But, here's a serious contender for adult life shaping:Antony & The Johnsons - I Am a Bird Now (Secretly Canadian, 2005)[/b]* * * I'm off to have a burger with JRoot.~B
Rotary Connection ??? Hey Love / Archie Whitewater ??? Archie Whitewater Let???s get one thing out of the way: These are both square records. All that shit about collector/digger cachet, all that shit about pedigree (Riperton, Stepney, Chess, etc.), is all just a bunch of smoke. That???s just some shit for when it???s you and your boys. Call it what you want, but these are slightly more progressive (though not that much more progressive) Fifth Dimension records and/or slightly sloppier Blood, Sweat & Tears records.
I would read at least 300 pages like this. More stories please. I wanna hear more.
I'm going to post this in stages
A (nonchronological) start:
to be continued.....
I'll holler back at this thread
Garbage ??? Bleed Like Me [/b]Straight-up raw-power brass-knuckle test-tube modern-pop-radio shit. Like I said earlier, great artists create for a great audience, and as much as I love my independents and my obscurities, there is a potency and a hunger in music like this???music that???s hell-bent on getting heard by everybody???that I cannot get from my beloved failers. There is much to be said for music that challenges and surprises, but there???s also a lot to be said for the compressed telepathy that only really occurs in pop music: just when you want to hear the chorus again, there it is; you want the guitar to come up a little, and here it comes; you need something different, and a chord change flowers. There are worse things and there are better things, but there really is nothing quite like that completed circuit. As calculated and as scrubbed-clean and as fake-dangerous as this record may be, as much as I know it???s mostly a musical science experiment, I cannot deny it.
[/i]Shouldering your lonelinessLike a gun that you will not learn to aim,You stumble into this movie house,Then you climb, you climb into the frame.Yes, and here, right hereBetween the moonlight and the lane,Between the tunnel and the train,Between the victim and his stain,Once again, once again,Love calls you by your name.[/i]
how u can universalize the experience of music like that, its borderline fascistic -- music is about the interpretation of symbols by the individual imo, youre buying into the fallacy that an authentic truth can be discerned or expressed from an objective standpoint, but that a person's experience w/ a song isnt by definition 'authentic' -- isnt that where the 'authenticity' enters into it, at the point of reception? If a 13 yr old is really really into (pre-creepy for arguments sake) chris brown "forever" what makes her interaction w/ that artist any less real, any less meaningful, than your experience w/ the song you are talking about? & who are you to judge that interaction? it strikes me as extremely presumptuous, no matter how much you dress it up with philosophical context
But, I mean, any musician on a stage who says/believes "I'm up here speaking for myself, I'm not telling you anything" may have a firm grasp on their own ideology, but indeed has a poor grasp on one of the truths of human interaction, on what it means to turn around and face a group, and on what it means the moment that you do. Putting scare-quotes around ???entertainment??? will change neither the fact that it???s just another word for the pleasure taken from cultural production nor the fact that anyone who plays music for paying strangers is very much inside of ???that sphere.??? I???m not at all saying that they have to embrace all that and become Wayne Newton or something (or, ahem, Garbage), but denying it???denying that there is in that moment any degree of remove between the person who???s talking and the person who???s listening, between the people who are holding instruments that night and the people who are not???is delusional and counterproductive.
Second, you and I have previously agreed to disagree on this, but I think you???re coddling artists too much with all this. I hear what you???re saying with ???the audience isn't really a consideration. These records aren't made for you. They???re made for the sake of the artist who is investigating some unknown knowns.??? But at the same time, while these records may not have been made for me, they were sure as shit released for me???pressed up, loaded onto a truck, driven far afield, and made commercially available for me. In light of all that, I don???t think it can reasonably be said that there is no consideration of the audience on behalf of these artists of yours (and mine). In any case, the greater point is that I don???t believe that ???consideration of the audience??? is necessarily the lazy, unartistic thing you???re making it out to be here. At its deep deep core, the seemingly simple, frequently greasy pursuit of ???an audience??? or ???commercial success??? is rooted, however distantly, in the pursuit of community, the pursuit of resonance among individuals. ???Pop??? is short for ???popular,??? know what I mean? The consumption, perception, and/or consideration of art among a wide audience (which is what I meant by ???a great audience???: a wide audience) is inherently more critical and more complex than it would be among a narrower audience. Good art doesn???t need to be protected from that, and it shouldn't want to be.
I can???t even really listen to Nevermind any more.
I've no problem with popularity or success or a wide audience. My sticking point is striving for that instead of striving for the thing that causes that: greatness. I've no doubt that when The Stooges recorded their eponymous album they were f*cking going for it. In their mind, right there, they were making the best record in the world, and it was an immediate commercial failure.
a lot of guessing about what the artist says & what his motives are, as if we can trust his messages about his motivations (...) arent u simply reading into his intentions
i really dont see this purity of 'greatness' as something that occurs during the creation of a record, its something that happens in its reception.
to look at music this way fundamentally misunderstands how ppl interact with music & what music has mattered to me
However, I don't think it's delusional or counterproductive to dispel the myth that there are only two options: perform and spectate. I see it as a living, breathing deconstruction of a happening-right-now experience. To answer an audience member with "This is my thing, I'm sharing it with you, but it's my thing," or to stop the show and confront someone who is hurting someone else is the same as asking, "what does it mean to be a part of this?"
I don't know how coddling I am of my artists.
What made it great was not the acceptance but the fact that the band made it great.
Nevermind skipped go and went for the immediate, wide audience. It was built to be an immediate success, perfect for the day it was released. The older it gets, the older it looks -- The more it resonates, the less it gives. There's not a lot of trust of the audience on that record. Much like a toxic mortgage, it held together just long enough to be sold. It's exemplary of strict adherence to an ideology ("Sell!") to the detriment of any individual (Nirvana) expression. It's a sound equivalent of those old Stalinist propaganda posters. You don't have to believe in this, just practice it. To use deej's line: That's fascist!
Ah, can we skip the psychoanalysis and get back to listing rekkids again?
Ah, can we skip the psychoanalysis and get back to listing rekkids again? First, I'll concede that the thread title does say "25 albums," but you've gotta concede that it also says "shaped your life." How did you think this was gonna go?
And two, you're making some big talk for a dude who is, by my count, still a about five rekkids short. I'm just saying.
Three, the pop-up ad that came up while I entered this post was an invitation to "own a piece of Commodores history" by bidding on a gold-record plaque honoring Nightshift. Now, I know you can feel me on that, pickwick.
i started responding to this question and i realized i can't post in this thread without crying.
Wow, I know that feeling you're describing, AK. I kinda felt like that too when I started writing mine and thinking about being a kid and my parents, my old house, how those times and places are so far away they feel sealed in a bubble, almost unreachable...there's something so sad about remembering yourself in the past. Even if the people you spent those times with are still in your life it's like there's something alive and in the air in eras of our lives that we can never get back to. You can go to the same place with the same people, and still everything has changed. Time and space are only half the story, there's something else mixed up in it.