Listen to an album you've never heard by an artist you never listen to and then tell us about it!

I've never listened to Moon Pix or a Cat Power album so maybe I will do that next.

I am very partial to Cat Power's The Greatest, although it was departure from her earlier work.

that live video where she sings that song that she's never done live omg what is that song? its nuts. i guess it fit my mood at the time.

Morrisp -- tight, syncopated, uptempo, and high energy! It rips.

There’s something smarmy about SM’s songwriting voice that keeps me from loving them, but I like them, I like him.

otfm

would amend to "i like them more or less, i appreciate him"

i've never listened to a cat power album but i think i'm good there for awhile. i think i do want to try some current pop people i've never listened to. there are only all of them as far as whole albums go.

I watched that recent Joan Baez doc despite never having listened to one of her albums and it made a pretty big to-do about Diamonds and Rust as a career high point for her. Which turned out to be an excellent suggestion because that album is tremendously lovely.

I really like What Would The Community Think by Cat Power but her other stuff I'm not really into, like Moon Pix is OK but I wouldn't actually put it on ever

I've been a longtime lover of Joni and obviously she's leaps and bounds ahead of Joan from a musical standpoint but in both cases the crystalline singing goes down very nice.

Cat Power's album from last year covering Dylan at Royal Albert Hall is outstanding. I didn't discover it until the very end of 2023 or it probably would have made my lists.

I feel allergic to Joan Baez's voice. I've never been able to get through an album.

"and it made a pretty big to-do about Diamonds and Rust as a career high point for her."

Unperson is totally going to tell you that Judas Priest rocked "Diamonds and Rust" way harder than Joan Baez...

which, you know, they did...

The Thievery Corporation - Sounds From The Thievery Hi Fi

This starts with some nice spacy dub crackles.. the beat then kicks in and it tastes fresh, pour some vodka in your Jamba Juice. Really really well engineered, the spacy keyboards coexist peacefully with the drums.

The random reggae DJ/rapper vocal samples aren’t too obtrusive but they just seem kind of random, like not a lot of thought was put into picking them and they don’t make the tracks sound “cool” or “street”, it’s just the audio equivalent of a shitty looking titles/credits on an otherwise high production tv show opening.

The repetitive beats are slicing and dicing nicely here, I must say, they have great texture. And the space is impressive. This completely shits on DJ Cam, no offense, DJ Cam

There are no surprises here, everything is integrated seamlessly but it’s produced so well that the sounds don’t mush together into a sludge, there’s a big space here that doesn’t get squashed by the beats.

It’s interesting thinking about this stuff in relation to smooth jazz stuff that was more in the air earlier in the decade. I can see how TC may been hostile to smooth jazz as a desecration of whatever Giles Peterson type eclectica they were going for but come on this is smooth af. You could have soprano saxes all over this album and it would sound great!

One thing I still can’t get used to is that sound effect that’s like a cymbal fading in “ssssssSSSSSHHHH”, it always breaks the… organic effect.

“Universal highness” should have just been the 30 second + intro. The rest is boring, not an interesting chord change and no neat sound effects.

This album is almost 80 minutes long.

Ok “scene at the open air market” incorporates some backwards cymbals that sound nice. Nice smooth chipper vibe, they do mix up the hip hop with the latin rhythms really seamlessly. So much space.

I could see myself throwing this on again when I have a bad headache or something. There’s not a lot I can do that with, tbh

“38.45” does some cool chill drum and bass thing, stuff like this that makes me think of the intertwining histories of electro and breaks, it used to confuse me

“Sleeper car” has nice echoing castanets but just a flimsy unconvincing noir mood.

I don’t know, this was pretty fine I guess. Nothing that made me want to turn it off. Production is nice, would like to hear them talk about their process I guess. How they get everything to sound all spacious yet crisp…

love it, nice work

I feel allergic to Joan Baez's voice. I've never been able to get through an album.

I can barely get through a song.

God I love Moon Pix. The sudden delay on the vocal when she sings “American Flag…” and then her guitar slips out of time from the drum loop. Magical.

Community is nice but I don’t love the guitar sound. You Are Free suffers from not-great recording to my ears. She’s great tho, love her to bits

Can’t listen to anything new today but I will do so tomorrow. Great thread. Thanks for that Leckey tip Nick!

Interesting to me ITT how the "slackness" of indie for some signifies privilege, whereas for me it always seemed to read as an expression of a everyperson's rejection of the ideals of mainstream pop music. Slackness as the opposite of slickness. To some folks this sounds like not trying or not caring, but to me it sounds like an evolutionary variant of punk. In the case of Pavement, AFAIK those guys were into hardcore punk early on and that lineage is spiritually there even if they don't sound anything like Bad Brains. I feel like in the 00s "indie" strayed from its punk roots and became more professional, more middle-class, and that stuff (Death Cab, later period Modest Mouse, Vampire Weekend) does bore me to tears.

anyway, carry on, this is a cool thread, fgti please listen to Midnight Marauders

nice thievery corp. rundown! i have the 2xlp here at the store maybe i'll put it on. i know i've never heard it. the orig. vinyl is pricey. though nobody has bought it yet...

xxp fabulous post, 100% cosign

"I feel allergic to Joan Baez's voice. I've never been able to get through an album."

"I can barely get through a song."

i don't listen to any of those trad folk revival people. bob gibson? glenn yarbrough? cisco houston? i don't even listen to odetta and she was rad.

i will listen to judy collins cuz her choice in covers was amazing and ivo taught me to love "my father" and she does a version of my fave alice cooper song.

Does Sandy Denny count as one of those? Cuz Sandy Denny rules and no one should sleep on her

xp Same, Scott, and I kind of wish it weren't so because that music runs in my family and I inherited records of it. I can't even really listen to Pete Seeger.

xp she does not count <3

Burl Ives ftw

Does Sandy Denny count as one of those?

Absolutely, categorically NO!

Brit folk is a different animal and I love Sandy Denny

I don't know any of those American folk artists, never been interested in them, it's all a bit too Pete Seeger.

Most of the folk music I don't like is from the "folk revival" school, where there was this fairly deliberate and didactic effort to stitch together an "American folk music" with political undertones. Most of that music is unfortunately boring and dreary.

In honor of unperson...

Dio - Holy Diver (2022 Remaster)

First track has pretty good riffs! And ridiculous vox! ("You've got the Pow-AH! You are the Fiy-AH!"). The driving pace and lack of dynamics are wearying on my ears...

Track 2 (the title track) is cooler... more Sabbath-like(?) The vocals are also easier to take; more in the realm of what I think of as standard hard-rock vocals of the era, whatever that is (note: I don't know exactly when this album was first released, I didn't look it up before listening). The drum fills are kinda funny... hard not to picture Spinal Tap in my mind's eye. Nice solo! "Ride the tiger / You can see his sweat, but you know he's clean" is a good couplet.

Track 3 ("Gypsy") is kinda G'NR like? The vox remind me more of AC/DC this time around. I like the slightly heavier "bottom" on this number (big bottom, my gal's got 'em)... The solo is somewhat dirtier, I dig that too.

"Caught in the Middle" – best groove yet! It actually swings. I like the verse melody, too... anthemic, with a clean vocal. I dig the whole approach (guess it's "poppier" than the others?). I turned up the volume on this song.

"Don't Talk to Strangers" – LOL at the opening whisper. This mid-tempo power ballad is clearly a sensitive warning to us a––oh shit, it's kicking into gear! Yeah, throw the horns up!

"Straight Through the Heart" – another big bottom. I like the "space" in the arrangement when everything drops out but the drums. Nice riffage in the chorus.

The rest was ok, I kind of lost interest...

when post punk, hardcore and college rock evolved towards what came to be known as "indie rock," it was an activity that scions of fancy upper crust families could by the mid 80s pursue, and I don't think that occurred in any american musical idiom beforehand, although somebody please gimme some examples other than Tina Weymouth if I am in error. Any american popular music, or semi-popular music, or experimental or underground shit of any consequence was produced by working class people before the 1980s, and it's still overwhelmingly so that musical artists/musicians outside of indie rock are composed of people without fancy family money since then.

Unperson is on point when he suggests that many indie rock big shots have the benefit of a safety net: many of the rigid ethics born of indie labels of the 80s and which many of those guys continue to hew to are afforded by the fact that they don't have to make decisions or compromise or make sacrifices that a metal guy or a hip-hop guy or a pop artist may feel like they have to.

He is also on point re: the laggardly drumming on Pavement records: Steve West far moreso than Gary Young, who isn't nearly Bill Bruford-esque as he should be. I don't think the haphazard, not trying hard quality of Pavement and many other indie acts of the time are born from that same "I don't have to try because I'm rich" quality; more out of "80s rock was so careerist, and I/we want to avoid that."

Scott if you’re looking for a 20th c sheet music masterpiece, look no further than Ives Concord Sonata. I rate it as highly as any film or novel or sculpture you could name, it’s the best thing.

My favourite performance of it is actually on YouTube, one sec:

https://www.youtube.com/watch?v=cDNPpsUaVYo

I don't think the haphazard, not trying hard quality of Pavement and many other indie acts of the time are born from that same "I don't have to try because I'm rich" quality; more out of "80s rock was so careerist, and I/we want to avoid that."

yep this

"Does Sandy Denny count as one of those? Cuz Sandy Denny rules and no one should sleep on her"

oh no no she is goddess. we should all have tattoos of her close to our hearts.

otm

i like the country versions though. i love listening to tennessee ernie ford and johnny horton doing folk songs. they were great! and trad.

Most of the folk music I don't like is from the "folk revival" school, where there was this fairly deliberate and didactic effort to stitch together an "American folk music" with political undertones. Most of that music is unfortunately boring and dreary.

Phil Ochs rules though

I don't think the haphazard, not trying hard quality of Pavement and many other indie acts of the time are born from that same "I don't have to try because I'm rich" quality; more out of "80s rock was so careerist, and I/we want to avoid that."

I often (not always) interpreted it as an ironic pose, sometimes (but by no means always) covering up for a lack of talent or creativity.

hell i'll listen to a frankie laine folk ballad album too. i love him. i think he made some. or connie francis!

i like the country versions though. i love listening to tennessee ernie ford and johnny horton doing folk songs. they were great! and trad

Yes, the songs are great, the execution not so much. What about Jean Ritchie? Never heard her and I get her mixed up with Jean Redpath, who is a different thing I suppose.

jean ritchie was good. her voice was cool.

but, in general, folk done by country people just kinda slays that seeger/baez school. just listen to a Stoneman family album and you are fine.

"Scott if you’re looking for a 20th c sheet music masterpiece, look no further than Ives Concord Sonata."

i was going to bring some ives home with me tonight! i dig him. he's from my neck of the woods. along with slacker thurston moore and folk icons youth of today.

What I can tell you about Pavement is that I went to see them when they first came to the UK (1992?), having read about how indebted they were to Faust and thus expecting something at least a little challenging, only to be confronted by what looked like a bunch of floppy-fringed rich kids churning out the most plodding and smug and unadventurous shite I'd ever had the misfortune to hear. I didn't like it.

Anyway I know they're widely worshipped but I've held that night against them ever since. They also had a 'wacky' co-drummer. I don't like wacky drummers either. This was the era when the last vestiges of the jangly Byrds influence was being excised from indie rock in favour of Lou Reed-isms, which had been there before obviously but it all started to drag and plod and I felt weary just hearing it.

Maybe I should give them a re-listen?

tbf they could be really shit live back then. when they reformed I skipped the first round of reunion gigs and took a lot of persuading to see them 2 years ago. I saw them 3 times in the 90s and they were pretty terrible 2 out of 3 of them - and the 3rd time was just before they split and seemed to be having a miserable time even if musically they were a bit more together

i never saw them. i just like the records.

the worst hyped band i ever saw was the strokes. before the first album came out. they sounded like a madchester band not like television. i had no idea what people were raving about.

They're rich kids!! (j/k)

One of the many bands I Never Got.

more like The Jokes, rite