Phil's Picks - Greatest Albums of All Times

Total Page：16

File Type：pdf, Size：1020Kb

Phil's Picks - Greatest Albums of All Times Forever Changes, Love Village Green Preservation Society, The Kinks Da Capo, Love Rockers motion picture soundtrack Four Sale, Love On the Beach, Neil Young Catch the Wind, Donovan Neil Young, Neil Young Revolver, Beatles After the Gold Rush, Neil Young Rubber Soul, Beatles Covers Record, Cat Power Magical Mystery Tour, Beatles You Are Free, Cat Power Terry Reid, Terry Reid Doolittle, Pixies Laughing Stock, Talk Talk Roman Candle, Elliot Smith Last Laugh, The Brigade The Notorious Byrd Brothers, The Byrds Rosemary Lane, Bert Jansch Fifth Dimension, The Byrds Moonshine, Bert Jansch Songs, Leonard Cohen Nicola/Birthday Blues, Bert Jansch Desire, Bob Dylan Happy Sad, Tim Buckley I Just Can’t Stop It, The English Beat Dream Letter, Tim Buckley Axis: Bold as Love, Jimi Hendrix Five Leaves Left, Nick Drake Tea for the Tillerman, Cat Stevens Bryter Layter, Nick Drake Talking Heads ’77, Talking Heads Pink Moon, Nick Drake Who’s Next? The Who Astral Weeks, Van Morrison English Settlement, XTC Veedon Fleece, Van Morrison Birds of My Neighborhood, Innocence Mission Vaersgo, Kim Larsen We Walked in Song, Innocence Mission The Doors, The Doors Renaissance, The Association Strange Days, The Doors One Nation Underground, Pearls Before Swine The Boy with the Arab Strap, Belle and Sebastian I Retur, Turid .

Copy Link

Recommended publications

Greetings from Tim Buckley
GREETINGS FROM TIM BUCKLEY EEN FILM VAN DAN ALGRANT WILD BUNCH WILLEMSSTRAAT 24 B - 1015 JD – AMSTERDAM WWW.WILDBUNCH.NL [email protected] WILDBUNCHblx GREETINGS FROM TIM BUCKLEY – DAN ALGRANT PROJECT SUMMARY EEN PRODUCTIE VAN FROM A TO Z PRODUCTIONS, SMUGGLER FILMS TAAL ENGELS LENGTE 99 MINUTEN GENRE DRAMA LAND VAN HERKOMST USA FILMMAKER DAN ALGRANT HOOFDROLLEN PENN BADGLEY, IMOGEN POOTS RELEASEDATUM 26 SEPTEMBER 2013 KIJKWIJZER SYNOPSIS In 1991 repeteert een jonge Jeff Buckley voor zijn optreden tijdens een tribute show ter ere van zijn vader, wijlen volkszanger Tim Buckley. Terwijl hij worstelt met de erfenis van een man die hij nauwelijks kende, vormt Jeff een vriendschap met een mysterieuze jonge vrouw die bij de show werkt en begint hij de potentie van zijn eigen muzikale stem te ontdekken. CAST JEFF PENN BADGLEY ALLIE IMOGEN POOTS TIM BEN ROSENFIELD GARY FRANK WOOD JEN JENNIFER TURNER CAROL KATE NASH JANE ISABELLE MCNALLY LEE WILLIAM SADLER HAL NORBERT LEO BUTZ YOUNG LINDA JADYN STRAND RICHARD FRANK BELLO JANINE NICHOLS JESSICA STONE YOUNG LEE TYLER GILHAM SIRENS KEMP AND EDEN C.H. DAVID SCHNIRMAN CARTER STEPHEN TYRONE WILLIAMS MILOS CHRISTOPH MANUEL FRANK DAVID LIPMAN GARY LUCAS GARY LUCAS CREW DIRECTOR DAN ALGRANT SCREENWRITER DAN ALGRANT DAVID BRENDEL EMMA SHEANSHANG CINEMATOGRAPHER ANDRIJ PAREKH EDITOR BILL PANKOW CASTING AVY KAUFMAN PRODUCTION DESIGN JOHN PAINO COSTUME DESIGN DAVID C. ROBINSON ORIGINAL MUSIC GARY LUCAS GREETINGS FROM TIM BUCKLEY – DAN ALGRANT DIRECTOR’S STATEMENT Before GREETINGS FROM TIM BUCKLEY, I had made two short films about my father. When I was 21, I made the first film about how much I hated him when he left my mother.
[Show full text]
Nicl\ Renbour:Rz, D~Vey Graham, Ralpl1 Mcte/1 and Donovan, to Be Followed by Fair Port Conventzon, John Martyn, Pentangle and the Incredible String Band
. Tlze En~lish fol~ scene has always seemed obscure and mysterious from tlzis J szd~ of the. Atlantzc Ocean. _Tize traditional music of the British Isles began a re I nmssance ~n tlze 1950s and 60s witlz Ewan MacCo/1 A .L. Lloyd, Imz Campbell and Ma.rtm Carthy. Tlzey paved the way for the singer/songwriter/guitarist, who, w>tll a nod towards Bob Dylan, updated the traditional folk style and syn thesized it with blues and jazz. The early '60s wave was led by Bert Jansch, John Nicl\_ Renbour:rz, D~vey Graham, Ralpl1 McTe/1 and Donovan, to be followed by Fair port Conventzon, John Martyn, Pentangle and the Incredible String Band. ~orne .of thes~ people r~ached llationwide, even worldwide, success. Many re r:zamed m relatzve obscunty, rarely if ever playing ill the States. They remained m the folk club and small concert scene in Englmzd. Tlzeir music was often intri Drake cate, introsp~ctive and unlike tlze )olk mu~ic" we were accustomed to. One of them .wa~ Nzck Drake, who remams to thzs. day all almost anonymous figure, even m hzs own country. already established himself through Witch season Productions, recording LPs by Fair port, John Martyn and the Incredible String Band (as well as being the latter's mentor/manager). He called Nick and asked for a tape, which Nick obliged. Joe described his initial impression of Drake's music as "melodically unusual and sophisti cated." There was no doubt that Nick had to be nurtured and recorded. Five Leaves Left was begun in mid-1968.
[Show full text]
Rosemary Lane the Pentangle Magazine
Rosemary Lane the pentangle magazine Issue No 12 Summer 1997 Rosemary Lane Editorial... (thanks, but which season? and we'd Seasonal Greetings! rather have had the mag earlier!) o as the summer turns into autumn here we extensive are these re-issues of the Transatlantic are once more with the latest on Pentangle years - with over 30 tracks on each double CD in Rosemary Lane. In what now seems to be that the juxtaposition of the various musical its characteristic mode of production - i.e. long styles is frequently quite startling and often overdue and much anticipated - thanks for the refreshing in reminding you just how broad the reminders! - we nevertheless have some tasty Pentangle repertoire was in both its collective morsels of Pentangular news and music despite and individual manifestations. More on these the fact that all three current recording projects by in news and reviews. Bert and John and Jacqui remain works in progress - (see, Rosemary Lane is not the only venture that runs foul of the limitations of one human being!). there’s a piece this time round from a young Nonetheless Bert has in fact recorded around 15 admirer of Bert’s who tells how he sounds to the or 16 tracks from which to choose material and in ears of a teenage fan of the likes of Morrissey and the interview on page 11 - Been On The Road So Pulp. And while many may be busy re-cycling Long! - he gives a few clues as to what the tracks Pentangle recordings, Peter Noad writes on how are and some intriguing comments on the feel of Jacqui and band have been throwing themselves the album.
[Show full text]
Rolling Stone Magazine's Top 500 Songs
Rolling Stone Magazine's Top 500 Songs No. Interpret Title Year of release 1. Bob Dylan Like a Rolling Stone 1961 2. The Rolling Stones Satisfaction 1965 3. John Lennon Imagine 1971 4. Marvin Gaye What’s Going on 1971 5. Aretha Franklin Respect 1967 6. The Beach Boys Good Vibrations 1966 7. Chuck Berry Johnny B. Goode 1958 8. The Beatles Hey Jude 1968 9. Nirvana Smells Like Teen Spirit 1991 10. Ray Charles What'd I Say (part 1&2) 1959 11. The Who My Generation 1965 12. Sam Cooke A Change is Gonna Come 1964 13. The Beatles Yesterday 1965 14. Bob Dylan Blowin' in the Wind 1963 15. The Clash London Calling 1980 16. The Beatles I Want zo Hold Your Hand 1963 17. Jimmy Hendrix Purple Haze 1967 18. Chuck Berry Maybellene 1955 19. Elvis Presley Hound Dog 1956 20. The Beatles Let It Be 1970 21. Bruce Springsteen Born to Run 1975 22. The Ronettes Be My Baby 1963 23. The Beatles In my Life 1965 24. The Impressions People Get Ready 1965 25. The Beach Boys God Only Knows 1966 26. The Beatles A day in a life 1967 27. Derek and the Dominos Layla 1970 28. Otis Redding Sitting on the Dock of the Bay 1968 29. The Beatles Help 1965 30. Johnny Cash I Walk the Line 1956 31. Led Zeppelin Stairway to Heaven 1971 32. The Rolling Stones Sympathy for the Devil 1968 33. Tina Turner River Deep - Mountain High 1966 34. The Righteous Brothers You've Lost that Lovin' Feelin' 1964 35.
[Show full text]
Tim Buckley Il Navigatore Delle Stelle
Tim Buckley Il navigatore delle stelle originali scritte dall'ex compagno di scuola - aspirante poeta - Larry Beckett. Abbandonati definitivamente gli studi universitari trova il suo ambiente ideale al losangelino Troubadour. Qui fa amicizia con un chitarrista di squisita tecnica esecutiva, Lee Underwood, e soprattutto è notato da un certo Herb Cohen, astutissimo manager di Frank Zappa e Captain Beefheart, che lo presenta al boss dell'Elektra Jac Holzman. Sottoscritto un contratto con quell'etichetta, in soli tre giorni incide negli studi Sunset Sound il disco di debutto, intitolato semplicemente Tim Buckley, avvalendosi del prezioso supporto di ottimi musicisti. Oltre agli amici Lee Underwood e Jim Fielder (basso), sono della partita Billy Mundi (batteria e percussioni), la stella Van Dyke Parks (piano, celeste, harpsichord) e Jack Nitzsche artefice dei sontuosi arrangiamenti. L'album, in vendita durante le festività natalizie del 1966, inanella una lunga serie di classiche ballate «Lo splendore del sole ricorda i cieli La sua America gli regalerà pochi folk ispirate direttamente a Fred successi, mentre l'Europa lo scoprirà Neil, Tim Hardin e soprattutto a Bob della realtà/Pensavi di stare volando molto tardi con la sola eccezione Dylan (Aren't You The Girl, Song ma hai dovuto aprire gli occhi» della Francia, dove una élite di For Janie, Understand Your Man), Tim Buckley da Pleasant Street persone lo elegge come il più anche se Tim è in grado di grande innovatore della musica a apportare originali e minuziose stelle e strisce dopo Bob Dylan. variazioni armoniche (I Can't See Folksinger di enorme forza e dolcezza, Timothy Charles Buckley III nasce a You).
[Show full text]
Memories of Nick Drake (1969-70)
Counterculture Studies Volume 2 Issue 1 Article 18 2019 Memories of Nick Drake (1969-70) Ross Grainger [email protected] Follow this and additional works at: https://ro.uow.edu.au/ccs Recommended Citation Grainger, Ross, Memories of Nick Drake (1969-70), Counterculture Studies, 2(1), 2019, 137-150. doi:10.14453/ccs.v2.i1.17 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Memories of Nick Drake (1969-70) Abstract An account of Australian Ross Grainger's meetings with the British singer songwriter guitarist Nick Drake (1948-74) during the period 1969-70, including discussions at London folk clubs. Creative Commons License This work is licensed under a Creative Commons Attribution 4.0 International License. This journal article is available in Counterculture Studies: https://ro.uow.edu.au/ccs/vol2/iss1/18 Memories of Nick Drake (1969-70) Ross Grainger Nick Drake, 29 April 1969. Photograph: Keith Morris. I first met Nick Drake when I arrived in London after attending the Isle of Wight Pop Festival in 1969, which featured as its curtain-closer a very different Bob Dylan to the one I had seen in Sydney in March 1966. However, on thinking about it, Dylan’s more scaled down eclectic country music approach - which he revealed for the first time - kind of prepared me for what I was about to experience in London. The day after I arrived at my temporary London lodgings with friends living in Warwick Avenue, I went to Les Cousins in Greek Street.
[Show full text]
Pink Moon, a Story About Nick Drake Free
FREE PINK MOON, A STORY ABOUT NICK DRAKE PDF Gorm Henrik Rasmussen,Bent Sorensen | 176 pages | 24 Jan 2012 | Essential Works Ltd | 9781906615291 | English | London, United Kingdom ShieldSquare Captcha Pink Moon is a personal, original, and moving retelling of the life, death, and posthumous rise of Nick Drake from Danish poet Gorm Henrik Rasmussen. This is the only account of Nick's life to include extensive interviews with Nick's parents as well as others of his close friends. It is now available in English for the first time. Pink Moon explores how Nick Drake's third and final album has puttered and purred its way into a new millennium. Features interviews with producer Joe Boyd, string arranger Robert Kirby, and even the marketing team behind the VW Cabrio commercial that launched the album to platinum status more than thirty Pink Moon after its release. Nick Drake was barely 26 years old when he died in All are now recognized as classics. It provides an insight into the life and work of Nick Drake, and also the music scene of the s that formed his backdrop. In the book, he draws on a long letter from Nick's father to Dr Lusk, in which he describes how Nick's mother, discovered Nick's body during the morning of 25 Novemberfollowing an accidental overdose of prescribed drugs. Since his death in at the age of twenty-six, singer-songwriter Nick Drake has gained a huge international audience and come to be thought of as the epitome of English romanticism. In this book, Nathan Wiseman-Trowse unravels the myths surrounding Drake and his work and explores how ideas of Englishness have come to be intimately associated with the cult musician.
[Show full text]
Joe Boyd There Was an Interesting Moment When I Was Nick Drake Loves the Music
ISSUE #29 MMUSICMAG.COM ISSUE #29 MMUSICMAG.COM PRODUCER How’d the Drake tribute come about? my head. With the Nick record, because I’d worked on a recent spate of live tribute the arrangements are quite formal and the concerts—the first happened about five audiences were respectful, people seemed years ago. I did a tribute concert after [Pink to let the last note die away and then erupt Floyd founding member] Syd Barrett died, in cheers and such, so we felt that we could and I thought it turned out wonderfully. That do it. Also, somebody told us that BBC tilted my psychology about the idea of live Radio 2—the most important outlet in Britain tribute concerts, so when I was asked to for this kind of music—has a rule where they put together a celebration of Nick’s music don’t play tracks with applause. Sometimes at Birmingham Town Hall four years ago, I they dial it out themselves, but we chose to said, “Let’s try it.” And the audience thought take it out instead. it was fantastic, the musicians had a great Maria Muldaur time, and the singers loved getting their teeth If you were back working again with Pink into these songs—and they sounded so good yeah, I love him!” When I asked if she would Floyd in 1967, what would you change? singing them. sing that song, she said that she loved that The main thing I’d do differently would be one as well. She does it quite differently from to somehow make sure that I could get a How did that become an album? how Nick did it, but it’s exactly what I heard, bigger advance from Polydor Records to We’ve done about 15 of these concerts, imagined and wanted.
[Show full text]
Rough Draft of Essay Due: Nov 8 Second Draft Due: Dec 13 Third Draft Due: Jan 17
Week 6 Notes – 25 Oct 2017 A. Freewriting: 5 mins Think about what you’ve heard, tasted, smelled, seen, and touched today before this class. Write down as many of these images as you can, the best way you can, in the English words you know. Don’t worry about making proper sentences or following standard grammar. Imagine you are trying to make someone else feel exactly the way you felt, and write the words that you think will do that. B. Share models - grps of 3. Describe the essay you brought to share. Why do you like it? Do you plan on “stealing” any formal elements from it for your own essay? Which ones? C. Peer review of proposals - groups of 3 - Read your classmate’s proposal. - Write your name. Underneath, write: 1. one question you’d like to ask them about their essay 2. one suggestion/idea you have which might help them as they continue writing Discuss in groups. Schedule for your essay project: Rough draft of essay due: Nov 8 Second draft due: Dec 13 Third draft due: Jan 17 HW for next week (31 Oct 2017): Listening/Reading: This week I’d like to focus on a different genre of essay: a music review. I’d like you to read Lester Bangs’ review of the Van Morrison album Astral Weeks. It’s one of the most famous album reviews ever written, probably because it’s very passionate, subjective, and personal—qualities we don’t usually associate with art criticism. Before you read the review, you should listen to the Van Morrison album, which many people consider to be one of the greatest rock/pop albums of all time.
[Show full text]
ARSC Journal, Fall 1989 195 Book Reviews
Book Reviews The major problem some people will have with this book involves the criteria for inclusion. But even here it is not too difficult to fault Stambler's reasoning. The major names are here, and covered well. The lesser-known artists are for the most part not included, or mentioned in other entries. However, there are some admirable examples of influential but lesser-known, bands or artists given full coverage, (e.g., The Blasters, Willy Deville, Nils Lofgren, Greg Kihn, Richard Hell and others). And some attempt has been made to include representative heavy metal, rap and punk artists, though not many appear. While it is obvious that in such an all-encompassing work there are bound to be some errors of omission, how could Stambler leave out a band such as R.E.M.? And how can there be an entry for Ian Matthews' semi-obscure band Southern Comfort, yet nothing for Richard Thompson or Fairport Convention? While the book seems to be mainly accurate and fact-filled, some errors did creep in. In the Mike Bloomfield entry, the late guitarist was credited for a solo album by his cohort Nick Gravenites; The Byrds' 1971 LP "Byrdmaniax" appears without the final letter, and at one point Nils Lofgren's pro-solo band Grin is referred to as Grim. There are no doubt a few others, but admittedly none of these errors are fatal. And though the inclusion of 110 pages of appendices in the form of Gold/Platinum Records and Grammy/Oscar winners is nice, I think most of us would prefer an index.
[Show full text]
Punk Aesthetics in Independent "New Folk", 1990-2008
PUNK AESTHETICS IN INDEPENDENT "NEW FOLK", 1990-2008 John Encarnacao Student No. 10388041 Master of Arts in Humanities and Social Sciences University of Technology, Sydney 2009 ii Acknowledgements I would like to thank my supervisor Tony Mitchell for his suggestions for reading towards this thesis (particularly for pointing me towards Webb) and for his reading of, and feedback on, various drafts and nascent versions presented at conferences. Collin Chua was also very helpful during a period when Tony was on leave; thank you, Collin. Tony Mitchell and Kim Poole read the final draft of the thesis and provided some valuable and timely feedback. Cheers. Ian Collinson, Michelle Phillipov and Diana Springford each recommended readings; Zac Dadic sent some hard to find recordings to me from interstate; Andrew Khedoori offered me a show at 2SER-FM, where I learnt about some of the artists in this study, and where I had the good fortune to interview Dawn McCarthy; and Brendan Smyly and Diana Blom are valued colleagues of mine at University of Western Sydney who have consistently been up for robust discussions of research matters. Many thanks to you all. My friend Stephen Creswell’s amazing record collection has been readily available to me and has proved an invaluable resource. A hearty thanks! And most significant has been the support of my partner Zoë. Thanks and love to you for the many ways you helped to create a space where this research might take place. John Encarnacao 18 March 2009 iii Table of Contents Abstract vi I: Introduction 1 Frames
[Show full text]
Idioms-And-Expressions.Pdf
Idioms and Expressions by David Holmes A method for learning and remembering idioms and expressions I wrote this model as a teaching device during the time I was working in Bangkok, Thai- land, as a legal editor and language consultant, with one of the Big Four Legal and Tax companies, KPMG (during my afternoon job) after teaching at the university. When I had no legal documents to edit and no individual advising to do (which was quite frequently) I would sit at my desk, (like some old character out of a Charles Dickens’ novel) and prepare language materials to be used for helping professionals who had learned English as a second language—for even up to fifteen years in school—but who were still unable to follow a movie in English, understand the World News on TV, or converse in a colloquial style, because they’d never had a chance to hear and learn com- mon, everyday expressions such as, “It’s a done deal!” or “Drop whatever you’re doing.” Because misunderstandings of such idioms and expressions frequently caused miscom- munication between our management teams and foreign clients, I was asked to try to as- sist. I am happy to be able to share the materials that follow, such as they are, in the hope that they may be of some use and benefit to others. The simple teaching device I used was three-fold: 1. Make a note of an idiom/expression 2. Define and explain it in understandable words (including synonyms.) 3. Give at least three sample sentences to illustrate how the expression is used in context.
[Show full text]