funny?

08-21-2009, 02:50 PM	#44 (permalink)
crazymenrunningback Music Addict Join Date: Jun 2009 Location: S.F Posts: 128	woah residents are sick super trippyish __________________ If god didnt want you to have sex till you married, why did he make it feel so good?

08-22-2009, 09:08 AM	#45 (permalink)
Guybrush Juicious Maximus III Join Date: Nov 2008 Location: Scabb Island Posts: 6,525	Wow, you've been really productive lately. I've finally read through your thread and I must say I'm impressed with the diversity here! Also quite a few brilliant mentions here like Island, Pharoah Sanders and Caravan and then of course so much I don't know here .. I have a lot of your recommendations now in my collection and I don't think I ever got one I didn't like so I'm looking forward to checking this stuff out I can see I have a lot of work to do. Also, kudos for great reviews! Of particular interest to me so far is that Genesis album. I'm surprised to see it mentioned here because I honestly haven't heard mention of it before (you know it's usually selling england and lamb) so I'm very much looking forward to checking that one out. Also looking forward to see what your top 3 are gonna be. Keep it up! __________________ Something Completely Different

08-27-2009, 05:13 PM	#49 (permalink)
Guybrush Juicious Maximus III Join Date: Nov 2008 Location: Scabb Island Posts: 6,525	Terry Callier? What? Consider me completely surprised and thrown off! Gonna give it a listen now, found that album and many more on Spotify __________________ Something Completely Different