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100 Albums I Heartily Endorse
I've seen so many of these threads, and have wanted desperately to make one of my own. Theatre, though, got in the way, and then I had to deal with wedding stuff for my sister's wedding, so I had to wait.
Now, though, I am finally able to say that I have sufficient free time to dedicate to a thread of this nature. Huzzah! These really aren't in order. I was going to try to order them, ultimately giving up when I realized how many glaring omissions were in the list to begin with. Instead, I chose to just recommend 100 stellar albums. There are multiple genres represented here, as I don't really have a set genre of preference, and each artist is represented only once - although a given artist may appear on more than one recording under a different name. So, without further ado, my list of 100 Albums I Heartily Endorse will begin here. Fasten your seatbelts. 100.) Alexander 'Skip' Spence - Oar 99.) Dick Gaughan - Handful of Earth 98.) Mazzy Star - So Tonight That I Might See 97.) Boards of Canada - Music Has the Right To Children 96.) Johnny Smith - Moonlight In Vermont 95.) Serafina Steer - Change Is Good, Change Is Good 94.) cLOUDDEAD - Ten 93.) Bedhead - WhatFunLifeWas 92.) Donald Byrd - Blackbyrd 91.) Gonjasufi - A Sufi and a Killer |
100.
Alexander 'Skip' Spence Oar (1969) Track Listing 1.) Little Hands 2.) Cripple Creek 3.) Diana 4.) Margaret-Tiger Rug 5.) Weighted Down (The Prison Song) 6.) War In Peace 7.) Broken Heart 8.) All Come To Meet Her 9.) Book of Moses 10.) Dixie Peach Promenade 11.) Lawrence of Euphoria 12.) Grey/Afro 13.) The Time He Has Come 14.) It's the Best Thing For You 15.) Keep Everything Under Your Hat 16.) Furry Heroine 17.) Givin' Up Things 18.) If I'm Good 19.) You Know 20.) Doodle 21.) You Know 22.) Fountain Psychedelia, folk, and experimentation are definite themes on Oar, the only solo album release by former Jefferson Airplane and Moby Grape musician Alexander 'Skip' Spence, and the combination of the three sounds has the potential to be typical and utterly unremarkable and fail. It was, in fact, at the time of release the lowest selling album ever released by Columbia Records. While these themes are certainly the frame work of the album, however, the listener is treated to a great deal more than the typical, verging on extraordinary in points. The best way I can think of to describe Spence's fragmented and bizarre effort is this: Oar is an aural exploration of psychosis, teetering on the brink of madness and peppered with delusions, fear, and melancholy. It's very human and sincere, yet clouded with schizophrenic tangents which can make it unrelatable if you don't allow your mind to open to its bizarre brand of charm. If listened to with an open mind, it can intrigue, excite, and truly resonate; it only gives as much as you're willing to take. Do yourself a favor and take as much as you can. The experience will be overwhelmingly rewarding. The version I have chosen to include is the re-release, full of over twenty minutes of extra recordings from the master tapes, recorded by Spence over a week-long period. On this recording, Spence is the sole composer, vocalist, and instrumentalist, making this an even more interesting exploration of his mind-state at the time of recording. Interesting and worth note when listening to the album are the events which led up to its recording. Spence, after having ingested LSD, attempted to attack Moby Grape bandmates with a fire axe, and was committed to a psychiatric institution. He stayed there for a period of six months, during which time he wrote the songs which appear on the recording, and upon his release was eager to record the tracks. Such tracks as "Margaret-Tiger Rug" and "Weighted Down (The Prison Song)" seem easily to reference Spence's time at the psychiatric facility. In the former, Spence sings, "It appears I sent you off to treatment / With the tiger by the tail / If he could be free / He wouldn't have stripes on him, like jail." Other tracks on the offering, such as "Broken Heart" appear as more typical songs, enjoyable as such. The pleasant light psychedelia of the opening track, "Little Hands," is also enjoyable as a stand alone track without knowledge of the album's background. The folky goodness of such offerings as "Cripple Creek" also fit into the album beautifully, adding variation and interest to an offering which can tend to fall into repetitive, muddled psychedelia with little regard for accessibility. At worst, this album is disjointed, fragmented, and rambling. At best, it is a diverse offering from one of the most talented musicians in American psychedelia, and a true window into his mind. While not for everyone, I'm in the camp who feel it falls closer to brilliance than inane self-indulgence. Give it a listen or two, open your mind, open your ears, and experience the album for yourself. What have you got to lose? |
99.
Dick Gaughan Handful of Earth (1981) Track Listing 1.) Erin-Go-Bragh 2.) Now Westlin Winds 3.) Craigie Hill 4.) The World Turned Upside Down 5.) The Snows They Melt the Soonest 6.) Lough Erne / First Kiss At Parting 7.) Scojun Waltz / Randers Hopsa 8.) Song For Ireland 9.) Workers' Song 10.) Both Sides the Tweed What can be said about this highly underappreciated folk gem from Dick Gaughan that fully sums up the sheer mastery of the recording? It is lyrically, vocally, and instrumentally breath-taking, a true slice of folk music that can bring a smile to the face of even the most casual of listeners. I do not feel that I'd be laying it on a bit thick at all to say that it's a true masterpiece of the genre, and an album which should have a place in anyone's record collection. In short, it comes highly recommended from me, with two very enthusiastic thumbs up. The Scottish Gaughan, who would later earn quite a bit of flack for his overtly socialist subject matter on subsequent recordings, was at the top of his game here - political at points but mainly traditional, making for a very special record indeed. Each song is approached with complete passion, heart, and dedication and it shines through with remarkable efficacy. Stand-out tracks include the gorgeously heart-wrenching "Craigie Hill", a track on which Gaughan's vocals are at their powerful peak, "The Snows They Melt the Soonest", and "Worker's Song", although there doesn't appear to be a weak link on the album. Some wonderful instrumental work, rough yet tuneful and emotive vocals, and superb subject matter really propel this album to the top of the heap. Definitely worth a listen or ten. |
98.
Mazzy Star So Tonight That I Might See (1993) Track Listing 1.) Fade Into You 2.) Bells Ring 3.) Mary Of Silence 4.) Five String Serenade 5.) Blue Light 6.) She's My Baby 7.) Unreflected 8.) Wasted 9.) Into Dust 10.) So Tonight That I Might See Listening to this album is like having the most wonderful dream. You're floating in fields of violet, grasping for feather-soft clouds, smiling from ear to ear, and living in this perfect moment that just goes on and on. It's truly one of the most beautiful things I've ever heard. The songs stroll along at a dreamy pace, the blissful instrumentation doing just as much to bring along the gorgeous vibe as the ethereal vocals. Even when the instruments become darker, the vibe is still surreal, soft, soothing. It could easily put you into a trance, but only of the most lulling variety. Nothing about the sound is anything other than pleasing to the ears, and that's alays a pleasant reward at the end of a day which was anything but. This is the perfect album to daydream to, the perfect album to relax to, the perfect album to really calm your nerves. I've been wont to put this album on whilst smoking hookah, blowing smoke rings and watching them fluidly dissipate. Yes. It's that kind of album. The band are at their peaceful best on the opener "Fade Into You", "Five String Serenade", and "Into Dust", while songs like "Mary of Silence", "She's My Baby", and "Wasted" go a little darker without compromising the band's bizarrely demulcent overall feel. "Blue Light" is another stand-out track, featuring twangy guitar which would not be out of place in a country song, but the sound is still very firmly tied into the overall dreamscape motif established by the band. Also well-worth mention is the title track, over seven minutes of wondrous instrumentation, some spoken-word delivery to accompany the beautiful singing, and very interesting and pleasing sounds. I know that most people are probably already familiar with this album, many probably already love it, but it's one that I can't, in good conscience, not recommend. If you've not heard it, do yourself a favor and check it out. If you have, do yourself a favor and give it another listen. It's that good. |
97.
Boards of Canada Music Has the Right To Children (1998) Track Listing 1.) Wildlife Analysis 2.) An Eagle In Your Mind 3.) The Color Of the Fire 4.) Telephasic Workshop 5.) Triangles & Rhombuses 6.) Sixtyten 7.) Turquoise Hexagon Sun 8.) Kaini Industries 9.) Bocuma 10.) Roygbiv 11.) Rue the Whirl 12.) Aquarius 13.) Olson 14.) Pete Standing Alone 15.) Smokes Quantity 16.) Open the Light 17.) One Very Important Thought 18.) Happy Cycling The album begins more on the minimal and repetitive side, but not in a bad way at all. As it progresses, it builds into something wonderful, eerie, strange, and magnificent. It's difficult to describe without just playing it for others; I have a feeling it means something entirely different to every single person who listens to the recording, but in a completely different way than many other albums. It's just...you have to listen to it. I'm a big Boards of Canada fan in general, and have ultimately decided that this one, the duo's debut album, is my absolute favorite. Geogaddi is likewise brilliant, but it just doesn't compete with the way this one makes me feel. That's the best part about this album, to me anyway - the wide range of emotions it brings, the interesting head space it takes you into, and all of that good stuff. The production and whatnot is excellent, but that's not at all the main reason I love it. This album is just wonderful. Standout tracks for me include "Telephasic Workshop", "Sixtyten", "Roygbiv", and "Aquarius", although I could make a case for pretty much all of the tracks, including the fantastic, shorter, intermediate ones. I find this recording to be, as a whole, overwhelmingly solid. To me, this album has always felt like looking into a mirror and seeing your greatest fear, being pulled inside, and not being afraid. Again, it's kind of hard to articulate, but that's the best way I can put it. FYI, my biggest fear is being trapped underwater. This album, for me, is like being trapped underwater, but being able to breathe. If you have any interest in electronic music and haven't heard this album, or just think it might be up your alley, definitely check it out. It's a journey well worth taking. P.S.: Orange. |
96.
Johnny Smith Moonlight In Vermont (1956) Track Listing 1.) Where Or When 2.) Tabu 3.) Moonlight In Vermont 4.) Jaguar 5.) Stars Fell On Alabama 6.) Tenderly 7.) (I Don't Stand a) Ghost of a Chance 8.) Vilja 9.) Cavu 10.) I'll Be Around 11.) Yesterdays 12.) Cherokee 13.) Sometimes I'm Happy 14.) Nice Work If You Can Get It 15.) Jaguar (Alternate Version) 16.) My Funny Valentine Jazz standards played on guitar have never sounded so nice. Johnny Smith, a true master of the instrument, showcases his prowess on Moonlight In Vermont my favorite of his recordings, and does not disappoint at all. I am huge into free form jazz, and if that's the only type of jazz you enjoy, you may actually want to steer clear of this album; that's not what you're going to get. What you are going to get, however, is pure, smooth, mellow jazz, played beautifully and soulfully by Smith and Co. Oh, and before I forget - the wonderful Stan Getz is also featured on this brilliant classic! Wow! Standout tracks on this pleasant little album include the Smith-penned "Jaguar" (including an alternate take), "Yesterdays", "Nice Work If You Can Get It", and, of course, the title track. Anyone with an appreciation for jazz will find this to be a very nice album to put on and listen to, even if there's really nothing that really takes off and goes above and beyond. It's very honest, sweet, and sincere playing by some truly fantastic musicians. As this album is so well-known to many, and the tracks and melodies will for the most part prove quite familiar to the average listener, there's not much more I can say about it. I can say that it's definitely a positive listening experience, and you're not going to regret time spent listening to this album. Technically flawless, not a note out of place, and beautifully presented. One of those rare albums that wows without being even remotely flashy. Check it out. |
95.
Serafina Steer Change Is Good, Change Is Good (2010) Track Listing 1.) Shut Up Shop 2.) Day Glo 3.) GSOH 4.) The Valley 5.) Motion Pictures 6.) Drinking While Driving 7.) How To Haunt a House Party 8.) Margoton 9.) Port Isaac 10.) The Sisters Of Proportion 11.) Half Robot 12.) Ulular The way I discovered Serafina Steer's music is EASILY the weirdest way I've ever been introduced to the existence of an artist I'd never heard of. I was in Washington DC at a Ben Folds concert in 2008, walking around by myself with the beer my over-21 girlfriend had purchased for me, when a drunk girl saw me, screamed, "OH MY GOD!" and grabbed me. Needless to say, I was taken aback and very confused. She kept saying, "You're Serafina!" which was news to me, as that's not my name, nor has it ever been. I kept telling her I wasn't, but she thought I was messing with her and just didn't want to be recognized. She asked me if I had my harp with me, and finally, I was just like, "No, I don't like to travel with it," and she wanted an autograph so I just scribbled the letter 'S' and some squiggles on a piece of paper for her. She walked away happy; I was just very confused and oddly flattered. When I got home, I had to figure out who the fuck this Serafina lady was. Turns out, I don't think I even look all that much like her, nor am I English (which should have been a dead giveaway, I feel) but she does have pretty awesome music. This album is her most recent full length release, and it's very pretty and enjoyable. I dig the harp in more "indie-friendly" music dynamic she has going, and I think she has a lovely voice. Others may disagree greatly with me, but I'd put her sound kind of close to an Ingrid Michaelson-esque vibe, with notes of Regina Spektor in the vocal delivery. Her music is a nice brand of indie pop that is very listenable, very delicate and sad in places, and something I really, really enjoy. I find myself sincerely hoping this lady's career takes off; she's pretty damn good. |
YES!
I haven't seen ANYONE here mention Alexander "Skip" Spence at all -- Oar is simply genius. What's especially wonderful to me is he was able to create such an organically lush soundscape with so little technical expertise exerted on ANYTHING. The percussion, the guitar, the vocals all come together so discordantly that it becomes a difficult listen at first, but it pays in dividends once you "get it." Boards of Canada are paramount as well, I can't decide whether I like Music Has the Right to Children or Geogaddi better. Will be looking into all these other artists here at some point or another. |
Yay for Mazzy Star! 'Fade Into You' is one of my all-time favourite songs and the whole album is really amazing as well, although I prefer Among My Swan ;)
Some nice reviews, going to keep an eye on this. |
Yeah
I'm new to Jazz. If you could pm me about all the best jazz artists/bands and albums I'd appreciate it.
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Legit excited.
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Anyways... in terms of the whole "crazy people who create a psychedelic album" category, I prefer Syd Barrett's solo debut. |
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I have another "crazy people who create a psychedelic album" forthcoming on the list, although it's not so much psychedelic as it is experimental. |
94.
cLOUDDEAD Ten (2004) Track Listing 1.) Pop Song 2.) The Keen Teen Skip 3.) Rhymer's Only Room 4.) The Velvet Ant 5.) Son Of a Gun 6.) Rifle Eyes 7.) Dead Dogs Two 8.) 3 Twenty 9.) Physics of a Unicycle 10.) Our Name My favorite hip-hop is the variety that does something really interesting and unexpected. This album by underground hip-hop "super-group" cLOUDDEAD (Doseone, Why?, and Odd Nosdam) certainly fits the bill, as far as that is concerned. Interesting and innovative lyrics and song structure make for a unique listening experience that can confound and completely blow minds simultaneously. The beats themselves are unique enough to warrant multiple listens, but the unparalleled lyricism is a reason to stay. It's strange, but it's very listenable, occasionally even danceable. What a wonderful album - seriously, I cannot say enough about how great this record is. If you're just a casual hip-hop listener, however, this album will either completely alienate you or completely floor you. It doesn't aim to sugarcoat how its own thing it really is - if that makes any sense at all. Standout tracks include "Pop Song", an interesting lyrical masterpiece which opens the album strong; "The Velvet Ant", a bizarre if somewhat catchy track which I can't stop listening to in my car; "Dead Dogs Two", which is one of the saddest songs you'll ever hear, if you really listen to the lyrics and stop thinking about how much Dose sounds like an alien on that particular track; and "Rifle Eyes", which is just a superb track in general. If you're not familiar with cLOUDDEAD or any of the Anticon collective, definitely check this out, as it will be like nothing you've ever heard. For better or worse. |
93.
Bedhead WhatFunLifeWas (1994) Track Listing 1.) Liferaft 2.) Haywire 3.) Bedside Table 4.) The Unpredictable Landlord 5.) Crushing 6.) Unfinished 7.) Powder 8.) Foaming Love 9.) To the Ground 10.) Living Well 11.) Wind Down The first time I listened to this album is a time I remember fondly. It was after one in the morning, and it was cold as hell. It was raining outside, and I'd just come home from a get-together with friends. I was stoned, a little buzzed, and sleepy, so I put on an album I'd not heard before, that I thought maybe I'd be able to sleep to. Even though the album itself is a sound I could sleep to under most circumstances, I was completely blown away and stayed up to listen. I sat wrapped up in a blanket, window opened, chain smoking and watching the rain. It's always been that sort of album for me. Beautiful and restrained, melancholy and personal, this album is able to resonate with listeners without becoming too formulaic. It feels honest, veers towards depressing, but forges on with quietly drawled vocals and instrumentation. Even at its guitar-fuzzed, cymbal-infused loudest, it feels subdued and almost mellow. This is not the album you're going to put on when you're getting pumped up for that party you're heading to on a Saturday night. In spite of its often depressing tone, it's not the album you're going to reach for when you're down in the dumps because that bitch just broke your heart. This is the album you're going to listen to when you want to listen to something special and extraordinary, and when you're feeling introspective. The perfectly placed clean guitar melodies and almost-too-quiet vocals fit beautifully amidst the backdrop of fuzz and percussion frequently employed on the album. Although that is a commonly occurring motif, however, it does not, over the 11 tracks on this debut effort, become at all boring or redundant. It feels complete, satisfying, and a little blue, but it never overstays its welcome. This is an album you're going to want to really listen to, taking time to absorb everything it has to offer. When played in the background, it's a good album; when played by yourself, with headphones and hunger for aural stimulation, it's a personal and wonderful experience. |
92.
Donald Byrd Blackbyrd (1973) Track Listing 1.) Flight-Tyme 2.) Black Byrd 3.) Love's So Far Away 4.) Mr. Thomas 5.) Sky High 6.) Slop Jar Blues 7.) Where Are We Going? Jazz trumpeter Donald Byrd was a true pioneer and explorer of the genre. Influenced heavily by his hero, Miles Davis, I'll have to say that this album is the point where Mr. Byrd finally stepped out of Davis' shadow and took off on his own way. While Davis was getting dark, Byrd was getting jazzy and funky. On Black Byrd, he explored the conjunction of the two genres fully, making an interesting, head-bobbing and foot-tapping effort that wouldn't be out of place on an (really fucking cool) elevator. His trumpet-playing is delightful, the piano fills are perfect, the percussion is absolutely on point, and when it gets funky, the music is at its best. The session band is fantastic, and in spite of the music's almost poppy nature, this is one of the most enjoyable albums in my collection. Listen to it in the morning while getting ready for your day, in your car on your daily commute, while hanging with buddies, before going to bed, or when you can't sleep - it's going to bring a smile to your face no matter when you listen. For something jazzy, the song lengths are quite short and manageable, only two songs clocking in at over seven minutes ("Flight Time"; "Black Byrd") and one a mere four and a half minutes ("Where Are We Going?") but the music itself is anything but lacking. By the second track, "Black Byrd", vocals come in, delightful and funky; you could put some of these tracks on a mix side by side with Sly and the Family Stone-type fare, and it would be perfect. Personal favorites include the afore-mentioned "Black Byrd", a groovin', funky romp which can get asses shaking; the jazzy and funktastic instrumental track, "Mr. Thomas"; the lovely while still certainly grooving "Sky High", which is also my personal favorite; and the damn near perfect closer, "Where Are We Going". All songs on the album, however, have their own charm and I could make an argument for the greatness of all of them. Technically sound without so much as a modicum of self-indulgence, Black Byrd is both accessible and enjoyable, choosing to accommodate and bring the listener in rather than alienating them. This is one of those albums I've recommended upon numerous occasions with enthusiasm, and will continue to recommend. |
Wow, that Two Dogs Dead aong was amazing, I'm definately going to get that album.
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I have another clouddead album, though I can't remember which. It's pretty good, I think I'll be looking into the one you recommended
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91.
Gonjasufi A Sufi and a Killer (2010) Track Listing 1.) Rebirth 2.) Kobwebz 3.) Ancestors 4.) Sheep 5.) She Gone. 6.) Suzie Q 7.) Stardustin 8.) Kowboyz&Indians 9.) Change 10.) Duet 11.) Candylane 12.) Holidays 13.) Love of Reign 14.) Advice 15.) Klowds 16.) Ageing 17.)DedNd 18.) I've Given 19.) Made 20.) Dobermins This brilliant and criminally overlooked album (while mostly critically well-received) was recommended to me by a close friend who had stumbled upon it quite by accident. They urged me to give it a listen, telling me it would be quite unlike anything I'd heard. Within five minutes, I knew I was in for an even bigger treat than previously anticipated - this stuff was masterful. The master behind this music is Gonjasufi, birth name Sumach Ecks, a rapper / singer / DJ / yoga instructor from California. This album can be best described as a meeting - a meeting of East and West, a meeting of lo-fi and high production quality, a meeting of trip-hop and psych-rock - and it is likely to be one of the more unique offerings you will listen to released over the last couple of years. Gonjasufi's vocal performance, somewhat gravelly and distinct, fits into the musical motif like a puzzle piece. He shines most effectively on the bleak, metaphor-laden "Sheep", a haunting piece with strangely euphoric moments. I personally enjoy his voice, although I have heard that others found it to be an element of the album they weren't such a fan of. Take your pick. Western / Indian music is very heavily represented, and it's absolutely done in an interesting, appealing manner. The effective melding of tape hiss and lo-fi likewise adds charm and character to an album which is certainly of very high production quality: It was actually produced by Flying Lotus, The Gaslamp Killer, and Mainframe. One of the most exceptional aspects of this offering, however, is the sheer diversity within the piece. One moment, you're listening to trip-hop, the next something that sounds almost like psychedelic garage rock, and before you know it, you're listening to something distinctly Western-flavored. This is a delightful mating of genres, pulled off effectively and uniquely - something that earns a hearty round of applause from this girl. |
It's quite a good album. I know his voice definitely isn't for everybody, and can turn people off right away. You know producing would be top notch with Flying Lotus producing it though.
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As for his voice: I strangely feel like it's a rougher, less tuneful Jim Morrison sort of voice at times. That isn't horrible to my ears, but just thinking about the description I gave, yeah, I can see where it would be difficult for some to enjoy. |
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new member here, saying hi!
Many thanks so much for turning me on to cLOUDDEAD. i am all over it! |
Loving this so far! Downloading the albums I don't have and I subscribed :D
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Phanastasio, we getting any more albums?
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Downloaded the Alexander 'Skip' Spence, David Gaughan, and Serafina Steer albums so far, enjoying them all immensely.
Keep up the great recommendations! |
I see a interesting list. Man, I am ready to hear more of albums to hear.
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An album that I often recommend is 'Slip' by Quicksand. They're nineties heavy rock. They remind me of a cross between Jane's Addiction and Tool. I'm not a huge Tool fan, but this album is pretty grimy and worth checking out. |
I rather stupidly posted on here based on the last post that I saw. I checked out earlier posts and realized two things: Firstly, this thread is pretty goddamned cool, and secondly, those who are subscribed to this thread might view me as a bit of an idiot. Sorry. Still getting my feet wet. (Quicksand is still worth checking out though!)
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