19-12-2021 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2002-2006 (2h 45m)

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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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...

King Crimson 

Happy With What You Have to Be Happy With (Adrian Belew / King Crimson) 3:54

Potato Pie 5:03

from Happy With What You Have to Be Happy With 2002

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...

Peter Gabriel 

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).

Radiohead 

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.

19-03-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1994-1989

19-03-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1994-1989  >>The Stone Roses, Morphine, Joe Strummer, Adrian Belew, Cowboy Junkies, Jethro Tull, The Jesus Lizard, Nick Cave and the Bad Seeds, Mark Lanegan, David Byrne, Jack Bruce<<

M U S I C

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1994-1989

Manchester baggies whose classic 1989 debut made them indie legends and a highly influential name for countless alternative bands to follow. Meshing '60s-styled guitar pop with an understated '80s dance beat, the Stone Roses defined the British guitar pop scene of the late '80s and early '90s. After their eponymous 1989 debut album became an English sensation, countless other groups in the same vein became popular, including the Charlatans UK, Inspiral Carpets, and Happy Mondays. However, the Stone Roses were never able to capitalize on the promise of their first album, waiting five years before they released their second record and slowly disintegrating in the year-and-a-half after its release.
The Stone Roses
Daybreak 6:33
Breaking Into Heaven 11:19
Driving South
from Second Coming 1994
There's no denying that Second Coming is a bit of a letdown. None of the songs are quite as strong as the best on their debut, but there is plenty of good music on the band's much-delayed second record. The Stone Roses create a dense tapestry of interweaving guitars and pulsing bass grooves. Ian Brown growls a little more than before, but he isn't the center of the music; John Squire's endlessly colorful riffs are. It's clear that Squire has been listening to a bit of hard rock, particularly Led Zeppelin. While the songs occasionally take a back seat to the grooves, several tracks -- "Ten Storey Love Song," "Begging You," "Tightrope," "How Do You Sleep," and "Love Spreads" -- rank as true classics. It might not be the long-awaited masterpiece it was rumored to be, but Second Coming is a fine sophomore effort.

Addictive, offbeat, and totally original indie rockers from Boston, driven by a blistering baritone sax rather than guitars. Morphine is a rarity -- bluesy, bare-bones rock & roll without any guitars. Instead of guitar riffs, the trio relies on sliding two-string basslines, raucous saxophones, and wry, ironically detached vocals. During the mid-'90s, Morphine gained a sizable cult following in America, primarily due to good word of mouth, heavy college airplay, and positive reviews.
Morphine
Buena (Mark Sandman) 3:19
I'm Free Now (Mark Sandman) 3:24
All Wrong (Mark Sandman) 3:40
from Cure for Pain 1993
With their cult following growing, Morphine expanded their audience even further with their exceptional 1994 sophomore effort, Cure for Pain. Whereas their debut, Good, was intriguing yet not entirely consistent, Cure for Pain more than delivered. The songwriting was stronger and more succinct this time around, while new drummer Billy Conway made his recording debut with the trio (replacing Jerome Deupree). Like the debut, most of the material shifts between depressed and upbeat, with a few cacophonic rockers thrown in between... And again, Mark Sandman's two-string slide bass and Dana Colley's sax work help create impressive atmospherics throughout the album. Cure for Pain was unquestionably one of the best and most cutting-edge rock releases of the '90s.

Frontman and co-founder of the Clash who explored an eclectic variety of rock, folk, and music styles as a solo artist. As frontman and main songwriter of the Clash, Joe Strummer created some of the fieriest, most passionate punk rock -- and, indeed, rock & roll -- of all time. Strummer expanded punk's musical palette with his fondness for reggae and early rock & roll, and his signature bellow lent an impassioned urgency to the political sloganeering that filled some of his best songs. 
Joe Strummer
Love Kills (Joe Strummer) 3:59
Trash City feat. The Latino Rockabilly War (Joe Strummer) 4:11
Joe Strummer & the Mescaleros - Yalla Yalla (Pablo Cook / Richard Norris / Joe Strummer) 6:53
from Joe Strummer 001 Rec. 1993 (2018)
Few bands in the history of rock & roll left behind as powerful a legacy as the Clash, and no one in that group symbolized passion and belief like singer, guitarist, and songwriter Joe Strummer. The Clash were a great band, with all members vital to the whole, but it's impossible to imagine them without the blazing intensity of Strummer's full-hearted bray, thoughtful but rabble-rousing lyrics, and relentless rhythm guitar work. While Mick Jones may have been the band's most talented member, it's significant that Strummer could lead a flawed but credible version of the Clash without him (even if the album Cut the Crap captured almost none of the virtues of the group's final lineup). Strummer's work with the Clash casts a long shadow, but the music he made outside of the band is often regarded as a footnote, and that gives a vital part of his body of work short shrift. It's true that Strummer never played in a band better than the Clash, yet his talent and ambitious creative vision was clear regardless of the context, and the 2018 collection Joe Strummer 001 is a testament to his restless muse and the depth of his work as a tunesmith... This is hardly the last word on Joe Strummer's music outside the Clash, but Joe Strummer 001 should convince any doubters that the man never stopped being a talent to be reckoned with, regardless of the size of his audience.

13-02-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1997-1992

Sleater-Kinney

13-02-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1997-1992  >>Sleater-Kinney, Lamb, Modest Mouse, Blur, D’Angelo, Moloko, The Stone Roses, Stereolab, Morphine, Joe Strummer, Adrian Belew, Cowboy Junkies<<

M U S I C

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1997-1992

Arguably the most important punk band of the 1990s and 2000s, with feminist songwriting matched by taut melodicism and jaw-dropping sonic complexity. 
Sleater-Kinney
Heart Factory (Sleater-Kinney) 3:54
Turn It On (Sleater-Kinney) 2:47
from Dig Me Out 1997
Having reinvented the girl-punk wheel with Call the Doctor, Sleater-Kinney continues to expand the boundaries of the form with the stunning Dig Me Out. Leaner and more intricate than its predecessor, the record is remarkably confident and mature; instead of succumbing to the pressures of "next big thing" status, the trio finds vindication in all of their critical adulation -- the vocals are even more ferocious, the melodies are even more infectious, and the ideals are even more passionate.

Mancunian downtempo and drum'n'bass duo Lamb earned notice as one of the first groups to add a lyrics-based vocalist to steadfastly jungle-based productions. Unlike other vocal-based groups (such as Everything But the Girl and the Sneaker Pimps) who dabbled in rolling breaks as a quiet accompaniment to a clearly dominant vocal lead, Lamb dwell in brash musical contrasts and, occasionally, contradictions that make their songs as musically complex and exploratory as they are vocally catchy. Formed in 1994 by producer Andrew Barlow and vocalist Louise Rhodes .
Lamb
Lusty (Andy Barlow / Louise Rhodes) 4:09
Cotton Wool (Andy Barlow / Louise Rhodes) 5:07
from Lamb 1996
Using the postmodern torch music of Portishead as a foundation, Lamb spin out into new sonic territories on their eponymous debut album. The group sports a heavier techno influence, incorporating the buzzing rhythms of drum'n'bass into their music in particular, yet they cut their modernistic electronic influences with a dark sense of melodicism. Most of the album is devoted to jazzy songs that are broken apart by Andy Barlow's synthesizers and sampler and are anchored by Louise Rhodes' seductive vocals, which prevent the electronics from becoming cold. It's sophisticated urban music, one that's miles away from the avant-garde sensibilities of Tricky and the haunted romanticism of Portishead, or even the pop leanings of Sneaker Pimps and the soul-inflected grooves of Morcheeba. Instead, Lamb is classy, detached, and cool -- a more club-oriented and less melodic variation of Everything but the Girl's Walking Wounded. Although Lamb may run a little long, it's one of the more hypnotic byproducts of trip-hop yet released.

Jagged, often melodic, lo-fi post-rock, the indie rockers slowly burbled from cult sensations to unlikely alt-pop stars. 
Modest Mouse
Lounge (Modest Mouse) 6:33
Exit Does Not Exist 4:57
from This Is a Long Drive for Someone With Nothing to Think About 1996
Expanding upon the themes of emotional and geographic isolation found in the band's previous work, This Is a Long Drive for Someone with Nothing to Think About finds Modest Mouse mixing slow, brooding numbers... The general mood here is one of loneliness and desperation, eloquently expressed through both the lyrics and the rhythmic, sprawling instrumentation. "Dramamine," for instance, with its driving, mid-tempo beat and ricocheting guitar line, sums up the hopelessness of a doomed relationship...  In general, This Is a Long Drive for Someone with Nothing to Think About is a fine album, and Modest Mouse distinguishes itself here with songs whose meanings are simultaneously universal and painfully personal.

29-10-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2005-2000

Ben Lamdin -Nostalgia 77

29-10-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2005-2000  >>Nostalgia 77, Adrian Belew, Cowboy Junkies, Lhasa, Woven Hand, Ween, Jazzanova, David Bowie, 16 Horsepower, Dead Meadow, PJ Harvey<<

M U S I C

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2005-2000

Alias of Benedic Lamdin, an eclectic producer who switched between samples and live instrumentation on releases for Ubiquity and Tru Thoughts.  
Nostalgia 77
Cheney Lane 4:40
Green Blades of Grass 3:30
Seven Nation Army feat. Alice Russell 4:22
from The Garden 2005
The difference in spirit between Ben Lamdin's first and second Nostalgia 77 albums is tipped off by their titles. While 2004's Songs for My Funeral was fittingly downcast, The Garden is instead saturated with bright, vibrant energy. They're quite dissimilar in setup as well, with the debut's hip-hop roots exchanged for a combination of programming and actual live humans creating groove-driven jazz indebted to a range of recordings from the late '50s through the '70s...

Benedic Lamdin

Acclaimed guitarist's influence has ranged from progressive to indie rock.  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.
Adrian Belew
Ampersand (Adrian Belew) 4:23
Matchless Man (Adrian Belew) 2:32
Walk Around the World (Adrian Belew) 4:58
from Side One 2005
By 2005, it had been nearly eight years since Adrian Belew had unleashed an all-new solo studio effort. That's not to say he wasn't busy, though, as he toured/recorded with both King Crimson and the Bears during this time. And in the process, he became quite friendly with two of rock's top players -- Primus' Les Claypool and Tool's Danny Carey -- who happened to be major Belew fans. As a result, Belew invited the duo to play on several tracks on Side One...

Soporific Canadian country dream poppers, captured Americana imagination in the late-1980s & early-'90s. Canada's Cowboy Junkies' create a music grounded in traditional country, blues, and folk, filled with languid guitars and ethereal vocals courtesy of Margo Timmins. 
Cowboy Junkies
One Soul Now (Michael Timmins) 4:54
Why This One (Michael Timmins) 3:47
My Wild Child (Michael Timmins) 3:52
from One Soul Now 2004
While it seems more common in the '80s, '90s, and beyond for a good band to remain intact for ten-plus years, they all face the same challenge: how does one continue to keep the music fresh and remain relevant? The Cowboy Junkies faced an uphill battle from the get-go, always living in the shadow of The Trinity Session (1988), and moving from the mainstream (including major labels, radio play, and a gig on Saturday Night Live) to just under the radar. Despite these changes, the Junkies have still been able to make great albums, like 1992's Black Eyed Man and 2001's Open. Both of these albums also showed a band willing to delve into new sounds (country and classic rock, respectively) and come up winners. One Soul Now seems to pick up where Open left off, retaining the tougher sound highlighted by edgy guitar work and a more rhythmic pulse...

07-10-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2009-2004

07-10-2018 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2009-2004  >>Rival Sons, Roy Hargrove, Elvin Bishop, Back Door Slam, Radiohead, Jay Reatard, Isobel Campbell & Mark Lanegan, Nostalgia 77, Adrian Belew, Cowboy Junkies, Lhasa<<

M U S I C

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2009-2004

Fuzzed-out classic rock revivalists from Los Angeles whose sound evokes the bluesy sound of legendary bands like Led Zeppelin. Based in sunny Los Angeles, California, Rival Sons evoke the bluesy rock of bands like Led Zeppelin and the Black Crowes. Formed in 2008, the quartet of Scott Holiday (guitar), Robin Everhart (bass), Mike Miley (drums), and Jay Buchanan (vocals) captures that massively huge, guitar-driven classic rock sound, with rock-solid drumming and a riff-oriented approach to songwriting backing up Buchanan's soaring vocals.
Rival Sons
Pocketful Of Stones 2:56
Tell Me Something 4:06
from Before the Fire 2009
...Despite the uncannily resilient popularity of music from the golden age of rock and roll, no band (that I have heard) has been able to write original music that rekindles the raw, authentic soul of good ‘ol rock and roll. I might be unqualified to discuss this issue being that I was regrettably not alive in the generation that produced my favorite music, and am adamantly ashamed of the music that my generation has to show for itself…and I know I’m not the only one. That being said, the music of The Rival sons makes no secret about it’s influences from Zeppelin, Floyd and other iconic sounds, but they are far from a ‘throwback band’. Probably the best word to describe the connection between The Rival Sons’ music and their influences is ‘homage’. They do not emulate their rock and roll influences, they pay tribute to them and build upon them to produce a sound that is entirely their own. Bluesy and soulful to raw and driving to sprawling and melodic – Miley’s solid, relentless drums and Robin’s groovy bass lines lay the foundation for Scott’s blood-boiling guitar riffs and face-melting solos, all topped off by Jay’s gritty-yet-smooth vocals that fall somewhere between Robert Plant and Axel Rose...

One of the best trumpeters to emerge from the 90s, blending Afro-Cuban rhythms inventively with neobop. Roy Hargrove is a hard bop-oriented musician (and acclaimed "Young Lion") who became one of America's premier trumpeters during the late 1980s and beyond.
Roy Hargrove
I'm Not So Sure (Cedar Walton) 5:48
Brown (Roy Hargrove) 4:30
from Earfood 2008
The now mature jazz trumpeter/composer/bandleader Roy Hargrove, who has been utterly masterful since the beginning of his career, has been involved with various all-star bands, neo-fusion outfits, and made a very good living playing modern instrumental music. Now he is reaching a new and elevated level of pure jazz artistry with Earfood. A studio recording of his live touring repertoire with his working quintet, Hargrove presents several ballads, favorites from jazz veterans, and well rendered originals, all in the spirit of the famed trumpeters who preceded him. Alto saxophonist Justin Robinson and pianist Gerald Clayton are not only rising stars and standout soloists, but also players perfectly compatible to play this contemporary and mainstream modern jazz. Add young bassist Danton Bolder and the excellent drummer Montez Coleman, and you have a band that can bring Hargrove's music fully to life. It is said that everyone learns from their mistakes, but if that is true, Hargrove has gone far beyond the pale, and is flawless here, in terms of both concept and execution...

Original member of the Butterfield Blues Blues Band who had a mid-'70s country-soul hit. A veteran guitarist who fused the blues with gospel, R&B, and country traditions, Elvin Bishop was born in Glendale, California, on October 21, 1942.
Elvin Bishop
The Blues Rolls On feat: Warren Harris / Kim Wilson (Elvin Bishop) 4:23
Yonder's Wall feat: Ronnie Baker Brooks / Tommy Castro (James Clark) 4:06
Send You Back to Georgia feat: George Thorogood 3:15
from The Blues Rolls On 2008

Bishop hops labels once again, this time to the relatively young and scrappy Delta Groove imprint, while calling up some names in his obviously well-stocked Rolodex to assist on his first predominately studio album in three years. Like most guest studded affairs, this is an inconsistent but enjoyable romp... As you can see, the album is pieced together from a variety of sessions in different locations, resulting in a patchwork set that, despite many excellent and above all enthusiastic performances, never quite gels. Like the collage of pictures on the back cover, this is more a scrapbook of Bishop playing with his pals and acquaintances than a focused project, but there is enough quality music here to attract established fans, even if this isn't the place to generate new ones.