{"id":3859,"date":"2017-05-08T12:48:08","date_gmt":"2017-05-08T17:48:08","guid":{"rendered":"http:\/\/blog.uvm.edu\/aivakhiv\/?p=3859"},"modified":"2022-10-18T06:45:11","modified_gmt":"2022-10-18T11:45:11","slug":"greatest-albums-of-the-lp-era","status":"publish","type":"post","link":"https:\/\/blog.uvm.edu\/aivakhiv\/2017\/05\/08\/greatest-albums-of-the-lp-era\/","title":{"rendered":"Greatest albums of the LP era"},"content":{"rendered":"<p><em>The recent social media meme\u00a0listing 10 concerts people have attended accompanied by one they didn&#8217;t (&#8220;find the lie!&#8221;) has incited\u00a0me to complete a list that started out as a &#8220;50th anniversary of the concept album&#8221; brainstorm over drinks one night last year. The question here is a little different: <\/em>What are the most formative and significant albums of the album era?\u00a0 <!--more--><\/p>\n<p><em>(Note<\/em>: <em>This is version 2, with a handful of additions and tweaks made to the original list. One could endlessly tweak such lists, so somebody take away the controls, please. <\/em><em>I should mention that this list is being made in time for the 50th anniversary of the Beatles&#8217; <\/em>Sgt. Pepper&#8217;s &#8212;\u00a0<em>mentioned below, but not listed in the top 10 &#8212;<\/em><em>\u00a0with deluxe editions of that album being planned for release on May 26. Happy birthday to Sgt. Pepper\u00a0and to that year, notable for several albums listed below.)<\/em><\/p>\n<p>From the perspective of a <a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2010\/11\/05\/process-relational-theory-primer\/\">process-relational<\/a>* <a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2011\/03\/24\/ecosophy-g\/\">ecocultural<\/a> aesthetic, the best art is that which brings together disparate elements in novel ways to open up\u00a0new channels for creative expression &#8212; channels\u00a0that in turn enable\u00a0<a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2010\/03\/26\/aesthetics-peirce-in-the-santa-monica-mountains\/\">novel\u00a0ways of<\/a> appreciating beauty, responding to social and ethical challenges, and understanding the ongoing evolution of the universe (in its local and\u00a0regional variations).<\/p>\n<p>In the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Album_era\">era of the long-play album<\/a> \u00a0&#8212; an era that only really came into its own\u00a0about 50 years ago, and that continues only in muted (and mutated) form today &#8212; music has had to respond to multiple challenges: these include war and poverty, sexual revolutions and social unrest, racial conflict and cultural diversification, national identity struggles\u00a0and ecological reckonings. The best albums have addressed some of these challenges (occasionally even all of them) and addressed them well.<\/p>\n<p>While &#8220;concept albums&#8221; can be dated back much further (perhaps to Woody Guthrie&#8217;s <em>Dust Bowl Ballads<\/em> of 1940), the idea of an album as a total work of art &#8212; musical, poetic, aesthetic,\u00a0philosophical, and physical\/material &#8212; could arguably be dated to roughly\u00a050 years ago, with the 1966 release of\u00a0a trio of albums: The Beach Boys&#8217;\u00a0<em>Pet Sounds,<\/em> The Mothers of Invention&#8217;s <em>Freak Out!<\/em>, and The Kinks&#8217; <em>Face to Face. <\/em>These albums set precedents to be matched and topped over the <a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2015\/03\/12\/a-7-year-musical-itch\/\">coming decade<\/a> by the Beatles&#8217;\u00a0<em>Sgt. Pepper&#8217;s Lonely Hearts Club Band<\/em>\u00a0(1967), The Who&#8217;s\u00a0<em>Tommy <\/em>(1969) and\u00a0<em>Quadrophenia\u00a0<\/em>(1973), <em>Dark Side of the Moon\u00a0<\/em>(Pink Floyd, 1973), <em>The Lamb Lies Down on Broadway<\/em> (Genesis, 1975), <em>Tales from Topographic Oceans\u00a0<\/em>(Yes, 1975), and\u00a0others. To concept album aficionados, holding an album cover while listening to the album straight through (getting up only to lift the stylus and turn the vinyl\u00a0mid-way) was akin to beholding a sacred object: the cover could be\u00a0read and re-read, held and caressed, admired and marveled at as one listened to the music and plunged into the album&#8217;s\u00a0sonic, aesthetic, and metaphysical\u00a0world.<\/p>\n<p>With <a href=\"https:\/\/books.google.com\/books?id=rxzaAgAAQBAJ&amp;printsec=frontcover#v=onepage&amp;q=toward%20the%20%22good%20film%22&amp;f=false\">process-relational criteria<\/a> in mind, the following is my attempt to propose a &#8220;ten greatest albums&#8221; list of the album era&#8217;s <a href=\"https:\/\/en.wikipedia.org\/wiki\/Album_era#The_LP_era:_The_golden_age_of_the_album\">classic period<\/a>, which I would date from roughly the mid-1960s until the mid to late 1990s or so. Great albums continue to be made (head nods to OutKast, Beyonc\u00e9, Arcade Fire, Radiohead, Bjork, Sufjan Stevens, and Bon Iver, among many others), but the practice of sitting down to listen, with care and single-mindedness, to an album &#8220;straight through&#8221; has become a retro activity for connoisseurs\u00a0with time on their hands that most of us no longer have. Or so it seems.<\/p>\n<p>I grew up in the heyday of the concept album, so several of those listed fall either into that or the looser &#8220;song cycle&#8221; category. This\u00a0can hardly<em> not<\/em> be a subjective list; these are albums that, to one extent or another, have shaped my own appreciation of music and its possibilities, which accounts for its eccentricities.<\/p>\n<p>Here, then, are\u00a0my nominations for the <strong>10 Greatest Albums of the Album Era&#8217;s Classic Period<\/strong>. Starting from the top; all (mostly) here, no clickbait, no ads.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/50fB5L1vmn8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>1. <strong>Miles Davis<\/strong> &#8211; <strong>Bitches Brew <\/strong>(Columbia, 1970):\u00a0Start with a\u00a0phantasmagoric stew of musical and artistic influences from previous\u00a0epochs of African, jazz, and blues musics to\u00a0the rock, R &#8216;n B, and funk\u00a0explorations of Jimi Hendrix, James Brown, and Sly and the Family Stone, to the &#8220;free jazz&#8221; that seemed to have passed Miles by, but which he now showed thorough\u00a0mastery of. Add a stellar entourage of musicians, many of whose solo careers took off flying from this hothouse\u00a0of musical exploration: John McLaughlin, Chick Corea, Keith Jarrett, Wayne Shorter, Joe Zawinul, Jack DeJohnette, Bennie Maupin, Tony Williams, Dave Holland, Larry Young, and others.\u00a0Throw in the studio-as-compositional-tool mastery\u00a0of producer Teo Macero, the Afro-futurist artwork of Abdul Mati Klarwein, and the temper of the times. Coming at the apex of his creative swerve from jazz to something completely uncategorizable (which nowadays simply gets called &#8220;electric Miles&#8221;), this\u00a0record of\u00a0expansive voodoo brilliance &#8212; infinitely open in its possibilities, beautifully cohesive in its interplay, but always tied to a kind of (at once) earthy, sinuously riverine, and interstellar groove &#8212; provided the impetus for what later got called jazz-rock fusion (or jazz-funk), but nodded in so many other directions,\u00a0opening up new strata on which musical life could spread and flourish. Its\u00a0achievement in that respect was, to my mind, unparalleled.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent&#038;listType=playlist&#038;list=PLZqsyBiYZFQ32tfj9M_bMlM1fZj0UjGSg\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>2. <strong>Brian Eno &amp; David Byrne<\/strong> &#8211; <strong>My Life in the Bush of Ghosts <\/strong>(Sire\/Warner Bros., 1981):\u00a0An album with few precedents, it helped\u00a0pioneer the plundering of the world&#8217;s music and sound for fun and insight (leaving the profit mostly to others). Titled after a 1953 novel by Nigerian author Amos Tutuola that chronicled a series of possessions and dispossessions &#8220;in the bush of ghosts,&#8221; the album melded\u00a0Afro beats and\u00a0ethno-grooves with found sounds and field recordings sampled (pre-digitally) from what we might imagine as the world&#8217;s cosmic radio &#8212; evangelists, exorcists, gospel singers, and storytellers &#8212; and mixed into a fine alloy\u00a0through Eno&#8217;s electronic and studio wizardry. In this sense, the album captured a\u00a0moment pregnant with possibility: America&#8217;s &#8220;waiting for a message of one kind or another,&#8221; as the first track put it, at the beginning not only of the waves of &#8220;world beat&#8221; and &#8220;world music&#8221; (as marketing categories), but of pentecostal religion&#8217;s sweeping of the globe (check the recorded exorcisms on &#8220;Help Me Somebody&#8221; and &#8220;The Jezebel Spirit&#8221;), of Islamism&#8217;s rise into western consciousness (notably in &#8220;Qu&#8217;ran,&#8221; left off the 2006 reissue due to a\u00a0legal challenge),\u00a0and of sampling and remixing becoming the norm rather than the rule in music-making across multiple genres. If Eno collaborator Jon Hassell was inventing a\u00a0<a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2009\/01\/15\/music-as-coffee-and-as-philosophy\/\">&#8220;coffee coloured&#8221; music of the future<\/a>\u00a0with his &#8220;fourth world&#8221; sonic strategies,\u00a0this was\u00a0the double espresso. The rhythmic and compositional precision of tracks like &#8220;Moonlight in Glory,&#8221; in all their analog glory, have hardly been matched by any turntablist or electro-scraper since. On the morally ambiguous side, questions of appropriation and cultural colonialism raised in similar contexts &#8212; say, regarding Paul Simon&#8217;s <em>Graceland, <\/em>Michael Cretu&#8217;s Enigma project, or sampling and remixing more generally &#8212; arise in relation to this album\u00a0as well\u00a0(as <a href=\"https:\/\/www.researchgate.net\/publication\/289794225_My_Life_in_the_Bush_of_Ghosts_World_music_and_the_commodification_of_religious_experience\">Steven Feld<\/a> has shown), making it a useful teaching tool in addition to an enjoyable listening experience.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/KCcmgUpkabM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>3. <strong>Incredible String Band<\/strong> &#8211; <strong>The\u00a0Hangman\u2019s Beautiful Daughter <\/strong>(Elektra\/WEA, 1968):\u00a0If Bob Dylan&#8217;s <em>Basement Tapes<\/em>\u00a0(which never got captured in a satisfying single-album form) emblematized the &#8220;old, weird America&#8221;\u00a0<a href=\"https:\/\/www.amazon.com\/Old-Weird-America-Dylans-Basement\/dp\/0312572913\">Greil Marcus<\/a>\u00a0wrote about (see #5 below),\u00a0<em>Hangman&#8217;s Beautiful Daughter<\/em>\u00a0aimed for a kind of old, weird Britannia (as did Fairport Convention&#8217;s <em>Liege and Lief<\/em>, for instance), but then\u00a0exploded it into a thousand flowers that world had rarely seen before. The result was a wild kaleidoscope of pantheistic\u00a0delicacies cross-breeding an earthy, rural\u00a0psychedelic sensibility with Indian and Middle Eastern\u00a0instruments and modes, exquisite arrangements, and gentle, humorous, lyrical\u00a0beauty. Shakespeare&#8217;s Caliban might have been describing that island when he said:<\/p>\n<p style=\"padding-left: 30px\">&#8220;Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not.\u00a0Sometimes a thousand twangling instruments\u00a0Will hum about mine ears, and sometime voices That, if I then had waked after long sleep,\u00a0Will make me sleep again: and then, in dreaming, The clouds methought would open and show riches\u00a0Ready to drop upon me that, when I waked,\u00a0I cried to dream again.&#8221;<\/p>\n<p>From the drone-raga mysteries\u00a0of\u00a0&#8220;Three is a Green Crown&#8221; to the tender\u00a0harmonies\u00a0of &#8220;The Water Song&#8221; and &#8220;Nightfall,&#8221; the synthesis of disparate elements here sounded as natural and unforced as they sounded artificial in other artists. The cover photo captures the spirit of it\u00a0as well as anything (which is perhaps why others have &#8220;covered&#8221; that cover, so to speak, with their own takes of back-to-the-woods gallantry\u00a0&#8212; see, for instance, Current 93&#8217;s\u00a0<em><a href=\"http:\/\/1.bp.blogspot.com\/-4wKaKeZGpR0\/TlCXstd0gsI\/AAAAAAAAAxM\/V1cKK2UcTVU\/s1600\/Current_93.jpg\">Earth Covers Earth<\/a>,<\/em>\u00a0Devendra Banhart&#8217;s <a href=\"http:\/\/s3.otherpeoplespixels.com\/sites\/7186\/assets\/BkMU6S91.jpg\"><em>Cripple Crow<\/em><\/a>, or even <em>Trout Mask Replica<\/em>&#8216;s &#8212; see next item &#8212; foldout <a href=\"http:\/\/www.beefheart.com\/wp-content\/uploads\/2011\/08\/trout.album_.jpg?w=640\">inner cover<\/a>). Henceforth, folk music would no longer be constrained to its traditionalism or to its political solemnity. It could be anything.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/aF0g-2SeoMM?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>4. <strong>Captain Beefheart and His Magic Band<\/strong> &#8211; <strong>Trout Mask Replica<\/strong> (Straight, Reprise, 1969):\u00a0Along with\u00a0its follow-up, the musically more satisfying\u00a0<em>Lick My Decals Off, Baby,<\/em>\u00a0<em>Trout Mask Replica<\/em> constituted a kind of darker, more crazed vision of that &#8220;<a href=\"https:\/\/www.amazon.com\/Old-Weird-America-Dylans-Basement\/dp\/0312572913\">old, weird America<\/a>&#8221;\u00a0that Greil Marcus attributed to Bob Dylan&#8217;s &#8220;basement&#8221; recordings\u00a0with The Band &#8212; the backcountry\u00a0&#8220;playground of God, Satan, tricksters, Puritans, confidence men, illuminati, braggarts, preachers, anonymous poets of all stripes.&#8221; Beefheart&#8217;s (Don Van Vliet&#8217;s) weirdness is more rooted in the blues, in backcountry hollers and slave wails, and in apocalyptic outsider-artists pursuing acid visions in the desert.\u00a0Like some slave-driving outsider-artist-turned-cult-leader himself, Van Vliet, in a legendarily intense eight months of communal living, squeezed out of\u00a0his musicians a mangled train-wreck collision of sounds &#8212; herky-jerk polyrhythms, wailing sax excursions, vocal wildness, surreal eco-apocalyptic lyrics, and a jangling, machinic groove of electric guitar, drums, and bass. Produced by Frank Zappa, the album stands as a\u00a0unique achievement in the history of American rock.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/LuYNidNgQic?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>5. <strong>Talk Talk<\/strong> &#8211; <strong>Laughing Stock<\/strong> (Verve, 1991):\u00a0Most pop bands develop their schtick and stick with it. With &#8217;80s electropop bands one could\u00a0hardly hope for anything different. Talk Talk did the opposite: with 1988&#8217;s<em> Spirit of Eden<\/em> and, more so, with this final album, they fled from their stardom into a musical no-man&#8217;s-land that resembled nothing of their former selves &#8212; a realm of turbulent, introspective exploration, free jazz and orchestral experimentation, chunky guitars and sublime chord changes,\u00a0complex turns of rhythm and phrase, texture and emotion, all folded\u00a0into impossibly\u00a0lengthened\u00a0spaces and unpredictable convergences, and at times reaching a sublime\u00a0beauty the likes of which I&#8217;ve\u00a0never heard before. As in the ten minutes of &#8220;New Grass,&#8221; which I would take\u00a0as my soundtrack for the journey through the between-lives Bardo. (What Wagner was to orchestral music, &#8220;After the Flood&#8221; and &#8220;New Grass&#8221; are\u00a0to the two-verse song.) &#8220;Lifted up.&#8221; It doesn&#8217;t matter what Mark Hollis is singing; the voice says all it needs to say. Earlier influences (Can, among others) get filtered into something entirely new (which others, like Radiohead, later pick up on; see below). My first listen to this album left me dumbfounded. [Note: Full album <a href=\"https:\/\/youtu.be\/R7FxqsNO4-Y\">here<\/a>, but the sound has been deleted; check again to see if it&#8217;s returned.]<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/uxA3jPaftok?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>6.<strong>\u00a0The Velvet Underground and Nico<\/strong> (Verve, 1967): Enough has been written about how this album shaped so much of what came after it: art and glam rock, punk, new wave, no wave, indie and alternative in all their varieties. The album brought together New York City&#8217;s\u00a0experimental classical scene (especially the minimalism of LaMonte Young, in which Cale participated) with the street poetry of Lou Reed and the artistic, aesthetic, and sexual circus that was\u00a0Andy Warhol&#8217;s Factory. As Frank Zappa was doing on the west coast, the Velvets helped ground-truth any\u00a0Sixties illusions\u00a0about brotherly love and psychedelic revolution. Anthems abound here\u00a0(&#8220;All Tomorrow&#8217;s Parties&#8221;), but it&#8217;s the marriage of Reed&#8217;s poetic street observations and Cale&#8217;s and Reed&#8217;s screeching, noisy\u00a0energy that marks the album&#8217;s most lasting pieces (&#8220;Venus in Furs,&#8221; &#8220;Black Angel&#8217;s Death Song,&#8221; and perhaps the most sublime rock\u00a0song of all time, &#8220;Heroin&#8221;).<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/0c1NJPCN6nA?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>7. <strong>Bob Dylan<\/strong> &#8211; <strong>Blonde on Blonde<\/strong>\u00a0(1966):\u00a0How do\u00a0you choose from\u00a0the string of albums Dylan made between 1962&#8217;s <em>The<\/em>\u00a0<em>Freewheelin&#8217;<\/em>\u00a0<em>Bob Dylan<\/em>\u00a0and this, his climactic double-album? Each of them contains brilliant songs, some of them having become\u00a0anthems of much more than just Dylan&#8217;s\u00a0generation, their polemics retaining their force today (think &#8220;A Hard Rain&#8217;s A-Gonna Fall,&#8221; &#8220;Blowin&#8217; in the Wind,&#8221; &#8220;Masters of War,&#8221; all from <em>Freewheelin<\/em>&#8216;). But there&#8217;s a poetic, emotional, and musical richness to Dylan&#8217;s output in these years\u00a0that has been arguably unmatched by anyone, and its imprint\u00a0lies on practically all the rock music that&#8217;s come since then. <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/inside-bob-dylans-blonde-on-blonde-rocks-first-great-double-album-164769\/\"><em>Blonde on Blonde<\/em><\/a>\u00a0minimizes the political gesturing and opts for a visionary exuberance mixed with a reflective, romantic fleet-footedness (&#8220;I Want You,&#8221; &#8220;Sad-Eyed Lady of the Lowlands,&#8221; &#8220;One of Us Must Know,&#8221; &#8220;Fourth Time Around,&#8221; &#8220;Just Like a Woman,&#8221; &#8220;Visions of Johanna&#8221;). Emotionally, this album is up there with 1975&#8217;s\u00a0<em>Blood on the Tracks<\/em>; musically, it&#8217;s probably as good as Dylan ever got.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/wQxMB4Wk_y8?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>8. <strong>Can<\/strong> &#8211; <strong>Future Days <\/strong>(1973): Each of Can&#8217;s three Damo Suzuki era studio albums (<em>Tago Mago, Ege Bamyasi, <\/em>and<em> Future Days<\/em>) has its supporters for\u00a0being\u00a0the band&#8217;s most important album, and together they constitute a\u00a0groundbreaking trilogy. The first two albums threw together their experimental music roots (two of the band members studied with Karlheinz Stockhausen) with free-form improvisation, interest in world rhythms and in found objects (including shortwave recordings and &#8220;ethnological forgeries&#8221;), and a druggy and often\u00a0manic, Rolling Stones-ish sensibility, helping to\u00a0engender swaths of post-punk and the indie rock that followed it. (Even punks like John Lydon\/Johnny Rotten and Mark E. Smith and rappers like Kanye West\u00a0have acknowledged Can&#8217;s\u00a0influence.)\u00a0<em>Ege Bamyasi<\/em> is arguably the tightest and most essential\u00a0of the three albums. <em>Future Days<\/em> takes the more experimental and ambient side of the band&#8217;s work (featured first on the side-long &#8220;Aumgn&#8221; from <em>Tago Mago<\/em>) and morphs it into a collectively improvised sonic wash that anticipates everything from jazz-funk to trance techno to Eurodisco to post-rock, while\u00a0retaining a kind of sunny organicism that most of those lacked. Which of the three albums to include in this list is a toss-up: perhaps <em>Ege<\/em>&#8216;s green bean\u00a0can cover should be the decisive factor, but I find myself returning\u00a0to Side One of\u00a0<em>Future Days<\/em>\u00a0much more often. &#8220;Spray&#8221; may mark the pinnacle of these great musicians&#8217; exhilarating musical interplay.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/_fTWmUlTEqE?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>9.\u00a0<strong>Radiohead<\/strong> &#8211;\u00a0<strong>OK Computer\u00a0<\/strong>(Capitol\/Parlophone, 1997): Since I think <em>Kid A<\/em> is actually a more interesting album, take this as a head nod to consensus reality (i.e., to what other people think). Radiohead remains one of the most inventive, creative, and expressive rock bands of the last 25 years, and while some of their later work ventures\u00a0much further beyond their five-piece rock roots &#8212; both\u00a0into experimental regions that presage late electronica&#8217;s more intriguing twists and turns (most obviously on <em>Kid A<\/em> and <em>Amnesiac<\/em>), but also into more fully realized pieces of concept, musicianship, and orchestration\u00a0(including on their more recent albums), <em>OK Computer<\/em>\u00a0is\u00a0still the album that presented their most dramatic step forward and that defined their musical trajectory. Concept albums of this ambition were a little out of fashion at the time (its theme harkened back to Pink Floyd&#8217;s\u00a0<em>Dark Side of the Moon<\/em>, with a turn-of-the-century twist), and to the extent that they have again become fashionable, Radiohead deserves a fair bit of the credit. Stadium rock almost never\u00a0got as intelligent as this.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/t4e-Zq6kPk4?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p>10. <strong>Henry Cow<\/strong> &#8211;\u00a0<strong>LegEnd\u00a0<\/strong>(Virgin, 1973):\u00a0What &#8220;progressive rock&#8221; always aimed for, yet rarely delivered, was a highbrow concoction of rock energy, classical form, and musical virtuosity modeled on jazz chops. Growing equally out of the Cambridge and Canterbury rock scenes as out of the Marxist politics of the time, Henry Cow delivered far more than that: their classical was actually up to date (rooted in twentieth-century composers like Bartok, Messiaen, Henry Cowell, and John Cage), their jazz was as\u00a0free and radically improvisational as it gets, and their rock posturing was both politically and sonically motivated, not at all mere posturing. Some of their later work remained musically exacting, and more groundbreaking and exhilarating at times (parts of <em>In Praise of Learning<\/em>\u00a0in particular, and of\u00a0<em>Western Culture<\/em>), but its politicized severity could get a little overbearing. This first album remains richly compelling and\u00a0satisfying: Geoff Leigh&#8217;s sax solos burn (see middle section of &#8220;Nirvana for Mice&#8221;), Fred Frith&#8217;s guitar plucks, pokes, darts, swims, smears, dances, and flies all over (see &#8220;<a href=\"http:\/\/www.youtube.com\/watch?v=F1TOjQpgfGc\">Teenbeat Reprise<\/a>&#8220;), Chris Cutler&#8217;s percussion showers everything\u00a0with an infinite array of propulsive variations, the rhythms topple and trundle over each other like a menagerie of animals\u00a0in some kaleidoscopic dance, and Tim Hodgkinson&#8217;s compositional intricacies perplex and delight (on the Dadaesquely political &#8220;Nine Funerals of the Citizen King&#8221; and on &#8220;<a href=\"http:\/\/www.youtube.com\/watch?v=WqnNTzLMZBg\">Amygdala<\/a>,&#8221; perhaps the most complex composition to be found within the annals\u00a0of rock music). Despite their commercial unviability, Henry Cow went on to orchestrate an impressive international\u00a0network of &#8220;progressive&#8221; musicians under the <a href=\"https:\/\/en.wikipedia.org\/wiki\/Rock_in_Opposition\">Rock in Opposition<\/a>\u00a0moniker (which included Italy&#8217;s Stormy Six, Sweden&#8217;s Samla Mammaz Manna, Belgium&#8217;s Univers Zero, the\u00a0Art Bears, and\u00a0others), whose &#8220;progress&#8221; was not only musical but political. If there is an &#8220;avant&#8221; to rock experimentation, Henry Cow virtually defined it.<\/p>\n<p><strong>Honorable mentions<\/strong>\u00a0(in chronological order):<\/p>\n<ul>\n<li>Miles Davis &#8211; <strong>Kind of Blue<\/strong> (1959)<\/li>\n<li>Ornette Coleman &#8211; <strong>The Shape of Jazz to Come<\/strong> (1959); <strong>Free Jazz: A Collective Improvisation<\/strong> (1961)<\/li>\n<li>Bob Dylan &#8211; <strong>The Freewheelin&#8217; Bob Dylan<\/strong> (1963); <strong>Bringing It All Back Home<\/strong> (1965); <strong>Highway 61 Revisited<\/strong> (1965)<\/li>\n<li>John Coltrane &#8211; <strong>A Love Supreme<\/strong> (1965); <strong>Ascension<\/strong> (1965)<\/li>\n<li>The Mothers of Invention &#8211; <strong>Freak Out!<\/strong> (1965)<\/li>\n<li>Leonard Cohen &#8211; <strong>Songs of Leonard Cohen<\/strong> (1967)<\/li>\n<li>Pink Floyd &#8211; <strong>Piper at the Gates of Dawn<\/strong> (1967)<\/li>\n<li>The Beatles &#8211; <strong>Sgt. Pepper&#8217;s Lonely Hearts Club Band<\/strong> (1967); <strong>The Beatles <\/strong>(&#8220;<strong>The White Album<\/strong>&#8220;) (1968); <strong>Abbey Road<\/strong> (1969)<\/li>\n<li>The Jimi Hendrix Experience &#8211; <strong>Electric Ladyland<\/strong> (1968)<\/li>\n<li>Van Morrison &#8211; <strong>Astral Weeks<\/strong> (1968)<\/li>\n<li>Rolling Stones &#8211;<strong> Beggars Banquet<\/strong> (1968);\u00a0<strong>Let It Bleed<\/strong> (1969)<\/li>\n<li>Soft Machine &#8211; <strong>The Soft Machine<\/strong> (1968); <strong>Volume Two<\/strong> (1969)<\/li>\n<li>Fairport Convention &#8211; <strong>Liege and Lief<\/strong> (1969)<\/li>\n<li>The Grateful Dead &#8211; <strong>Live\/Dead<\/strong> (1969)<\/li>\n<li>Black Sabbath &#8211; <strong>Black Sabbath<\/strong> (1970)<\/li>\n<li>Funkadelic &#8211; <strong>Funkadelic<\/strong> (1970)<\/li>\n<li>Sly &amp; the Family Stone &#8211; <strong>There&#8217;s a Riot Goin&#8217; On<\/strong> (1971)<\/li>\n<li>Marvin Gaye &#8211; <strong>What&#8217;s Going On<\/strong> (1971)<\/li>\n<li>Faust &#8211; <strong>Faust<\/strong> (1971); <strong>So Far<\/strong> (1972)<\/li>\n<li>Can &#8211; <strong>Tago Mago<\/strong> (1971);\u00a0<strong>Ege Bamyasi<\/strong> (1972)<\/li>\n<li>Keith Jarrett &#8211; <strong>Facing You<\/strong> (1972)<\/li>\n<li>David Bowie &#8211; <strong>The Rise of Ziggy Stardust\u00a0&amp; the Spiders from Mars<\/strong> (1972)<\/li>\n<li>Pink Floyd &#8211; <strong>Dark Side of the Moon<\/strong> (1973)<\/li>\n<li>Gong &#8211; <strong>Angel&#8217;s Egg<\/strong> (1973)<\/li>\n<li>Magma &#8211;\u00a0<strong>Mekan\u00efk Destrukt\u00efw Kommand\u00f6h <\/strong>(1973)<\/li>\n<li>Van Morrison &#8211;<strong> Veedon Fleece<\/strong> (1974)<\/li>\n<li>Robert Fripp &amp; Brian Eno &#8211; <strong>Evening Star<\/strong> (1975)<\/li>\n<li>Parliament &#8211; <strong>Mothership Connection<\/strong> (1975)<\/li>\n<li>Bob Marley &amp; The Wailers &#8211; <strong>Exodus<\/strong> (1977)<\/li>\n<li>David Bowie &#8211;<strong> Low<\/strong> (1977)<\/li>\n<li>Kraftwerk &#8211; <strong>Trans-Europe Express<\/strong> (1978)<\/li>\n<li>Throbbing Gristle &#8211; <strong>Second Annual Report<\/strong> (1977);\u00a0<strong>D.O.A.: The Third and Final Report<\/strong> (1978)<\/li>\n<li>Pere Ubu &#8211; <strong>The Modern Dance<\/strong> (1978); <strong>Dub Housing<\/strong> (1978)<\/li>\n<li>Talking Heads &#8211; <strong>Fear of Music<\/strong> (1979); <strong>Remain in Light<\/strong> (1980)<\/li>\n<li>Jon Hassell &#8211; <strong>Earthquake Island<\/strong> (1980)<\/li>\n<li>Jon Hassell &amp; Brian Eno &#8211; <strong>Fourth World, Vol. 1: Possible Musics<\/strong> (1980)<\/li>\n<li>Meredith Monk &#8211; <strong>Dolmen Music<\/strong> (1981)<\/li>\n<li>La Monte Young &#8211; <strong>The Well-Tuned Piano<\/strong> (1981\/1987)<\/li>\n<li>Arvo Part &#8211;\u00a0<strong>Tabula Rasa<\/strong> (1984)<\/li>\n<li>Prince &#8211; <strong>Sign of the Times<\/strong> (1987)<\/li>\n<li>Public Enemy &#8211; <strong>It Takes a Nation of Millions to Hold Us Back<\/strong> (1988)<\/li>\n<li>Sonic Youth &#8211; <strong>Daydream Nation<\/strong> (1988)<\/li>\n<li>Current 93 &#8211; <strong>Thunder, Perfect Mind<\/strong> (1992)<\/li>\n<li>Jan Garbarek &amp; the Hilliard Ensemble &#8211; <strong>Officium<\/strong> (1993)<\/li>\n<li>Ani DiFranco &#8211; <strong>Not a Pretty Girl<\/strong> (1995)<\/li>\n<li>Bjork &#8211; <strong>Homogenic<\/strong> (1997)<\/li>\n<li>Radiohead &#8211; <strong>Kid A<\/strong> (2000)<\/li>\n<li>OutKast &#8211; <strong>Stankonia<\/strong> (2000)<\/li>\n<\/ul>\n<p><strong>Appendix 1:\u00a0<\/strong><strong>An apologetic note on\u00a0gender<\/strong>:\u00a0Yes, I know it&#8217;s mostly guys on the list above (but at least not all white dudes). This is my own limitation. When I think of great women musicians, I think more of songs and voices (Janis Joplin, Patti Smith, PJ Harvey, Aretha Franklin, Shirley Collins, Sandy Denny, Diamanda Galas) than of albums. The ones that come to mind as great albums tend to be from the last couple of decades\u00a0(Bjork&#8217;s <em>Homogenic<\/em> and <em>Biophilia<\/em>, Ani DiFranco&#8217;s <em>Not a Pretty Face<\/em> and <em>R<\/em><em>evelling\/Reckoning<\/em>, Joanna Newsom&#8217;s <em>Ys<\/em>, and others\u00a0by Amy Winehouse, Beyonce, Cat Power, et al.), so they mostly fall outside of the parameters of the exercise.\u00a0Among the other women\u00a0who come to mind are composers like Pauline Oliveros (her &#8220;<a href=\"https:\/\/youtu.be\/DpdwMcdBGwg\">I of IV<\/a>&#8221; was important to <a href=\"https:\/\/adrianivakhiv.bandcamp.com\/album\/resurrected-fields\">my own<\/a> growth as an electronic musician, as was her approach to sound more generally), Meredith Monk (listed above for <em>Dolmen Music<\/em>), and Annea Lockwood. There are, of course, great albums by Joni Mitchell, Lucinda Williams, Kate Bush, Madonna, Laurie Anderson, K. D. Lang, and so many others; and fabulous women in the world of music whose vocal and musical artistry deserves to be celebrated aside from any such lists of best albums &#8212; Umm Kulthum, Billie Holiday, Diana Ross, Nina Simone, Cesaria Evora, and on and on.<\/p>\n<p><strong>Appendix 2: Out-takes<\/strong> (things that got written but didn&#8217;t make the cut; if this were a top 20 they&#8217;d be there somewhere):<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/4vYZ0LQkWo0?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p><strong>Funkadelic<\/strong> &#8211; <strong>Funkadelic<\/strong> (1970): Where to begin, from the string of albums George Clinton produced with his ever-changing\u00a0entourage of musicians working under the names The Parliaments (going back to the mid\u00a01950s), Parliament, Funkadelic, the P-Funk All-Stars, et al.? \u00a0I&#8217;d start with Funkadelic&#8217;s debut, a dense, trippy flow of Afrofuturist acid rock, funk, and soul. But one could enter the stream almost anywhere: with\u00a0<em>Maggot Brain<\/em> (1971), with its &#8220;Mother Earth is pregnant for the third time, for y&#8217;all have knocked her up&#8221; opening and the &#8220;[play it] like your momma had just died&#8221; guitar-solo dirge title track; or Parliament&#8217;s <em>Mothership Connection<\/em> (1975), or the platinum-selling\u00a0<em>One Nation Under a Groove<\/em> (1978). The influence of Parliament-Funkadelic&#8217;s 1970s output\u00a0on urban music of decades to come has been\u00a0profound. And while a lot of other creative geniuses, from Sun Ra to Octavia Butler, helped build up\u00a0the Afrofuturist aesthetic, Detroit was arguably the place where it generated its most fertile synthesis of image, music, style, and futuristic-diasporic\u00a0sensibility. Clinton arguably shaped that more than anyone else.<\/p>\n<p><span class=\"embed-youtube\" style=\"text-align:center; display: block;\"><iframe loading=\"lazy\" class=\"youtube-player\" width=\"500\" height=\"282\" src=\"https:\/\/www.youtube.com\/embed\/x2yoXmKPX7w?version=3&#038;rel=1&#038;showsearch=0&#038;showinfo=1&#038;iv_load_policy=1&#038;fs=1&#038;hl=en-US&#038;autohide=2&#038;wmode=transparent\" allowfullscreen=\"true\" style=\"border:0;\" sandbox=\"allow-scripts allow-same-origin allow-popups allow-presentation allow-popups-to-escape-sandbox\"><\/iframe><\/span><\/p>\n<p><strong>Magma &#8211;\u00a0Mekan\u00efk Destrukt\u00efw Kommand\u00f6h<\/strong> (1973): From Afrofuturism to something even more bizarre: Fran\u00e7ois Couture&#8217;s Allmusic review captures the essence of this terrific, if a little\u00a0terrifying, album, which, with its two 1974 follow-ups,\u00a0<i>K\u00f6hntark\u00f6sz<\/i><em>\u00a0<\/em>and\u00a0<em>\u1e80urdah \u00cftah,<\/em>\u00a0represents a creative peak for this terrific and terrifying band.\u00a0Calling it\u00a0&#8220;a new form of progressive devotional music &#8212; extraterrestrial gospel,&#8221; he notes that MDK is &#8220;one giant creative blow to the guts, and unsuspecting listeners will be left powerless at the end of its onslaught of mutated funk, pummeling gospel rock, and incantatory vocals in a barbaric invented language. It remains one of Magma&#8217;s\u00a0crowning achievements (together with <i>K\u00f6hntark\u00f6sz<\/i>) and the best point of entry into Christian Vander&#8217;s\u00a0unparalleled musical vision.&#8221;\u00a0Drummer and bandleader Vander is not without controversy, for reasons not unlike that found in the darker shades of black metal. (He&#8217;s been accused of <a href=\"http:\/\/kohntarkosz.blogspot.com\/2009\/11\/some-words-about-recent-controversy.html\">fascistic proclivities<\/a>, rather like John Cage once called Glenn Branca&#8217;s massed electric guitar symphonies &#8220;fascist&#8221; in spirit, but with perhaps\u00a0a\u00a0tad more substance to the accusations here.) It&#8217;s because of that and the band&#8217;s\u00a0somewhat divisive and exclusive musical legacy that I don&#8217;t include it in the Top 10. Ultimately, I&#8217;m not sure if it &#8220;open[ed] up\u00a0new channels for creative expression,&#8221; or if it represents a kind of logical end point for expression beyond which none can venture. Whatever the case, all the metalheads\u00a0in the world couldn&#8217;t conspire to create a music as stupefyingly rich as this, drawn on equal parts Carl Orff, John Coltrane, Sun Ra, the Mahavishnu Orchestra, an ecstatic brand of Philip Glass-style minimalism, the\u00a0energy and drive of punk, and Vander&#8217;s austere vision of apocalypse and extraplanetary <a href=\"https:\/\/tropicsofmeta.com\/2015\/03\/02\/revolutionary-eruption-the-violent-sound-of-magma-and-musical-fusion-in-1970s-france\/\">renewal<\/a>. What Damanhur&#8217;s\u00a0<a href=\"http:\/\/www.theplaidzebra.com\/an-underground-network-of-psychedelic-temples-hidden-under-the-alps-celebrate-humanity\/\">Oberto Airaudi<\/a> is to art, Vander may be to music.<\/p>\n<hr \/>\n<p>* I say &#8220;a,&#8221; not &#8220;the,&#8221; process-relational perspective to indicate that it is only one of many &#8212; my own <a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2011\/03\/24\/ecosophy-g\/\">process-relational ecosophy<\/a>, or &#8220;<a href=\"http:\/\/blog.uvm.edu\/aivakhiv\/2012\/05\/14\/for-the-moment\/\">pre-G<\/a>&#8221; &#8212; but I believe it&#8217;s more or less consistent with other articulations of Whitehead-inspired, process-relational philosophy.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The recent social media meme\u00a0listing 10 concerts people have attended accompanied by one they didn&#8217;t (&#8220;find the lie!&#8221;) has incited\u00a0me to complete a list that started out as a &#8220;50th anniversary of the concept album&#8221; brainstorm over drinks one night last year. The question here is a little different: What are the most formative and [&hellip;]<\/p>\n","protected":false},"author":99,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[692399],"tags":[16876,455013,454970,454979,454978,454973,123595,455011,123527,454974,455014,454975,123596,16854,16904,501,455012,454977,345,454971,454972],"class_list":["post-3859","post","type-post","status-publish","format-standard","hentry","category-music-soundscape","tag-aesthetics","tag-album-era","tag-best-albums","tag-bitches-brew","tag-bob-dylan","tag-can","tag-captain-beefheart","tag-ecocritique","tag-ecomusicology","tag-eno-and-byrne","tag-funkadelic","tag-henry-cow","tag-incredible-string-band","tag-magma","tag-miles-davis","tag-music","tag-musicology","tag-process-relational-theory","tag-radiohead","tag-rock-music","tag-talk-talk"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4IC4a-10f","jetpack-related-posts":[{"id":1061,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2009\/04\/22\/metadata-musical-geography-from-album-covers-to-cultural-policy\/","url_meta":{"origin":3859,"position":0},"title":"metadata &amp; musical geography (from album covers to cultural policy)","author":"Adrian J Ivakhiv","date":"April 22, 2009","format":false,"excerpt":"One of the more oblique threads I've been pursuing on this blog has to do with what new media are doing to aural and musical information. Music is, of course, much more than information: it is embodied affect (in a Deleuzian sense) that carries, channels, activates, mobilizes (sets into motion),\u2026","rel":"","context":"In &quot;Media ecology&quot;","block_context":{"text":"Media ecology","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/media_ecology\/"},"img":{"alt_text":"sheppard.jpg","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2009\/04\/sheppard-thumb.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":4575,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/06\/13\/bitches-brew-revisited\/","url_meta":{"origin":3859,"position":1},"title":"Bitches Brew Revisited","author":"Adrian J Ivakhiv","date":"June 13, 2011","format":false,"excerpt":"http:\/\/youtu.be\/dE7B003clL8 Graham Haynes's band touring under the name Bitches Brew Revisited, after the famous album by Miles Davis that turned 40 last year, opened the Burlington jazz festival last week. They were wonderful. But I think it would have been more accurate to have called it \"Electric Miles Remixed,\" which\u2026","rel":"","context":"In &quot;Music &amp; soundscape&quot;","block_context":{"text":"Music &amp; soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/dE7B003clL8\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":10206,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2019\/12\/28\/musical-occasions\/","url_meta":{"origin":3859,"position":2},"title":"Musical occasions","author":"Adrian J Ivakhiv","date":"December 28, 2019","format":false,"excerpt":"Music is an occasional topic on this blog (as shown in the Soundscape category). It was my first university discipline and love (when I was an undergrad at York's wonderfully eclectic Music Department), still figures in my scholarly work from time to time (as in my work on Cape Breton\u2026","rel":"","context":"In &quot;Music &amp; soundscape&quot;","block_context":{"text":"Music &amp; soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":13535,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2024\/03\/19\/musical-process-and-reality\/","url_meta":{"origin":3859,"position":3},"title":"Musical process and reality","author":"Adrian J Ivakhiv","date":"March 19, 2024","format":false,"excerpt":"A lot has been written about music and the philosophy of Gilles Deleuze: for instance, on Deleuze and music theory, on music after Deleuze, and on Deleuze's \"Thought-Music,\" and there've been some valiant efforts to put Deleuze to music, like this one, this one, and this one, and several related\u2026","rel":"","context":"In &quot;Music &amp; soundscape&quot;","block_context":{"text":"Music &amp; soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/c3xK35N0XKg\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":11530,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2021\/01\/21\/ecologizing-radiohead\/","url_meta":{"origin":3859,"position":4},"title":"Ecologizing Radiohead","author":"Adrian J Ivakhiv","date":"January 21, 2021","format":false,"excerpt":"What better way to understand ecological perception than by applying it to a study of the music of Radiohead, right? Okay, I'll explain. \"Ecological perception\" is not what you might think. (And it isn't what I, in my writing, call \"perceptual ecology.\") It is a psychological theory that studies the\u2026","rel":"","context":"In &quot;Eco-culture&quot;","block_context":{"text":"Eco-culture","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/ecoculture\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/blog.uvm.edu\/aivakhiv\/files\/2021\/01\/9780190629236.jpg?resize=350%2C200&ssl=1","width":350,"height":200},"classes":[]},{"id":5172,"url":"https:\/\/blog.uvm.edu\/aivakhiv\/2011\/08\/10\/new-growth\/","url_meta":{"origin":3859,"position":5},"title":"New growth&#8230;","author":"Adrian J Ivakhiv","date":"August 10, 2011","format":false,"excerpt":"http:\/\/youtu.be\/BzZBcqOe2lw And while we're on a grassy, shooty, growthy theme (and in the midst of a rare spurt of blog activity)... I've been wanting for years to write a book about \"Laughing Stock,\" the stunningly beautiful final album from Talk Talk, so many worlds beyond where they started, and the\u2026","rel":"","context":"In &quot;Music &amp; soundscape&quot;","block_context":{"text":"Music &amp; soundscape","link":"https:\/\/blog.uvm.edu\/aivakhiv\/category\/music-soundscape\/"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/img.youtube.com\/vi\/BzZBcqOe2lw\/0.jpg?resize=350%2C200","width":350,"height":200},"classes":[]}],"_links":{"self":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/3859","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/users\/99"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/comments?post=3859"}],"version-history":[{"count":123,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/3859\/revisions"}],"predecessor-version":[{"id":13038,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/posts\/3859\/revisions\/13038"}],"wp:attachment":[{"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/media?parent=3859"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/categories?post=3859"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.uvm.edu\/aivakhiv\/wp-json\/wp\/v2\/tags?post=3859"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}