23-10-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1978-1973

Pere Ubu

23-10-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1978-1973  >>Pere Ubu, Rory Gallagher, Peter Gabriel, The Stranglers, Van Der Graaf Generator, Soft Machine, Roxy Music, Tom Waits, Leonard Cohen, Bill Withers, Pink Floyd, Betty Davis<<

M U S I C

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1978-1973

Influential art punk band whose experimental sound harnessed self-destructing melodies, scattershot rhythms, and industrial-strength dissonance.

Pere Ubu

The Modern Dance (Tom Herman / Scott Krauss / Tony Maimone / Allen Ravenstine / David Thomas / Pere Ubu) 3:28

Laughing (Tom Herman / Scott Krauss / Tony Maimone / Allen Ravenstine / David Thomas / Pere Ubu) 4:35

from The Modern Dance 1978

There isn't a Pere Ubu recording you can imagine living without. The Modern Dance remains the essential Ubu purchase (as does the follow-up, Dub Housing). For sure, Mercury had no idea what they had on their hands when they released this as part of their punk rock offshoot label Blank, but it remains a classic slice of art-punk. It announces itself quite boldly: the first sound you hear is a painfully high-pitched whine of feedback, but then Tom Herman's postmodern Chuck Berry riffing kicks off the brilliant "Non-Alignment Pact," and you soon realize that this is punk rock unlike any you've ever heard. David Thomas' caterwauling is funny and moving, Scott Krauss (drums) and Tony Maimone (bass) are one of the great unheralded rhythm sections in all of rock...

Skilled Irish blues-rock guitarist whose stripped-down brand of blues rock touched everyone who heard it.

Rory Gallagher

Shadow Play (Rory Gallagher) 4:45

Fuel to the Fire (Rory Gallagher) 6:16

from Photo-Finish 1978

...Reverting back to a trio, Gallagher toughens up his sound and blazes through some robust blues rockers  like "Last of the Independents," "Shadow Play," and "Brute Force & Ignorance" (one of his best hard rock riffs) with nervy energy... Still, the album has a samey feel due to some of the songwriting not being quite up to snuff, and a few tracks, like the moody, slow-burning "Fuel to the Fire," stretched well past its breaking point to over six minutes...

Theatrical leader of '70s-era Genesis and a bona fide pop star by the '80s despite his experimental, often exotic, material.

Peter Gabriel

Moribund the Burgermeister  (Peter Gabriel) 4:20

Solsbury Hill  (Peter Gabriel) 4:21

from Peter Gabriel 1 1977

Peter Gabriel tells why he left Genesis in "Solsbury Hill," the key track on his 1977 solo debut. Majestically opening with an acoustic guitar, the song finds Gabriel's talents gelling, as the words and music feed off each other, turning into true poetry. It stands out dramatically on this record, not because the music doesn't work, but because it brilliantly illustrates why Gabriel had to fly on his own. Though this is undeniably the work of the same man behind The Lamb Lies Down on Broadway, he's turned his artiness inward, making his music coiled, dense, vibrant. There is still some excess, naturally, yet it's the sound of a musician unleashed, finally able to bend the rules as he wishes. That means there are less atmospheric instrumental sections than there were on his last few records with Genesis, as the unhinged bizarreness in the arrangements, compositions, and productions...

16-09-2019 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 1981-1976

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<<

M U S I C

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1981-1976

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...