HAPPY WiTH WHAT YOU HAVE TO BE HAPPY WiTH FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2002-2006 (2h 45m) >>King Crimson, Peter Gabriel, Radiohead, King Crimson, Steve Winwood, PJ Harvey, Califone, Cowboy Junkies, Adrian Belew, Ali Farka Touré, The Black Keys<<
M U S I C (2h 45m)
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If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist...
Radiohead is an English alternative rock band from Abingdon, Oxfordshire, UK which formed in 1985. The band is composed of Thom Yorke (lead vocals, rhythm guitar, piano, beats), Jonny Greenwood (lead guitar, keyboard, other instruments), Ed O'Brien (guitar, backing vocals), Colin Greenwood (bass guitar) and Phil Selway (drums, percussion).
If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...
King Crimson
As a solo artist, Steve Winwood is primarily associated with the highly polished blue-eyed soul-pop that made him a star in the '80s. Yet his turn as a slick, upscale mainstay of adult contemporary radio was simply the latest phase of a long and varied career, one that's seen the former teenage R&B shouter move through jazz, psychedelia, blues-rock, and progressive rock...
Of the singer/songwriters who rose to prominence during the alternative rock explosion, few are as distinctive or as widely praised as Polly Jean Harvey. Over the course of her career, Harvey established herself as one of the most individual and influential songwriters of her era, exploring themes of sex, religion, and political issues with unnerving honesty, dark humor, and a twisted theatricality...
An eclectic experimental rock ensemble from Chicago, Califone make music that finds a common ground between acoustic and electronic sounds, as well as forming a bridge between an organic, melodic approach and a purposeful dissonance that's challenging yet intelligent. Embracing folk and blues disciplines as well as the avant-garde, experimental electronics, and minimalism, Califone are a group that can engage listeners with their humanity while gently but decisively exploring the outer limits of their work's conventions...
One of the most unique and enduring bands in alternative rock, Cowboy Junkies embodied a sound that had its roots in traditional folk, blues, and country music but was performed with a placid, languid pace that belied the slow-burning passion of their performances. The honey-infused, ethereal whisper of lead singer Margo Timmins was matched by the spare but thoughtful accompaniment of guitarist Michael Timmins, bassist Alan Anton, and drummer Peter Timmins, and their most successful recordings played heavily on that dynamic, documented in a naturalistic and unobtrusive manner...
Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc.), he remains one of the most underrated and woefully overlooked guitarists of recent times. Like all great guitarists, Belew has his own recognizable style/sound (one that admittedly tends to be quirky and off-the-wall at times), and is an incredibly versatile player, as he's always found a way to make his signature style fit into a wide variety of musical genres: hard rock, funk, new wave, experimental, Beatlesque pop, and more...
One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves. There is a lot of truth to the comparison, however, and it isn't exactly an insult. The guitarist, who also played other instruments such as calabash and bongos, shared with Hooker (and similar American bluesmen like Lightnin' Hopkins) a predilection for low-pitched vocals and midtempo, foot-stomping rhythms, often playing with minimal accompaniment. Touré's delivery was less abrasive than Hooker's, and the general tone of his material somewhat sweeter...
Midwest guitar-and-drum duo the Black Keys are known for their raw blues- and garage rock-infused sound. Influenced by performers like Junior Kimbrough, Howlin' Wolf, and Robert Johnson, the band emerged in Akron, Ohio, and gained early buzz with 2002's The Big Come Up before signing with cult blues label Fat Possum Records for 2003's Thickfreakness and 2004's Rubber Factory...
favtraxmix label The player always plays the latest playlist tracks. / A lejátszó mindig a legújabb playlist számait játssza.
2002-2006
If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...
Happy With What You Have to Be Happy With (Adrian Belew / King Crimson) 3:54
Potato Pie 5:03
The relationship between this EP and King Crimson's Power to Believe (2003) long-player mirrors that of the six-track Vrooom (1994) sampler and subsequent full-length release Thrak (1994). The music perfectly contrasts the primarily instrumental and live Level Five (2001) EP by honing in on the latest lyrical contributions from Adrian Belew (guitar/vocals)... This slams headlong into the thrashing title track, which is not too far removed from the angst-ridden alternative metal from the likes of Therapy?, Tool, and Rammstein. In true Belew style, he incongruously twists the subject matter into a sonically aggressive backdrop, cleverly dissecting his craft as a singer/songwriter, exemplified in the lyrics: "And when I have some words/This is the way I'll sing/Through a distortion box/To make them menacing."... This is without a doubt one of the most lyrically poignant and musically refined tunes in the King Crimson repertoire, taking its rightful place alongside tracks such as "One Time" or "Frame by Frame." Belew's vocals hang ethereally over the languid, inspired instrumentation. "Potato Pie" is a moody and dark blues containing angular chord structures as well as some symbiotic fretwork from Fripp and Belew...
As the leader of Genesis in the early '70s, Peter Gabriel helped move progressive rock to new levels of theatricality. He was no less ambitious as a solo artist, but he was more subtle in his methods. With his eponymous debut solo album in 1977, he explored dark, cerebral territory, incorporating avant-garde, electronic, and worldbeat influences into his music. The record, as well as its two similarly titled successors, established Gabriel as a critically acclaimed cult artist...
Darkness (Peter Gabriel) 5:51
Sky Blue (Peter Gabriel) 6:37
I Grieve (Peter Gabriel) 7:24
from Up 2002
Ten years is a long time, especially in pop music, but waiting ten years to deliver an album is a clear sign that you're not all that interested in the pop game anyway. Such is the case with Peter Gabriel, who delivered Up in 2002, a decade after Us and four years after he announced its title. Perhaps appropriately, Up sounds like an album that was ten years in the making, revealing not just its pleasures but its intent very, very slowly... Really, there is no other choice for an artist as somber and ambitious as Gabriel to craft an album as dense as Up; those who have waited diligently for ten years would be disappointed with anything less and, frankly, they're the only audience that matters after a decade. And they're not likely to be disappointed, since this album grows stronger, revealing more with each listen. Initially, it seems to simply carry on the calmer, darker recesses of Us, but this is an uncompromising affair, which is to its advantage, since Gabriel delves deeper into darkness, grief, and meditation... But those serious fans who want to spend time with this will find that it does pay back many rewards.
Radiohead is an English alternative rock band from Abingdon, Oxfordshire, UK which formed in 1985. The band is composed of Thom Yorke (lead vocals, rhythm guitar, piano, beats), Jonny Greenwood (lead guitar, keyboard, other instruments), Ed O'Brien (guitar, backing vocals), Colin Greenwood (bass guitar) and Phil Selway (drums, percussion).
2 + 2 = 5 (Radiohead) 3:19
Sail to the Moon (Radiohead) 4:18
There, There (Radiohead) 5:23
A Punchup at a Wedding (Radiohead) 4:57
from Hail to the Thief 2003
Radiohead's admittedly assumed dilemma: how to push things forward using just the right amounts of the old and the older in order to please both sides of the divide? Taking advantage of their longest running time to date, enough space is provided to quench the thirsts of resolute Bends devotees without losing the adventurous drive or experimentation that eventually got the group into hot water with many of those same listeners. Guitars churn and chime and sound like guitars more often than not; drums are more likely to be played by a human; and discernible verses are more frequently trailed by discernible choruses... At nearly an hour in length, this album doesn't unleash the terse blow delivered by its two predecessors. However, despite the fact that it seems more like a bunch of songs on a disc rather than a singular body, its impact is substantial. Regardless of all the debates surrounding the group, Radiohead have entered a second decade of record-making with a surplus of momentum.
If there is one group that embodies progressive rock, it is King Crimson. Led by guitar/Mellotron virtuoso Robert Fripp, during its first five years of existence the band stretched both the language and structure of rock into realms of jazz and classical music, all the while avoiding pop and psychedelic sensibilities. The absence of mainstream compromises and the lack of an overt sense of humor ultimately doomed the group to nothing more than a large cult following, but it made their albums some of the most enduring and respectable of the prog rock era...
King Crimson
The Power to Believe, Pt. 1: A Cappella (Adrian Belew / King Crimson) 0:43
Level Five (Adrian Belew / King Crimson) 7:15
Eyes Wide Open (Adrian Belew / King Crimson) 4:08
Elektrik (Adrian Belew / King Crimson) 7:59
from The Power to Believe 2003
... While it draws upon material featured on the live Level Five (2001) and studio Happy with What You Have to Be Happy With (2002) extended-play discs, there are also several new sonic sculptures included. Among them is the title track, which is divided into a series of central thematic motifs much in the same manner as the "Larks' Tongues in Aspic" movements had done in the past. This 21st century schizoid band ably bears the torch of its predecessors with the same ballsy aggression that has informed other seminal King Crimson works -- such as In the Court of the Crimson King (1969), Red (1974), and more recently THRAK (1995). This incarnation of the Mighty Krim includes the excessively talented quartet of Adrian Belew (guitar/vocals), Robert Fripp (guitar), Trey Gunn (Warr guitar/Warr fretless guitar), and Pat Mastelotto (percussion)...
As a solo artist, Steve Winwood is primarily associated with the highly polished blue-eyed soul-pop that made him a star in the '80s. Yet his turn as a slick, upscale mainstay of adult contemporary radio was simply the latest phase of a long and varied career, one that's seen the former teenage R&B shouter move through jazz, psychedelia, blues-rock, and progressive rock...
Different Light (Steve Winwood) 6:35
Take It to the Final Hour (Steve Winwood) 5:58
Phoenix Rising (Steve Winwood) 7:26
from About Time 2003
...About Time finds Winwood scaling back things considerably, keeping himself to a trio featuring him on a Hammond organ, drummer Walfredo Reyes, Jr., and guitarist José Piresde Almeida Neto. Occasionally, congas and timbales and other percussion flesh out the rhythm, while Karl Denson plays flute or saxophone elsewhere, but these are subtle additions to a loose, laid-back, intimate album that harks back to Traffic, even if it is never as freewheeling or unpredictable as that band. Winwood's ambitions with ..
Of the singer/songwriters who rose to prominence during the alternative rock explosion, few are as distinctive or as widely praised as Polly Jean Harvey. Over the course of her career, Harvey established herself as one of the most individual and influential songwriters of her era, exploring themes of sex, religion, and political issues with unnerving honesty, dark humor, and a twisted theatricality...
The Life and Death of Mr. Badmouth (PJ Harvey) 4:50
Shame (PJ Harvey) 2:32
Who the Fuck? (PJ Harvey) 2:06
from Uh Huh Her 2004
Even though she's not quite as overt about it as Madonna or David Bowie, PJ Harvey remains one of rock's expert chameleons. Her ever-changing sound keeps her music open to interpretation, and her seventh album, Uh Huh Her, is no different in that it departs from what came before it. Uh Huh Her -- a title that can be pronounced and interpreted as an affirmation, a gasp, a sigh, or a laugh -- is, as Harvey promised, darker and rawer than the manicured Stories from the City, Stories from the Sea... Perhaps the most nuanced album in PJ Harvey's body of work, Uh Huh Her balances her bold and vulnerable moments, but remains vital.
An eclectic experimental rock ensemble from Chicago, Califone make music that finds a common ground between acoustic and electronic sounds, as well as forming a bridge between an organic, melodic approach and a purposeful dissonance that's challenging yet intelligent. Embracing folk and blues disciplines as well as the avant-garde, experimental electronics, and minimalism, Califone are a group that can engage listeners with their humanity while gently but decisively exploring the outer limits of their work's conventions...
Wingbone (Tim Rutili) 3:45
Heron King Blues (Ben Massarella / Tim Rutili) 14:55
from Heron King Blues 2004
On Heron King Blues, Califone continues to sharpen the attack they mounted on Quicksand/Cradlesnakes: a very natural-sounding blend of folk and blues, experimental rock, and electronic textures. "Wingbone" starts things out as an all-acoustic affair, with an understated (and somewhat cryptic) melodic vocal and pretty, complementary acoustic guitars... The album's centerpiece has to be the title cut though: a nearly 15-minute-long delicious slab of detuned avant skronk blues that strongly echoes Captain Beefheart's Mirror Man album. Califone takes familiar elements and often combines them in unfamiliar ways without sounding unfamiliar or ever losing sight of the song. That's a difficult balancing act, and one that they pull off completely on Heron King Blues.
One of the most unique and enduring bands in alternative rock, Cowboy Junkies embodied a sound that had its roots in traditional folk, blues, and country music but was performed with a placid, languid pace that belied the slow-burning passion of their performances. The honey-infused, ethereal whisper of lead singer Margo Timmins was matched by the spare but thoughtful accompaniment of guitarist Michael Timmins, bassist Alan Anton, and drummer Peter Timmins, and their most successful recordings played heavily on that dynamic, documented in a naturalistic and unobtrusive manner...
License to Kill (Bob Dylan) 4:47
Two Soldiers (Traditional) 4:02
December Skies (Michael Timmins) 5:18
from Early 21st Century Blues 2005
It's been over 15 years since the Cowboy Junkies dropped their sparse masterpiece The Trinity Session. Recorded with very little gear in the span of one evening, it introduced the group's signature "sepia-drone" delivery to the world, a style that's never really undergone any surgery. Early 21st Century Blues attempts to build a bridge between 1988 and 2005 with a new collection of standards, covers, and originals that employ that same minimalist approach and scant recording time -- five days this time around. Built around the themes of "war, violence, fear, greed, ignorance, and loss," the familial quartet, along with a handful of friends, presents the works of Bob Dylan, John Lennon, Bruce Springsteen, Richie Havens, and U2 as filtered through the half-time heartbeat that is the Cowboy Junkies' trademark... All of the intimacy, heavy guitar reverb, smoky vocals, and snares kissed by brushes that fans have come to expect are here, rolling in like a harmless summer rain dressed in the dark clouds of a storm...
Although Adrian Belew has played with some of rock's biggest names over the years (Frank Zappa, David Bowie, the Talking Heads, King Crimson, etc.), he remains one of the most underrated and woefully overlooked guitarists of recent times. Like all great guitarists, Belew has his own recognizable style/sound (one that admittedly tends to be quirky and off-the-wall at times), and is an incredibly versatile player, as he's always found a way to make his signature style fit into a wide variety of musical genres: hard rock, funk, new wave, experimental, Beatlesque pop, and more...
Dead Dog on Asphalt (Adrian Belew) 4:05
Face to Face (Adrian Belew / Erick Cole) 3:03
Sex Nerve (Adrian Belew) 3:06
from Side Two 2005
Then came Side One, Belew's triumphant return to the type of experimental rock that first turned heads in his direction more than 20 years ago. Maybe it was the time away from his solo career proper; maybe it was hooking up with relative youngsters like Danny Carey and Les Claypool, but Belew seemed positively reinvigorated. That feeling continues with Side Two. No big guest stars on this one; Belew handles just about everything entirely solo. Longtime fans may be a bit surprised by the prevalence of electronic sounds, loops, and synthesized percussion, but Belew has really done a great job of incorporating them into his sound. The lyrics are deliberately sparse (inspired by Haiku), which allows for much more focus on the music and atmosphere. In fact, Belew has pretty much forsaken any "pop" aspirations here and fully pursued his more experimental muse, which will absolutely delight many of his longtime fans (and perhaps alienate the more pop-oriented ones a bit, though nothing here really qualifies as harsh or difficult listening). The album is filled with great sounds and textures, and there is plenty of ferocious guitar playing, as expected...
One of the most internationally successful West African musicians of the '90s, Ali Farka Touré was described as "the African John Lee Hooker" so many times that it probably began to grate on both Touré's and Hooker's nerves. There is a lot of truth to the comparison, however, and it isn't exactly an insult. The guitarist, who also played other instruments such as calabash and bongos, shared with Hooker (and similar American bluesmen like Lightnin' Hopkins) a predilection for low-pitched vocals and midtempo, foot-stomping rhythms, often playing with minimal accompaniment. Touré's delivery was less abrasive than Hooker's, and the general tone of his material somewhat sweeter...
Erdi 4:41
Yer Bounda Fara 4:16
Beto 4:45
from Savane 2006
Before his death in 2006, Malian guitarist Ali Farka Toure recorded some sessions in the Hotel Mande in Bamako, Mali. SAVANE, released posthumously, is taken from those sessions, and it bears testament to Farka Toure's standing as one of the giants of contemporary African music. The hallmarks of the artist's work are all here: gentle, mesmerizing tunes centered on sinuous, circular guitar patterns, and evocative vocal lines that float above the music and work in dialogue with the percussion. A valuable addition to Farka Toure's catalogue, SAVANE is a beautiful, elegant swan song that belongs alongside the artist's best work.
Midwest guitar-and-drum duo the Black Keys are known for their raw blues- and garage rock-infused sound. Influenced by performers like Junior Kimbrough, Howlin' Wolf, and Robert Johnson, the band emerged in Akron, Ohio, and gained early buzz with 2002's The Big Come Up before signing with cult blues label Fat Possum Records for 2003's Thickfreakness and 2004's Rubber Factory...
Keep Your Hands off Her (Junior Kimbrough) 3:06
Work Me (Junior Kimbrough) 4:15
Nobody But You (Junior Kimbrough) 5:21
from Chulahoma: The Songs of Junior Kimbrough 2006
Chulahoma is a stopgap EP from the Black Keys, a collection of six covers of songs by cult bluesman Junior Kimbrough, whose "Do the Rump" they covered on their 2002 debut, Big Come Up. Considering that this is the first time the blues-rock guitar-n-drums duo has devoted an album to nothing but straight-ahead blues songs, it wound seem logical that Chulahoma would be the bluesiest recording in their catalog, but the Black Keys aren't that simple. The six songs on this 28-minute EP are hardly replications of Kimbrough's gritty originals, nor do they have the dirty, punch-to-the-gut feel of any of the duo's three proper albums. Instead, this is the weirdest set of music the band has done to date, a trippy, murky excursion into territory that floats somewhere between the primal urgency of the duo's best work and the dark, moody psychedelia of late-'60s blues-rock... And while that might mean that Chulahoma doesn't necessarily sound like a kissing cousin to Kimbrough's originals, it does make it a greater, richer tribute than most cover albums, and it certainly proves that Auerbach's testimonial in the liner notes about how Junior Kimbrough changed his life is no lie.
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