What Are You Listening To Right Now?
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- Feb 23, 2011
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Time to groove to this song before I hit the hay. XD
http://sheofficial.bandcamp.com/track/archetype
$1 USD
http://sheofficial.bandcamp.com/track/archetype
$1 USD
StratocasterMan
Headphoneus Supremus
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- Apr 2, 2012
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Black Francis - Bluefinger (2007)
This is by far my favorite post-Pixies album by Frank Black a.k.a. Black Francis. In fact, I like it better than some of the Pixies' albums.
It is a concept album. The entire album is about the Dutch musician and painter Herman Brood. For anybody contemplating listening to this album for the first time, it is important to understand the fact that this album is about a real person. These songs are about Herman Brood.
Somewhere or other, because I like the Pixies, I ran across the track "Test Pilot Blues" from this album, and that is what hooked me and I bought the album in 2007 just because I had heard that track. I had no idea it was a concept album at the time. It was only later that I began to understand what the album was really all about...
Just fantastic...
TJ Elite
Headphoneus Supremus
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- Mar 14, 2006
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Listening to the Analogue Productions LP and it is so good! A friend of mine gifted me the album today as a belated birthday present and I can't stop listening to the amazing mastering done by Kevin Gray. I'm actually quite shocked that he knew which version I so dearly wanted.
Sounds like a very good friend to pay so much consideration to what you would really like.
Black Francis - Bluefinger (2007)
This is by far my favorite post-Pixies album by Frank Black a.k.a. Black Francis. In fact, I like it better than some of the Pixies' albums.
It is a concept album. The entire album is about the Dutch musician and painter Herman Brood. For anybody contemplating listening to this album for the first time, it is important to understand the fact that this album is about a real person. These songs are about Herman Brood.
Somewhere or other, because I like the Pixies, I ran across the track "Test Pilot Blues" from this album, and that is what hooked me and I bought the album in 2007 just because I had heard that track. I had no idea it was a concept album at the time. It was only later that I began to understand what the album was really all about...
Just fantastic...
In my dream last night I believe I listened to both Surfer Rosa and Doolittle after not doing so in ages and had the time of my life. Probably had more than a little to do with the fact that I've got both ordered on vinyl in MoFi pressings.
Embliss & Ad Brown - Oreon (Remixes)
I'm positively surprised with the Luke Porter remix. Shingo on the other hand sadly plays things perhaps a bit too safely.
Escenda - Addicted to You
https://soundcloud.com/auramusic/sets/escenda-addicted-to-you
Escenda is such a wonderful project with enchanting vocals and hypnotizing soundscapes.
OceanLab - Sirens of the Sea Remixed
https://play.spotify.com/album/2PdrIr91XtoCw18QLNx1Ip
I've really been on an electronic kick lately… This two-disc set is 2h 38min. They had to edit a couple of the tracks slightly to fit them on the album, LOL.
ColdNinjaPro
New Head-Fier
- Joined
- Nov 9, 2012
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An old song I recently discovered this summer.
The other song I been listening to a lot
This one also
The other song I been listening to a lot
This one also
JoeDoe
Headphoneus Supremus
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- Apr 12, 2013
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Dave Brubeck live in the USA – Broadway Bossa
Quinto
Headphoneus Supremus
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- Apr 7, 2009
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Destroysall
Headphoneus Supremus
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- Aug 10, 2011
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It definitely was a huge surprise. I hope I can only repay him somehow as it definitely was a huge gift to give considering price alone.
AL13N
New Head-Fier
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- Aug 8, 2013
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Debut album released on Monday by Nottingham artist Harleighblu:
http://harleighblu.bandcamp.com/album/forget-me-not
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- Jul 23, 2013
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Received this this week on promo, due out early November...
http://www.juno.co.uk/products/americana-2-rock-your-soul/503704-01/
Here'a track off Vol 1 that came out a couple of years ago:
http://www.youtube.com/watch?v=PIvucbgKSys
http://www.juno.co.uk/products/americana-2-rock-your-soul/503704-01/
Here'a track off Vol 1 that came out a couple of years ago:
http://www.youtube.com/watch?v=PIvucbgKSys
Destroysall
Headphoneus Supremus
- Joined
- Aug 10, 2011
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- 94
Starting off the morning right.
Black Francis - Bluefinger (2007)
This is by far my favorite post-Pixies album by Frank Black a.k.a. Black Francis. In fact, I like it better than some of the Pixies' albums.
It is a concept album. The entire album is about the Dutch musician and painter Herman Brood. For anybody contemplating listening to this album for the first time, it is important to understand the fact that this album is about a real person. These songs are about Herman Brood.
Somewhere or other, because I like the Pixies, I ran across the track "Test Pilot Blues" from this album, and that is what hooked me and I bought the album in 2007 just because I had heard that track. I had no idea it was a concept album at the time. It was only later that I began to understand what the album was really all about...
Just fantastic...
I really like The Pixies I was unaware of this album, Thanks.
Hi-Finthen
Self-confessed freak
- Joined
- May 24, 2006
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- 103
Blonde on Blonde
It took a while for Bob Dylan to hit his stride on his seventh studio album, but once he did there was no stopping him. Producer Bob Johnston recalls the difficult birth of Blonde On Blonde.
Richard Buskin
Bob Dylan, 1966.
If it isn’t broken, don’t fix it, right? Well, not necessarily, based on the evidence of Bob Johnston’s work with Bob Dylan.
In the summer of 1965, after Dylan had recorded the seminal ‘Like A Rolling Stone’ and then fallen out with his producer Tom Wilson, Johnston stepped into Wilson’s shoes for the rest of Highway 61 Revisited, Dylan’s sixth studio album and his first to be recorded entirely with a full rock band. However, between the 15th June ‘Like A Rolling Stone’ session and the July/August Highway 61 dates, Dylan had caused a stink and been heckled for his electric set at the Newport Folk Festival. Accordingly, much of Highway 61 had an aggressive edge and accusatory tone, resulting in one of Dylan’s finest works, of which he himself remarked: “I’m not gonna be able to make a record better than that one... Highway 61 is just too good. There’s a lot of stuff on there that I would listen to.”
Don’t Go To Nashville
Dylan removes his sunglasses to play a little bass guitar in Columbia’s New York studio.
Nevertheless, instead of sticking to any sort of tried and trusted formula while Dylan was still finding his feet in the world of electric folk-rock, Johnston initiated a geographical and musical change of direction for his next album by suggesting that the Minnesota native switch the recording locale from the CBS facility in New York City to that in Nashville. Having already worked in Tennessee’s country music capital with legendary ‘A-Team’ session musicians such as guitarist Grady Martin and pianist Floyd Cramer, recording demos for the movie songs that he and his wife Joy Byers wrote for Elvis Presley, Johnston had recruited harp player Charlie McCoy from there to play guitar on Highway 61. During those sessions, he’d then broached the idea of placing Dylan in an unfamiliar environment for his next record, among musicians whose entire approach was different to anything he had experienced.
“I was standing there with Dylan, his manager Albert Grossman, Clive Davis and the President of Columbia Records, Bill Gallagher,” Johnston recalls, “and I said, ‘Dylan, you’ve gotta go down to Nashville sometime. They’ve got the studio straightened out down there — I made sure they got rid of all the little rooms with a saw and a sledgehammer so that it’s one big room. The musicians are great there, and you can do anything you want to, all in the room together.’ He said, ‘Hmm.’ He would never answer you, but, just like Jack Benny, he’d put his thumb up to his chin and think about what you’d said, and in this case he then walked out and Grossman, Davis and Gallagher came over to me and basically said, ‘If you ever mention Nashville to Bob Dylan again, you’re fired.’ When I said, ‘Why?’ I was told, ‘Because we don’t want him working with a bunch of ******* stupid people down there. You’ve got him going good here, and it looks like we’re going to have a great record. So keep it that way and just remember what we told you.’ I said, ‘Yes, sir, you’re the boss.’
Seven months later, Bob Johnston took Bob Dylan to Nashville, and it was there, in the Columbia studio facility on Music Row, that they cut most of Blonde On Blonde. Acclaimed by many as Dylan’s finest work, this musically eclectic, lyrically surreal double album featured such local greats as guitarists Wayne Moss, Joe South and Jerry Kennedy; drummer Kenny Buttrey; keyboard player Hargus ‘Pig’ Robbins; bassist Henry Strzelecki; and Charlie McCoy on bass, guitar, harmonica and trumpet. Additionally, there were the likes of New York multi-instrumentalist Al Kooper, who had played the distinctive Hammond riffs on ‘Like A Rolling Stone’; and Canadian guitarist Robbie Robertson, a member of the Hawks (later known as the Band) who had recently been backing Dylan in concert, and who contributed to ‘One Of Us Must Know (Sooner Or Later)’ when it was recorded in New York, before the switch to Nashville.
It took a while for Bob Dylan to hit his stride on his seventh studio album, but once he did there was no stopping him. Producer Bob Johnston recalls the difficult birth of Blonde On Blonde.
Richard Buskin
Bob Dylan, 1966.Photo: Jan Persson/Redferns.
If it isn’t broken, don’t fix it, right? Well, not necessarily, based on the evidence of Bob Johnston’s work with Bob Dylan.
In the summer of 1965, after Dylan had recorded the seminal ‘Like A Rolling Stone’ and then fallen out with his producer Tom Wilson, Johnston stepped into Wilson’s shoes for the rest of Highway 61 Revisited, Dylan’s sixth studio album and his first to be recorded entirely with a full rock band. However, between the 15th June ‘Like A Rolling Stone’ session and the July/August Highway 61 dates, Dylan had caused a stink and been heckled for his electric set at the Newport Folk Festival. Accordingly, much of Highway 61 had an aggressive edge and accusatory tone, resulting in one of Dylan’s finest works, of which he himself remarked: “I’m not gonna be able to make a record better than that one... Highway 61 is just too good. There’s a lot of stuff on there that I would listen to.”
Don’t Go To Nashville
Dylan removes his sunglasses to play a little bass guitar in Columbia’s New York studio.Photo: Sony BMG Music Entertainment/Getty Images.
Nevertheless, instead of sticking to any sort of tried and trusted formula while Dylan was still finding his feet in the world of electric folk-rock, Johnston initiated a geographical and musical change of direction for his next album by suggesting that the Minnesota native switch the recording locale from the CBS facility in New York City to that in Nashville. Having already worked in Tennessee’s country music capital with legendary ‘A-Team’ session musicians such as guitarist Grady Martin and pianist Floyd Cramer, recording demos for the movie songs that he and his wife Joy Byers wrote for Elvis Presley, Johnston had recruited harp player Charlie McCoy from there to play guitar on Highway 61. During those sessions, he’d then broached the idea of placing Dylan in an unfamiliar environment for his next record, among musicians whose entire approach was different to anything he had experienced.
“I was standing there with Dylan, his manager Albert Grossman, Clive Davis and the President of Columbia Records, Bill Gallagher,” Johnston recalls, “and I said, ‘Dylan, you’ve gotta go down to Nashville sometime. They’ve got the studio straightened out down there — I made sure they got rid of all the little rooms with a saw and a sledgehammer so that it’s one big room. The musicians are great there, and you can do anything you want to, all in the room together.’ He said, ‘Hmm.’ He would never answer you, but, just like Jack Benny, he’d put his thumb up to his chin and think about what you’d said, and in this case he then walked out and Grossman, Davis and Gallagher came over to me and basically said, ‘If you ever mention Nashville to Bob Dylan again, you’re fired.’ When I said, ‘Why?’ I was told, ‘Because we don’t want him working with a bunch of ******* stupid people down there. You’ve got him going good here, and it looks like we’re going to have a great record. So keep it that way and just remember what we told you.’ I said, ‘Yes, sir, you’re the boss.’
Seven months later, Bob Johnston took Bob Dylan to Nashville, and it was there, in the Columbia studio facility on Music Row, that they cut most of Blonde On Blonde. Acclaimed by many as Dylan’s finest work, this musically eclectic, lyrically surreal double album featured such local greats as guitarists Wayne Moss, Joe South and Jerry Kennedy; drummer Kenny Buttrey; keyboard player Hargus ‘Pig’ Robbins; bassist Henry Strzelecki; and Charlie McCoy on bass, guitar, harmonica and trumpet. Additionally, there were the likes of New York multi-instrumentalist Al Kooper, who had played the distinctive Hammond riffs on ‘Like A Rolling Stone’; and Canadian guitarist Robbie Robertson, a member of the Hawks (later known as the Band) who had recently been backing Dylan in concert, and who contributed to ‘One Of Us Must Know (Sooner Or Later)’ when it was recorded in New York, before the switch to Nashville.
DLeeWebb
Headphoneus Supremus
"Evil Friends" - Portugal. The Man
