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What Album Are You Listening To Right Now?


Dr_Alimantado

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I picked up a bargain bin funk 2 CD set a couple of weeks ago and it has a single solitary James Brown track on, Sex Machine.

 

7:00am radio 4 news headlines followed by three plays of sex machine gets me from my house to the office car park.

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Saw Mogwai last night at the Roundhouse in Camden, they're good on record but they're absolutely mesmerising live, a real tour de force of music and emotion. Next time they're about, catch them if you can, absolutely sublime.

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Strictly speaking, bending the rules, as I'm not actually listening to this at the moment, but I thought some of you may be interested. chrisp, I'm looking in your direction.

 

Midlands-Roots-V1-PACKSHOT-copy.jpg

 

THE MIDLANDS ROOTS EXPLOSION VOLUME ONE / REGGAE ARCHIVE

 

“The Midlands Roots Explosion” expands on the music contained on the two landmark UK Roots albums, “Handsworth Explosion Volumes 1 & 2” (reissued on vinyl last year by Reggae Archive, and now about to released together as a double CD). The “Handsworth Explosion” compilations were the recorded output of a musical project led by local band Black Symbol, their Outlaw Studios centering an Afro-Caribbean community that in the late 1970s and early 1980s was suffering from chronic unemployment (by 1985 fewer than 5% of school leavers were finding jobs) which left youth on the streets and open to harassment by a “Sus Law” (suspected person) happy constabulary (N.B. while the Sus Law was quickly scrapped after inquiries confirmed it as a major contributing factor in the UK race riots of 1981 (Brixton, Toxteth, Moss Side, Chapeltown, St. Paul`s and Handsworth), it was reinstated as “Stop & Question” by the Conservatives in 2008. You can be held for 48 hours without charge if the Old Bill don`t like the look of you).

“The Midlands Roots Explosion” casts its reach a little further in location and timeframe than the previous compilations, and folks from Wolverhampton (Capital Letters; veteran Greensleeves act, still active and who recently got some nice Rootikal versions), Leicester (Groundation), and Saltley (an early incarnation of Muscial Youth, Pre-“Pass The Dutchie” and featuring The Techniques` Freddie Waite on vocals) get to hang out at Shorty`s Blues on Murdock Road.
 
Handsworth`s sons and daughters are represented by Benjamin Zephaniah, Eclipse (Only Roots put out their classic “Daylight Robbery” a few years back), Men From The Hills, Sceptre, Carnastoan (“Mr. Workhard” is a pretty rare Dennis Bovell production), Black Symbol of course, and one of the areas most successful bands, Steel Pulse (Handsworth also sired Steve Winwood, Joan Armatrading and Black Sabbath`s Tony Lommi). “The Pulse”, the only UK Reggae band to win a Grammy, are present in the form of their 1975 pre-Island Records debut single ”Kibudu Mansatta Abuku”. Poet, playwright and author Benjamin Zephaniah took poetry away from academia and gave it back to the people. By focusing on performance he included even those who might not read a book. Publishing his first collection in 1980, Zephaniah proudly offered his voice on the issues of racial equality and animal rights, and has criticized and collaborated with Britain`s police forces. In 1996 he acted as the host of Nelson Mandela`s Two Nation`s concert, at the request of the South African hero. Fiercely anti-Royal Zephaniah rejected an OBE, but, a dyslexic who dropped out of school at 13, he has been awarded at least 8 honorary doctorates (to date). Zephaniah called Handsworth the “Jamaican capital of Europe”.
 
I can`t recommend this compilation enough. The majority of the music here represents one–off singles self-released in tiny quantities (none of these tracks have been complied before and original copies command 100s on-line), mirroring Punk`s DIY ethic, and like Punk providing a singular document of the times. Lyrically rallying against its own Babylon and musically more of a melting pot than its JA inspiration, possibly because many of its players doubled in Soul & Funk bands, `80s UK Roots doesn`t really sound like anything else.
 
Edited by dAVe80
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something to distract me from my thoroughly gloomy mood

 

spectacularly frustrating day of failed site visits, angry morons and timewasters

 

if I was a drinker, tonight would be a hammering

 

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The new Everything Everything album is definitely a contender for album of the year for me. Absolutely brilliant.

Just saw them on Glasto. If that's typical, I wouldn't go near it. Shite.
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I have the early ELP albums (up to and including BSS), mainly because I'm an early 70s prog rock loyalist, and I feel I 'ought to'. But if I'm honest, I think they're shite. Rock without guitars just doesn 't do it for me.

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its rare i listen to them but now and again the mood takes me there and its the same with other prog bands. sometimes it gets a bit too technical and pompous and yes it misses the guitars but the musicianship is excellent and i think they pull it off but as i said i need to be in the right mood for prog and especially ELP. i also own stuff because i feel i ought to and to complete a bands music collection rather than really wanting the album, i own a few albums which in truth i dont really care for but you just feel the need to own them   :)

Edited by Rugeley Villa
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its rare i listen to them but now and again the mood takes me there and its the same with other prog bands. sometimes it gets a bit too technical and pompous and yes it misses the guitars but the musicianship is excellent and i think they pull it off but as i said i need to be in the right mood for prog and especially ELP. i also own stuff because i feel i ought to and to complete a bands music collection rather than really wanting the album, i own a few albums which in truth i dont really care for but you just feel the need to own them :)

I haven't got any albums I think I "need to own".

No Dylan. No Beatles . No Who.

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I don't even feel the need to complete a set by a band. I have the third of the three complete Beatles multi CD boxes. I have no need for the first two.

 

There's a Johnny Cash set of 5 or 6 albums out, I have 1,3 and 5.

 

I have every Jam single, some in multiple formats, but only four of the albums.

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granted not every band but some i have to complete the set. funnily enough though i have all the sabbath albums from 70 to 83 plus the new one that came out in 2013 but all the others from the 80s and 90s i do not have because they are shit and it just wernt black sabbath. bands with a big discography i dont normally complete because you get a lot of shit in there but bands with just a few albums that ilike i normally complete.

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I tend to like 'unbroken runs', if not complete sets. 

 

For example, if I like albums 5, 6, 8, 9 and 10 - but not  1 to 4, or 7 - by a particular band, I'll probably buy #7 to prevent the 'gap', and leave it at that.  If I liked them from #2 onwards, I'd definitely buy #1, even if it was crap and I knew I'd never play it. 

 

Most acts, I go for  unbroken runs of 'the early years' - from the debut to the point at which they became crap (this was usually around 1975 or so), and then stop. 

 

Some, I have everything - The Beatles had a short run, so it's easily do-able. Same with Led Zeppelin. And a lot of the more obscure acts. 

 

Others I'd ideally like to, but their careers are too long - I have a LOT of Dylan and Neil Young, but with significant gaps (mainly from the execrable 1980s). 

 

But, like I say, there are acts from 'my' era that I have 'just because I should'. Either I think they're OK-ish, and get played once in a blue moon for nostalgia's sake, or they are critically rated, and I'm giving myself the option to see if I can get into them later - this includes the likes of Genesis, ELP, Deep Purple and Black Sabbath. 

 

Little of this applies to classical and jazz, as the amount of music is just too vast - although I am getting dangerously near a complete set of Miles Davis albums (studio recordings, anyway - there are hundreds of live ones). 

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