#1001 albums

[depoteka]

album 8: suede - dog man star

Heard it before. The Asphalt World used to be my song to look at the wall and be sad to. This Hollywood Life is another track I love. The overall mood of the album is quite gloomy but I think I like it better than their first album. Feeling generous today so I'm giving it 4/5

[holdoncallfailed]

FINALLY caught up on my albums omg...i hit #100 like two weeks ago but i was so behind so i'm only now celebrating. woohoo

[perfectlullabies]

joining the 1001 album reviews thing ! here's the first one even though i know this album very well

album 1: bob dylan - blood on the tracks (1975)

i remember it was one of the first 70s dylan albums i've heard and of course back then it struck me how different it was from his early stuff. liked it a lot straight away. some of the melodies are truly beautiful and there's no ear shattering harmonica (not much at least...) so it automatically makes it good. not that i don't like the ear shattering harmonica but u get me. posting my fav song from the album

4/5

[1001albumsrated]

#25: Elvis Presley - Elvis Is Back! (1960)

Genre(s): Rock n Roll, Pop

He's back! I already said my piece on Elvis early on in this series with his self-titled debut, so I'm going to keep it short with this one.

What was he back from? The army! I imagine it's common knowledge, but Elvis very publicly was drafted and spent 2 years in active duty at the peak of his career. Despite the opportunity to join the Special Services as an entertainer, he opted to enlist as a regular soldier on a standard tour of duty. This was a brilliant move with the press, taking him from a figure who caused outrage in the 50s to a well-loved, warm-blooded American in the eyes of the public. He came back from deployment in West Germany to find that his fanbase was older and more conservative than it had been before, but still just as large or larger. However, his deployment also saw the traumatic death of his mother, and the beginning of his long history of prescription drug abuse that would eventually kill him.

After two years out of the game, Elvis was eager to get back to recording and develop a new sound. Elvis Is Back! finds him taking a poppier approach, more in line with the popular "Nashville sound" that would take over country music in the 60s. This sound suits him well, and feels a little more natural than his early rock n roll escapades. The band in particular is a highlight of this album for me. Boots Randolph (better known to most as The Yakkety Sax Guy, but in reality an all-star session player) is really on fire on this one. The tracklist is a little hit or miss, but the highlights are well worth it. I'd argue Elvis's version of Fever here is the best recording of his career (albeit frankly still a few rungs short of the Peggy Lee version).

I think there's an interesting alternate reality where Elvis could have pursued this sound further and done some interesting things with it. Instead he did a bunch of terrible movies for a decade, phoned in a bunch of soundtracks, quit performing live, burned out, started performing again 8 years later, and spiraled out over the next decade to eventually become the sad Mr. Las Vegas Revue man who would end up dead in the bathroom. I'm not a big Elvis fan, but he deserved better than what Colonel Tom gave him. Regardless, MUST you hear Elvis Is Back! before you die? I was on the fence with this one, but I'm leaning towards Yes purely on the strength of the band and the strength of Elvis's performance on Fever. I'd be hard pressed to give him two slots if I were writing the book, but I think there's a good enough argument here.

Next up: Miriam Makeba's self-titled debut!

[neoskizzle-mp4]

hey guyssss i made a blog for talking about the albums i listen to while doing the "1001 albums you should listen to before you die" challengeee

@1001-is-a-lot-of-albums if youre curiousss

k peace ✌️xoxo

[terrainofheartfelt]

my mother raised me on listening to the series of Rod Stewart sings the great american songbook so it was a while before i even learned that he was a rock guy first. but to me he's a crooner first!

[ithinkineedamoment]

1. Neon Bible - Arcade Fire

1 of 1000 - Recordings

This project is almost 15 years in the making. Had I been wiser at the debilitating age of 12, I’m sure writing for the sake of writing would have come to me a hell of a lot more naturally than it does now.

Regardless of that, it looks like a 26 year old me is finally getting around to it.

At the tail end of 2010 - I was living in Ramstein, Germany where I found a copy of Tom Moon’s 1000 Recordings to Hear Before You Die. I (my dad) bought it for $15 and there I went becoming evermore insufferable thinking I’m the first person who ever discovered 10 by Pearl Jam. I quickly found two more versions of the “1000... before you die” list - movies and places. Armed with these three lists, I set out to conquer the “best” of the “best” and do obviously do it before I die.

Lofty goals.

But I’ll unpack that I’m sure in a later essay.

Since that time, I’ve plowed through 430 albums, 574 movies, and 142 places. But what of it? What does it matter? Is it enough to watch “Schindler’s List” in a double feature with “The Sound of Music” once and think I can fully process what I’ve experienced? Fuck no!

So in an effort to combat that insanity - I’m starting this project. I will write something on each and every entry of these lists. Will some be long? Absolutely. Will some be short? I hope so. But what is the point of consuming what is meant to be essentials of a lifetime and not give it a second thought? There is of course the argument that these lists are arbitrary and are actually heinously filtered through the lens of old, Cis, straight, white men and women. This idea will undoubtedly come up several if not a thousand times and I don’t think I can ignore it. What I’ve gained, however, from venturing down this yellow brick road of content is greater than the sum of its parts and that is what is interesting to me. How has inundating myself with this “canon” for most of my life shaped who I am and where has it led me?

So as an artist who is constantly stonewalled by the mere act of creation, I asked myself - where do I start? How does this project begin?

Randomly, obviously. I had Sergio scroll through the lists and pick whatever caught his eye.

Somehow, picking Neon Bible by Arcade Fire makes sense.

With this very first entry I begin with The Secret Life of Walter Mitty, the 2013 adventure comedy starring and directed by our pal Ben Stiller. For the uninitiated, this movie features Ben Stiller as Walter Mitty, an employee at Life magazine who is forced on a Carmen San Diego-esque adventure to find Sean Penn in the mountains taking pictures of snow leopards. And it ROCKS.

Everything from the settings to the humor to Adam Scott’s haircut screams the spirit of adventure. I remember sitting in the theater watching this movie having goose bumps down my arms as Mr. Stiller ran for that plane - reading the Life Magazine motto: “To see the world, things dangerous to come to, to see behind walls, to draw closer, to find each other, and to feel, that is the purpose of life.”

Fuck meeee, it’s good.

My depressed ass sat there smiling and crying - thinking of how much of the world was out there - all the places I’ve never been and the adventures I’ve never been on. It was enough to keep me going, even if it was only for the rest of the day.

The part that I really want to draw attention to, however, is the song that plays over the scene that I just mentioned. As the words of the motto appear hidden in the scenery, a sick fucking guitar lick kicks in. Suddenly, the absolutely bonkers Arcade Fire hit, “Wake Up” is blaring through the speakers and I am transcended. From their 2005 debut album Funeral, “Wake Up” has been included on all sorts of best songs of 2004, the decade, the century, of all time lists. With lyrics touching on the embarrassment of youth and the gift of growing up, it’s one of the most inspirational songs I’ve ever heard...

(until I listened to the soundtrack and realized that to SOME people, the song “Wake Up” was never in the movie and instead the absolutely DNA-altering Jose Gonzalez song, “Step Out” took its place. Dear Reader, please note it’s a detail I’m moving on from since these songs exist simultaneously in my head for the same reason and since I have Google I found out a licensing issue made us all watch a different version of the movie. Leave me alone).

Ever since that day - whenever I’ve embarked on a new journey, I’ve played these songs. When my plane took off from Germany back to the states, when I walked on my college campus for the first time, whenever I start a new job - they become the soundtrack to my life. “Children, Wake up” to “House on fire leave it all behind you”. It’s the music to my proverbial first steps into my new life.

So again, it’s fitting then, that the first recording, the very first essay of this project, is Neon Bible by Arcade Fire. Their sophomore album released in 2007, Neon Bible is an extrospective triumph of organs and religiosity exposing the world for what it truly is in this post-9/11 hellscape. Full of angst and persistent drums, it’s truly no wonder how this album crosses the boundaries of what is Indie and what is mainstream.

Relistening to the album this morning and thinking about this project, it almost makes too much sense to start here despite its randomness. Take for example the opening track, “Black Mirror” which in my sleep depravity I could have sworn was the intro to “Changes” by David Bowie. Here, Win Butler muses on the notion of the “black mirror”, an unrelenting echo of all the worst parts of ourselves and our world. Impossible to separate from the contemporary connotations of the words “black mirror”, we quickly realize this album is not interested in the joyous release of

Funeral. We’re confronted with screens, cameras, and content - the black mirror of a sleeping iphone or of a buffering video. What does it mean to see ourselves in that reflection? We’re beholden to it.

As we continue through the album, we’re bombarded with rising crescendos of emotions that dissipate uneasily like unlit waves at night - “Black Wave”. There is no comforting exaltation or resolution of discord. It’s isolating! Butler says so himself in “Intervention”: “We’ll go at it alone”. As the number of black mirrors around us increases, the time spent as an individual also increases. It’s interesting that so much of the imagery evoked in Neon Bible is that of the ocean - black, reflective, ever expansive. This brings to mind another song from a few years later: Los Campesinos!’s “The Sea is a Good Place to Think of the Future.” It should be obvious enough from the title as to why I think this is relevant. The rocking guitar of this jam sways back and forth like the crashing of waves as the lyrics wax poetic on what it means to be alone - “and all you can hear, is the sound of your own heart” - and how hopelessly small you can feel in front of an unchanging ocean before you - “A thousand years, no getting rid of me”.

This cynicism, this anger, I feel is what fuels this album. There is no joy in the face of the “Ocean of Noise” in front of us. There is no reconciliation at the church of the “Neon Bible.” There is nothing new I can say on our modern relationship with technology or media here that hasn’t been said already in a New York Times Op-ed. We are losing control of ourselves to an ocean of influences, media, thoughts, and content. We can scream, and we can shout, but the only escape - according to Arcade Fire - is the place where “No Cars Go”, the liminal space between turning off the lights and before we fall asleep. There, we are finally free from the world and all its power over us. This is the craven freedom that brings the album its only truly joyous song.

So I guess it’s now that I’ve realized the point of this essay - the point of this whole project. I’ve spent years of my life thumping the bible of a church that doesn’t care about me. These lists have become a religion - a system of other people’s beliefs in what should be exalted and glorified. I’ve consumed the content I was told to consume and thought what I was told to think. I don’t think that I’m alone in wanting to challenge “the canon” either. There will always be an unavoidable conflict between what is experienced and what should be experienced; I’m just no longer interested in justifying one over the other. I refuse to let the ocean carry me away. Just as Arcade Fire has ushered me into new phases of my life, Arcade Fire will now usher in a personal rebellion that hopefully will manifest itself across this project where I can Reflektor on what it means to be me.

I have no idea what this rebellion will look like - but my body will no longer be its cage.

[timefadesaway]

started 1982 on the list… stacked year kind of

[dancing-to-architecture]

I'M BACK? I'M BACK!

40 - Jimi Hendrix - Are You Experienced?

So happy to have an album that isn't going to be torture to get through. Almost every track on this album is on *at least* one playlist of mine.

Purple Haze-

An absolute monster opening riff leading into one of the better songs of all time.

So, i know i have Unusual Opinions regarding music and musicians, and one of my stronger ones that I have is that Jimi Hendrix was very likely bi.

"Hold on now!" come the cries of the boomers. "prove it! Prove that the always flamboyant, immaculate, WAY ahead of his time, extremely fashion-forward and highly passionate rock star who tragically died young might be bi!".

To which i say: "did you even hear a word of what you just said?" He straight-up says "excuse me while i kiss this guy" and the entire English-speaking world collectively went "no, no, that's not what he said, he said... Kiss... umm... the sky! Yeah, that totally makes sense!".

Except i used to have a live recording of this song where he very clearly said "while i kiss. that. guy." Keeping in mind that this was before Freddie Mercury or David Bowie could sit down for an interview and say something like "I'm openly bisexual, i fancy both men and women, to roughly the same degree." and the interviewer would then immediately say some dumb shit like :"yes, but why are you gay?"

In short: Jimi was bi, most music magazine interviewers are crap, they have been crap for a long time, bisexual erasure happens TODAY, so of course it would have happened 50 years ago, deal with it.

Manic Depression-

I absolutely love this song. Also, and more distressingly, I also absolutely relate to this song.

The solo is insane, the riff work is phenomenal, and the bass and drums are perfectly in the pocket. (Also, for what seems like a fairly simple drum beat, it's MUCH harder to keep that constantly-shifting time signature in your head than one would think.)

Hey Joe-

Is this the best song about "murdering your cheating spouse and then fleeing the country" ever written? I think so.

I mean, I'd put the Dixie Chicks' "Goodbye, Earl" up there, but I don't think she left her hometown after the murder.

At any rate, a psychotic psychedelic R&B classic.

Love or Confusion-

An anthem for all the autistic folks out there like myself who genuinely can't tell if a person is actively flirting with them or just being polite.

May This Be Love-

I will always be in favor of daydreaming like a lazy-minded fool.

Much more mellow than the earlier songs on the album have been, but Jimi still works in some outstanding guitar noodling.

I would bet money this song was an influence on Incubus's "Aqueous Transmission".

I Don't Live Today-

The biggest goddamn mood on the album, and how I feel almost every time I'm made aware of The News.

The Wind Cries Mary-

Another absolute classic song. Sad but beautiful.

Kurt Vonnegut's lament: "So it goes..." in song form.

When I was young, (for some reason) I thought he was referencing the Virgin Mary. Now, I think she might have just been more of "the one who got away".

Fire-

People of a certain generation and a specific level of culture will likely associate this song with Tia Carrera.

Either way, this song melts faces. The drummer is a goddamn maniac on this one.

Third Stone From The Sun-

I've never listened to this album on acid, but this song seems perfect for that exact mindset with the trippy, heavily-distorted vocals.

It kicks ass, though, don't get me wrong.

Foxey Lady-

People of a certain generation and a specific level of culture will likely associate this song with Dana Carvey wearing a flannel shirt tied around his waist.

(Look, if you haven't seen Wayne's World, you owe it to yourself to do so.)

Are You Experienced?-

The last line of this one (not necessarily stoned but beautiful) always made me figure that "being experienced" is a shibboleth for anything from "you smoke trees?" to "DO YOU KNOW ABOUT THE MACHINE ELVES?!"

and damn do I love the backwards drumming.

Stone Free-

Okay, Jimi, I'm pretty sure they DID realize they "were the ones who's square". That's why they would stare at your bizarre marching band leader outfits. (I'm absolutely Not knocking his bizarre marching band leader outfits, I honestly wish I had the panache to pull that kinda shit off.)

51st Anniversary-

Man, between Stone Free and this one right after, I'm guessing Jimi didn't think much of marriage, huh?

Idk, as a happily married man, this one just doesn't click with me.

Highway Chile-

This very easily could have been me after the army, if I had had a car that actually worked.

Can You See Me-

This one rings a bit hollow after all the earlier "yeah, baby, I'm out of here, see ya never, no strings on me" songs, just saying.

It rocks, nonetheless. Also maybe the only time "aww, shucks" had been uttered in a song that still goes this hard.

Remember-

See directly above, except the aww shucks part.

Red House-

And this one, right at the end, proves the hollowness of the last two broken hearted songs in my eyes.

"Girl left while I was gone? Welp. Fuck it, her sister was cute."

A monster of a blues track, regardless. One of my favorites, and that solo is INSANE.

Favorite Track: This is a tough one. A close race, but it's Purple Haze by a nose.

Least Favorite Track: Remember. It's barely about the girl in question! It's about the bird that won't sing and the dumped dude who won't eat because he has the sads.

Sorry about the long time since last time, full disclosure I got thoroughly addicted to a podcast called Kill James Bond, wherein three trans people discuss (and frequently skewer) the poster boy for toxic masculinity. It's fantastic.

[deianaracrush]

I dream of a world where an American came up with the idea to make the 1001 Albums list instead of a Brit.

[monsata]

2- 1001

Today's album: Alanis Morrisette - Jagged Little Pill (1996)

Another album where i know all the singles by heart, but had never heard the whole album all the way through, and I'm actually kinda mad at myself for that fact, to be honest.

This album brought me right back to junior high/high school, for good and ill. A weirdly large amount off memories seen to have one of the songs on this album as a part of the background, but then again it was pretty ubiquitous (33 MILLION copies sold worldwide, the singles were fucking EVERYWHERE).

Also, i don't think I've heard Head Over Feet since the late 90s and damn if that isn't one of the prettiest "i didn't think i wanted to be in love" songs out there.

I'm pretty sure I could have gotten a solid jump start on healing from some personal trauma had i heard "Perfect" ~28 years ago (which almost had me ugly-crying at work with how close to home it hit). Also holy shit, this album is almost 30 years old. Time ever marches onward, huh.

But yeah, every song on this album kicks ass to some degree, from the anxiously triumphant Right Through You to the beaten-down and traumatized yet still hopeful Forgiven, every track shines in its own way. There's no "polished singles mixed in with dull refuse" here, everything is solid and tight.

Favorite Track: There are a serious number of contenders here, but i think it's gonna be a tie between You Learn (the lyrics are every bit as true now as they were in '95, and goddamn that bass line is so smooth yet still funky as all hell) and Hand In My Pocket (the contradictory lyrics mixed with the overall sense of "things CAN still get better, god damn it, even if we have to drag them kicking and screaming" is basically "every day existence in the 2020's").

Least Favorite Track: ...i don't really have one?

Nothing on this album stands out as noticeably worse than anything else, which is honestly amazing. Every song could have been a single just as much as any other. This is a perfect album.

But, if i have to have a least favorite, I'll just say Ironic, and that's not a fault of the song as much as it is a condemnation of the radio industry in the 90s for playing it incessantly for like 5 years straight.

[depoteka]

album 4: the flaming lips - the soft bulletin

I've heard of The Flaming Lips before but never checked them out. Let's just say after this album I will need another 20+ years to listen to them again. I like indie/alternative but this album is an example of alt rock that I hate. No interesting melodies, no interesting moments, the album dragged on and I was already waiting for it to end after the 3rd song. Didn't enjoy a single song so I'm posting the one with most listens which yeah, might be the most "memorable" of the bunch.

1/5

[knoetske]

leuke artjes voor weinig

#knoetske #tshirts #totebag #mugs #hoody #t-shirts #Phone cases

https://www.teepublic.com/user/knoetske-digital-art?sort=popular

[perfectlullabies]

album 9: oasis - (what's the story) morning glory?

finally a great album. it's funny bc when i was younger i wasn't a big fan but now i appreciate it sm. also i stan beatles so it's kinda obvious oasis appeals to me lmao

5/5

[1001albumsrated]

#13: Miles Davis - Birth of the Cool (1957)

Genre(s): Jazz, Post-Bop, Cool Jazz

Welp, it only took 13 albums for me to screw up and skip an album by mistake. I went back and edited my prior posts to correct the numbering. Birth of the Cool is a pretty embarrassing one to skip too; like all self-respecting jazz listeners, I'm a big Miles fan, and had been looking forward to talking about some of his work (this is far from the last Miles album in 1001 Albums).

Despite being number 13 on the list, these are actually the earliest recordings in the whole book. Ironically, despite now being considered a classic jazz album and typically viewed as a single coherent album, Birth of the Cool is actually a compilation album comprised of 78 sides recorded by the Davis nonet for Columbia between 1949 & 1950 and later reissued together as an LP. This is more common in Miles' discography than you'd expect; many of his later albums were released a few years after the initial recording as his workflow shifted towards recording long sessions with a single band and then producing multiple albums from a few related sessions.

At the time of recording Miles was coming hot off his breakthrough success as part of Charlie Parker's band. These sessions were some of his first recordings as bandleader and established him as a pioneering voice in jazz. The cool jazz sounds on these sessions stand in stark contrast to the fast-paced technical showcases heard on most bebop albums at the time. He'd already made a name for himself as someone concerned with the aesthetics and timbral quality of sound with his unique approach to trumpet playing as part of Bird's band, focusing on playing "straight" with a pure, unembellished sound (this is a stark contrast to trumpet playing at the time, which had a strong Louis Armstrong influence with a highly embellished approach), and the Birth of the Cool sessions cemented it. The arrangement and instrumentation was highly unusual at the time (a nonet with a french horn!) but was crafted with intention to create the specific timbral textures present on the recording. This kind of thinking was mostly unheard of in jazz at the time (and arguably in music at large), with the main focus of most groups being the technical elements of the performance rather than the aesthetic ones. This approach is one of the few consistent elements in Davis' long, storied, strange career. While the aesthetic goal often changed as his sound evolved, the focus was a constant one that I personally believe is largely responsible for consistently setting his music apart from the crowd over the years.

The Birth of the Cool sessions also started to overarching trend of constant change in Miles' career. He was always trying to find the next new thing, and was never satisfied with resting on his laurels. It's as evident here as it would be throughout his career: by the time Birth of the Cool was compiled and released as an LP, Miles had already moved on to innovating hard bop, and was only a few years from pioneering modal jazz with Kind of Blue, which would turn the genre completely on its head once again. Frankly, most artists would have never left the immensely successful and influential sound of Birth of the Cool, but by the time it was released Miles was already honing in on the NEXT next big thing. To me, what's what made Miles different from the majority of his peers and earned him his legendary status today as one of jazz's finest composers and bandleaders. If you follow the careers of the other top jazz players in history you'll see similar trajectories of never being satisfied with stagnancy (artists like John Coltrane, Wayne Shorter, Herbie Hancock, and Sun Ra all come immediately to mind; incidentally 3/4 of those listed had large roles in various iterations of Miles' bands).

Another innovative element here was that the nonet was racially diverse and integrated. I need to remind you, this was in 1949. Brown v Board wouldn't come to pass for another 5 years, and the South was still steeped in segregationist Jim Crow thinking. While things were becoming more integrated in the jazz scene, racial tensions in the US were still high at the time and it was very uncommon to see a mixed group like this, both due to the tensions of the time and due to the challenging logistics of touring with such a group (particularly in the South). Miles always said that he simply picked the best players for the job when selecting band members for a session. In this case, he was heavily inspired by modern classical music and found that many white players played that style more to his liking. You could write a whole essay on the topic of racial politics in jazz at this time and I simply don't have the room in a Tumblr post to give the topic the time it deserves, but I'd be remiss not to put the band and recordings in the context they existed in.

Anyways, it probably goes without saying, but yes you MUST hear Birth of the Cool before you die. It's a spectacular listen, and a highly influential one. Also of note, it's a good starter album if you're just getting into jazz and don't know where to begin (I'd also recommend Kind of Blue, but we'll talk more about that when we get there). It has enormous music depth, but is highly accessible to a non-jazz listener.

For the nerds: I listened to this one in hi-res on Qobuz, purely because I was on a roll at the time and didn't feel like going to the other room and throwing the CD in my main system.

Next time (skipping ahead chronologically, because I fucked up and skipped this album): Jack Takes the Floor, for real this time!

[phonomaterial]

I’m doing the 1001 albums you must hear before you die challenge and I’m losing my mind, I can’t do another 80’s dad rock album