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 What have you been listening to, recently? 
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I'll have to grab Guppy. I thought this year was sort of weak musically, but of course that'll change over the next few years once I find the good stuff.

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Wed Dec 27, 2017 12:13 pm
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The lack of Science Fiction is total retcon bullshit.


Wed Dec 27, 2017 12:18 pm
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Evil Prevails wrote:
The lack of Science Fiction is total retcon bullshit.
Never 'eard of it :shifty:


Wed Dec 27, 2017 12:26 pm
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I can't believe they didn't mention the new Slowdive album. After a 22 year hiatus it's their masterpiece.


Wed Dec 27, 2017 1:15 pm
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https://www.youtube.com/watch?v=3WfVir1_Edc


Fri Jan 12, 2018 10:47 am
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Self recording religious hippy weirdos make an album. I'm in. Doesn't adopt the kind of sublime lyrical surrealism and humor of Michael Hurley, but fans of his 'sound' might find something of worth here.


Sun Jan 14, 2018 4:06 am
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Is that the same "Family" religious cult that River and Joaquin Phoenix's family belonged to?


Sun Jan 14, 2018 4:39 am
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Ooops. Guess not. The Phoenix clan cult was on this LP...

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It does remind me that I picked this LP up over the holidays, as it's on the same label.

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Pretty good psych-fusion. I'm not the biggest Coryell fan, but that support is the all-stars of the genre.


Sun Jan 14, 2018 4:49 am
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duplicate


Mon Jan 15, 2018 12:04 am
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Forgotten Paul Simon produced folkie who recorded one record before being overcome by schizophrenia and dying basically homeless. The tragedy of the life lived is hardly needed to be known to hear the sadness in these songs and this voice. Blues Run the Game is as good as its reputation as a lost treasure suggests.



Mon Jan 15, 2018 12:05 am
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I have Blues Run the Game. What extra stuff is on the Complete set?


Mon Jan 15, 2018 12:19 am
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Jinnistan wrote:
I have Blues Run the Game. What extra stuff is on the Complete set?


I believe its just a bunch of covers and demos. I haven't listened to the second disc yet, so I can't comment on if it's worth much. It generally takes me a few weeks to get around to bonus material since I'm so frequently disappointed in it. It seems that these days everything needs to be brought out into the light, regardless of how good it actually is. I'm happy when it is artists like Dylan (just recently bought his first bootleg series, which was worth the cash). But not many have the depth of material worth seeking out.


Mon Jan 15, 2018 12:37 am
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Listening to the second disc now. It appears to be mostly shoddily recorded live takes. Not irrelevant, more than simply a curiosity, but I can't see myself revisiting these tracks all that much.

EDIT: Actually, there is a lot of filler here. A trebbly version of The Banana Boat song. Stage banter. Some bad harmonizing. Whistling. Meh. You aren't missing much.


Mon Jan 15, 2018 12:57 am
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crumbsroom wrote:
I'm happy when it is artists like Dylan (just recently bought his first bootleg series, which was worth the cash). But not many have the depth of material worth seeking out.

I don't mind the fact that there are only a couple of dozen artists that I'm interested in taking the more comprehensive step of investigating their unreleased catalogs. Otherwise, it would get very intimidating. My brother showed me a boot he got of Van Halen' first demos, from like 1974 or something. Great. I can live without a lot of things, you know. And he can make fun of me for sifting through the mountain of audience recordings on the last couple of Dylan live vault-lettings. Different strokes and all of that.

I mentioned the writer (not the little singer) Paul Williams when I was making fun of the recent Rolling Stone/Jann Wenner documentary, because Williams should duly get the credit for creating the first critical rock culture publication, Crawdaddy, and also, unlike Wenner, he's an actual writer of some talent. He wrote one of the finest books on Dylan - Performing Artist 1960-1973 The Early Years. A true discography, the book traces Dylan's musical biography back to his first forays at rock and roll in his high school auditorium through all of his incarnations, not just taking his recordings (both official and not) as landmarks, but his live sets, his writings and publishing and also his interviews (a particular form of performance art) to find the more essential spine of the artist that tends to be missed in the more historical assessment. I'll simply quote from the book here, as I think it better articulates the attraction of surveying an artist's more ephemeral material:

Paul Williams wrote:
One of my purposes in writing this book is to help legitimize a conceptual view of rock and roll implicit in the activities and enthusiasms of collectors of performance tapes and studio outtakes (whether the collectors in question focus on Dylan or the Beatles or the Grateful Dead or R.E.M. or Jimi Hendrix or any of the hundreds of other artists whose performances are varied enough and exciting enough to be collectible): the view that each performance by an artist is potentially of interest, that our attention need not be limited to the sum of the artist's output as measured in songs or record albums.


This interest shouldn't be limited to "rock and roll", and collecting live jazz tapes was already a niche by the time Dylan arrived on the scene. Jazz, however, may be more conducive to the kinds of "variations" that spur interest, being inherently spontaneous. It shouldn't even be limited to music, as some collectors enjoy ephemera of things like classical art (sketches and drawings), literature (rough drafts and galleys) and film (cut scenes, screenplays, production notes, etc). I think that it's natural to want to immerse yourself in the creative process of these artists, and, generally, the excellence of the art determines the interest. Kubrick's museum exhibition of his production arcana gets sold out and they make movies about his archival boxes. It's hard to imagine Ron Howard attracting such interest. Likewise, Dylan deserves more posterity than, say, Tiny Tim or Barry Maguire, but if someone wants to immerse themselves in 15 hours of "Eve of Destruction" outtakes, well, what do I care, I guess? I suppose my own desire and determination to endure all 100+ takes of "Sexy Sadie" may seem pretty perverse to some yokels as well.

Back to Frank, I think that it's easier since he's only recorded so few things. There's the historical interest, beyond his popular obscurity, and of course one's personal preference. Along those lines, I have a couple hours of Nick Drake's home recordings, and I can certainly understand why they would be of little interest to either anyone unfamiliar with the man or those with only a passing interest in his three "official" albums. That's fine and good. I can't explain to anyone else why I find these moments so special.


Mon Jan 15, 2018 1:46 am
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crumbsroom wrote:
It generally takes me a few weeks to get around to bonus material since I'm so frequently disappointed in it. It seems that these days everything needs to be brought out into the light, regardless of how good it actually is. I'm happy when it is artists like Dylan (just recently bought his first bootleg series, which was worth the cash). But not many have the depth of material worth seeking out.


I struggle with this. I've got the type of personality that wants everything, but also the common sense to know that it's an impossible goal to attain. A few years ago I finally hit the wall, where I've come to peace with admitting there are things I don't need. On the one hand, there are examples where my favorite song by a particular band is an outtake or otherwise unofficial release. I've got bootlegs that are better than a band's official live album. That's what keeps me on the lookout. On the other hand you've got Jimmy Page releasing "deluxe" versions of his albums with little more than rough mixes as bonuses. "Here's what Kashmir sounds like without drums." "Now here it is with just strings." "And now JUST drums." You can release infinite versions of one song with that approach, so I'm not going to be a party to it unless it's a band I've deemed worthy.

I type this after buying, literally hours ago, a semi-legal collection of live Allman Brothers shows (9 cds), not from their prime years at all. So I've clearly got some work to do.

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Mon Jan 15, 2018 2:27 am
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Jinnistan wrote:


I really was never terribly familiar with Wenner's 'style'. I was at best a casual reader of Rolling Stone over the years, and outside of Thompson, barely paid much attention to who had written what. But I have recently come across a few of Wenner's articles from back in the day. Supposedly when he would be fresh and vital. They were Dylan pieces in particular, as I was researching his bootlegs (and, as a side note, coming to realize a family friend was the guy who unearthed all of the Basement Tapes bootlegs, eventually garnering himself a Grammy...I suppose I should have taken him up on the internship he offered me twenty years ago). But back to the point, holy fuck is Wenner an awful writer and blank eyed music critic. How this guy managed to write himself out of his highschoool newspaper is beyond me. Just embarrassing. Like really really embarrassing. I can now understand the dislike.

As for bootlegs, even though I am resistant to getting bogged down in searching them out, I certainly understand the value in them. To change mediums, Clouzot's Mystery of Piccaso is as important a piece of evidence as any that it is less the final product that is the evidence of genius, and more the process that artist goes through getting there. Picasso hardly produces any masterpieces over the course of that film, but watching his mind work out how a painting gets created, is an artwork in itself. The novel The Horse's Mouth articulates this idea beautifully as well. The struggle to determine what is finished is where true artists live and die. The final result is just the residue of that internal battle. So there is more than enough reason to scour through a hundred versions of the Beatles working out Sexy Sadie. It is a variation on a theme, locking brilliant artists in the small room of a single song and seeing all of the avenues they can dream up within those confines. Because I already have enough quality control in my record collection as it is though, it is a worry for me to even consider getting into. I've decided on investing in the Dylan sets, simply because I've come to the realiziation he is likely my favourite artist of any medium, and no one is more worth a deep dive into their creative process, in my estimation. But for me to open the floodgates would be a very bad idea for my bank account, my time and the floorspace in my apartment. I would quickly begin to worry, like Cpt Terror states above, that I could be come an obsessive completist. Because I would.


Mon Jan 15, 2018 4:45 am
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crumbsroom wrote:
(and, as a side note, coming to realize a family friend was the guy who unearthed all of the Basement Tapes bootlegs, eventually garnering himself a Grammy...I suppose I should have taken him up on the internship he offered me twenty years ago).

Well, garsh. Yeah, I believe it was in the early 90s when most of the raw two-track tapes began to circulate. I think when "Santa Fe" appeared on the first Bootleg Series collection, it had never been heard before.

crumbsroom wrote:
So there is more than enough reason to scour through a hundred versions of the Beatles working out Sexy Sadie.

And also, George Harrison's temper tantrum. Or "alleged", I should say, as the tapes are still unavailable.

crumbsroom wrote:
I've decided on investing in the Dylan sets, simply because I've come to the realiziation he is likely my favourite artist of any medium, and no one is more worth a deep dive into their creative process, in my estimation.

Part of my point, which is that very few artists warrant such devotion. For me, aside from Dylan and The Beatles (and to some degree the solo Beatles through the first decade or so apart), I would say that the only people that I can lay any claim as a serious collector would be Jimi Hendrix, Miles Davis, Van Morrison, Pink Floyd, Prince, Stereolab....and maybe another dozen with more concentrated focus on specific eras.

But for Dylan, the book I mentioned is worth seeking out. Among his boots that I feel would be essential to anyone considering him a "favorite" would be: The Minnisota Tapes ('61), Town Hall (4-12-63), "Halloween Masque" (10-31-64; Bootleg Series #6), Hollywood Bowl (9-3-65), (I'll skip the '66 tour and the Basement Tapes as I'm sure you're familiar), Isle of Wight '69, Blood on the Tracks acetate, and my favorite of the Rolling Thunder shows is from 11-11-75 Waterbury. There's a new Bootleg Series release from his "Gospel" tour, and I know it has many acolades, but I'm not quite as impressed.

crumbsroom wrote:
But for me to open the floodgates would be a very bad idea for my bank account, my time and the floorspace in my apartment. I would quickly begin to worry, like Cpt Terror states above, that I could be come an obsessive completist. Because I would.

Yes, well, far be it from me to recommend any questionable avenues with which you could seek out such things in relatively compressed formats, but as much as I still enjoy LPs as objects, and still look for quality-pressed issues of such items that make for great individual additions to the collection, I can also say that I definitely prefer having the commerce taken out of the bootleg game. Not only is it less expensive and easier to acquire such things but it also avoids all of the rip-offs that plauged the so-called golden era of pirating. Not only were you likely to purchase a boot with material not actually recorded by the artist, but you have to do with a lot of deceptive descriptions of a lot of recycled junk. My least favorite trick was where they slash the stereo picture and offer it as a "early mix" or "rough demo", etc. There are plenty of assholes in the pirate game that I'm happy to see put out of business.


Mon Jan 15, 2018 6:09 am
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Captain Terror wrote:
I type this after buying, literally hours ago, a semi-legal collection of live Allman Brothers shows (9 cds), not from their prime years at all. So I've clearly got some work to do.

I have a few Duane-era shows (the only era of theirs I'm interested in), but the Allmans are definitely not a band that I feel such a collecting itch about.


Mon Jan 15, 2018 6:14 am
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Jinnistan wrote:
I have a few Duane-era shows (the only era of theirs I'm interested in), but the Allmans are definitely not a band that I feel such a collecting itch about.


Yeah, I wouldn't expect that they would be. There's not much to collect other than live shows as they didn't spend much time in the studio. So a casual fan can find themselves sated with just a few acquisitions. There's certainly no need to buy the 3-disc show from '79 that I just bought. :shifty: They're just a band that was always around as I was growing up. All my cool aunts and uncles were fans, and they had a certain bond with my hometown as well. I recently learned that my parents attended a Duane-era show at a local park while I was gestating in mommy's tummy. So it's a deep-rooted thing.

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Mon Jan 15, 2018 6:45 am
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Jinnistan wrote:
I suppose my own desire and determination to endure all 100+ takes of "Sexy Sadie" may seem pretty perverse to some yokels as well.

The last time I went on a Beatles binge I went down a serious rabbit hole.

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Tue Jan 16, 2018 2:01 pm
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Captain Terror wrote:

Yeah, I wouldn't expect that they would be. There's not much to collect other than live shows as they didn't spend much time in the studio. So a casual fan can find themselves sated with just a few acquisitions. There's certainly no need to buy the 3-disc show from '79 that I just bought. :shifty: They're just a band that was always around as I was growing up. All my cool aunts and uncles were fans, and they had a certain bond with my hometown as well. I recently learned that my parents attended a Duane-era show at a local park while I was gestating in mommy's tummy. So it's a deep-rooted thing.


I disagree about the lack of studio content. AB has a vast collection ranging from the '60s to the "90s/'00s Warren Haynes line-ups.


Wed Jan 17, 2018 12:12 am
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John Dumbear wrote:

I disagree about the lack of studio content. AB has a vast collection ranging from the '60s to the "90s/'00s Warren Haynes line-ups.

I was referring to outtakes/bootlegs. They weren't a band that "tinkered" in the studio, so most of the studio bootlegs I've heard were just rehearsals. And not many of those.

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Wed Jan 17, 2018 12:28 am
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Quite-Gone Genie wrote:
The last time I went on a Beatles binge I went down a serious rabbit hole.

Oh dear, oh dear. I don't know how deep you tend to get. Of the more recent things to surface has been an uncirculated radio broadcast of a show from Stockholm, July 28 1964. For a live show, it doesn't sound too bad, except that Lennon's mic had malfunctioned and is inaudible. It's interesting to hear McCartney's harmony on its own for some of their older songs.

One of Lennon's full length experimental tapes that only showed up a few years ago, but still remains rare, is this piece recorded early '67, and featuring a lot of mellotron madness. Clips taken from it of "Good Morning" on piano have been more common. Probably too raw more most virgin ears.


Wed Jan 17, 2018 2:16 am
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Wed Jan 17, 2018 2:59 am
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Captain Terror wrote:

Yeah, I wouldn't expect that they would be. There's not much to collect other than live shows as they didn't spend much time in the studio. So a casual fan can find themselves sated with just a few acquisitions. There's certainly no need to buy the 3-disc show from '79 that I just bought. :shifty: They're just a band that was always around as I was growing up. All my cool aunts and uncles were fans, and they had a certain bond with my hometown as well. I recently learned that my parents attended a Duane-era show at a local park while I was gestating in mommy's tummy. So it's a deep-rooted thing.


I like Eat a Peach and Fillmore both well enough, but nothing else in their catalogue has ever made much of an impression on me. 70's Southern Rock really isn't my greatest love though. Lynyrd Skynyrd has always left me pretty cold.


Wed Jan 17, 2018 9:43 am
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crumbsroom wrote:
I like Eat a Peach and Fillmore both well enough, but nothing else in their catalogue has ever made much of an impression on me.

Those are the two I'd recommend to a beginner anyway. There's some great live shows to be found of course, but since Duane was only around for 2 years the setlists for those shows are generally very similar to that of the Fillmore album, so it's a matter of how much repetition a given listener is up for. I've got like 20 versions of every ABB song in other words.

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Thu Jan 18, 2018 12:45 am
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Thu Jan 18, 2018 3:38 am
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Our most-anticipated albums of 2018 (that we know of)

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Thu Jan 18, 2018 7:53 am
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Grizzly Bear's Veckatimest never quite grooved with me but I've had Painted Ruins on repeat for a good while.

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Fri Jan 19, 2018 12:49 pm
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Quite-Gone Genie wrote:
Grizzly Bear's Veckatimest never quite grooved with me but I've had Painted Ruins on repeat for a good while.

?!? Yellow House is still the best one, but Ruins could have used more songs as strong as "Southern Point", "Cheerleader" or "Two Weeks", imo.


Fri Jan 19, 2018 1:08 pm
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The only way the rhythms on this really good salsa album could be any more muscular is to imagine the two guys on the cover playing every sound on the album, and the dog biting anyone who dares to touch their instruments. Which is of course exactly what I did


Sun Jan 21, 2018 2:23 am
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Another album I've been playing into the ground is Laura Marling's Semper Femina.

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Sun Jan 21, 2018 12:29 pm
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Are these bots a normal occurrence on this board? I hope not.

Anyway, Jonny Greenwood's Phantom Thread OST is amazing.


Thu Jan 25, 2018 2:58 pm
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Come on folks

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


Sat Jan 27, 2018 6:46 am
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ImageImage

A long time ago I mentioned the Impulse 2-on-1 Series on the now-defunct Jazz thread, but I've just now gotten around to buying these two. It's 2 albums on 1 cd, and there are sets available for Pharoah, Chico, Mingus, a bunch of others. There's nothing in the way of new liner notes, but all of the album art appears to have been included, including gatefolds. Most important to me is recording dates and who-played-on-what, and all of that is here. So if you're still buying physical CDs like I am, I can recommend these. I've only ever heard these Coltrane albums online, never owned them physically, so I can't comment on the relative sound quality, only to say that they sound fine to my non-audiophile ears.

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Mon Jan 29, 2018 10:44 pm
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An odd Norwegian progressive/experimental rock band called Major Parkinson (single from their latest album).
They're sort of a darker, but just as comical Thank You Scientist.

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Wed Jan 31, 2018 4:59 am
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This whole album is great

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Wed Jan 31, 2018 10:46 am
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Captain Terror wrote:
ImageImage

A long time ago I mentioned the Impulse 2-on-1 Series on the now-defunct Jazz thread, but I've just now gotten around to buying these two. It's 2 albums on 1 cd, and there are sets available for Pharoah, Chico, Mingus, a bunch of others. There's nothing in the way of new liner notes, but all of the album art appears to have been included, including gatefolds. Most important to me is recording dates and who-played-on-what, and all of that is here. So if you're still buying physical CDs like I am, I can recommend these. I've only ever heard these Coltrane albums online, never owned them physically, so I can't comment on the relative sound quality, only to say that they sound fine to my non-audiophile ears.

You're a good man, Cap'n. I prefer the first set there, as both Lord of Lords and Universal Consciousness are excellent. My favorite AC is still Journey in Satchidananda.

For vinyl-minded, there was also a recent rerelease of five Pharoah Sanders Impulse albums, separately or in a box set. I think they were Tauhid, Jewels of Thought, Deaf Dumb Blind and....two others.


Thu Feb 01, 2018 8:39 am
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Jinnistan wrote:
Deaf Dumb Blind


Where would you rank this for Sanders beginners. I've heard him play on the records of others and a friend, a fan, has definitely played me some of his stuff on forgotten drunken nights, but I don't have anything in my own collection. I keep seeing this at my local though, and am continually tempted.


Thu Feb 01, 2018 9:22 am
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crumbsroom wrote:

Where would you rank this for Sanders beginners. I've heard him play on the records of others and a friend, a fan, has definitely played me some of his stuff on forgotten drunken nights, but I don't have anything in my own collection. I keep seeing this at my local though, and am continually tempted.

I'm mostly familiar with the '69-'73 span (give or take) of his career and I'd say this one is a good intro to that era. Side 2 especially embodies what I love about his early 70s stuff. Whether or not you like it is another matter, but if this is the album that's easily available to you right now, I'd say it's a good one to start with.

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Thu Feb 01, 2018 9:36 am
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crumbsroom wrote:

Where would you rank this for Sanders beginners. I've heard him play on the records of others and a friend, a fan, has definitely played me some of his stuff on forgotten drunken nights, but I don't have anything in my own collection. I keep seeing this at my local though, and am continually tempted.

Yes, I agree that this one is excellent and a good introduction. I must admit to being biased. I am a Pharoah freak, and pretty much love all of his Impulse records.

Karma is by far his most popular record, featuring his signature "The Creator Has a Master Plan". It's usually available on vinyl, which is probably why it wasn't included in that new box set. If I had to choose one as the best starting point, I would say this one, but, by all means, I would grab that copy with the quickness.


Thu Feb 01, 2018 9:44 am
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Jinnistan wrote:
I prefer the first set there, as both Lord of Lords and Universal Consciousness are excellent.

Same here, although Huntington is the one I'm least familiar with so I'm enjoying getting to know that one. That's some good harpin'.

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Thu Feb 01, 2018 10:21 am
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Jinnistan wrote:
I must admit to being biased. I am a Pharoah freak, and pretty much love all of his Impulse records.

I was going to say something similar. There isn't an album that I'd tell you not to get. If you like DD&B, just about any other from the era will scratch the same itch. Karma was my introduction and is probably my favorite just due to having it memorized now.

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Thu Feb 01, 2018 10:23 am
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YouTube's auto-play mode dropped me into this really cool album I'd never heard. Really digging it...

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Thu Feb 01, 2018 10:30 am
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Jinnistan wrote:
Deaf Dumb Blind


So this is incredible.


Sun Feb 04, 2018 3:15 am
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crumbsroom wrote:

So this is incredible.

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Sun Feb 04, 2018 4:14 am
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Wed Feb 07, 2018 12:47 pm
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Prepare to fall in love with disco again:


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Wed Feb 28, 2018 2:37 am
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Post Re: What have you been listening to, recently?

Thief wrote:
YouTube's auto-play mode dropped me into this really cool album I'd never heard. Really digging it...

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She's been dying and I've been drinking and I am the Rain King


Wed Feb 28, 2018 3:49 am
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Post Re: What have you been listening to, recently?

The '80s post-punk band The Chameleons are so good that I'm surprised they've been under my radar until now. Oh well, better late than never.


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