The Primitives Pure Rar
2021年7月15日Download here: http://gg.gg/vf5jd
*The Primitives Pure Rar Collection
*The Primitives Pure Rar Pure
*The Primitives Pure Rare
*The Primitives Pure Rar Extractor
*The Primitives Pure Rar Apk
*The Primitives Pure Rar Download
*Pure, an Album by The Primitives. Released in 1989 on RCA. Genres: Jangle Pop, Power Pop.
*THE PRIMITIVES - ECHOES & RHYMES (2012) In many ways it was The Primitives that inspired this blog. Stumbling over the fact they had reformed, toured and released not one but two great albums, threw me for a six. Pure was released 1989. The third album Galore came out in 1991 and didn’t do as well, despite Lightning Seeds genius Ian Broudie.
The Primitives Pure Rar. 1 of 22 AN INTERNSHIP ON PATAN ACADEMY OF HEALTH SCIENCES (PAHS) LIBRARY Internship report submitted to Department of Library and information Science In partial Fulfillment of the Requirement for the Masters in Library and Information Science, Final semester By ARJUN THAPA Roll no.: 02666, 4th Semester T.U. This code ran in pure Real Mode with the same result. So it must be SMI. I g00gled for RTAI+SMI and found out about the smi-module. Tried that but my hardware went undetected. This module has a list of ’known’ hardware by PCI id but that told me not much.THE PRIMITIVES - ECHOES & RHYMES (2012)
In many ways it was The Primitives that inspired this blog. Stumbling over the fact they had reformed, toured and released not one but two great albums, threw me for a six. It was just so out of the blue and completely unexpected sixteen years after they broke up.
I first came across The Primitives in 1986/87, picking up the early singles like Thru the Flowers, Stop Killing Me and Ocean Blue, from the import record store. With all their jingle jangle guitars, pop hooks and Tracy Tracy’s cupie doll, girl group vocals, they were ticking all my boxes. Really Stupid was a bit more Ramonesy, so really, my cup runneth over.
In 1988 the first single from Lovely was released. Crash instantly became one of my favourite songs of the year, the decade and of all time. It starts with some Johnny Marr worthy jangly delicate guitar which smashes to a dead stop before the chugging guitars and Tracys vocals start.
Here you go way too fast
Don’t slow down you’re gonna crash
You should watch, watch your step
Don’t look out you’re gonna break your neck
By now I am already in love with this song. And then. The power chords kick in. There’s no frills, just straight ahead simple power chords D, G A and G
So shut, shut your mouth
Cuz I’m not listening anyhow
I’ve had enough, enough of you
Enough to last a life time through
By the 1:40 mark they are throwing every single power pop trick into the mix. Handclaps, glorious backing vocals and a sing-a-long Na Na Na Na Na’s. It was the kind of song that I could never just listen to once. The fade just made me hungry for another spoonful of musical sugar. It is a classic power pop song. There is a girl being very much in charge of telling the story over super catchy beats and jangle guitars PLUS power chords and hand claps and oh my god I better hit play again. Go and take 7 minutes to watch this twice and see what I mean. We’ll wait for you.
See what I mean. Magnificent!
Soon after the release of Lovely, they released Way Behind Me (later copies of Lovely had it tacked on because it was a hit single but it was actually the first single off the second album Pure). Like Crash before it I was hooked in the first 10 seconds. The guitar, the finger clicking, the frantic beats and shimmering vocals about being over somebody, moving on and leaving them ’way behind’ you. It’s an epically great record. I can’t find the proper video, with Tracy clicking down the wet street in her high heels, before the finger clicks start. This is still pretty good though.
I was really fond of the 12’ single too, which had a stripped down acoustic version of Way Behind Me and a killer ’beat’ version of the song All The Way Down from the Pure album, which has an amazing organ solo in the middle.
By now I was buying all the 7’ and 12’ singles to make sure I was getting all the b-sides. Pure was released 1989.
The third album Galore came out in 1991 and didn’t do as well, despite Lightning Seeds genius Ian Broudie doing some of the production on it. It is still a great record and You Are The Way and Lead Me Astray cracking singles. But the die was cast and after the albums release, they split in 1992.
Fast forward seventeen years and their original bass player Steve Dullaghan passed away in 2009. Shortly after that they reformed to play a few shows with a new bass player and in 2011 released an EP with two original songs and two covers of obscure 60’s songs. In 2012 they released a whole album of lesser known covers of 60s songs by female fronted songs. And this is where I came back into The Primitives orbit. Echoes and Rhymes is chock-a-block full of fantastic 60’s pop, that sound like songs you already know although you probably don’t. Turn Off The Moon was the b-side of a single by Sue Lyon an American actress who appeared in the Sinatra movie Tony Rome and was the lead in the 1962 version of Lolita.
I’m Not Sayin’ was written by Gordon Lightfoot, but Nico did a version of it in 1965 and The Primitives version does sound very Velvet Underground. It’s not sung by Tracy, but by Paul Court, the bands guitarist who had sung lead on other tracks (All the Way Down for example).
The production on the album is super bright sixties pop. There is a psych-pop song called Sunshine In My Rainy Mind originally by another US actress who recorded an album in the UK early 70’s. Polly Niles was in Superfly. So that’s the kind of obscure we are talking here. There are tracks originally performed by Jackie DeShannon, Sandy Posey, French pop star Laura Usher and little known soul singer Little Ann. Time Slips Away was an album track by Netherlands band Shocking Blue, who had a massive hit with Venus.
Basically, Echoes and Rhymes is a close to perfect I Really Thought You Were Dead comeback record. It’s a great record, full of excellent catchy songs you haven’t heard before (even if they are all covers), that doesn’t stain their original releases or taint their legacy for long term fans. It’s not embarrassing. Most of all it sounds exactly like the band I loved almost thirty years ago.
They have since released a new original album called Spin-O-Rama which is equally terrific, I’ll cover that in another post shortly, but feel free to track it down yourself in the meantime.
Thanks for dropping by
Ian
Cricket samsung phone. 100 cult classics that deserve your love, picked by NME writers and your favourite bands100. Wild Billy Childish & The Buff Medways’ Fanciers Association – ‘Steady The Buffs’ (Transcopic)
Michael McKnight of Frankie & The Heartstrings: “I believe this to be the 100th album that Billy Childish recorded and although it was well received upon its release in 2002 it nowhere near was given the plaudits it deserved considering he is the modern day William Blake. His lyrics are on par with anything written by Charles Bukowski and his guitar sounds like everything that’s great about the Kinks. So few artists write with such honesty and just let the songs stand up for themselves. The album inspired me to start a band when it came out and we make numerous references to it.99. The Walkmen – ‘You & Me’ (Talitres)
The Primitives Buzz Buzz Buzz The Complete Lazy Recordings. Recordings on the major-label albums Pure and. Primitives fans who have one of the earlier.
Felix White of The Maccabees: “They’re a band who seem to be known to everyone, including all our mates, as ‘That band who wrote that song The Rat.’ They sound like one of those really insular bands who don’t really listen to much modern music, but the soundscapes on that album are just amazing, the guitar sounds the manage to get are unbelievable, and the songs just really get you. They seem like a band who are making music for music’s sake, and nothing else.”98. Morrissey – ‘Bona Drag’ (HMV)
Lee from Brother: “This is kind of a compilation of stuff that came out between his first two albums, which has been a bit forgotten by most people. ‘Picadilly Palare’, the first track, is one of my favourites: it’s basically about a secret language that transvestites and gay people used to use, back when it was illegal. That sounds ridiculous now, but you just wouldn’t get anyone signing about such a topic anymore. Same thing with ‘November Spawned A Monster’, another song that doesn’t get aired or talked about much these days.”97. Frightwig – ‘Cat Farm Faboo’ (Subterranean)
Roddy Frame of Aztec Camera: “Frightwig were great friends of mine. The fact that they could put out a record and make themselves known was a very important thing for me. They were a huge inspiration for L7, too. In face, L7 totally ripped them off in that they end all their songs in German with all that ‘Ein, schwein!’ stuff. They were a huge, attitude-ridden wall of sound with a lot of sexual angst thrown in. In the light of the female bands going down, Frightwig are getting overlooked.”Sharethrough (Mobile)96. Sun Ra – ‘The Heliocentric Worlds Of Sun Ra’ (ESP-Disk)
Pete Townshend: “I got really into that sort of way-out avant-garde jazz, but you couldn’t find his record anywhere. So, one day I was in a jazz shop in Chicago – which I think is where Sun Ra came from – and I said, ‘have you got any Sun Ra?’ The guy says, ‘Yeah, all his stuff.’ I said, ‘Give me everything.’ ‘Everything?’ ‘Yeah.’ He comes back with 250 albums. Most of which I’ve still got in that room over there, still in the shrink-wrap.”95. Black Rebel Motorcycle Club – ‘Howl’ (RCA)
Guy Garvey of Elbow: “People didn’t really get it, and nobody ever really picked up on how good it was, maybe because it was so different to their first two records, being mostly acoustic. But you can tell when you listen to it that the album is really coming from the soul. The lyrics to one of the songs, Fault Line – “Racing with the rising tide to my father’s door” – that’s poetry, that is. Those are proper, Dylan-class lyrics. But the whole album is just beautiful musically, and it was a real departure for the band.”94. Jackie Mclean and Michael Carvin – ‘Antiquity’ (Steeplechase)
Jamie XX: “It’s a jazz album from the early 70s that’s quite innovative, it has rhythms that could still be played out now in the dance clubs. I would describe it as kind of experimental jazz. It’s great for samples, there’s a lot of percussion and space in it and there’s a lot of weird African vocal chanting, and then there’s also some great heavy drum riffs that sound like they could be sampled in UK garage.”
FREE, no license required The Intel Quartus Prime Lite Edition software supports Intel’s low-cost FPGA device families. Pro Edition 1,2,3 Standard Edition 1,2 Lite Edition 1,4 Paid license required The Intel® Quartus® Prime Pro Edition software supports the advanced features in Intel’s next-generation FPGAs and SoCs with the Intel Stratix® 10, Intel Arria® 10, and Intel Cyclone® 10 GX device families. Paid license required The Intel Quartus Prime Standard Edition software includes extensive support for earlier device families in addition to the Intel Cyclone 10 LP device family. Altera quartus ii 13 0 cracked.93. Jarcrew – ‘Jarcrew’ (Gut Records)
The legacy of Jarcrew rests on the unbridled creative brilliance that was their self-titled 2003 debut album. ‘Jarcrew’ wilfully smothered brainstorms before they could ignite, creating a cut and shut line of jagged collusion that veered from sleazy synth-pop to proggy punk and back into hands-in-the-air metal before you could catch your breath. Had this album come out in a post-Bloc Party, post-Dizzee, post-Crystal Castles world, Jarcrew would have been huge. But of course, it didn’t, and they’re not.92. Fanny – ‘Mothers Pride’ (Reprise Records)
Stella Mozgawa, Warpaint: “Fanny were pioneers, one the first rock bands to feature all women, and the second ever to be signed to a major label when they signed to Reprise in 69. The album was produced by Todd Rundgren. They featured two sisters by the name of June and Jean Millington. They came from California and played dirty rock’n’soul. David Bowie called them the great lost band of the 70’s. This album is filthy, with a really dirty sound.”91. Sandy Denny and the Strawbs – ‘All our Own Work’ (Pickwick)
Alex Scally of Beach House: “This is a late ’60s album featuring Sandy Denny before she got all Fairported. She was 19 when this one-off album was recorded in 1967, and the guy from the Strawbs, ‘Dave cousins, found her singing at an open-mike night. The next year she went off to join the band that she would end up doing her most celebrated work with, but this record is still amazing.”90. 90 Day Men – ‘(It (Is) It) Critical Band’ (Southern Records)
Darwin Deez: “This Chicago-via-St. Louis band’s debut album is musical darkness, malaise and existentialism in its own incredibly unique way. This record is for intelligent, desperately lonely 18 year old boys like myself. It’s Slint-ish, it’s pretentious, and it’s more full of ennui than anything else in the fucking world. It’s sad, it’s angry, and every track on it is wonderfully listenable, given the right age, gender, mood and SAT scores. This is music to keep smart, depressed hipsters stuck down in the dumps.”89. Shit And Shine – ‘Jealous Of Shit And Shine’
Jeremy Pritchard of Everything Everything: “I love ‘Jealous Of Shit And Shine’ the same way I love everything they do; the utter wretchedness coupled with humour; the surprising depth of what could seem initially like a one-dimensional sound; the cast iron but utterly uncontrived ‘absolutely-don’t-give-a-fuck-about-what-you-think-ness’ that it exudes. Although it sounds really abrasive, some song titles and the artwork spell out their playful streak pretty clearly.
I think its safe to say that none of the $$ sound has made it to Everything Everything.88. Mobb Deep – ‘The Infamous’
Mark Ronson: “The rhyme that always comes to mind is from the song ‘Shook Ones’ where he goes ‘rock you in your face, stab your brain with your nose bone’ which I always thought was one of the most graphic rhymes of violence that existed, certainly on a great hip hop song that you would hear on the radio all the time. The song ‘Shook Ones Part 2’ was just one of the most sinister incredible hip hop records to ever be such a huge club record. It was the absolute biggest song you could play, the dancefloor would just go insane. The song was so aggro and sinister but girls really liked it.”87. Diamond D – ‘Stunts Blunts and Hip Hop’ (Chemistry)
Mark Ronson: “Nobody’s going to dispute that Dre is the greatest hip hop producer of all time, but there’s something about hearing Diamond over his own beats, you cant imagine any guest star coming on and sounding better than he does. The thing about that era is they’d be laying three or four samples over the two of one track and you had these amazing sound collages that you couldn’t get away with these days because you’d just get sued and no-one can afford top pay for samples anymore.”86. Brand Nubian – ‘One For All’
Mark Ronson: “Even though Grand Puba was the star of Brand Nubian and went on to have the biggest solo career, all three of them were pretty amazing rappers. It was just before hip hop went downtempo and got a little moodier and all the beats were harder and eerier. It was that era when you didn’t sound soft if you were rapping over an uptempo happy beat. They had great production and used really cool samples from soul and reggae.”85. Pete Rock and CL Smooth – ‘Mecca And The Soul Brother’’ (Elektra)
Mark Ronson: “The old art was that each song on your record had to have a different kick and snare and you’d be digging the crates for some obscure drum break. Maybe there’d be one bar of something that you could chop up. Pete Rock was known as the king of finding samples and his drums, the way he programmed them had a really human feel as if there was a jazz drummer playing it, except they had these really fucking heavy kicks and snares.”84. Smif-N-Wessun – ‘Dah Shinin’ (Wreck Records)
Mark Ronson: “These people were just writing shit ‘cause it was good and it was getting on the radio anyway. No-one was like ‘you’ve got to have n R&B sung chorus here’. So you get songs like ‘Bucktown’ and ‘Sound Bwoy Bureill’, where it feels like the beginning, when you listen to great rock’n’roll shit in the 60s there was no formula to it, they just happened to be making really good shit. That’s what a lot of the mid 90s era of hip hop – before people started thinking ‘we’ve got one song for the club, one song for the girls, one song for the radio.”83. Edgar ‘Jones’ Jones – ‘Soothing Music For Stray Cats’ (The Viper Label)
Edgar Jones’ sprawling 2005 solo masterpiece is a 16-track beast of a record – a musical time machine so rich in its genre-palette that, by rights, it really shouldn’t stay afloat under the weight of its grandiose intentions. But float it does, for ‘Soothing Music For Stray Cats’ is Jones’ crowning glory after nigh on 15 years fronting nearly-bands (most notably early-90s riff-faves The Stairs).82. Howlin’ Wolf – ‘This is Howlin’ Wolf’s new album. He doesn’t like it. He didn’t like his electric guitar at first either’ (Cadet Concept)
Jim Sclavunos of Grinderman: “It is one of rock history’s more baldly self-explanatory album titles; and any lingering doubt as to the artist’s disdain for the project is abundantly clarified by the Wolf’s subsequent summary of the album as “dog shit”. Howlin’ Wolf was one of the first Mississippi Delta blues musicians to make the transition from acoustic to electric guitar, and he led one of the first all-electric blues combo in fifties; but This is Howlin’ Wolf’s new album finds him well outside his comfort zone.81. Fleetwood Mac – ‘Mirage’ (Warner Bros)
Elizabeth & Jeremy of Summer Camp: “Anyone with a Fleetwood Mac best-of will remember the lingering images of Stevie Nicks’ “Gypsy”, built around a classic Christine McVie piano line, but it’s Christine’s “Only Over You”, a tribute to her late boyfriend, Beach Boy Dennis Wilson, that really throws the emotional punch. Someone needs to sample this tune. Elsewhere Lindsay Buckingham contributes the kind of classic Fleetwood Mac pop gems he made a career out of with the likes of “Oh Diane” and “Can’t Go Back”.80. Moebius & Plank – ‘Rastaukaut Pasta’ (Sky Records)
Noble of British Sea Power: “Rastakraut Pasta is true loony cross-pollination – krautrock reggae. The album was released in 1980, opening with a cacophony of TV news, pirate-radio chatter and gonzo slide bass. Thereafter, Lee ‘Scratch’ Perry’s near-catatonic studio chasms become home to a shotgun wedding of white garage funk and Rhineland dub. Elsewhere you get what sounds like The Ramones at half speed, plus lovely lilting melodies and sci-fi electronics.79. The Prids – ‘Chronos
https://diarynote-jp.indered.space
*The Primitives Pure Rar Collection
*The Primitives Pure Rar Pure
*The Primitives Pure Rare
*The Primitives Pure Rar Extractor
*The Primitives Pure Rar Apk
*The Primitives Pure Rar Download
*Pure, an Album by The Primitives. Released in 1989 on RCA. Genres: Jangle Pop, Power Pop.
*THE PRIMITIVES - ECHOES & RHYMES (2012) In many ways it was The Primitives that inspired this blog. Stumbling over the fact they had reformed, toured and released not one but two great albums, threw me for a six. Pure was released 1989. The third album Galore came out in 1991 and didn’t do as well, despite Lightning Seeds genius Ian Broudie.
The Primitives Pure Rar. 1 of 22 AN INTERNSHIP ON PATAN ACADEMY OF HEALTH SCIENCES (PAHS) LIBRARY Internship report submitted to Department of Library and information Science In partial Fulfillment of the Requirement for the Masters in Library and Information Science, Final semester By ARJUN THAPA Roll no.: 02666, 4th Semester T.U. This code ran in pure Real Mode with the same result. So it must be SMI. I g00gled for RTAI+SMI and found out about the smi-module. Tried that but my hardware went undetected. This module has a list of ’known’ hardware by PCI id but that told me not much.THE PRIMITIVES - ECHOES & RHYMES (2012)
In many ways it was The Primitives that inspired this blog. Stumbling over the fact they had reformed, toured and released not one but two great albums, threw me for a six. It was just so out of the blue and completely unexpected sixteen years after they broke up.
I first came across The Primitives in 1986/87, picking up the early singles like Thru the Flowers, Stop Killing Me and Ocean Blue, from the import record store. With all their jingle jangle guitars, pop hooks and Tracy Tracy’s cupie doll, girl group vocals, they were ticking all my boxes. Really Stupid was a bit more Ramonesy, so really, my cup runneth over.
In 1988 the first single from Lovely was released. Crash instantly became one of my favourite songs of the year, the decade and of all time. It starts with some Johnny Marr worthy jangly delicate guitar which smashes to a dead stop before the chugging guitars and Tracys vocals start.
Here you go way too fast
Don’t slow down you’re gonna crash
You should watch, watch your step
Don’t look out you’re gonna break your neck
By now I am already in love with this song. And then. The power chords kick in. There’s no frills, just straight ahead simple power chords D, G A and G
So shut, shut your mouth
Cuz I’m not listening anyhow
I’ve had enough, enough of you
Enough to last a life time through
By the 1:40 mark they are throwing every single power pop trick into the mix. Handclaps, glorious backing vocals and a sing-a-long Na Na Na Na Na’s. It was the kind of song that I could never just listen to once. The fade just made me hungry for another spoonful of musical sugar. It is a classic power pop song. There is a girl being very much in charge of telling the story over super catchy beats and jangle guitars PLUS power chords and hand claps and oh my god I better hit play again. Go and take 7 minutes to watch this twice and see what I mean. We’ll wait for you.
See what I mean. Magnificent!
Soon after the release of Lovely, they released Way Behind Me (later copies of Lovely had it tacked on because it was a hit single but it was actually the first single off the second album Pure). Like Crash before it I was hooked in the first 10 seconds. The guitar, the finger clicking, the frantic beats and shimmering vocals about being over somebody, moving on and leaving them ’way behind’ you. It’s an epically great record. I can’t find the proper video, with Tracy clicking down the wet street in her high heels, before the finger clicks start. This is still pretty good though.
I was really fond of the 12’ single too, which had a stripped down acoustic version of Way Behind Me and a killer ’beat’ version of the song All The Way Down from the Pure album, which has an amazing organ solo in the middle.
By now I was buying all the 7’ and 12’ singles to make sure I was getting all the b-sides. Pure was released 1989.
The third album Galore came out in 1991 and didn’t do as well, despite Lightning Seeds genius Ian Broudie doing some of the production on it. It is still a great record and You Are The Way and Lead Me Astray cracking singles. But the die was cast and after the albums release, they split in 1992.
Fast forward seventeen years and their original bass player Steve Dullaghan passed away in 2009. Shortly after that they reformed to play a few shows with a new bass player and in 2011 released an EP with two original songs and two covers of obscure 60’s songs. In 2012 they released a whole album of lesser known covers of 60s songs by female fronted songs. And this is where I came back into The Primitives orbit. Echoes and Rhymes is chock-a-block full of fantastic 60’s pop, that sound like songs you already know although you probably don’t. Turn Off The Moon was the b-side of a single by Sue Lyon an American actress who appeared in the Sinatra movie Tony Rome and was the lead in the 1962 version of Lolita.
I’m Not Sayin’ was written by Gordon Lightfoot, but Nico did a version of it in 1965 and The Primitives version does sound very Velvet Underground. It’s not sung by Tracy, but by Paul Court, the bands guitarist who had sung lead on other tracks (All the Way Down for example).
The production on the album is super bright sixties pop. There is a psych-pop song called Sunshine In My Rainy Mind originally by another US actress who recorded an album in the UK early 70’s. Polly Niles was in Superfly. So that’s the kind of obscure we are talking here. There are tracks originally performed by Jackie DeShannon, Sandy Posey, French pop star Laura Usher and little known soul singer Little Ann. Time Slips Away was an album track by Netherlands band Shocking Blue, who had a massive hit with Venus.
Basically, Echoes and Rhymes is a close to perfect I Really Thought You Were Dead comeback record. It’s a great record, full of excellent catchy songs you haven’t heard before (even if they are all covers), that doesn’t stain their original releases or taint their legacy for long term fans. It’s not embarrassing. Most of all it sounds exactly like the band I loved almost thirty years ago.
They have since released a new original album called Spin-O-Rama which is equally terrific, I’ll cover that in another post shortly, but feel free to track it down yourself in the meantime.
Thanks for dropping by
Ian
Cricket samsung phone. 100 cult classics that deserve your love, picked by NME writers and your favourite bands100. Wild Billy Childish & The Buff Medways’ Fanciers Association – ‘Steady The Buffs’ (Transcopic)
Michael McKnight of Frankie & The Heartstrings: “I believe this to be the 100th album that Billy Childish recorded and although it was well received upon its release in 2002 it nowhere near was given the plaudits it deserved considering he is the modern day William Blake. His lyrics are on par with anything written by Charles Bukowski and his guitar sounds like everything that’s great about the Kinks. So few artists write with such honesty and just let the songs stand up for themselves. The album inspired me to start a band when it came out and we make numerous references to it.99. The Walkmen – ‘You & Me’ (Talitres)
The Primitives Buzz Buzz Buzz The Complete Lazy Recordings. Recordings on the major-label albums Pure and. Primitives fans who have one of the earlier.
Felix White of The Maccabees: “They’re a band who seem to be known to everyone, including all our mates, as ‘That band who wrote that song The Rat.’ They sound like one of those really insular bands who don’t really listen to much modern music, but the soundscapes on that album are just amazing, the guitar sounds the manage to get are unbelievable, and the songs just really get you. They seem like a band who are making music for music’s sake, and nothing else.”98. Morrissey – ‘Bona Drag’ (HMV)
Lee from Brother: “This is kind of a compilation of stuff that came out between his first two albums, which has been a bit forgotten by most people. ‘Picadilly Palare’, the first track, is one of my favourites: it’s basically about a secret language that transvestites and gay people used to use, back when it was illegal. That sounds ridiculous now, but you just wouldn’t get anyone signing about such a topic anymore. Same thing with ‘November Spawned A Monster’, another song that doesn’t get aired or talked about much these days.”97. Frightwig – ‘Cat Farm Faboo’ (Subterranean)
Roddy Frame of Aztec Camera: “Frightwig were great friends of mine. The fact that they could put out a record and make themselves known was a very important thing for me. They were a huge inspiration for L7, too. In face, L7 totally ripped them off in that they end all their songs in German with all that ‘Ein, schwein!’ stuff. They were a huge, attitude-ridden wall of sound with a lot of sexual angst thrown in. In the light of the female bands going down, Frightwig are getting overlooked.”Sharethrough (Mobile)96. Sun Ra – ‘The Heliocentric Worlds Of Sun Ra’ (ESP-Disk)
Pete Townshend: “I got really into that sort of way-out avant-garde jazz, but you couldn’t find his record anywhere. So, one day I was in a jazz shop in Chicago – which I think is where Sun Ra came from – and I said, ‘have you got any Sun Ra?’ The guy says, ‘Yeah, all his stuff.’ I said, ‘Give me everything.’ ‘Everything?’ ‘Yeah.’ He comes back with 250 albums. Most of which I’ve still got in that room over there, still in the shrink-wrap.”95. Black Rebel Motorcycle Club – ‘Howl’ (RCA)
Guy Garvey of Elbow: “People didn’t really get it, and nobody ever really picked up on how good it was, maybe because it was so different to their first two records, being mostly acoustic. But you can tell when you listen to it that the album is really coming from the soul. The lyrics to one of the songs, Fault Line – “Racing with the rising tide to my father’s door” – that’s poetry, that is. Those are proper, Dylan-class lyrics. But the whole album is just beautiful musically, and it was a real departure for the band.”94. Jackie Mclean and Michael Carvin – ‘Antiquity’ (Steeplechase)
Jamie XX: “It’s a jazz album from the early 70s that’s quite innovative, it has rhythms that could still be played out now in the dance clubs. I would describe it as kind of experimental jazz. It’s great for samples, there’s a lot of percussion and space in it and there’s a lot of weird African vocal chanting, and then there’s also some great heavy drum riffs that sound like they could be sampled in UK garage.”
FREE, no license required The Intel Quartus Prime Lite Edition software supports Intel’s low-cost FPGA device families. Pro Edition 1,2,3 Standard Edition 1,2 Lite Edition 1,4 Paid license required The Intel® Quartus® Prime Pro Edition software supports the advanced features in Intel’s next-generation FPGAs and SoCs with the Intel Stratix® 10, Intel Arria® 10, and Intel Cyclone® 10 GX device families. Paid license required The Intel Quartus Prime Standard Edition software includes extensive support for earlier device families in addition to the Intel Cyclone 10 LP device family. Altera quartus ii 13 0 cracked.93. Jarcrew – ‘Jarcrew’ (Gut Records)
The legacy of Jarcrew rests on the unbridled creative brilliance that was their self-titled 2003 debut album. ‘Jarcrew’ wilfully smothered brainstorms before they could ignite, creating a cut and shut line of jagged collusion that veered from sleazy synth-pop to proggy punk and back into hands-in-the-air metal before you could catch your breath. Had this album come out in a post-Bloc Party, post-Dizzee, post-Crystal Castles world, Jarcrew would have been huge. But of course, it didn’t, and they’re not.92. Fanny – ‘Mothers Pride’ (Reprise Records)
Stella Mozgawa, Warpaint: “Fanny were pioneers, one the first rock bands to feature all women, and the second ever to be signed to a major label when they signed to Reprise in 69. The album was produced by Todd Rundgren. They featured two sisters by the name of June and Jean Millington. They came from California and played dirty rock’n’soul. David Bowie called them the great lost band of the 70’s. This album is filthy, with a really dirty sound.”91. Sandy Denny and the Strawbs – ‘All our Own Work’ (Pickwick)
Alex Scally of Beach House: “This is a late ’60s album featuring Sandy Denny before she got all Fairported. She was 19 when this one-off album was recorded in 1967, and the guy from the Strawbs, ‘Dave cousins, found her singing at an open-mike night. The next year she went off to join the band that she would end up doing her most celebrated work with, but this record is still amazing.”90. 90 Day Men – ‘(It (Is) It) Critical Band’ (Southern Records)
Darwin Deez: “This Chicago-via-St. Louis band’s debut album is musical darkness, malaise and existentialism in its own incredibly unique way. This record is for intelligent, desperately lonely 18 year old boys like myself. It’s Slint-ish, it’s pretentious, and it’s more full of ennui than anything else in the fucking world. It’s sad, it’s angry, and every track on it is wonderfully listenable, given the right age, gender, mood and SAT scores. This is music to keep smart, depressed hipsters stuck down in the dumps.”89. Shit And Shine – ‘Jealous Of Shit And Shine’
Jeremy Pritchard of Everything Everything: “I love ‘Jealous Of Shit And Shine’ the same way I love everything they do; the utter wretchedness coupled with humour; the surprising depth of what could seem initially like a one-dimensional sound; the cast iron but utterly uncontrived ‘absolutely-don’t-give-a-fuck-about-what-you-think-ness’ that it exudes. Although it sounds really abrasive, some song titles and the artwork spell out their playful streak pretty clearly.
I think its safe to say that none of the $$ sound has made it to Everything Everything.88. Mobb Deep – ‘The Infamous’
Mark Ronson: “The rhyme that always comes to mind is from the song ‘Shook Ones’ where he goes ‘rock you in your face, stab your brain with your nose bone’ which I always thought was one of the most graphic rhymes of violence that existed, certainly on a great hip hop song that you would hear on the radio all the time. The song ‘Shook Ones Part 2’ was just one of the most sinister incredible hip hop records to ever be such a huge club record. It was the absolute biggest song you could play, the dancefloor would just go insane. The song was so aggro and sinister but girls really liked it.”87. Diamond D – ‘Stunts Blunts and Hip Hop’ (Chemistry)
Mark Ronson: “Nobody’s going to dispute that Dre is the greatest hip hop producer of all time, but there’s something about hearing Diamond over his own beats, you cant imagine any guest star coming on and sounding better than he does. The thing about that era is they’d be laying three or four samples over the two of one track and you had these amazing sound collages that you couldn’t get away with these days because you’d just get sued and no-one can afford top pay for samples anymore.”86. Brand Nubian – ‘One For All’
Mark Ronson: “Even though Grand Puba was the star of Brand Nubian and went on to have the biggest solo career, all three of them were pretty amazing rappers. It was just before hip hop went downtempo and got a little moodier and all the beats were harder and eerier. It was that era when you didn’t sound soft if you were rapping over an uptempo happy beat. They had great production and used really cool samples from soul and reggae.”85. Pete Rock and CL Smooth – ‘Mecca And The Soul Brother’’ (Elektra)
Mark Ronson: “The old art was that each song on your record had to have a different kick and snare and you’d be digging the crates for some obscure drum break. Maybe there’d be one bar of something that you could chop up. Pete Rock was known as the king of finding samples and his drums, the way he programmed them had a really human feel as if there was a jazz drummer playing it, except they had these really fucking heavy kicks and snares.”84. Smif-N-Wessun – ‘Dah Shinin’ (Wreck Records)
Mark Ronson: “These people were just writing shit ‘cause it was good and it was getting on the radio anyway. No-one was like ‘you’ve got to have n R&B sung chorus here’. So you get songs like ‘Bucktown’ and ‘Sound Bwoy Bureill’, where it feels like the beginning, when you listen to great rock’n’roll shit in the 60s there was no formula to it, they just happened to be making really good shit. That’s what a lot of the mid 90s era of hip hop – before people started thinking ‘we’ve got one song for the club, one song for the girls, one song for the radio.”83. Edgar ‘Jones’ Jones – ‘Soothing Music For Stray Cats’ (The Viper Label)
Edgar Jones’ sprawling 2005 solo masterpiece is a 16-track beast of a record – a musical time machine so rich in its genre-palette that, by rights, it really shouldn’t stay afloat under the weight of its grandiose intentions. But float it does, for ‘Soothing Music For Stray Cats’ is Jones’ crowning glory after nigh on 15 years fronting nearly-bands (most notably early-90s riff-faves The Stairs).82. Howlin’ Wolf – ‘This is Howlin’ Wolf’s new album. He doesn’t like it. He didn’t like his electric guitar at first either’ (Cadet Concept)
Jim Sclavunos of Grinderman: “It is one of rock history’s more baldly self-explanatory album titles; and any lingering doubt as to the artist’s disdain for the project is abundantly clarified by the Wolf’s subsequent summary of the album as “dog shit”. Howlin’ Wolf was one of the first Mississippi Delta blues musicians to make the transition from acoustic to electric guitar, and he led one of the first all-electric blues combo in fifties; but This is Howlin’ Wolf’s new album finds him well outside his comfort zone.81. Fleetwood Mac – ‘Mirage’ (Warner Bros)
Elizabeth & Jeremy of Summer Camp: “Anyone with a Fleetwood Mac best-of will remember the lingering images of Stevie Nicks’ “Gypsy”, built around a classic Christine McVie piano line, but it’s Christine’s “Only Over You”, a tribute to her late boyfriend, Beach Boy Dennis Wilson, that really throws the emotional punch. Someone needs to sample this tune. Elsewhere Lindsay Buckingham contributes the kind of classic Fleetwood Mac pop gems he made a career out of with the likes of “Oh Diane” and “Can’t Go Back”.80. Moebius & Plank – ‘Rastaukaut Pasta’ (Sky Records)
Noble of British Sea Power: “Rastakraut Pasta is true loony cross-pollination – krautrock reggae. The album was released in 1980, opening with a cacophony of TV news, pirate-radio chatter and gonzo slide bass. Thereafter, Lee ‘Scratch’ Perry’s near-catatonic studio chasms become home to a shotgun wedding of white garage funk and Rhineland dub. Elsewhere you get what sounds like The Ramones at half speed, plus lovely lilting melodies and sci-fi electronics.79. The Prids – ‘Chronos
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