Fuckin' A's every ESSENTIAL album you should own thread

[GM Dizzy Skillespie]

Albums I've enjoyed lately:

Brian Eno - Another Green World -- excellent album, his songwriting is phenomenal and I am definitely checking out as much of his work as I can.
Although, Roxy Music is not resonating with me.

The Replacements - Let It Be -- Having a love affair with this record right now. I play the fuck out of it. I just get stoned, throw it on and clean the apt or do the dishes and shit while I listen.

Big Black & Jesus & Mary Chain make me feel like I should be doing coke off a mirror coffee table or some shit. It just makes me feel weird when I listen to it.

The Chameleons "Don't Fall" is an excellent song.

Its been nice to regain some Bowie that I lost awhile ago.
although I got some weird looks the other day when I was driving around listening to "Panic In Detroit"

[Money Gripp]

Led Zeppelin (1969)
VBR

1 Good Times Bad Times 2:46
2 Babe I'm Gonna Leave You 6:41
3 You Shook Me 6:28
4 Dazed and Confused 6:25
5 Your Time Is Gonna Come 4:34
6 Black Mountain Side 2:12
7 Communication Breakdown 2:29
8 I Can't Quit You Baby 4:42
9 How Many More Times 8:28

[Money Gripp]

Led Zeppelin Houses of the Holy (1973)
VBR

1 The Song Remains the Same 5:30
2 The Rain Song 7:39
3 Over the Hills and Far Away 4:50
4 The Crunge 3:17
5 Dancing Days 3:43
6 D'yer Mak'er 4:22
7 No Quarter 7:00
8 The Ocean 4:31

[Money Gripp]

^^^ My top two Zeppelin albums.

[Tommy Bunz]

Creedence Clearwater Revival - Green River



1. Green River
2. Commotion
3. Tombstone Shadow
4. Wrote A Song For Everyone
5. Bad Moon Rising
6. Lodi
7. Cross-Tie Walker
8. Sinister Purpose
9. The Night Time Is The Right Time

http://www.megaupload.com/?d=ENI2DL46

[slimebucato]

^ I was actually thinking about uploading that. Love that album. Bad Moon Rising is one of my favorite songs.

[GM Dizzy Skillespie]

Frank Sinatra link died along with a couple others.


Here's a question I almost made a seperate thread for..

Anyone consider these bands from the 90s esssential??
(no this is not another joke post about the 90s)

Dismemberment Plan -- a dude made me a 90s indie mixtape so that I could hear his favorite bands and this was one of them. The song "Ice of Boston" was real dope.

Superchunk - the only song I've heard is Slack Motherfucker, but that song is fucking great... one of my top "fuck a job" songs.
would any of their albums be considered essential?

lets maybe get some uploads.

[Icesickle]

I have the second Mermaid Avenue album somewhere, and I'll try to upload it this week, but I wanted to get this in here ASAP. The best lyricist in American history (Woody Guthrie) brought to life by a group of people (Wilco, Billy Bragg, and Natalie Merchant) who do a better job than he often could of putting his words to music. I dare someone to find a contemporary lyricist who can write lyrics as poignant as the ones for "One By One" or "Birds and Ships."

http://www.mediafire.com/download.php?bgltpjkzal1

Named for a Coney Island street where Woody Guthrie lived in the late Forties and early Fifties, Mermaid Avenue is a collection of recently discovered Guthrie lyrics now set to music for the first time. It's also nothing that the previous work of those involved could have led anyone to expect.

Born in 1912, shaped by the 1930s, recording mostly in the 1940s, the shadow self of a young Bob Dylan in the early 1960s and dead in 1967, Woody Guthrie made his mark as a left-wing version of the professional American. If you listen to him now ג€“ homing in on such all-American folk passwords as "Stackolee" and "When That Great Ship Went Down" or on Guthrie's own compositions, from "This Land Is Your Land" to "Farmer-Labor Train" ג€“ he can sound very far away. His singing ranges from witty to ghostly to (too often) dull. Flights of craft and inspiration in his words and melodies can be dragged down to earth by the freight they carry: the perfectly weighed and measured details of saying the politically proper thing in the politically proper way.

You can hear a similar imprisonment in the careers of Billy Bragg and Wilco. Since 1983, Bragg has combined a heavy East End London accent, often the naked sound of his own electric guitar, and a political sensibility that owes more to the 1930s than to any time since. He has left behind "Levi Stubbs' Tears," which still feels like an open wound, and a slew of pieces testifying mostly to the fact that his heart is in the right place, even if he wears it on his sleeve. Singer Jeff Tweedy stepped out with Uncle Tupelo in 1990; there or in Wilco, with guitarist and keyboard player Jay Bennett, drummer Ken Coomer and bassist John Stirratt, he has sung more at his red-dirt revisions of the oldest folk and country airs than from inside them. He has seemed far more sure of himself singing other people's songs, even such seemingly uncoverable eruptions of the American Gothic as Richard "Rabbit" Brown's "James Alley Blues" or Dock Boggs' "Sugar Baby," both of which were originally recorded around seventy years ago. It's as if Tweedy loves the old American music too much to trust his own.

Thus it's the best shock of the year to find Mermaid Avenue opening with a couple of sailors tripping over each other in search of booze and pussy ג€“ there being no more proper way to put it. "Walked up to a big old building/I won't say which building," Bragg says happily. "Walked up the stairs/Not to say which stairs" ג€“ and just like that, with a crowd of smelly drunks shouting Bragg through the choruses, Guthrle's lyric sheet for "Walt Whitman's Niece" turns into some seemingly fated tangle of "Gloria," Last Exit to Brooklyn and Beach Boys' Party! as performed by the Three Stooges. For the rest of the disc, making a better world is inseparable from making a better night, and the historical treasure of Guthrie's found lyrics yields to the melodies and arrangements that Bragg and Wilco use to bring them to life.

Hard or even impossible to place, those melodies, from just below the surface of the American pop tradition or from the true depths of the British folk tradition, float Guthrie's screeds, stories and musings off into a realm where he is freed from his legend ג€“ into a realm where the people now singing his songs are freed from respect for it. The songs seemingly move of their own accord, and the record becomes unstable. The number that you know is the best piece here isn't the one with the tune you can't get out of your head ג€“ and which one that might be changes every other day. From Tweedy's dry-as-dust vocal on "Hesitating Beauty" ג€“ a seduction song named for Guthrie's daughter ג€“ to the rousing sing-along Bragg makes of "I Guess I Planted," Guthrie's summation of his life's work, the forgotten or untold stories in the songs become a new story, and it all comes to verge with "Way Over Yonder in the Minor Key."

A young man gets a young woman to crawl into a hollow tree with him; promising that "there ain't nobody that can sing like me," he gets her to take off her shirt; years and years later, he looks back and smiles. The melody that guides this slowly told, perfectly written tale convinces you that even if the man grew up to rob widows and orphans, he has lived a blessed life. Natalie Merchant, coming in behind Bragg's lead, opens up the song, making it the woman's as much as the man's; Eliza Carthy's fiddle, seemingly waiting in the melody long before it chooses to take up Guthrie's words, makes the story being told feel as old as the stories told in the oldest folk songs, in "The Coo Coo" or "The House Carpenter." As Bragg and Wilco perform it, the number is also no more than what it is: an old man's grin.

Mermaid Avenue is not the place to discover Woody Guthrie; it may not even be the place to discover Wilco or Billy Bragg. The record is a thing in itself, perhaps standing outside the stories told by the careers of its principals, as if already looking back on all their failures, saying this time you got it right.

Here's some OG shit from the man himself.

Woody Guthrie - Massacre of 1913
13 1913 massacre.m4a - 3.38MB

[stems]

Wow. Great thread.

[Seiko Flossberg]

The Guthrie collection is pretty good.

[Icesickle]

http://www.mediafire.com/?90ohdmvwouc

1) 6'1'
2) Help Me Mary
3) Glory
4) Dance Of The Seven Veils
5) Never Said
6) Soap Star Joe
7) Explain It To Me
8) Canary
9) Mesmerizing
10) Fuck And Run
11) Girls! Girls! Girls!
12) Divorce Song
13) Shatter
14) Flower
15) Johnny Sunshine
16) Gunshy
17) Stratford-On-Guy
18) Strange Loop

Bonus Track
20) California

Despite its low-fi production, Exile in Guyville roams giddily all over the pop landscape. On "Fuck and Run," Phair, who lives in Chicago, manages to sound both wistful and pissed off. On "6'1"" and "Mesmerizing" she's banging out chords that Keith Richards might admire. Folkie mood pieces ("Dance of the Seven Veils") and spooky piano nocturnes ("Canary") rub up against Patti Smith-style dialogues ("Flower") and psychedelic whiteouts ("Gunshy").

Phair writes sturdy riffs that render her rudimentary guitar technique beside the point ג€“ her largely midtempo material cuts through the surf like a shark fin. Above all, it's her singing ג€“ wispy one minute, feral the next ג€“ that makes Guyville sizzle.

[Icesickle]

Tricky - Maxinquaye

http://www.mediafire.com/?iltvqmrpwio

1) "Overcome"
2) "Ponderosa"
3) "Black Steel"
4) "Hell Is Round the Corner"
5) "Pumpkin"
6) "Aftermath"
7) "Abbaon Fat Tracks"
8) "Brand New You're Retro"
9) "Suffocated Love"
10) "You Don't"
11) "Strugglin'"
12) "Feed Me"

Twenty-seven-year-old English rapper, writer and producer Adrian Thaws has been known as Tricky since he roughed up bits of Massive Attack's milestone 1991 LP Blue Lines. On his debut, Maxinquaye, he introduces an abrasive mix of animated beauty and technological skank. Working with the perfectly empathetic teen-age singer Martine, Tricky devours everything ג€“ from American hip-hop and soul to reggae and the more melancholic strains of '80s British rock like the Cure and PIL ג€“ to assemble a mercurial style of dance music that immediately finds its own fast feet. He's a scavenger with the formal acuity of a scientist.

Tricky achieves a kind of mongrel orchestration unimaginable before the arrival of hip-hop. Prince and a thousand studio hounds before him may have mapped out innovative and useful techniques, but hip-hop's ambitiously cobbled-together friction sets the stage for this brand of sensation scoring. In the ironic hands of Tricky and Martine, thrilling pieces like "Overcome," "Aftermath" and the brilliant "Suffocated Love" cast around and find lulling tunes and soulful moods amid depressing themes and frank, fast-moving snatches of noise and melodic disruptions. Never sacrificing flow, no matter how grungy, Tricky's kitchen-sink sound welcomes punk guitar momentum, static, distortion and metallic auras, plus oddly voiced piano and woodwind accents.

All of this results in murky, deep music that's a natural outgrowth of the way Tricky and Martine see the world. Their curbed rage surfaces on a cover of Public Enemy's "Black Steel in the Hour of Chaos," their breathy aggression heats "Brand New, You're Retro," and their sexy narration drives on "Abbaon Fat Track." Trip-hop is the current label being given this music, but it's no more than a cute, reasonably accurate headline. At any given time, certain pop records ג€“ more than books or movies or whatever ג€“ strike a chord that exists for a moment as the sound of the beyond cool. Right now, Tricky's Maxinquaye is it. (RS 710)

[Icesickle]

The highlights on this one are "Airline to Heaven," "Remember the Mountain Bed," and "Someday Some Morning Sometime." Remarkable songs.

http://www.mediafire.com/?8ohzqjyz3ui

1) "Airline to Heaven"
2) "My Flying Saucer"
3) "Feed of Man"
4) "Hot Rod Hotel"
5) "I Was Born"
6) "Secrets of the Sea"
7) "Stetson Kennedy"
8) "Remember the Mountain Bed"
9) "Blood of the Lamb"
10) "Against the Law"
11) "All You Fascists"
12) "Joe DiMaggio Done It Again"
13) "Meanest Man"
14) "Black Wind Blowing"
15) "Someday Some Morning Sometime"

On 1998's Mermaid Avenue, Billy Bragg and Wilco saved Woody Guthrie's legacy from Dust Bowl sainthood. With the encouragement of Nora Guthrie, the folk legend's daughter, Bragg and Wilco set some of the singer's unheard lyrics to new music, and the results were revelatory: Woody, it turns out, was every bit as lusty, fallible and funny as the deportees, migrant laborers and hobos he portrayed in song.

Now comes the sequel, which plays down Guthrie's playful leer in favor of his snarl. Vol. II blasts the verbal buckshot; the agit-punk Bragg wails Guthrie's "All You Fascists," taking obvious relish in spitting out what was once the nastiest of the f words as Wilco's Jay Bennett plays along with rootin', tootin' harmonica. On "Meanest Man," Bragg stumbles through junkyard percussion worthy of Tom Waits while staving off the hellhounds in his head.

Rawness rules on "Airline to Heaven," a rambunctious hootenanny groove over which Wilco's Jeff Tweedy slags off money-grubbing messiahs in a sly drawl: "Them's got ears, let them hear." Doing an even better job of puncturing self-righteous tyrants is "Feed of Man," which could be a corrosive prelude to Neil Young's "Southern Man." When Tweedy snaps, "I'll help you squeeze and fix yourself up a new kind of a god!" his indignation even out-Braggs Bragg.

Blues shaman Corey Harris plays it broad and brassy on "Aginst th' Law," which underlines the wicked Guthrie sarcasm. The album's other cameo vocal is by Natalie Merchant on the sweet but slight nursery rhyme "I Was Born" -- the type of smaller, more personally expansive song (in the vein of "California Stars" and "One by One," from the first volume) that brings us closest to Guthrie's inner world. "Secret of the Sea" wrestles with the unanswerable over a small army of guitars, their tonal centers shifting from the Far East to George Harrison's "All Things Must Pass" to Nashville in the space of a few bars. Best of all is the six-minute "Remember the Mountain Bed," a tour de force without a chorus that ends more quietly than it began, with Bennett and bassist John Stirratt's whispered harmony briefly, almost subliminally shadowing Tweedy's husky baritone, as though the ghost of Guthrie himself had slipped into the recording session.

Bragg also appears on 'Til We Outnumber 'Em, a 1996 concert honoring Guthrie, recorded at the Rock & Roll Hall of Fame; he and Bruce Springsteen, Ani DiFranco and an affably crusty Ramblin' Jack Elliott, among others, deliver spirited performances. But as with the Mermaid Avenue discs, the real stars here are the songs themselves, which in the words of Guthrie are "stories with tunes, tales with no melody, wild lines with free beats and freer rhythms . . . as pretty as the paint on your tractor, the oil on your wheel."

[Funky Butler]

Molly Hatchet

Code: Select all

http://www.sendspace.com/file/90crso

[slimebucato]

1. "Vibracobra" - 4:47
2. "Kalgon" - 2:02
3. "Bend or Break" - 5:24
4. "Can I Ride" - 3:44 http://www.youtube.com/watch?v=qydTiPzg ... re=related
5. "Sense of It" - 2:35
6. "Ox Scapula" - 1:41
7. "Channel Changer" - 4:28
8. "In the Hand, in the Sieve" - 2:32
9. "The Curtain Remembers" - 3:25
10. "Well Is Deep" - 4:41
11. "Duped" - 2:57

Helping to define the Chapel Hill, North Carolina, indie rock scene along with Superchunk and Archers of Loaf, Polvo displayed some of the slack-jawed passive aggression of those bands, but brought an entirely different sonic agenda to their ... Full Description1992 debut. Frontman Dave Brylawski conveys the low-key snottiness of the era's alt-rock to a tee, but it's his and Ash Bowie's bending and breaking of conventional guitar arrangements and typical tuning that distinguishes COR-CRANE. The contorted anti-melodies and structures on barely-there songs like "Kalgon" and awkwardly driving, dynamic mini-epics like "Can I Ride" are reminiscent of few clear ancestral influences (though Sonic Youth and Cul de Sac come to mind). Yet COR-CRANE itself has impacted everyone from Modest Mouse to Explosions in the Sky, and probably should have put them in the same class as Nirvana at the time

I only started listening to this about 2 or 3 weeks ago because of the 42 best bands thread in RR, but it is so great that I already feel comfortable throwing it up here. It's quickly become one of my favorite records. The combo of "Kalgon/Bend or Break" is the the highlight, but the whole thing is really great. Might be tad inaccessible to some at first, but give it time and I'm sure you'll love it as much as I do.

Code: Select all

http://www.mediafire.com/?sharekey=123bb63f46989bcaab1eab3e9fa335ca712d8bcdd5b51512

[Funky Butler]

lil more creedence. my favorite actually if only for cotton fields and fortunate son

Code: Select all

http://www.sendspace.com/file/dy6prp

Amazon.com-

The Band that Fogerty Built was truly an American phenomenon during their relatively short recording career. Each of their albums, beginning with 1969's Bayou Country, was a Top 40 hit-making machine. Willy & the Poor Boys produced two smashes--"Down on the Corner" (which is about the fictional black street group that gave the album its title) and "Fortunate Son," Fogerty's most ferocious political rant. Each LP was a concept collection of sorts, and this one was a tribute to the South, featuring two traditional standards popularized by Leadbelly as well as two instrumentals that made you swear CCR were from New Orleans rather than Oakland, California. --Bill Holdship

[drizzle]

While his recording career only lasted a little more than six years ('66-'71), Duane Allman's playing was heard not only with the Allman Brothers Band, but on a variety of important records by other artists as well. Hence this posthumous 1972 double-album collection, which--besides five Allman Brothers tracks--includes many memorable solos by the distinctive slide guitarist from sessions at the fabled Fame and Muscle Shoals studios. Highlights include soul versions of "Hey Jude" (Wilson Pickett), "The Weight" (Aretha Franklin), and "Games People Play" (King Curtis), as well as the time-stopping "Somebody Loan Me a Dime" (Boz Scaggs) and Derek and the Dominoes' classic, "Layla."

Code: Select all

http://www.sendspace.com/file/725ji2

didn't even know such a thing existed


EDIt: just started googling this thing while downloading, do you have volume 2 as well?

[Funky Butler]

yeah i got it somewheres in my cd case i'll look for it and up it when i get the chance

[Icesickle]

CCR should be up there with Zep, Beatles, Rolling Stones, etc. as far as all time great bands, but they're on the B-list for some reason.

[Icesickle]

Will download that Allman album based on the cover alone.

[Money Gripp]

CCR are awesome but they're not in the same league as those bands. I think even the most ardent CCR devotees would agree about that.

[Icesickle]

If we're talking about albums, yeah. Their albums aren't as good as those bands best albums, but CCR's singles collection can fuck with anyone's imo.

[Icesickle]

Will upload Bjork's Homogenic, Springsteen's Nebraska, and some Uncle Tupelo, Wilco, and, yes, Pavement shit in the near future. Gonna try and upload the best rock album of the past 10 years, The Wrens' Meadowlands, tonight.

[Y@k Bollocks]

[drizzle]

yeah i got it somewheres in my cd case i'll look for it and up it when i get the chance

thanks man, much appreciated

[GM Dizzy Skillespie]

1. "Vibracobra" - 4:47
2. "Kalgon" - 2:02
3. "Bend or Break" - 5:24
4. "Can I Ride" - 3:44 http://www.youtube.com/watch?v=qydTiPzg ... re=related
5. "Sense of It" - 2:35
6. "Ox Scapula" - 1:41
7. "Channel Changer" - 4:28
8. "In the Hand, in the Sieve" - 2:32
9. "The Curtain Remembers" - 3:25
10. "Well Is Deep" - 4:41
11. "Duped" - 2:57

Helping to define the Chapel Hill, North Carolina, indie rock scene along with Superchunk and Archers of Loaf, Polvo displayed some of the slack-jawed passive aggression of those bands, but brought an entirely different sonic agenda to their ... Full Description1992 debut. Frontman Dave Brylawski conveys the low-key snottiness of the era's alt-rock to a tee, but it's his and Ash Bowie's bending and breaking of conventional guitar arrangements and typical tuning that distinguishes COR-CRANE. The contorted anti-melodies and structures on barely-there songs like "Kalgon" and awkwardly driving, dynamic mini-epics like "Can I Ride" are reminiscent of few clear ancestral influences (though Sonic Youth and Cul de Sac come to mind). Yet COR-CRANE itself has impacted everyone from Modest Mouse to Explosions in the Sky, and probably should have put them in the same class as Nirvana at the time

I only started listening to this about 2 or 3 weeks ago because of the 42 best bands thread in RR, but it is so great that I already feel comfortable throwing it up here. It's quickly become one of my favorite records. The combo of "Kalgon/Bend or Break" is the the highlight, but the whole thing is really great. Might be tad inaccessible to some at first, but give it time and I'm sure you'll love it as much as I do.

Code: Select all

http://www.mediafire.com/?sharekey=123bb63f46989bcaab1eab3e9fa335ca712d8bcdd5b51512

I'm sure this will be dope.
thanks.... listening in a few.

[Funky Butler]

Code: Select all

http://www.sendspace.com/file/h3wpdq

[image_35]

I doubt this is the place for requests...

but does anyone have labi siffre's the singer and the song?

[Icesickle]

My favorite rock album of the past 10 years.


The Wrens - Meadowlands

http://www.sendspace.com/file/1fct9u

1. House That Guilt Built, The
2. Happy
3. She Sends Kisses
4. Boy Is Exhausted, The
5. Hopeless
6. Faster Gun
7. Thirteen Grand
8. Boys, You Won't
9. Ex-Girl Connection
10. Per Second Second
11. Everyone Choose Sides
12. 13 Months in 6 Minutes
13. This Is Not What You Have Planned

I've heard so many stories of bands going through the record-label wringer that it's starting to seem like the rule rather than the exception. Take The Wrens, for example: they haven't put out anything since an EP in '98, while Creed (an example of the fare their former label picked up when it changed ownership) continues to undeservedly sell millions of records. But a group that begins their career by getting fired from a house-band gig on a senior-citizen cruise ship (for covering The Pixies' "Debaser", no less) doesn't let something as superficial as label-exec rejection keep them down. And now they've made what may well be their best album yet. Judging from these thirteen songs, The Wrens are bruised but not beaten. The bitter kiss-off in "Happy" could be directed at an ex-girlfriend or an ex-record label with equal plausibility: "Aren't you happy now / Got what you want / I wanted you / But I'm over that now".
The Meadowlands sustains The Wrens' vaunted stylistic diversity. Sometimes they mask their bad feelings with gentle piano-and strings-accented ballads ("Thirteen Grand") and delicately sweeping arpeggios ("She Sends Kisses"). On other occasions, the resentment is rocked out: "Per Second Second" and "Faster Gun" inject catchy jangle-pop with aggression through driving beats and unintelligible, effected lyrics, while the pounding, midtempo "Everyone Choose Sides" makes it easy to see why bassist Sett once broke through the stage at a show.

The Meadowlands is hard to categorize. You could listen to "This Boy is Exhausted" and peg the album as straightforward rock, but that would be ignoring the ambling grace of the disc's slower numbers, such as the countryish "13 Months in 6 Minutes" or "This is Not What You Had Planned", a live-recorded piano-and-vocals snippet that closes the album. The Wrens experiment with sounds and textures you don't normally hear in so-called "rock" records, but unlike many groups, they manage to do this in a way that attracts attention without upstaging the actual music. And the songwriting just keeps getting better; there isn't a lackluster track in the bunch.

With The Meadowlands, The Wrens have both evolved musically and finalized their messy divorce from the music industry's more full-of-shit segment. I could quote platitudes about triumphing over adversity and bitterness making victories all the sweeter -- and this record represents all of that. But the most important thing isn't the struggle that led up to The Meadowlands; it's the fact that the finished product is outstanding.

[intuition]

i feel like icesickle should not be allowed to post albums in this thread.