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2018. január 6., szombat

06-01-201817:59 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1986-1990 / 2h 26m

06-01-201817:59 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1986-1990 / 2h 26m  >>Tom Waits, Otis Rush, Eric Clapton, Luther Allison, Frank Zappa, George Harrison, Dead Can Dance, Tom Waits, Steve Tibbetts, Laurie Anderson, Elvis Costello, Sonic Youth<<


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A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed. / In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice. From the '80s on, his work became increasingly theatrical as he moved into acting and composing.
Tom Waits
Diamonds on My Windshield (Tom Waits) 3:12
(Looking For) The Heart of Saturday Night (Tom Waits) 3:53
Martha (Tom Waits) 4:30
Grapefruit Moon ((Tom Waits) 4:50
from Asylum Years 1986
The second British Tom Waits compilation was a more extensive look at the 1973-1980 Asylum Records catalog than the first, Bounced Checks from 1981 (four more tracks), but it was another idiosyncratic selection... The overall unevenness of the Asylum albums cries out for a well-chosen compilation.

An architect of Chicago blues' West Side sound, whose style combined broodingly intense vocals and sweet, stinging guitar solos. / Breaking into the R&B Top Ten his very first time out in 1956 with the startlingly intense slow blues "I Can't Quit You Baby," southpaw guitarist Otis Rush subsequently established himself as one of the premier bluesmen on the Chicago circuit...
Otis Rush & Friends
feat: Eric Clapton, Luther Allison
Tops (Otis Rush) 4:38
Lonely Man (Milton Campbell) 4:27
All Your Love (I Miss Loving) (Otis Rush) 7:07
from Live At Montreux 1986
This 1986 concert by Otis Rush was the first of four appeances that the legendary bluesman has made at the Montreux Festival to date. This particular night turned out to be a very special one when he was joined on stage by first Eric Clapton and then Luther Allison as they rockedtheir way through a set of Otis Rush classics and blues standards in a truly unforgettable performance.
With: Otis Rush (vocals, guitar). Professor Eddie Lusk (vocals, keyboards), Anthony Palmer (guitar), Fred Barnes (bass), Eddie Turner (drums). Special guest artists: Eric Clapton (guitar, vocals), Luther Allison (guitar, vocals).

...His disparate influences included doo wop music and avant-garde classical music; although he led groups that could be called rock & roll bands for much of his career, he used them to create a hybrid style that bordered on jazz and complicated, modern serious music, sometimes inducing orchestras to play along. As if his music were not challenging enough, he overlay it with highly satirical and sometimes abstractly humorous lyrics and song titles that marked him as coming out of a provocative literary tradition that included Beat poets like Allen Ginsberg and edgy comedians like Lenny Bruce. Nominally, he was a popular musician, but his recordings rarely earned significant airplay or sales, yet he was able to gain control of his recorded work and issue it successfully through his own labels while also touring internationally, in part because of the respect he earned from a dedicated cult of fans and many serious musicians, and also because he was an articulate spokesman who promoted himself into a media star through extensive interviews he considered to be a part of his creative effort just like his music...
Frank Zappa
St. Etienne  (Frank Zappa) 6:26
G-Spot Tornado  (Frank Zappa) 3:17
Damp Ankles  (Frank Zappa) 3:45
from Jazz from Hell 1986
While Frank Zappa had ostensibly been "on his own" since the dissolution of the Mothers of Invention in 1969, never before had he used the term "solo artist" as literally as he does on the Grammy Award winning (in the "Best Rock Instrumental Performance by an orchestra, group or soloist" category) Jazz from Hell (1986). After two decades of depending on the skills, virtuosity, and temperament of other musicians, Zappa all but abandoned the human element in favor of the flexibility of what he could produce with his Synclavier Digital Music System...

Known as the quiet Beatle, he cut an indelible impression with musical virtuosity, lyrical guitar playing, and his beautiful introspective songs.  / Nicknamed "the Quiet Beatle" at the height of Beatlemania, George Harrison did indeed seem somewhat reserved compared to the other members of the Fab Four. He favored wry wit to Ringo Starr's clowning, and he never indulged in either John Lennon's penchant for controversy or Paul McCartney's crowd-pleasing antics.
George Harrison
Cloud 9 (George Harrison) 3:16
When We Was Fab
George Harrison / Jeff Lynne) 3:59
Zig Zag (George Harrison) 2:46
from Cloud Nine 1987
Teaming with legendary Beatles obsessive Jeff Lynne, George Harrison crafted a remarkably consistent and polished comeback effort with Cloud Nine. Lynne adds a glossy production, reminiscent of ELO, but what is even more noticeable is that he has reined in Harrison's indulgences, keeping the focus on a set of 11 snappy pop/rock numbers.

Australian duo whose unique doomful sound combining electronics, Celtic flavors, and various World Music touches set goth hearts aflame. / Dead Can Dance combine elements of European folk music -- particularly music from the Middle Ages and the Renaissance -- with ambient pop and worldbeat flourishes. Their songs are of lost beauty, regret and sorrow, inspiration and nobility, and of the everlasting human goal of attaining a meaningful existence.
Dead Can Dance
Anywhere out of the World (Lisa Gerrard / Brendan Perry) 5:07
Windfall (Lisa Gerrard / Brendan Perry) 3:31
from Within The Realm Of A Dying Sun 1987
With its two sides split between Perry and Gerrard's vocal efforts, Within the Realm of a Dying Sun serves as both a display for the ever more ambitious band and a chance for the two to individually demonstrate their awesome talents...

A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed. / In the 1970s, Tom Waits combined a lyrical focus on desperate, low-life characters with a persona that seemed to embody the same lifestyle, which he sang about in a raspy, gravelly voice. From the '80s on, his work became increasingly theatrical as he moved into acting and composing
Tom Waits
Strange Weather (Kathleen Brennan / Tom Waits) 3:35
Big Black Mariah (Tom Waits) 2:59
Rain Dogs (Tom Waits) 3:36
from Big Time 1988
Big Time is an 18-track live album running nearly 68 minutes, its material drawn mostly from Tom Waits' trio of recent studio albums, Swordfishtrombones, Rain Dogs, and Franks Wild Years... Big Time makes a useful sampler of Waits' later work that might enable a listener to determine whether to invest in the studio recordings.

Tibbetts plays acoustic and electric guitar as well as exotic percussive instruments such as the kendang and kalimba. His musical compositions span several genres and styles including experimental, jazz, rock, ambient, and world music. He has self described his music as "post modern neo-primitivism".
Steve Tibbetts
Black Mountain Side (Jimmy Page) 2:57
Big Idea (Steve Tibbetts) 5:14
Station (Steve Tibbetts / Marcus Wise / Richie Wise) 5:00
Mile 234 (Marc Anderson / Rick Marc Anderson / Steve Tibbetts) 6:23
from Big Map Idea 1988
Steve Tibbetts is the thinking-man's guitar player whose music spans a host of influences -- folk, jazz, rock, ethnic, modern classical -- without being bound by any of them... Meanwhile cello, acoustic guitar, guitar synth, kalimba, tabla and assorted percussion come and go in a dizzying collage of impressionistic sounds.

N.Y.C.-based performance artist whose ambitious multimedia projects encompassed not only music but also spoken word, film, and dance. / After briefly entering the mainstream pop radar in 1981 with her lone hit "O Superman," Laurie Anderson enjoyed a public visibility greater than virtually any other avant-garde figure of her era. Her infrequent forays into rock aside, Anderson nevertheless remained firmly grounded within the realm of performance art, her ambitious multimedia projects encompassing not only music but also film, visual projections, dance, and -- most importantly -- spoken and written language, the cornerstone of all of her work
Laurie Anderson
Strange Angels (Laurie Anderson) 3:52
Monkey's Paw (Laurie Anderson) 4:35
Coolsville (Laurie Anderson) 4:38
Ramon (Laurie Anderson) 5:05
from Strange Angels 1989
Laurie Anderson's third proper studio album, coming over five years after 1984's Mister Heartbreak (1986's Home of the Brave was a film soundtrack), is a near-total departure from anything she had done before or, indeed, anything she did after. The most purely musical of Anderson's albums and the one on which she does the most actual singing (though her trademark deadpan spoken-word passages are still present and accounted for), Strange Angels seems to be Anderson's idea of a straightforward pop album. Of course, given Anderson's pedigree, this is not Whitney Houston territory...

The most evocative, innovative, and gifted songwriter since Bob Dylan, with songs that offer highly personal takes on love and politics. / When Elvis Costello's first record was released in 1977, his bristling cynicism and anger linked him with the punk and new wave explosion. A cursory listen to My Aim Is True proves that the main connection that Costello had with the punks was his unbridled passion; he tore through rock's back pages taking whatever he wanted, as well as borrowing from country, Tin Pan Alley pop, reggae, and many other musical genres. 
Elvis Costello
...This Town... (Declan MacManus) 4:30
Deep Dark Truthful Mirror (Elvis Costello) 4:03
Satellite (Declan MacManus) 5:44
from Spike 1989
Following a pair of near-masterpieces in 1986, Elvis Costello went into semi-seclusion, separating from the Attractions (once again) and Columbia Records, emerging three years later on Warner Brothers with Spike. Mockingly billing himself as "the Beloved Entertainer" on the album's front cover, there's nevertheless a real sense of showbiz pizzazz here, as he tries on a little bit of everything... There are some moments that work quite well, but there's nothing connecting them, and if anything, he's trying way too hard -- and, for all of the overarching ambition of his early-'80s recordings, that criticism never applied before. Certainly, there are cuts for cultists to enjoy, but Spike's sprawl works against it, resulting in a maddeningly diffuse listen.

Pioneers in noise rock who continued creating sophisticated, visceral music long after they became an alt-rock institution. / Sonic Youth were one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance art aesthetic borrowed from the New York post-punk avant-garde, Sonic Youth redefined what noise meant within rock & roll. Sonic Youth rarely rocked, though they were inspired directly by hardcore punk, post-punk, and no wave. Instead, their dissonance, feedback, and alternate tunings created a new sonic landscape, one that redefined what rock guitar could do.
Sonic Youth
Dirty Boots  (Kim Gordon / Thurston Moore / Lee Ranaldo / Steve Shelley) 5:29
Tunic (Song for Karen) (Kim Gordon / Thurston Moore / Lee Ranaldo / Steve Shelley) 6:21
Mary-Christ (Kim Gordon / Thurston Moore / Lee Ranaldo / Steve Shelley) 3:11
Kool Thing  (Kim Gordon / Thurston Moore / Lee Ranaldo / Steve Shelley) 4:06
from Goo 1990
Any doubts as to the continuing relevance of Sonic Youth upon their jump to major-label status were quickly laid to rest by Goo, their follow-up to the monumental Daydream Nation. While paling in the shadow of its predecessor, the record is nevertheless a defiant call to arms against mainstream musical values; the Geffen logo adorning the disc is a moot point -- Goo is, if anything, a portrait of Sonic Youth at their most self-indulgently noisy and contentious, covering topics ranging from Karen Carpenter ("Tunic") to UFOs ("Disappearer") to dating Jesus' mom ("Mary-Christ"). Even Public Enemy's Chuck D joins the fracas on the single "Kool Thing," which teeters on the brink of a cultural breakthrough but falls just shy of the mark; the same could be said of Goo itself -- by no means a sellout, it nevertheless lacks the coherence and force of the group's finest work, and the opportunity to violently rattle the mainstream cage slips by.

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