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1 hour ago, Janjuc said:

Hi All,

 

Listening to Radiohead OK Computer OKNOTOK

 

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JJ

I saw that post, then felt like I was missing out. Time for some Radiohead then.

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32 minutes ago, hired goon said:

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Alan Holdsworth - Velvet Darkness -- preprandial session of jazz fusion and acoustic interludes from the late guitar master. Streaming via ripped CD.

 

--Geoff

I am unfamiliar with Allan so I thought I’d investigate him, from what I’ve read this album is described by Allan as “a real terrible disaster”, apparently the label took rehearsal tapes without permission and hobbled together an album, and Allan has tried to get it removed from production via legal action. Does anyone know if all this true?

Edited by awayward
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45 minutes ago, awayward said:

I am unfamiliar with Allan so I thought I’d investigate him, from what I’ve read this album is described by Allan as “a real terrible disaster”, apparently the label took rehearsal tapes without permission and hobbled together an album, and Allan has tried to get it removed from production via legal action. Does anyone know if all this true?

I dunno about the history, but the link I posted has a number of reviews that point out what you say. All I know is that the music sounds damn good to me :thumb:

 

--Geoff

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So today was rearrange the rest of the furniture day after swapping the couch and stereo position a couple of weeks back.  Plus got the carpet cleaned a couple of days ago, and had to move it anyway.  And obviously needed music to do that.  Plus alcohol, but I digress.  And seeing as how I still haven't hooked the NAS up to the network, it had to be CDs.

 

Started with the lost Highway soundtrack.  Kind of what I wanted to hear.  NIN seemed to be uploading their old filmclips to Youtube, and The Perfect Drug was one of them, so yeah, why not?  Plus I'm almost interested in Rammstein's new album, so wouldn't have knocked back a couple of their songs either.

 

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Then a bit of a change in tack with some Massive Attack and 100th Window.  Not a bad album, although A Prayer For England is the stand out song for me.  

 

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Then Mezzanine, because it's my favourite of theirs (that I've got).

 

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NFI what just happened there.  But it was a good effort.  Whoops.

 

:emot-bang:

 

But seeing as how I hadn't finished yet...

 

Then moved onto Gomez.  It seemed to fit.

 

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And then moved onto something with a bit more punch.

 

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Still deciding what I want to play now.  Tried a couple of VAST songs, nope.  That wasn't it.  Currently trying The Tea Party, but that's not it either.  Hmmm...

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Craig Armstrong - The Space Between Us (recent double repress) - gorgeous afternoon music with a cuppa'.

 

Cold Chisel - Twentieth Century (Aus OG) - cranked while the wife and kid were out with the dog. Sounded utterly fantastic at top level.

 

Harold Budd/Liz Fraser/Robin Guthrie/Simon Raymonde - the Moon and the Melodies (4AD OG) - gentle melodic lullabies for late afternoon.

 

The Mamas and the Papas - 16 of Their Greatest Hits (French OG comp) - probably 5 to many hits, but still great.

 

Bob Mould - Patch The Sky (OG) - he's nothing if not consistent our Bob!

 

The Smiths - The Queen Is Dead (UK OG) - an amazing album, full of incredible lyrics and some of Moz's best vocal work, great Marr melodies, Rourke's gorgeous bass lines, and ably assisted by fat beats outta' Joyce. Superb and essential.

 

Died Pretty - Doughboy Hollow (UK OG) - one of the great Aussie albums, and certainly this band's zenith. Much love and best wishes out to Ron Peno who I suspect has felt better than in recent times....  :( 

 

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Good morning all. Today's commuting accompaniment

 

Girls - Father, Son, Holy Ghost

 

An interesting album indeed from a short lived band - quite a varied palette with more than a decent nod to various influences from prior decades.  Largely positive critical response for the maturity of this sophomore outing. I understand that Christopher Owens (vocals/guitar/writer) move on to do solo bumpf.

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Edited by Dilettanteque
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Radiohead - The Bends - "Collector's Edition" CD2 

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1.            "The Trickster"

2.            "Punchdrunk Lovesick Singalong"

3.            "Lozenge of Love"

4.            "Lewis (Mistreated)"

5.            "Permanent Daylight"

6.            "You Never Wash Up After Yourself"

7.            "Maquiladora"

8.            "Killer Cars"

9.            "India Rubber"

10.         "How Can You Be Sure?"

11.         "Fake Plastic Trees" (Acoustic version)

12.         "Bullet Proof..I Wish I Was" (Acoustic version)

13.         "Street Spirit (Fade Out)" (Acoustic version)

14.         "Talk Show Host"

15.         "Bishop's Robes"

16.         "Banana Co."

17.         "Molasses"

18.         "Just" (BBC Radio 1 session, 14/09/94)

19.         "Maquiladora" (BBC Radio 1 session, 14/09/94)

20.         "Street Spirit (Fade Out)" (BBC Radio 1 session, 14/09/94)

21.         "Bones" (BBC Radio 1 session, 14/09/94)

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Journey, love this album would love to have the original press as this is a 180 grams reissue, sounds good though but I have the USA original press of Steve Perry solo album and it sounds better IMHO

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Along with John Martyn’s Solid Air, these half speed master are two of the best sounding rock albums in my entire collection!

The bass is so clean and crisp and the dynamics are just jaw-dropping!

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Egberto Gismonti - Saudacoes.

Review by John Kelman - All About Jazz.

 
Egberto Gismonti: Saudacoes
By JOHN KELMAN 

 It's been over a decade since Egberto Gismonti released the ambitiously symphonic Meeting Point (ECM, 1997). Saudações continues to expand this Brazilian composer/pianist/guitarist's ouevre, with one disc devoted to a sprawling, seven-part work for Camerata Romeu, a 16-piece Cuban string ensemble; and the second an intimate series of guitar duets and solos, featuring Gismonti and his son, Alexandre. Like the dual-context (but differently configured) Sanfona (ECM, 1981) in its demonstration of two very different sides to Gismonti, Saudações remains an even more diverse effort.

Gismonti played piano on Meeting Point which, in addition to new compositions written specifically for the orchestra, delivered reworks of classic tunes, in particular the joyful "Frevo," one of Gismonti's most often-recorded songs. Here, he's in the sole role of composer, and there are, indeed, references to past works—most notably the suite's closer, where Gismonti expands on his poignant "Palhaço na Caravela." Still, as an homage to Brazil's cultural, historical, and musical melting pot, even his own tunes become subsumed in the more expansive references of the discs's title—Sertões Veredas - tributo à miscigenação ("tribute to miscegenation"). As Gismonti's career attests, the signposts are many, ranging from the contrapuntal classicism of the second movement to the rhythmic aspects of the third, which also visits greater abstraction in its middle section. From French impressionism to Brazilian modernism, Sertões Veredas is a more successful orchestral effort than Meeting Point; despite its inherent diversity, a more unified sense of purpose drives this compelling 75-minute work.


A unique guitarist, whose unbridled stylistic invention was a significant influence on Ralph Towner in the Oregon co-founder's early days, Saudações second disc, Duetos de Violões, is a welcome return to performance, following the 1989 duet with bassist Charlie Haden, released on In Montreal (ECM, 2001). His last group album was the somewhat overlooked ZigZag (ECM, 1996), the title track from which is reworked here into a more hypnotic duet that reveals far more intimate details.

The two Gismontis also revisit the darker, yet more propulsive "Mestiço & Cabocio," also from ZigZag, as well as two songs from the elder Gismonti's solo guitar set, Dança dos Escravos (ECM, 1989). The shorter version of its fiery title track possesses a kind of conversational freedom distanced from the solitary improvisational élan of the longer original, while the equally intense but considerably shorter "Lundú," opens the disc with playful interaction that sets the tone for the balance of this 70-minute set.


Of the remaining tunes, one is a solo by Egberto—the virtuosic title track—and two are solos from Alexandre, most notably his lyrical take of "Palhaço" which links this fine recital to its orchestral sister. The contrasting styles of this more polished son and rawer, more elemental father make for a surprisingly compatible pairing on Saudações, a welcome return for one of Brazil's most distinct and innovative voices.

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Edited by mrbuzzardstubble
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