Search

Search only in certain items:

Live at Max's Kansas City by The Velvet Underground
(0 Ratings)
Album Favorite

"Any Velvets album can be the best Velvets album. Any Velvets album can be the best album by anyone. You can't make a wrong choice. Max’s Kansas City is today's winner because it has the best story. It has multiple stories. It's a play. It's not an album. Layered narratives are fighting for your attention. First, there’s the stories in Lou’s songs: wastrels, vagabonds and dealers. Second, there’s the story of this being the Velvet’s last gig with Lou. He’s tired and listless between the songs; he knows it’s over. “This is a song about, ooh when you've done something so sad, and you wake up the next day, and you remember it. Not to sound grim or anything. Just once in a while, you have one of those days. I seem to have them nearly every day.” There’s the story of the band itself at this point – no Cale, no Nico, no Tucker. They don’t sound like the Velvets anymore. New drummer Billy Yule sounds like he’s never heard Mo Tucker and never intends to. Then there’s this strange story in the foreground. The show is an official bootleg recorded by Brigid Polk who is sitting next to Jim Carroll. They sound like they’re having a terrible night and he is an arse. He makes her get him Pernod from the downstairs bar and talks over the band about songs he doesn’t know. It’s all perfect because nothing is remotely perfect. I go out on this lousy date with Brigid and Jim over and over again."

Source
  
Velvet Underground by The Velvet Underground
Velvet Underground by The Velvet Underground
1969 | Experimental
8.4 (7 Ratings)
Album Favorite

"This was probably the most important pop album for me in that I think it's the moment where I realised that I could be a musician. It was partly that this band was semi-non-musicians, but it was also because the songs borrowed a lot from what I knew about experimental music at the time. I'd been playing experimental music with various outfits in England and with Morton Feldman and Christian Wolff and all these people that had come over from America to visit us, 32 people who were into the experimental music scene in England. La Monte Young was one of the big figures in everybody's cosmology at the time and The Velvets, both Lou [Reed] and John [Cale], had worked with La Monte. So the first album came out, I thought, ""Fantastic, amazing."" Second album I thought, ""Great, amazing."" But the third album was the one that really killed me. The first album was quite wild and dark and weird, the second album was mad and intense. But the third album was so gentle and beautiful, but because you knew their history there was that undertone of violence and rage, something trying to burst out. Even on the love songs on this – and many of them are love songs – you hear that real tension. What made me think I could do it too was that the songs were simple and the playing was so simple. There's very little artifice at all in this. But also the mood was something that I thought I could kind of connect to. The difficult thing about pop music as I was growing up, and I was 20, I think, when I first heard this, was that it dealt with young teenage emotions mostly, and that just wasn't interesting to me. I loved the music but what the songs were about was sort of childish and it was all about 'me' and 'you' and 'love', and I just wasn't interested in that really. At the same time I'd been working with Cornelius Cardew and all these kind of quite heavyweight experimental composers. But I didn't want just that. I wanted that [pop music] and that [experimental]. So I was always looking for anywhere that somebody was making some blends that started to be interesting. I didn't own this record for years and years. I just didn't buy this album because I never wanted it to become casual for me. I bought this one about five years ago. I never owned it before then. I would only hear it at other people's places because I always wanted it to be special."

Source
  
Renaissance Men by The Wildhearts
Renaissance Men by The Wildhearts
2019 | Indie
10
9.0 (2 Ratings)
Album Rating
Loud, heavy and exciting (3 more)
Stuffed with catchy hooks and singalong choruses
First new album in 10 years
Diagnosis could be the best song they've ever written
Best Wildhearts Album In Years
The wildhearts are the best British band you've never heard of. Their story is one of survival against the odds, as various members have struggled with loss, addiction, mental health and freak brushes with death. And despite all this the music they make still sounds like an allmighty shout of joy, even when lyrically it is crammed with righteous anger.
The easiest way to describe them is to imagine Metallica crossed with cheap trick or the beatles. The crushing heaviness and aggression is there, but always tempered with sunny pop sensibilities. It sounds mental but it's a style that will change your life for the better.
This new album finds the band in renewed vigour, having reclaimed original bassist Danny mccormack and recorded their first new album in a decade. They come out of the gates like a band half their age, seemingly out to prove they're still the best of their generation with the songs and chops to match.
Standout tracks include, Let Em Go, Fine Art Of Description, Diagnosis, Renaissance Men, Pilo Erection
  
40x40

Sharpie0499 (114 KP) rated Speak Your Mind by Anne-Marie in Music

Jul 13, 2018 (Updated Jul 13, 2018)  
Speak Your Mind by Anne-Marie
Speak Your Mind by Anne-Marie
2018 | Pop
Catchy songs (3 more)
Excellent songwriting
Songs are relatable
Remarkable vocals
Only two songs I don't like (0 more)
Impossible To Not Listen To
Since I heard 'Ciao Adios', Anne-Marie had me hooked. I was so excited when I heard about her debut album 'Speak Your Mind'. Since it was released in April, I have not stopped listening to it. The songs are catchy, relatable and I can't help but sing and dance along to them whenever I hear them. Her song-writing skills and vocal abilities are amazing and I think she is one of the best female pop artists at the moment. I would say that she is up there with Ariana Grande and Demi Lovato, whose songs are amazing and vocals are incredible also. The only downside to this album, is that there are a couple of songs I am not such a fan of: 'Can I Get Your Number' and 'Some People'. If I heard them, I would listen to them and maybe even sing along, but I do prefer her other songs and feel that these two are the weakest on the album. Overall, this album is amazing and I don't think I'm going to stop listening to it anytime soon.
  
My Generation - The Very Best of The Who by The Who
My Generation - The Very Best of The Who by The Who
2008 | Metal, Pop, Rock
(0 Ratings)
Album Favorite

"Now, some people give you shit for picking a best of over a studio album but The Who are totally one of those bands. I do not dig any of their albums. The only album that isn’t a hits collection that I can sit through from start to finish is Live At Leeds. On their studio albums there is always some half-arsed concept hung on a few good tunes. But, The Ultimate Collection is… fucking hell. If you’re of a certain age and you play guitar based music, they’re up there with the Beatles to me. You just have to look at the singles, ‘My Generation’, ‘The Kids Are Alright’ all the way through to ‘Pinball Wizard’ and even ‘You Better You Bet’ is fucking good. The thing about best-ofs is right from the time when I was a teenager right up until the point I actually earned some proper money, all I could afford was best-ofs. I’m not interested in David Bowie’s albums, do you know what I mean? Give me ChangesOneBowie and ChangesTwoBowie. When you can only afford to buy one album a fortnight or whatever it’s too much of a gamble to buy an actual album. Give me a best of. It’s the best… of… that person!"

Source