One I particularly liked is this original version from the Stones expanded Some Girls which is all mostly great stuff in general too - showing just how many ace songs they brought into these sessions and where their heads were clearly at ............Bullsh it celebrity scandals ("Claudine"), great sex that might kill you like this one and down and out financial blues and contemporary bad vibes "Keep Up Blues")
Post by The_Cake_of_Roth on Apr 16, 2019 21:31:57 GMT
Both of these are from the Nine Inch Nails EP Broken - "Suck" has a great funky bass line starting about 30 seconds in, and I love how 2.5 minutes into it, the texture thins out abruptly and you just hear Reznor whispering in sharp contrast to his screaming earlier (a trademark Reznor technique) along with a quietly chugging guitar and a distant screeching that sounds like a subway car on loop. "Physical" is a cover of an Adam Ant song, and it feels like more of a straight-and-to-the-point rock song than most of NIN's other stuff with a more simplified texture... I love Reznor's delivery of the line "You let me feel your danger..." and then there's more creepy whispering at the end.
The scariest (also the tightest/sloppiest and arguably the best) American Rock band of their era - it sounds like what a walk down a deserted back alley feels like at 2:00 AM. The original album was 12 cuts but later expanded to 14 and this is done with their usual swagger, panache, and excitement. Jerry Nolan takes the vocal lead and during the solo break the song sounds even more overtly sexual than it had before - no British punk band ever figured that trick out, I can tell you that much.
Their best song (maybe), in its best version (maybe) in it's most complex presentation, recorded by Alex Chilton - one that was never released until the expanded edition of Tim came out.
They recorded it with different lyrics (and an entirely different subject matter), a roaring electric version , acoustic (here), live, with horns (eventually), without horns. They recorded it with a lyric that championed suicide ("Can't hardly wait til it's overrrrrrrrrr), played it live at least 3 years before they transferred the subject matter to "The Ledge" - and while this version is maybe not the best it's the most emotional - right down to those sad, haunting echo answer vocals at the end.
It's unfnckupable............ but of course they fncked it up - it's their definitive song after all - and they got at least 3 stupendous and unique studio versions of it- 2 in '85 and one in '87.
Post by The_Cake_of_Roth on Apr 18, 2019 20:09:05 GMT
RHCP are interesting in the way they matured over the years, starting out as kind of a novelty band in the 80s and developing a greater sense of lyricism and musicality later on (with 1991-2002 being their peak period imo - their more recent stuff is less inspired to me). I don't think their debut album holds up as well as some of their later albums, but this is a fun little ditty that appears as a bonus track, showing off Flea on bass.
Nick Lowe’s (already fantastic) Jesus of Cool was improved exponentially when expanded – essentially a whole album of material was added, all of it top notch. This song, from a long out of print EP - a cover of “Born A Woman” - is knowing and sharp – it takes on a deeper meaning when a guy sings it too. Lowe who could write and sing great satire – on this album especially - plays it entirely, appropriately straight this time.
This B-side, “This Ain’t All” from The Only Ones outstanding 2nd album era made its first appearance in 30 years (!) on the expanded release. Sitting comfortably in their marvelously languid pop wheelhouse but made special by John Perry whose soloing here is among his most passionate and exciting playing ever......which of course contradicts with that whole "marvelously languid" thing. Um.......
When writing the epitaph of Rock and Roll – and arguably, we’re really late – at least Spoon can stand apart in the corresponding obituary. A great band for longer than other great ones in their era – Strokes, Libertines, Exploding Hearts, White Stripes - and occasionally they also equaled their peaks. This bonus track, a giant f-you to their underachieving major label rep (Ron Laffitte who bailed on them) is both clever and righteously pissed off. It’s added to the re-release for the album made they made for Laffitte which makes it fit in and the lyrics, well....
"It’s like I knew two of you, man/The one before and after we shook hands" ............Ouch.
Interesting side note (to me anyway) they basically had the great Perfectly Lethal AND the arguably even better "Street Girl" (complete edit) just sitting there as a side single and Perfectly Lethal sat unreleased for almost 25 years.........but "Street Girl" below has never been released......it's ridiculous with them and that kinda stuff .....
The ghostly title track, inconceivably left off the 10 track original album, it is in the 14 track version one of his defining moments.
At its searing conclusion where all instruments start slowly and then pound away furiously before suddenly cutting off it is particularly thrilling and conceptual stuff - suggesting a torrent of emotions and then sudden isolation..........and he had this song in his back pocket for at least 5 years prior ....... in its earliest incarnation as "I Am Confronted" (how punk is THAT title!) before there was even a NY Dolls.
Post by The_Cake_of_Roth on Apr 20, 2019 6:46:23 GMT
Kind of a left-field pick... this is a recording of a single-movement piano quartet (unfinished) by Mahler that's sort of a "bonus track" alongside the Domus ensemble's recordings of Brahms's three complete piano quartets. The Brahms quartets are the main attraction (and would make my shortlist of greatest music ever written), so someone might view the Mahler piece as "filler," especially since it's such an early and incomplete work by the composer, but I think it's pretty interesting on its own merits (and it's used in Shutter Island!).
It's apparently the only surviving piece of chamber music composed by Mahler without voice, which makes one wonder what he might have done had he pursued this more intimate medium further since he's primarily known for his mammoth symphonic works. The piano texture sounds quite modern for the time in which it was written... the moments of almost static repetition sound like Philip Glass or something.
Unavailable on a US CD until the 2001 re-issue - the kind of thing they literally invented : bubble-gum pop so sweet and precisely on target because it constructed a whole worldview you can't help but laugh or at least smile ...........the kid may be a spy yanno.......nobody said being young was easy.
The Nerves only got to record a small tier classic, 4 song EP in 1976 so on their One Way Ticket retrospective CD release songs like "Are You Famous?", finally popped up. A sort of dark take on fame for this LA/Hollywood band and since they wrote "Hanging On the Telephone", and also launched The Plimsouls .........the answer to the question was .........well we should be and sort of, but not really.