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CaliforniaÜberAlles

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About CaliforniaÜberAlles

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  1. Top 50. 01. Black Dice - Beaches and Canyons (2002) 02. Fennesz - Endless Summer (2001) 03. Cornelius - Point (2002) 04. Christian Marclay/Elliott Sharp - High Noon (2000) 05. Derek Bailey - Ballads (2002) 06. 90 Day Men - (It (Is) It) Critical Band (2000) 07. Deerhoof - Reveille (2002) 08. Radiohead - Kid A (2000) 09. Godspeed You! Black Emperor - Lift Yr. Skinny Fists Like Antennas To Heaven (2000) 10. Liars - They Were Wrong, So We Drowned (2004) 11. Unwound - Leaves Turn Inside You (2001) 12. The Unicorns - Who Will Cut Our Hair When We’re Gone? (2003) 13. Björk - Medúlla (2004) 14. Sonic Youth - Murray Street (2002) 15. Joanna Newsom - Ys (2006) 16. Lightning Bolt - Wonderful Rainbow (2003) 17. Portishead - Third (2008) 18. Battles - Mirrored (2007) 19. Otomo Yoshihide's New Jazz Ensemble - Dreams (2002) 20. At the Drive-In - Relationship of Command (2000) 21. Sleater-Kinney - The Woods (2005) 22. Iran - Iran (2000) 23. Scott Walker - The Drift (2006) 24. Melt Banana - Cell-Scape (2003) 25. Arab On Radar - Yaweh or the Highway (2001) 26. Sunn O))) - Black One (2005) 27. Konono No. 1 - Congotronics (2005) 28. William Basinski - The Disintegration Loops II (2003) 29. Don Caballero - American Don (2000) 30. Boris - Feedbacker (2005) 31. Boredoms - Vision Creation Newsun (2001) 32. Christian Fennesz/Jim O'Rourke/Peter Rehberg - The Return of FennO'Berg (2004) 33. Xiu Xiu - The Air Force (2006) 34. Original Silence - The First Original Silence (2007) 35. Charlemagne Palestine & Tony Conrad - An Aural Symbiotic Mystery (2006) 36. Faust vs. Dalëk - Derbe Respect, Alder (2001) 37. Boris - Pink (2006) 38. Wolf Eyes - Burned Mind (2004) 39. Eluvium - Talk Amongst the Trees (2005) 40. The Books - The Lemon of Pink (2003) 41. Fugazi - The Argument (2001) 42. Quasimoto - The Unseen (2000) 43. Fennesz - Black Sea (2008) 44. Gang Gang Dance - God's Money (2005) 45. The Goslings - Grandeur Of Hair (2006) 46. M.I.A. - Arular (2005) 47. Boards of Canada - Geogaddi (2002) 48. The Ohsees - The Cool Death of Island Raiders (2006) 49. Iran - The Moon Boys (2003) 50. Jim O'Rourke - Insignificance (2001)
  2. Oh my goodness. Tough. I'll do a top 10. 1. Life Is Beautiful 2. Manhattan 3. Breathless 4. Pulp Fiction 5. Lost In Translation 6. Vertigo 7. La Strada 8. Ghost World 9. Persona 10. Zorba the Greek
  3. A cool album just released this year is Andromeda Mega Express Orchestra's Take Off! One of my favorite releases of '09 in general. I certainly don't expect it to receive attention on this board, as it has nothing to do with most of the stuff discussed here, but it's extraordinary fun and a relatively new take on cinematic jazz, lying somewhere between Steve Reich and Glenn Miller. It is certainly appealing for anyone with the open mindedness to listen.
  4. I've never had homemade ice cream or ice cream from some local Ma and Pa type shop that I can recall. Don't even know if there are any here in San Diego. But of what I have tried, Cold Stone is really good. The Birthday Cake Remix flavor is delicious.
  5. Absolutely. The library doesn't always have a great selection of popular music, but their classical selection is immense. I've definitely buffed up my classical music collection through the library quite a bit.
  6. On the Road for about the third time.
  7. I still find downloading some rare and lesser known material to be difficult through that method. So having Soulseek comes in handy for those rare cases.
  8. Is pretty fucking amazing, huh? I saw a live performance of a bunch of his works last night, and it was enchanting. They also played a tango from Carlos Gardel (you know, the famous one from that blind dancing scene with Al Pacino in Scent of a Woman ). Anyways, the only Piazzolla album I have is Tango: Zero Hour. Do any fans know where I should go from here? I'd also like to hear some interpretations of his work for alternate instrumentation, like string quartets and such. Recommend!
  9. Yeah. But even the "mindless fun" -- like "She Loves You" or "I Want To Hold Your Hand" are incredibly well-crafted songs.
  10. They're one of those bands I just don't get. I can't think of one thing I've heard by them that I've liked.
  11. Some of their material hasn't aged quite as well as their best work, but most of their stuff still sounds incredibly fresh and vibrant despite the fact I've heard it a zillion times. The songs are timeless and the production was just soooo ahead of its time.
  12. I'll be seeing The Jesus Lizard, A Place To Bury Strangers, and Yo La Tengo three days in a row in October. Who knows if something will come up before then, but that's what I have planned. Saw Wolves In the Throne Room a couple weeks ago. Good stuff.
  13. Thanks for the recs, I'll have to check those two albums out.
  14. Oh yeah, not only did VU hit their artistic peak while he was a member of the band, but what I've heard of his solo stuff is quite interesting. Check out the book "Up-Tight: The Velvet Underground Story". Very informative, and it has a ton of great pictures.
  15. Well, where you quoted me I was really referring to how they were the model or prototype for the popular notion of the "rock band", a self-contained rock group that wrote and performed its own material. But if you want to talk about their business model...I mean look. The specifics of how the Beatles' business dealings with EMI is obviously unique to them. Being the pioneers that they were, they had to break down a lot of doors and deal with issues that bands after them just didn't have to. For example, when they first signed their record contract, royalties on records sold weren't even considered a major point of contention. It was assumed that record labels kept just about all the money it made off selling records to cover the cost of recording and cultivating talent and finding new talent, etc. So how did the way the Beatles changed the music industry effect the Led Zeppelin experience? Obviously having the benefit of starting in the record business 6 years after the Beatles did a lot. They wouldn't have had that leeway from the record label in 1962 that they gained in 1968. Rock musicians had a lot more artistic freedom from record labels, greater control in the studio and over the product they released. Not to mention that before the Beatles, the influence of rock music only flowed one way across the Atlantic: from America to the UK. The U.S. was where the genre had it roots, and U.S. record labels just didn't take UK artists seriously. The Beatles had to sell millions of records and cause a major frenzy in Britain before they received any significant radio airplay or even thought about having their records released by Capitol in the United States. And obviously, after the Beatles, bands from outside the U.S. didn't have to deal with those barriers. I could just go on and on, but point is, while the way that they dealt with their record label and vice versa wasn't any sort of model, the way that record labels had to view rock musicians, especially from the UK, and the way they had to deal with them, and the kind contracts they offered them all were by-products of the Beatles' huge success.
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