Steve Crown Full Album 50
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Looking ahead, What's Going On will be listened to by generations to come. Hopefully, we'll champion its 75th birthday, having heeded its message about the destruction of our environment. With progress, in 100 years we'll look back on the record as an album that broke down barriers and became the blueprint on how to live harmoniously with each other and our planet.
After Gordy had been proven wrong about the success of the single \"What's Going On,\" he drove to Gaye's house to ask for the full album. This irked Gaye, because Gordy had actively tried to stop the song from being released.
But Gordy knew that one sure-fire way to get music out of Gaye was to make a bet with the singer. So the two men bet an undisclosed amount on whether Gaye could deliver a full album to Motown in just 30 days.
What's Going On is an album bereft of sex; full of love but completely without lust. The love is spiritual, deep and available to everyone. In order to get himself into a \"pure\" headspace to sing, Gaye would seclude himself in a locked room and masturbate for hours. Free from sexual tension, he'd step to the microphone and let God flow through him and commit his voice to tape, knowing the words he sang were coming from a place of purity.
The original mix of \"What's Going On,\" which was released as a single on Jan. 21, 1971, has two main differences to the album mix: it contains none of the vocal chatter at the beginning, and has a false fade at the end. At the stage of the final mix, as the song was petering out, Gaye put his hand on the fader and cranked the volume back up to full. Many saw this as defiance against Berry Gordy, the Motown head honcho who had been less than supportive of Gaye's new musical direction. The false end was a musical middle finger, Gaye's sly way of saying, \"You think this song you hate is over Well guess again.\"
Another neglected jewel in the Motown crown was Wild Bill Moore, a sax player. Most of the Motown producers found his \"growling\" sax style out of date, but in a late-night session Gaye paid Wild Bill $500 out of his own pocket to play his tenor sax across the whole album. The two men smoked a joint together, then Wild Bill Moore cut loose and played his heart out. Gaye kept much of what he played, and you can hear Wild Bill's contribution most strongly on the sax solo in \"Mercy Mercy Me.\"
The following is a table of all of the albums that have been givena crown (or coronet) designation in the various editions of ThePenguin Guide to Jazz by Richard Cook & Brian Morton. Thefirst two editions (1992, 1994) included LPs and cassettes; allsubsequent volumes (1996, 1998, 2000, 2002, 2004, 2006) have been limitedto CD. The Guide switched from a one-column to a two-columnformat for the 5th edition (2000), and grew from 1195 pages in 1992to 1725 pages in 2004. (The 2006 edition is 1534 pages, accomplishedthrough smaller print.) Through these editions records, and in somecases whole artist entries, have come and gone, while some recordshave remained consistently available.
The first edition (1992) used a fifth star instead of a crown.I've wondered whether Ellington's The Afro-Eurasian Eclipsewas a typo there, since it only appears in that volume and thereview does little to justify the fifth star.The first and second editions included LPs and cassettes, but theywere dropped from the third edition, which was CD only. The thirdedition had a misprint where the crowns were blank space, and anaddendum was provided with the album listings.
Transitioning from group to solo success is never easy, but Syd tha Kid made it look like light work, effortlessly morphing from fronting the acclaimed band the Internet to her first solo LP, Fin. Thankfully, Syd avoids the spectre of the sophomore jinx on Broken Hearts Club, a moody story of love found and lost. Gone is the once-aloof Syd who always seemed too cool to deal with relationship drama. This album is much more vulnerable, and often experimental at times. Broken Hearts Club is a bold step in the maturation of Syd the artist, showing that she does have the range of a star.
How to pick the best of the Beatles' rock albums It's difficult, but it's hard to argue that Revolver deserves the crown. A work of breathtaking quality - be it songwriting, performance, or sonically - and it opened up the boundaries of what was possible in popular music. Full of classics, of varying styles: if you've never listened to it, you should do so right now. Key Track: Tomorrow Never Knows
The album that saw Springsteen break into the mainstream, Born To Run was a masterclass in production and songwriting, full of swaggering tunes and coming-of-age lyrics which resonated with listeners across the globe. It took 14 months to record, with 6 of those being spent just on the title track. It is safe to say it was worth it.
After achieving worldwide fame with The Joshua Tree and then capitalising with the good, but flawed continuation of Rattle & Hum, U2 were in need of a creative refresh. They promptly decamped to Berlin, embraced electronic and industrial sounds and took themselves a whole lot less seriously. It was probably their darkest, densest record; but, paradoxically, contained their most uplifting hit, the anthemic One. Inventive, interesting and full of great songs, it's probably their best album.
After the demise of Nirvana, Dave Grohl quickly recorded the first Foo Fighters album as a cathartic release; ostensibly just a demo with all instruments played by himself, it nonetheless performed well commercially. But The Colour And The Shape was where he really showed what he could do. With a proper band in place (yet himself still playing most of the drums - a wise choice), they recorded a classic record, packed full of great songs, both heavy (the peerless Everlong) and gentle (Walking After You). Turned out the drummer's songs were pretty good after all then.
According to Cooper, \"the whole idea behind the Billion Dollar Babies album was exploiting the idea that people do have sick perversions.\" Having achieved fame two years previously with Love It To Death, and followed that up with Killer and School's Out, the band really let rip on this record, writing lyrics that covered necrophilia, horror, sex and - because why not - the fear of dentists. Everything a rock record should be, it was provocative, strange and full of energy.
Which of these albums have you listened to, which albums are your favorites, and which ones do you need to catch up on And in case you're craving some tunes afterward, check out Stacker's Pride Playlist on Spotify, full of the albums celebrated in this story.
Loveless is one of the quintessential headphones albums. Its dense sound collages do their most powerful work when heard in full detail, which is why I was recently surprised to read that My Bloody Valentine had a reputation for being one of the loudest live acts in rock history, to the point of inflicting real pain on their audiences. Naturally, I rigged up my sound system as loud as I could without risking eviction, and proceeded to reinterpret Loveless. And sure enough, the record is as physical as it is cerebral: You can feel the terrifying density of the loud songs and the sexual pulse of the relatively tranquil ones. Loveless ranks with the best work of Hendrix, Zeppelin, and Sonic Youth as a testament to the elemental power that a human being can wrest from a guitar. Cole
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