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D-Rainger wrote:

DB-AS.jpg

This.
I played the first side for four months, then turned it over and played the second...

My hair still hasn't recovered.

A lot of this. Basically all of Bowie's 70s records are a bit of a mindfuck, because how can one guy be that good?

bobcunningham wrote:

I often find it hard to believe that Jeff Buckley was human because of how insanely talented he is. Not only is he an amazing guitarist and singer, but some of his songwriting/chord changes are divine.

^ So Real is too beautiful for words.

Zounds Perspex wrote:
we like Captain Beefheart, of course we're high. but seriously, I think TMR is so highly-rated/well-known because A. it came first, B. it was produced by Zappa, and C. it has iconic album art. Back in the true age of LPs, don't underestimate album art's ability to influence critics/popular opinion. Also, unlike Decals, TMR has stayed in print. For me, Decals is more focused while just as adventurous, plus lyrically it's both one of the Doc's best and really filthy. "I Wanna Find a Woman That'll Hold My Big Toe Till I Have To Go"? FUCK YEAH. Not to mention the title track.

I dig Bat Chain Puller/Shiny Beast/Whatever It's Called, but Doc At The Radar Station is my favorite of the comeback stuff.

Let me put on my anthropologist glasses...

ahem, Safe as Milk came before Trout Mask, bee tee dubs.

D.o.S. wrote:

Zounds Perspex wrote:
we like Captain Beefheart, of course we're high. but seriously, I think TMR is so highly-rated/well-known because A. it came first, B. it was produced by Zappa, and C. it has iconic album art. Back in the true age of LPs, don't underestimate album art's ability to influence critics/popular opinion. Also, unlike Decals, TMR has stayed in print. For me, Decals is more focused while just as adventurous, plus lyrically it's both one of the Doc's best and really filthy. "I Wanna Find a Woman That'll Hold My Big Toe Till I Have To Go"? FUCK YEAH. Not to mention the title track.

I dig Bat Chain Puller/Shiny Beast/Whatever It's Called, but Doc At The Radar Station is my favorite of the comeback stuff.

Let me put on my anthropologist glasses...

ahem, Safe as Milk came before Trout Mask, bee tee dubs.

Yep, Safe as Milk came first, but it kinda doesn't count because the Captain hadn't fully matured as an artist yet. Safe as Milk is pretty much just warped blues mixed with freaky messed up pop music. As great as it is, there were greater things to come. You can lead a horse to water ...

So much fuck yeah in this thread.

kbithecrowing wrote:

At first I thought I just bought a CD with only a couple good songs and a lot of

But then some time went by, and I was like

& now whenever I listen to it, I'm all like

my god, i know. that one vid of biblical violence had me all like hnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnnng.

when i bought the cd it came with a little said something like "CAUTION: this album will change the way you think about music forever" and it did and now it's on my guitar.

also these

Chankgeez wrote:Yep, Safe as Milk came first, but it kinda doesn't count because the Captain hadn't fully matured as an artist yet. Safe as Milk is pretty much just warped blues mixed with freaky messed up pop music. As great as it is, there were greater things to come. You can lead a horse to water ...

Nudge nudge. Snap snap. Grin grin, wink wink, say no more.


Oh, and

The Unicorns. (Who Will Cut Our Hair When We're Gone?)

I grew up to this album, I hated it as a child and then when I became an adult it just takes me back too so many positive memories in my life. Blows me away that music has such a powerful impact.

http://2.bp.blogspot.com/_vERXdKOTltE/S ... voodoo.bmp
My first love, something about Jimi gets me in every way.


Just. Fuck. Gnar.


Yeah I was a teenager once. Fuck you. Will and forever be robs best work.


Currently the man who is in some ways giving me hope for the world.

I listened to a lot of 50s/60s music when I was younger, then got on the late 80s "rap" jams (M.C. Hammer, BBD, Kriss Kross), then in the early 90s Nirvana and Stone Temple Pilots made me a man.

And then there was this:

in 1970, when i was thirteen years old, Frank Zappa did an essay for the "Rock Issue" of one of the large-format photo-journalism magazines of the era--LIFE or LOOK, i don't recall which--which was so astounding in its scathing assessment/attack on the rock scene of the day and the culture in general that it was amazing that it even got printed. soon afterwards i was browsing the 99-cent bargain bin at one of the local discount department stores and found cut-out copies of We're Only In It For The Money and Mothermania. intrigued by Zappa from the essay, i brought them home, and Only Money in particular utterly astounded me with its combination of radical musical shifts from extreme beauty to utter chaos, its free-ranging and utterly brutal social satire aimed at the entire spectrum of American life, and its uncompromising advocacy of an inchoate but extremely powerful philosophy which was libertarian, rejectionist, independent, fiercely individualist, and insistent on the artistic act as the signifier and vanguard of this philosophy, an anti-establishment stance which was independent to and to some extent opposed to/cynical of the hippie movement's naivete and thus appealed more to me, the street kid. it was a hint of art as a Way Out of the suburban cul-de-sac i was trapped in, a way of kicking back in some way more meaningful than "whaddaya rebelling against, Johnny?" "whaddaya got?" It gave me the idea of Art as a weapon, and thus the first tool i'd use to forge my own identity and my own strategy of defense against the 70s school system and world that was determined to grind me down. Thanks, Frank.

though i can't remember the FIRST, there are so many more... i often have my ears awakened by something i haven't heard before.

dubkitty wrote:in 1970, when i was thirteen years old, Frank Zappa did an essay for the "Rock Issue" of one of the large-format photo-journalism magazines of the era--LIFE or LOOK, i don't recall which--which was so astounding in its scathing assessment/attack on the rock scene of the day and the culture in general that it was amazing that it even got printed. soon afterwards i was browsing the 99-cent bargain bin at one of the local discount department stores and found cut-out copies of We're Only In It For The Money and Mothermania. intrigued by Zappa from the essay, i brought them home, and Only Money in particular utterly astounded me with its combination of radical musical shifts from extreme beauty to utter chaos, its free-ranging and utterly brutal social satire aimed at the entire spectrum of American life, and its uncompromising advocacy of an inchoate but extremely powerful philosophy which was libertarian, rejectionist, independent, fiercely individualist, and insistent on the artistic act as the signifier and vanguard of this philosophy, an anti-establishment stance which was independent to and to some extent opposed to/cynical of the hippie movement's naivete and thus appealed more to me, the street kid. it was a hint of art as a Way Out of the suburban cul-de-sac i was trapped in, a way of kicking back in some way more meaningful than "whaddaya rebelling against, Johnny?" "whaddaya got?" It gave me the idea of Art as a weapon, and thus the first tool i'd use to forge my own identity and my own strategy of defense against the 70s school system and world that was determined to grind me down. Thanks, Frank.

That is an amazing story. Thumbs up