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DISCREET MUSIC is Brian Eno's first break with pop music in favor of a quieter, more meditative form, and it came about by accident. When Eno was confined to bed after an auto accident, a visitor brought him an album of classical music, which he mistakenly put on the stereo at a very low volume. Unable to get up to raise the volume, Eno heard the quiet music blend with the natural sounds of his environment, and conceived a music designed for that purpose. The several lengthy pieces on DISCREET MUSIC are named after quotes from the liner notes of a recording of Pachebel's Canon in D, which also provides the structure of the pieces themselves. Built on subtle tape loops, the pieces retain just enough of those structures to avoid the deliberate formlessness of Eno's later ambient experiments. The very beginnings of ambient music are on this disc.Mojo (Publisher) (p.127) - 4 stars out of 5 - "[A] delicate and gorgeous deconstruction of Pachelbel's Canon..." Brian Eno Discreet Music Songs Discreet Music Review
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Purchase Discreet Music CD To buy, Click on price to add to cart | Elliott Smith CD (1995)
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The Cinderella-esque climb from lo-fi indie cult artist to Grammy nominee/major label darling must have been a perilous one for Smith, who makes the leap to the big time here after three well-regarded albums on small labels. He's lost none of his bite, though. The production values on XO may be slightly higher, but Smith's vision remains undiluted.
The production, centered around acoustic guitar augmented by keyboards and lush vocal harmonies, recalls pop icons like the Beach Boys (especially on the closing acapella cut), Beatles and Big Star, but this is no sunny Cali-pop album. Leavening the instrumental brightness are Smith's Nick Drake-ish whisper and his thoroughly downcast lyrics, which cast him squarely in the Mark Eitzel/Smog camp of unrelenting self-effacement and misery. The combination of Smith's internal ...
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On his first record since his Oscar nomination courtesy director Gus Van Zandt's use of his music in the film "Good Will Hunting," Elliott Smith returns with another album's worth of gorgeous misery. Like Nick Drake before him, Smith has the ability to conjure beautifully poignant pathos, wrapping it in an elaborately arranged package worthy of a George Martin or Brian Wilson. Working with Beck/Foo Fighters producer Rob Schnapf, Smith uses Abbey Road Studios for some of these sessions, dressing up his tortured lyrics with orchestral arrangements that avoid any hint of mawkishness.
Whether ...
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This Montreal ensemble's fiery debut is marked by surging guitars, soulful strings, driving drums, brilliant bass lines, and the quavering vocals of married couple Win Butler and Regine Chassagne. The group's song structures careen through a vast territory of musical and personal history, with lyrics warm with memories of childhood neighborhoods and deceased loved ones, resulting in an alternating current of joy and sadness.
Favorably compared to the Flaming Lips, Mercury Rev, and Broken Social Scene, the Arcade Fire's sound seems to come from a lifetime of listening to the Cure, Talking Heads, Elvis Costello, and many others--even a dose of soul gets worked into these grand anthems. Chassagne delivers some spellbinding vocals on "Haiti," while the tinkling ...
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Elliott Smith's death in 2003 left a cavernous hole in the world of popular music. Tender, intimate, and painfully honest, the songs in Smith's catalogue capture the fragility of human existence with rare, breathtaking beauty. On his first posthumous release, Smith reaffirms his status as an extraordinarily gifted artist, giving fans yet another reason to mourn his tragic loss.
Conceived as an ambitious double album, FROM A BASEMENT ON THE HILL was ultimately narrowed down to 15 tracks by Smith's close friends, producer Rob Schnapf (Beck's MELLOW GOLD, Smith's X/O) and musician Joanna ...
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Digitally remastered utilizing the 20-Bit K2 Super Coding System.
The deluxe 6-CD box set CREEDENCE CLEARWATER REVIVAL contains all the original CCR releases including: CREEDENCE CLEARWATER REVIVAL (1968)/BAYOU COUNTRY (1969)/GREEN RIVER (1969)/WILLY & THE POOR BOYS (1969)/COSMOS'S FACTORY (1970)/PENDULUM (1970)/MARDIS GRAS (1972). Disc 1 includes rare pre-Creedence Clearwater Revival recordings by Tommy Fogerty & The Blue Velvets and The Golliwogs.
Includes essays by Ben-Fong Torres and Alec Palao plus individual album liner notes by Ben-Fong Torres, Joel Selvin, Dave Marsh, Ed Ward, Robert Christgau, Craig Werner and Stanley Booth.
Digitally remastered using 20-bit K2 Super Coding technology by Shigeo Miyamoto (JVC Studios) and Joe Tarantino (Fantasy Studios, Berkeley, California).
CCR seemed like something of an anomaly on their 1968 debut. They were miles from the mind-expanding flower-power explorations of their California contemporaries. They came across as a gritty, hard-hitting band respectful of their blues, country, and rock & roll roots. John Fogerty's cutting, raspy voice bore echoes of Howlin' Wolf and Little Richard as he delivered lyrics that alternately celebrated and bemoaned a working man's life, much like Merle Haggard and other '60s country artists. That the strong New Orleans swamp-rock flavor seemed so natural (Californian Fogerty's bayou tales were pure flights of fancy) was a testament to the strength of CCR's musical vision. The way they put a respectful but contemporary twist on Dale Hawkins's "Suzie Q" and the chilling "I Put a Spell on You" shows that they knew enough about the past to step confidently into rock & roll's future.
Released in the summer of 1968 -- a year after the summer of love, but still in the thick of the Age of Aquarius - Creedence Clearwater Revival's self-titled debut album was gloriously out-of-step with the times, teeming with John Fogerty's Americana fascinations. While many of Fogerty's obsessions and CCR's signatures are in place -- weird blues ("I Put a Spell on You"), Stax R&B (Wilson Pickett's "Ninety-Nine and a Half"), rockabilly ("Susie Q"), winding instrumental interplay, the swamp sound, and songs for "The Working Man" -- the band was still finding their way. Out of all their records (discounting Mardi Gras), this is the one that sounds the most like its era, thanks to the wordless vocal harmonies toward the end of "Susie Q," the backward guitars on "Gloomy," and the directionless, awkward jamming that concludes "Walking on the Water." Still, the band's sound is vibrant, with gutsy arrangements that borrow equally from Sun, Stax, and the swamp. Fogerty's songwriting is a little tentative. Not for ...
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