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2017. január 3., kedd

03-01-2017 18:11 - 40 FAVOURiTE tracks 1981-1976 / 2h 46m

03-01-2017 18:11 2h 46m ~ 40 FAVOURiTE tracks 1981-1976 >>Bauhaus, Lydia Lunch with 8 Eyed Spy, The Sound, Lou Reed, Durutti Column, Pink Floyd, Talking Heads, Gong, Weather Report, Peter Hammill, Mahavishnu Orchestra, David  Bowie<<

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 Founding fathers of goth rock, driven by moody post-punk dynamics and jagged guitar chords, plus the manic mysticism of singer Peter Murphy... Bauhaus are the founding fathers of goth rock, creating a minimalistic, overbearingly gloomy style of post-punk rock driven by jagged guitar chords and cold, distant synthesizers. Throughout their brief career, the band explored all the variations on their bleak musical ideas, adding elements of glam rock, experimental electronic rock, funk, and heavy metal.
Hair of the Dog (Daniel Ash / Kevin Haskins / David J / Peter Murphy) 2:42 
Passion of Lovers 3:52
Of Lillies and Remains (Daniel Ash / Kevin Haskins / David J / Peter Murphy) 3:18 
from Mask 1981
Managing the sometimes hard-to-negotiate trick of expanding their sound while retaining all the qualities which got them attention to begin with, on Mask the members of Bauhaus consciously stretched themselves into newer areas of music and performance, resulting in an album that was arguably even better than the band's almost flawless debut. More familiar sides of the band were apparent from the get-go; opening number "Hair of the Dog," one of the band's best songs, starts with a double-tracked squalling guitar solo before turning into a stomping, surging flow, carefully paced by sudden silences and equally sudden returns to the music...

 A pivotal figure in the late-'70s no wave scene, a punk poet/actor who recorded confrontational, sexually charged music... After leaving the seminal New York no wave outfit Teenage Jesus and the Jerks, poet/actress/vocalist Lydia Lunch (b. Lydia Koch) embarked on a solo career marked by frequent collaborations and band changes, plus an attitude of confrontational nihilism expressed in both her sound and her often violent and/or sexually oriented subject matter.
Lydia Lunch with 8 Eyed Spy
Diddy Wah Diddy 2:19
Love Split 2:10
Swamp 0:57
Motor Oil Shanty (Lydia Lunch) 4:29
from 8-eyed Spy 1981
Another chunk of Atavistic's long-overdue retrospective of Lydia Lunch's highly influential early work, 8 Eyed Spy collects the entire recorded output of Lunch's second band. A far more overtly "musical" group than Teenage Jesus & the Jerks (which also featured Lunch and Jim Sclavunos, who switched from bass to drums for the new band), 8 Eyed Spy were no less confrontational. A modicum of actual talent and a newfound appreciation for musical forms that predate 1977 inform 8 Eyed Spy's slightly less chaotic music, making this compilation sort of the downtown post-punk equivalent to Trout Mask Replica...

The Sound's inability to break through to the type of '80s post-punk prominence reserved for the likes of Joy Division and Echo & the Bunnymen, the two bands the Sound fell in between sound-wise, isn't all that easy to explain away...
The Sound
I Can't Escape Myself  3:55
Hour of Need 3:03
Jeopardy 3:38
from Jeopardy 1980
Despite the production's rough edges, the limited budget that fostered it, and the feeling that it sounds more like several A-sides and a couple decent B-sides thrown together than a singular body, Jeopardy is a caustic jolt of a debut that startles and fascinates. With the plaintive intro of the rhythm section, a spidery guitar, and incidental synth wobbles (which all sounds surprisingly Neu!-like), "I Can't Escape Myself" begins the album unassumingly enough until reaching the terse, one-line chorus that echoes the title of the song; suddenly, from out of the blue, all the instruments make a quick, violent, collective stab and retreat back into the following verse as singer Adrian Borland catches his breath...

 One of rock's most important singer/songwriters, the creator of a daring body of work who proved rock & roll could be art... The career of Lou Reed defied capsule summarization. Like David Bowie (whom Reed directly inspired in many ways), he made over his image many times, mutating from theatrical glam rocker to strung-out junkie to avant-garde noiseman to straight rock & roller to your average guy. Few would deny Reed's immense importance and considerable achievements. As has often been written, he expanded the vocabulary of rock & roll lyrics into the previously forbidden territory of kinky sex, drug use (and abuse), decadence, transvestites, homosexuality, and suicidal depression. As has been pointed out less often, he remained committed to using rock & roll as a forum for literary, mature expression throughout his artistic life, without growing lyrically soft or musically complacent.
Lou Reed
How Do You Speak to an Angel? (Michael Fonfara / Lou Reed) 4:08 
My Old Man (Michael Fonfara / Lou Reed) 3:13
Keep Away (Michael Fonfara / Lou Reed) 3:33
Growing up in Public (Michael Fonfara / Lou Reed) 3:02 
from Growing Up In Public 1980
Growing Up in Public was a transitional album for Lou Reed; it was his last set with his long-running road band (dominated by keyboardist Michael Fonfara), and while the fleshed-out arrangements are of a piece with Reed's work on Rock & Roll Heart and The Bells, the lyrics of the best songs anticipate the directly personal, emotionally naked songwriting that marked the two extraordinary albums that would follow, The Blue Mask and Legendary Hearts...

 One of the earliest and most enduring acts springing from the Factory Records scene... The Durutti Column was primarily the vehicle of Vini Reilly, a guitarist born in Manchester, England, in 1953. As a child, Reilly first took up the piano, drawing inspiration from greats like Art Tatum and Fats Waller, before learning to play guitar at the age of ten. Despite an early affection for folk and jazz, Reilly ultimately became swept up by the punk movement, and in 1977 he joined the group Ed Banger & the Nosebleeds. In 1978, Factory Records founder Tony Wilson invited Reilly to join a group dubbed the Durutti Column, the name inspired by the Spanish Civil War anarchist Buenaventura Durruti and a Situationists Internationale comic strip of the 1960s.
Durutti Column
Sketch for Summer (Vini Reilly)  2:57
Sketch for Winter (Vini Reilly) 2:24
First Aspect of the Same Thing (Martin Hannett) 3:43
Second Aspect of the Same Thing (Martin Hannett) 2:59 
from Return Of the Durutti Column 1979
More debut albums should be so amusingly perverse with its titles -- and there's the original vinyl sleeve, which consisted of sandpaper precisely so it would damage everything next to it in one's collection. Released in the glow of post-punk fervor in late-'70s Manchester, one would think Return would consist of loud, aggressive sheet-metal feedback, but that's not the way Vini Reilly works. With heavy involvement from producer Martin Hannett, who created all the synth pieces on the record as well as producing it, Reilly on Return made a quietly stunning debut, as influential down the road as his labelmates in Joy Division's effort with Unknown Pleasures. Eschewing formal "rock" composition and delivery -- the album was entirely instrumental, favoring delicacy and understated invention instead of singalong brashness -- Reilly made his mark as the most unique, distinct guitarist from Britain since Bert Jansch...
The Durutti Column performing live, early '80s
 One of the most predominant and celebrated rock bands of all time, prog- and space-rock legends, known for superlative musicianship... Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s.
Pink Floyd
In the Flesh? (Roger Waters) 3:18
The Thin Ice (Roger Waters) 2:26
Another Brick in the Wall, Pt. 1 (Roger Waters) 3:12
The Happiest Days of Our Lives (Roger Waters) 1:50
Another Brick in the Wall, Pt. 2 (Roger Waters) 3:58  
from The Wall 1979
The Wall was Roger Waters' crowning accomplishment in Pink Floyd. It documented the rise and fall of a rock star (named Pink Floyd), based on Waters' own experiences and the tendencies he'd observed in people around him. By then, the bassist had firm control of the group's direction, working mostly alongside David Gilmour and bringing in producer Bob Ezrin as an outside collaborator. Drummer Nick Mason was barely involved, while keyboardist Rick Wright seemed to be completely out of the picture. Still, The Wall was a mighty, sprawling affair, featuring 26 songs with vocals: nearly as many as all previous Floyd albums combined...

At the start of their career, Talking Heads were all nervous energy, detached emotion, and subdued minimalism. When they released their last album about 12 years later, the band had recorded everything from art-funk to polyrhythmic worldbeat explorations and simple, melodic guitar pop. Between their first album in 1977 and their last in 1988, Talking Heads became one of the most critically acclaimed bands of the '80s, while managing to earn several pop hits. While some of their music can seem too self-consciously experimental, clever, and intellectual for its own good, at their best Talking Heads represent everything good about art-school punks.
Talking Heads 
Thank You for Sending Me an Angel (David Byrne) 2:12
With Our Love (David Byrne) 3:31
The Good Thing (David Byrne) 3:03
from More Songs About Buildings and Food 1978
The title of Talking Heads' second album, More Songs About Buildings and Food, slyly addressed the sophomore record syndrome, in which songs not used on a first LP are mixed with hastily written new material. If the band's sound seems more conventional, the reason simply may be that one had encountered the odd song structures, staccato rhythms, strained vocals, and impressionistic lyrics once before. Another was that new co-producer Brian Eno brought a musical unity that tied the album together, especially in terms of the rhythm section, the sequencing, the pacing, and the mixing...

Anarchic, experimental, and whimsical ensemble originally led by guitarist Daevid Allen, a founding member of the Soft Machine.
Heavy Tune (Pierre Moerlen) 6:26
Wingful of Eyes (Mike Howlett) 6:23
Three Blind Mice (Benoit Moerlen) 4:51
from Wingful of Eyes 1978
This is a compilation from three of Gong's mid-'70s releases, Shamal, Expresso II, and Gazuese!. There's not a weak song in the bunch, but then again all three of the aforementioned recordings were all excellent. This period for Gong found them playing mostly instrumentals with a heavy percussive sound which can be attributed to the leadership of drummer Pierre Moerlen. Although they are usually listed as one of the great progressive rock bands, closer inspection reveals that this lineup actually offered more to the jazz-rock fusion movement of the mid-'70s...

Fired some of the first shots in the fusion revolution, and, for the majority of the 15 years of its existence, was its premier exponent. 
Weather Report
Birdland (Joe Zawinul) 5:59
A Remark You Made (Joe Zawinul) 6:51
Teen Town (Jaco Pastorius) 2:52
from Heavy Weather 1977
Weather Report's biggest-selling album is that ideal thing, a popular and artistic success -- and for the same reasons. For one thing, Joe Zawinul revealed an unexpectedly potent commercial streak for the first time since his Cannonball Adderley days, contributing what has become a perennial hit, "Birdland." Indeed, "Birdland" is a remarkable bit of record-making, a unified, ever-developing piece of music that evokes, without in any way imitating, a joyous evening on 52nd St. with a big band. The other factor is the full emergence of Jaco Pastorius as a co-leader; his dancing, staccato bass lifting itself out of the bass range as a third melodic voice, completely dominating his own ingenious "Teen Town" (where he also plays drums!)...

Founder of Van Der Graaf Generator, and solo artist who has covered styles ranging from progressive to lo-fi rock. 
Peter Hammill
Crying Wolf (Peter Hammill) 5:13
Time Heals (Peter Hammill) 8:43
from Over 1977
One of the best albums ever made about the end of a relationship and the trauma that results, Over is the harrowing document of the failure of a long-term relationship Peter Hammill had been in...  the songs avoid compromise and simplicity, making this a sometimes difficult listening experience; the lyrics are often bitterly clever and cutting. Beautifully produced, Over is Peter Hammill at his musical and lyrical best.

Led by guitarist John McLaughlin, a band whose sophisticated improvisations and high-powered music helped pioneer the jazz-rock fusion of the '70s. 
Mahavishnu Orchestra
All in the Family (John McLaughlin) 6:01
Inner Worlds Pts. 1 & 2 (Stu Goldberg / John McLaughlin) 6:37
from Inner Worlds 1976
The state of the second Mahavishnu Orchestra continued to be volatile in 1975, with violinist Jean-Luc Ponty out, keyboardist Gayle Moran replaced by Stu Goldberg, and all string and horn backings removed, leaving just a steaming quartet and this lone remarkable album. The addition of Goldberg, a more interesting musician than Moran, is significant, but the biggest charge is provided by the leader who, in tandem with the latest electronic equipment, turns in some of his most passionately alive playing of the whole Mahavishnu series...

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements.
David  Bowie
Station to Station  (David Bowie) 10:14
Golden Years  (David Bowie) 4:00
Word on a Wing  (David Bowie) 6:03
Wild Is the Wind  (Dimitri Tiomkin / Ned Washington) 6:00
from Station to Station 1976
Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie's cocaine-induced paranoia and detached musical persona...


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