16-09-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1981-1976 >>Peter Hammill, Tom Waits, Gil Scott-Heron, Frank Zappa, The Raincoats, Pere Ubu, Rory Gallagher, Peter Gabriel, The Stranglers, Van Der Graaf Generator, Soft Machine<<
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Founder of Van Der Graaf Generator, and solo artist who has covered styles ranging from progressive to lo-fi rock.
Peter Hammill
Breakthrough (Peter Hammill) 4:01
Ophelia (Peter Hammill) 3:15
Sitting Targets (Peter Hammill) 5:26
from Sitting Targets 1981
Peter Hammill again plays the same trick as he did in 1978-1979, when, after the strange, experimental The Future Now LP, came the more straightforward pH7. The same relationship exists between A Black Box and Sitting Targets. The latter LP, released in 1981, is often overlooked because of its cold, very early-'80s production, but it has yielded many classic songs that would grow out of their rather square studio arrangements and go on to provide fans with many memorable live moments. And once you get used to the sound (something a lot easier here than with Skin), Sitting Targets is actually a pretty strong record -- and the presence of drummer Guy Evans on most tracks is no stranger to that...
A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.
Tom Waits
Jersey Girl (Tom Waits) 5:11
'Til the Money Runs Out (Tom Waits) 4:25
On the Nickel (Tom Waits) 6:19
from Heartattack And Vine 1980
Heartattack and Vine is Tom Waits' seventh and final album for Asylum. As such, it's transitional. As demonstrated by its immediate predecessors, 1978's excellent Blue Valentine and 1977's Foreign Affairs, he was already messing with off-kilter rhythms even in the most conventionally structured blues and jazz songs, with nastier-sounding guitars -- he plays a particularly gnarly style of rhythm on this entire album. Five of these nine tracks are rooted in gutbucket blues with rock edges and primal R&B beats. By this time, his singing voice had deteriorated to a gasping-for-breath whiskey-and-cigarettes growl that could make words indecipherable from one another, but his jazzman-inspired phrasing more than compensated... In sum, Heartattack and Vine reveals just how much Waits had grown during his tenure with Asylum. Though not perfect in sequencing -- the alternating juxtaposition of rowdy blues and heartworn ballads gets old -- almost every song stands on its own as a dusty gem.
Politically charged poet and singer of enrapturing 1970s jazz/R&B polemics, and a huge influence on countless hip-hop incendiaries.
Gil Scott-Heron
You Can't Depend on the Train from Washington (Gil Scott-Heron) 4:47
Waiting for the Axe to Fall (Gil Scott-Heron) 4:48
The Klan (R. Havens) 4:48
from Real Eyes 1980
In 1980, Gil Scott-Heron had a nice opportunity to promote his Real Eyes album when he became the opening act on Stevie Wonder's Hotter Than July tour. On his own, Scott-Heron usually played small clubs, but opening for Wonder gave him the chance to perform in front of thousands of Wonder fans in major stadiums and sports arenas. Many of Wonder's white fans seemed to be unfamiliar with Scott-Heron (who had never had a major pop hit), while a lot of Wonder's black fans at least knew him for "The Bottle" and "Angel Dust" even if they hadn't bought a lot of his albums. Opening for all those Wonder fans certainly didn't hurt Scott-Heron's career, but it didn't make him a superstar either. While it's possible that some Wonder fans enjoyed Scott-Heron's opening sets enough to go out and purchase Real Eyes, most of the people who acquired this LP were already confirmed Scott-Heron fans. Unfortunately, Real Eyes lacked a hit single, although the material is excellent nonetheless...
The creator of radical rock during the '60s who later pursued even more adventurous avenues, ranging from jazz-rock to classical composition.
Frank Zappa
Central Scrutinizer (Frank Zappa) 3:28
Joe's Garage (Frank Zappa) 6:09
Catholic Girls (Frank Zappa) 4:19
from Joe's Garage Acts I, II & III 1979
Joe's Garage was originally released in 1979 in two separate parts; Act I came first, followed by a two-record set containing Acts II & III. Joe's Garage is generally regarded as one of Zappa's finest post-'60s conceptual works, a sprawling, satirical rock opera about a totalitarian future in which music is outlawed to control the population. The narrative is long, winding, and occasionally loses focus; it was improvised in a weekend, some of it around previously existing songs, but Zappa manages to make most of it hang together. Acts II & III give off much the same feel, as Zappa relies heavily on what he termed "xenochrony" -- previously recorded guitar solos transferred onto new, rhythmically different backing tracks to produce random musical coincidences. Such an approach is guaranteed to produce some slow moments as well, but critics latched onto the work more for its conceptual substance...
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1981-1976
Peter Hammill
Breakthrough (Peter Hammill) 4:01
Ophelia (Peter Hammill) 3:15
Sitting Targets (Peter Hammill) 5:26
from Sitting Targets 1981
Peter Hammill again plays the same trick as he did in 1978-1979, when, after the strange, experimental The Future Now LP, came the more straightforward pH7. The same relationship exists between A Black Box and Sitting Targets. The latter LP, released in 1981, is often overlooked because of its cold, very early-'80s production, but it has yielded many classic songs that would grow out of their rather square studio arrangements and go on to provide fans with many memorable live moments. And once you get used to the sound (something a lot easier here than with Skin), Sitting Targets is actually a pretty strong record -- and the presence of drummer Guy Evans on most tracks is no stranger to that...
Tom Waits
Jersey Girl (Tom Waits) 5:11
'Til the Money Runs Out (Tom Waits) 4:25
On the Nickel (Tom Waits) 6:19
from Heartattack And Vine 1980
Heartattack and Vine is Tom Waits' seventh and final album for Asylum. As such, it's transitional. As demonstrated by its immediate predecessors, 1978's excellent Blue Valentine and 1977's Foreign Affairs, he was already messing with off-kilter rhythms even in the most conventionally structured blues and jazz songs, with nastier-sounding guitars -- he plays a particularly gnarly style of rhythm on this entire album. Five of these nine tracks are rooted in gutbucket blues with rock edges and primal R&B beats. By this time, his singing voice had deteriorated to a gasping-for-breath whiskey-and-cigarettes growl that could make words indecipherable from one another, but his jazzman-inspired phrasing more than compensated... In sum, Heartattack and Vine reveals just how much Waits had grown during his tenure with Asylum. Though not perfect in sequencing -- the alternating juxtaposition of rowdy blues and heartworn ballads gets old -- almost every song stands on its own as a dusty gem.
Gil Scott-Heron
You Can't Depend on the Train from Washington (Gil Scott-Heron) 4:47
Waiting for the Axe to Fall (Gil Scott-Heron) 4:48
The Klan (R. Havens) 4:48
from Real Eyes 1980
In 1980, Gil Scott-Heron had a nice opportunity to promote his Real Eyes album when he became the opening act on Stevie Wonder's Hotter Than July tour. On his own, Scott-Heron usually played small clubs, but opening for Wonder gave him the chance to perform in front of thousands of Wonder fans in major stadiums and sports arenas. Many of Wonder's white fans seemed to be unfamiliar with Scott-Heron (who had never had a major pop hit), while a lot of Wonder's black fans at least knew him for "The Bottle" and "Angel Dust" even if they hadn't bought a lot of his albums. Opening for all those Wonder fans certainly didn't hurt Scott-Heron's career, but it didn't make him a superstar either. While it's possible that some Wonder fans enjoyed Scott-Heron's opening sets enough to go out and purchase Real Eyes, most of the people who acquired this LP were already confirmed Scott-Heron fans. Unfortunately, Real Eyes lacked a hit single, although the material is excellent nonetheless...
Frank Zappa
Central Scrutinizer (Frank Zappa) 3:28
Joe's Garage (Frank Zappa) 6:09
Catholic Girls (Frank Zappa) 4:19
from Joe's Garage Acts I, II & III 1979
Joe's Garage was originally released in 1979 in two separate parts; Act I came first, followed by a two-record set containing Acts II & III. Joe's Garage is generally regarded as one of Zappa's finest post-'60s conceptual works, a sprawling, satirical rock opera about a totalitarian future in which music is outlawed to control the population. The narrative is long, winding, and occasionally loses focus; it was improvised in a weekend, some of it around previously existing songs, but Zappa manages to make most of it hang together. Acts II & III give off much the same feel, as Zappa relies heavily on what he termed "xenochrony" -- previously recorded guitar solos transferred onto new, rhythmically different backing tracks to produce random musical coincidences. Such an approach is guaranteed to produce some slow moments as well, but critics latched onto the work more for its conceptual substance...
