rhodsey1123
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An Unstable List of Zarko's Top 75 Albums
- Thread starter rhodsey1123
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Gustav Holst – The Planets
Okay, this entry is more about the story behind this amazing album I suppose. I had adored this composition since my year 12 heyday, but the adoration reached an apex early this year, and best represents this epic piece. As I was fairly accustomed to, I was passed out at a mates place at 3AM whilst a few of my mates powered on. By all accounts, an hour had passed before my ears started twitching. What was that I heard? Is that the Bringer of Jollity pulsating through my brain cavity? Holy fucking shit, it is... Screw sleeping, this music is better than 50 energy drinks corabined. It was as if I had slept for half a day as I went bounding through the house to where the system had been set up, and to the surprise of my mates, started ‘re-enacting’ Jupiter. They had left me for dead, but with new found vigour I powered on, not only through the key Planet songs, but enough albums for the sun the rise. The power of music... Whodathunkit? Either way, not much else to say, Jupiter and Mars are the definite stand outs here.
Black Sabbath – Vol. 4
Gotta admit, this one takes the cake for one reason only – Supernaut and Snowblind are back to back. Both songs just kicked my arse the first time I heard them, and it’s no different now. The only reason Sabbath isn’t higher up the list is because sometimes they get a bit samey, and if you sit there for long enough, Ozzy’s vocals get annoying as hell. I don’t think anyone can dispute this. For all their good points, and that includes the fact that Ozzy’s vocals are actually good in context, they just drill into my brain with any prolonged sitting. Anyway, back to Vol. 4, it isn’t perhaps the most consistent album (Changes being one of the key instigators of trouble) and it does try some interesting moves away from their sludgy doom-ness in songs such as Laguna Sunrise, but it’s better than hearing the same **** over and over again, which is what a lot of Sabbath becomes. Alas, all you need to know is that Supernaut and Snowblind are on this album, back to back no less, so it’s worth a spin.
Okay, this entry is more about the story behind this amazing album I suppose. I had adored this composition since my year 12 heyday, but the adoration reached an apex early this year, and best represents this epic piece. As I was fairly accustomed to, I was passed out at a mates place at 3AM whilst a few of my mates powered on. By all accounts, an hour had passed before my ears started twitching. What was that I heard? Is that the Bringer of Jollity pulsating through my brain cavity? Holy fucking shit, it is... Screw sleeping, this music is better than 50 energy drinks corabined. It was as if I had slept for half a day as I went bounding through the house to where the system had been set up, and to the surprise of my mates, started ‘re-enacting’ Jupiter. They had left me for dead, but with new found vigour I powered on, not only through the key Planet songs, but enough albums for the sun the rise. The power of music... Whodathunkit? Either way, not much else to say, Jupiter and Mars are the definite stand outs here.
Black Sabbath – Vol. 4
Gotta admit, this one takes the cake for one reason only – Supernaut and Snowblind are back to back. Both songs just kicked my arse the first time I heard them, and it’s no different now. The only reason Sabbath isn’t higher up the list is because sometimes they get a bit samey, and if you sit there for long enough, Ozzy’s vocals get annoying as hell. I don’t think anyone can dispute this. For all their good points, and that includes the fact that Ozzy’s vocals are actually good in context, they just drill into my brain with any prolonged sitting. Anyway, back to Vol. 4, it isn’t perhaps the most consistent album (Changes being one of the key instigators of trouble) and it does try some interesting moves away from their sludgy doom-ness in songs such as Laguna Sunrise, but it’s better than hearing the same **** over and over again, which is what a lot of Sabbath becomes. Alas, all you need to know is that Supernaut and Snowblind are on this album, back to back no less, so it’s worth a spin.
<3 Theater Gal <3
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Wayne Shorter – Speak No Evil
Another album that makes the cut on the strength of a few tracks, Speak No Evil is without a doubt Shorter’s magnum opus in regarRAB to popularity, and most importantly, quality. Shorter is a master of post-bop and this album is all you really need to get acquainted with his work. Although I find classic jazz to be a bit of a bore nowadays (I overloaded when I was 17) there are a few albums that simply stick out. The rest I will introduce later on, but SNE is an appropriate starting point in this regard and similarly it is Shorter’s album that finally took him out of Coltrane’s shadow and into his own being. The real strength of the album lies in the title song and Infant Eyes. Speak No Evil has a quirky avant garde style that melRAB well with the post-bop Shorter style and creates a track with amazing flow with a pulsating melody, with thanks to Han**** on piano. Infant Eyes is what actually caused me to get the album, as it was similar to a few choice Cowboy Bebop tracks in its sublime orchestration and passion for such a low tempo song. Shorter’s ability is on show and pure. Well worth the download for anyone with even a fleeting interest in post-bop jazz.
The Field – From Here We Go Sublime
And now for something completely different... Here is a great album from the biggest douchebag looking Swedish minimalist techno artist going around, also known as ‘The Field’, or Alex Willner. I’m not going to profess some great depth to the music. It is terribly repetitive to most, with the same ‘thump thump thump thump’ slightly altering the surrounding sounRAB, but overall the album is about making you wait for that single moment, when you KNOW the song is going to blow apart into this amazing crescendo and leave you durabfounded. Does it ever come you ask? Well sometimes, but not to the borabastic approach you thought it might. Is this a bad thing? No, it simply leaves you wanting more and more. A lot of the samples he borrows offer a very pop-like tinge to the entire techno affair. The first two tracks on the album are absolutely sublime (Over the Ice and A Paw in My Face). They capture what is so great about the music from the get go, and although they are the standout tracks it doesn’t kill the albums overall flow. They are simply the best bites. Overall though, this music isn’t about the big picture – It is about the small moments that captivate a listener, which I am sure we all experience from time to time. Alex doesn’t just capture those moments and loop them – He makes the continuous exposure to them create a much different exposure, to make those moments almost natural and best of all, you don’t get bored of those moments. You simply have a different appreciation for them.
eg
[YOUTUBE]dcpoXD_TKY8[/YOUTUBE]
Another album that makes the cut on the strength of a few tracks, Speak No Evil is without a doubt Shorter’s magnum opus in regarRAB to popularity, and most importantly, quality. Shorter is a master of post-bop and this album is all you really need to get acquainted with his work. Although I find classic jazz to be a bit of a bore nowadays (I overloaded when I was 17) there are a few albums that simply stick out. The rest I will introduce later on, but SNE is an appropriate starting point in this regard and similarly it is Shorter’s album that finally took him out of Coltrane’s shadow and into his own being. The real strength of the album lies in the title song and Infant Eyes. Speak No Evil has a quirky avant garde style that melRAB well with the post-bop Shorter style and creates a track with amazing flow with a pulsating melody, with thanks to Han**** on piano. Infant Eyes is what actually caused me to get the album, as it was similar to a few choice Cowboy Bebop tracks in its sublime orchestration and passion for such a low tempo song. Shorter’s ability is on show and pure. Well worth the download for anyone with even a fleeting interest in post-bop jazz.
The Field – From Here We Go Sublime
And now for something completely different... Here is a great album from the biggest douchebag looking Swedish minimalist techno artist going around, also known as ‘The Field’, or Alex Willner. I’m not going to profess some great depth to the music. It is terribly repetitive to most, with the same ‘thump thump thump thump’ slightly altering the surrounding sounRAB, but overall the album is about making you wait for that single moment, when you KNOW the song is going to blow apart into this amazing crescendo and leave you durabfounded. Does it ever come you ask? Well sometimes, but not to the borabastic approach you thought it might. Is this a bad thing? No, it simply leaves you wanting more and more. A lot of the samples he borrows offer a very pop-like tinge to the entire techno affair. The first two tracks on the album are absolutely sublime (Over the Ice and A Paw in My Face). They capture what is so great about the music from the get go, and although they are the standout tracks it doesn’t kill the albums overall flow. They are simply the best bites. Overall though, this music isn’t about the big picture – It is about the small moments that captivate a listener, which I am sure we all experience from time to time. Alex doesn’t just capture those moments and loop them – He makes the continuous exposure to them create a much different exposure, to make those moments almost natural and best of all, you don’t get bored of those moments. You simply have a different appreciation for them.
eg
[YOUTUBE]dcpoXD_TKY8[/YOUTUBE]