Post by soundandvision on May 24, 2007 8:29:32 GMT -5
- The Beach Boys "Pet Sounds" (1966)
When I finally heard it in 1996 (age 20) it had a profound affect on me. Especially when coupled with my discovery of the Wall of Sound and Brill Building pop several years before. The bittersweet optimism, coupled with the harmonies and the influece of Spector. Rightfully considered one of the handful of truly monumental pop records of the 20th century.
- The Dave Brubeck Quartet "Time Out" (1959)
It's a record I continually come back to when I want to capture, in my mind, jazz during what many consider its peak year. Most prefer "Kind of Blue"... not me.
- The Clash "London Calling" (1979)
It's been said that The Clash (along with maybe Television) were the only punk band that could actually play. That's bull poopie of course. But there's something to the lore that the Clash were a cut above their peers. Both in songwriting and instrumentation. This is a sprawling, diverse record that continues to show its nuances nearly 30 years later.
- Dion "Born To Be With You" (1975)
I only came across this record last year. Dion, former teen idol paired with Phil Spector in 1975 to make this complete bomb of a record. You have the longing of a reformed drug addict (Dion) and the megalomania of Spector (using most of the original Wrecking Crew). At times this record sounds like a lone repentant man in the middle a complete bacchanal of sound. It's gorgeous. There are times when I think its the best record I have ever heard.
- Guided By Voices "Bee Thousand" (1994)
Summer of '94... MTV's 120 minutes played "I Am a Scientist" and I hadn't heard anything quite like it. It's the mid 60's Kinks, early 70's Who and Bowie... all rolled into one 2 minute package. And it sounds uniquely their own.
- Pink Floyd "Dark Side of the Moon" (1973)
This is another one of those choices that seems to always be on a list of bests or favorites, but hear me out. Here we have a band that reaches its zenith (with the help of Alan Parsons) and creates an orgy of sound. Also, has there ever been a more inspired choice for background vocals than Doris Troy?
- Phil Spector "A Christmas Gift For You" (1963)
A bizarre chioce, I know. But it is truly one of the best produced records ever. It's tightly constructed, all of Spector's stable of vocalists (as of 1963) participate and has their own shining moment. The stopper of the record though is Darlene Love doing "Christmas (Baby Please Come Home)". Nothing sounds more like Christmas to me than this record...there is a lot of love here.
- U2 "The Joshua Tree" (1987)
This record for me was my first real rock album. During the mid to late 80's when MTV was burgeoning power in the music world, this record seemed to come along and up the ante. I also have kind of a personal connection to this record, on a visceral level. My father died during the winter 1987 and I was 10 years old trying to figure out what it all meant. Along comes this album that seemed larger than life at the time. With its ethereal themes of God, addiction and searching for something larger than one's self. In some ways, I think it is the last massive rock record (in terms of sales) that didn't focus on thy self. During the 90's it became about life in "quotation marks" and irony. There is none of that to be found here.
- The Who "Who's Next" (1971)
Born of the idea from Pete Townshend's "Lifehouse" project. "Lifehouse" was to be the follow up to "Tommy" and have even grander themes. The project was abandoned in favor of what became "Who's Next" and I can honestly say, these things work out for a reason. "Who's Next" rocks harder and smarter than any other record of its era. During that era ("Live At Leeds", "Isle of Wight" & "Who's Next") the Who may have been the best band on earth.
- The Zombies "Odyssey & Oracle" (1968)
One of those "discoveries" from the late 1960's that has only recently begun to get the lavish attention that it does. Primarily a singles band, The Zombies created a baroque pop masterpiece with 'Odyssey'. If they hadn't been overshadowed by fellow Britons, The Beatles & The Rolling Stones, they may have been the Britain's answer to the Beach Boys. Except, they played their own instruments.