1970-1979 WTF - The Hard 'n' Heavy 'n' Loud + Krautrock, Arty, Noisy, Weird, Funky, Punky Shit - Albums Poll! - VOTING THREAD! Closes Mar 8th 11.59 PM UK Time - All ILXORS/LURKERS WELCOME

That would be nice! Also, maybe less TEXT IN CAPS? It makes it very visible, but also harder to read, IMO.

Yeah it's pretty quiet. I still support just doing it in December, but up to AG.

http://lisathatcher.files.wordpress.com/2012/03/ns-1.jpg%3Fw%3D594%26h%3D509

Night Sun - Mournin' (Zebra/Second Battle, 1972)
Among previously overlooked cult albums by Jerusalem, Lucifer's Friend, Bang, Blues Creation and Blackwater Park, Night Sun's Mournin' stands out in the pack as an exceptional piece of German proto-metal with elements of spacy, jazzy prog, screamy Ian Gillian style vocals, and even some moments of doomy heaviness surpassed at the time only by Sabbath. Though it was produced by Conny Plank at windrose in Hamburg, Mournin' was not celebrated along with the likes of Plank-produced Kraftwerk, Faust and Ash Ra Tempel mainly because its proggy proto-metal was simply not fashionable, at least until recently. Many of the members have a background in 60s jazz band Take Five, and it shows in their chops. The keyboard-heavy grooves still have that satisfyingly lumbering stomp, but they can spin on a dime when they need to, like on the scorching "Nightmare." The instrumental "Got A Bone Of My Own," "Plastic Shotgun" and "Crazy Woman" are just as impressive and compare well against the best that Uriah Heep and Atomic Rooster have to offer from all their albums.

Night Sun is back in stock at Aquarius records and also available at Reckless Records in Chicago.

Full album: http://youtu.be/Iy6GbLoSxBg

So I can still vote in this? Cool. Deadline again?

february/march?

Sheeit. I just noticed there is no Kevin Coyne on here. Any chance for late nominations seeing as there is more time?

Decided to finally take the plunge with Hawkwind - after one listen through Space Ritual I can already see why some people get so heavily into these guys.

Whatever happened to this poll? Is it still going to happen?

Oh yeah! Is it? I sent in an albums ballot ages ago but still haven't finished my tracks one. This still gonna happen?

maybe a mod could change the title to voting still open but doesnt close til feb 2013?

― Algerian Goalkeeper, Thursday, November 8, 2012 10:37 AM (2 months ago) Bookmark Flag Post Permalink

Delayed to create more room for the EOY poll.

xp

is it too late to submit a ballot?

xp I think it's going to happen some time after the main EOY poll finishes (btw: please vote in the EOY poll!). In the meantime, you can still submit ballots.

i was kinda done with polls but what with not doing metal poll anymore i guess im more up for finishing this one if blount is too

voting can still take place btw. Not sure of end date yet but get listening/voting etc

oh and campaigning too.

can a mod please remove the " Closes Nov 8th 11.59 PM UK Time" part please as it is probably stopping people from opening the thread and they wont realise its restarting.

There will be at least one month before voting closes .

End date 8th March ok with everybody or would you prefer longer? (everything depends on seandalai's availability)

All cast votes are safe but you can re-vote if you have changed your mind.

No Talking Heads in this?

Voted. That was fucking difficult.

n/m the above... just realized how this works with the nomination thread and stuff.

yeah we held that last year and started the voting but then postponed it for a few months. It gives everyone a chance to check out the nominations.
8th march is probably going to be the closing date but it can be extended if people ask.

If you've already voted aaaaaaaaages ago, do you need to vote again? That'd be a pain

no need to vote again, your ballot persists

cheers for thread title change jjj!

thanks for the new ballots unfortunately you dont get auto replies but if you post here that you voted then seandalai or i can confirm it!

the Takin' Care of Business: ILX 70s RAWK TRAX VOTING RULES AND CAMPAIGNING THREAD - VOTING THREAD!- Closes Nov 8th 11.59 PM UK Time - All ILXORS/LURKERS WELCOME has been taken over by viceroy as balls doesnt have the time. Remember to vote there!

btw it closes MARCH 8th too same as this poll

thanks to todays voters. they went through

another overnight, thanks!

i need to do mine. I forgot I hadnt voted

still need to do it

acid metrics or edward iii or stirmonster are you gonna campaign?

Wish sonic youth had a 70s album then we might get more chat on this thread!!

imago come talk prog!

Spotify albums playlist http://open.spotify.com/user/pfunkboy/playlist/1rFbtUwZlcYHBD6gcemMeK

was the 70s the first real decade of rock critics? Is that when they became a big deal?

heh http://en.wikipedia.org/wiki/Music_journalism

Popular music

Music writers only started "treating pop and rock music seriously" in 1964 "after the breakthrough of the Beatles...".[3] One of the early music magazines in Britain, Melody Maker, complained in 1967 about how "newspapers and magazines are continually hammering [i.e., attacking] pop music".[4] Melody Maker magazine advocated the new forms of pop music of the late 1960s. "By 1999, the 'quality' press was regularly carrying reviews of popular music gigs and albums", which had a "key role in keeping pop" in the public eye. As more pop music critics began writing, this had the effect of "legitimating pop as an art form"; as a result, "newspaper coverage shifted towards pop as music rather than pop as social phenomenon".[5]

Steve Jones claims that both popular music articles and academic articles about pop music are usually written from "masculine subject positions". As more pop music critics began writing, this had the effect of "legitimating pop as an art form"; as a result, "newspaper coverage shifted towards pop as music rather than pop as social phenomenon";[6] as well, in the way that critics differentiate between pop music and rock, using terms like "trivial", "fluffy", or "formulaic" for pop (versus "serious", "raw", and "sincere" for rock), there is an implicit or even explicitly gendered dichotomy.[7] Simon Frith notes that pop and rock music are closely associated with gender; that is, with conventions of male and female behaviour.[8]

In the world of pop music criticism, there tends to be a quick turnover. The "pop music industry expects that any particular [music critic] star can disappear within five years; in contrast, the "stars" of rock criticism are more likely to have long careers with "book contracts, featured columns, and editorial and staff positions at magazines and newspapers. Critic Robert Christgau was the "originator of the 'consumer guide' approach to pop music reviews", an approach to writing pop recording reviews that was designed to help consumers to decide whether to buy a new album.[9]

In the realm of rock music (as indeed in that of classical music),[10] critics have not always been respected by their subjects. Frank Zappa declared that, "Most rock journalism is people who can't write, interviewing people who can't talk, for people who can't read." In the Guns N' Roses song "Get in the Ring", Axl Rose verbally attacked critics who gave the band negative reviews because of their actions on stage; such critics as Andy Secher, Mick Wall and Bob Guccione, Jr. were mentioned by name.
US music writer Robert Christgau was one of the first rock critics in the 1960s.

Carl Wilson describes "an upsurge in pro-pop sentiment among critics" during the early 2000s, a "new generation [of music critics] moved into positions of critical influence" and then "mounted a wholesale critique against the syndrome of measuring all popular music by the norms of rock culture."[11] In 2008, Ann Powers of the LA Times argued that "[p]op music critics have always been contrarians", because "pop music [criticism] rose up as a challenge to taste hierarchies, and has remained a pugilistic, exhibitionist business throughout pop's own evolution."[12]

Powers claims that "[i]nsults, rejections of others' authority, bratty assertions of superior knowledge and even threats of physical violence are the stuff of which pop criticism is made"; at the same time, the "best [pop criticism] also offers loving appreciation and profound insights about how music creates and collides with our everyday realities." She states that pop criticism developed as a "slap at the establishment, at publications such as the hippie homestead Rolling Stone and the rawker outpost Creem." She notes that the "1980s generation" of post-punk indie rockers "has lately [i.e., in the 2000s] been taken down by younger "poptimists," who argue that lovers of underground rock are elitists for not embracing the more multicultural mainstream". Powers claims that with the 2000s-era "poptimism" critical approach, debates about bands and styles are "like the scrum in rugby", because "[e]verybody pushes against everybody else, and we move forward in a huge blob of vehement opinion and mutual judgment".[12]

Slate magazine writer Jody Rosen discussed the 2000s-era trends in pop music criticism in the article "The Perils of Poptimism". Rosen notes that much of the debate is centred over the perception that that rock critics "...regard rock as "normative … the standard state of popular music … to which everything else is compared."[13] At a 2006 pop critic conference, attendees discussed their "...guilty pop pleasures, reconsidering musicians (Tiny Tim, Dan Fogelberg, Phil Collins) and genres (blue-eyed soul, Muzak)" which rock critics have long dismissed as lightweight, commercial music. Rosen states that "this new critical paradigm" is called "popism"—or, more evocatively (and goofily), "poptimism". The "poptimism" approach states that "Pop (and, especially, hip-hop) producers are as important as rock auteurs, Beyoncé is as worthy of serious consideration as Bruce Springsteen, and ascribing shame to pop pleasure is itself a shameful act".[14] In 2006, Martin Edlund from the New York Sun argued that music bloggers are to some degree displacing newspaper and magazine-based pop music critics. Edlund notes that while the "Internet has democratized music criticism, it seems it's also spread its penchant for uncritical hype".[15]

So it all started with the beatles then?

Powers claims that "[i]nsults, rejections of others' authority, bratty assertions of superior knowledge and even threats of physical violence are the stuff of which pop criticism is made"; at the same time, the "best [pop criticism] also offers loving appreciation and profound insights about how music creates and collides with our everyday realities." She states that pop criticism developed as a "slap at the establishment, at publications such as the hippie homestead Rolling Stone and the rawker outpost Creem." She notes that the "1980s generation" of post-punk indie rockers "has lately [i.e., in the 2000s] been taken down by younger "poptimists," who argue that lovers of underground rock are elitists for not embracing the more multicultural mainstream". Powers claims that with the 2000s-era "poptimism" critical approach, debates about bands and styles are "like the scrum in rugby", because "[e]verybody pushes against everybody else, and we move forward in a huge blob of vehement opinion and mutual judgment".[12]

how dare critics like 'rawk' eh? to me that signifies the exact sort of elitist bs that the pop critics complain about with rock crits.

The idea that you have to like one to the exclusion of the other seems awfully outdated. However it seems it was a big issue even in 1969.

Last week I was looking for Philip Cato's book Crash Course for the Ravers; a Glam Odyssey (1997), but it's out of print. Instead I bought Goodbye Mickey Finn for just $.99. Since it was so cheap, I thought it was just short-story length, but it's actually 446 pages! It's like a meta-autobiography where Cato writes as Finn writing a diary, starting in 1969 several months before he bumps into Marc Bolan at a pub and eventually becomes a member of T. Rex. It covers everything from mundane daily activities to what he reads in the newspaper and bands he sees live and his relationship with his live-in girlfriend, and eventually his own gigs and recording sessions, photo shoots and making a movie with Ringo. It seems all the shows, lineups and dates really happened, with Cato exhaustively researching on the level of George Gimarc's Punk Diaries. I thought it could be boring and it might be for some, but there's plenty of hilarious bits, drugs and groupie sex to spice it up. So one of the things that struck me was the distinctly vicious backlash Finn supposedly experienced before T. Rex were even successful, even when they were still Tyranosaurus Rex.

He spent a lot of time going to free festivals and shows in the Ladbroke Grove hippie scene with The Edgar Broughton Band, Pink Fairies and such, and Finn and Bolan were tagged as sellouts, selling out the hippie ideals. Partly because Bolan fired Steve Took who had a lot of friends in that scene, and Finn was perceived as "stealing" his gig even though he told Bolan no several times at first as he didn't even consider himself a musician. And the other issue was they had started recording "pop" songs like "Ride A White Swan" and "Hot Love" and performing on TV, and eventually incorporating *gasp* electric instruments. It sounds like a precursor to the indie vs. mainstream debates of the 80s, 90s and beyond. There's a long list of bands he references, many of which are in this poll. Well worth the dollar!

The idea that you have to like one to the exclusion of the other seems awfully outdated. However it seems it was a big issue even in 1969.

Still is, esp on ILM. Just look at eoy poll threads and the distaste for music that places.

Going to start on my ballot. Going to have to be strict and limit it to 1 album per band.

I'm insufficiently hardnheavynloud for this poll but I think I'll vote anyway. One thing: the spreadsheet has "Roxy Music - Roxy Music" and "Roxy Music - s/t" as separate entries

oh I should probably do this

yes you should. Lots of albums you need to check out. Especially things like Flower Travellin Band and Be Bop Deluxe. They are right up your alley.

man which Neu! to choose?

this is hard. Might have to do 2 Funkadelic and 2 King Crimson because there's 2 albums of each I cannot choose between. Managed to choose a pink fairies album cuz I think my fave album of theirs is a bit different to what others think.

ok now to cut the longlist down to 100. Then to decide whether to do weighted, split or unweighted.

this is tough. might rank top 50 then do rest unweighted

and I did so

Sunday would be a great day to start your ballot.

think we have 19 ballots for albums so please vote!