Cue up side two of Darkness on the Edge of Town when you cross over into the Utah desert.
Congratulations. Three inspirational records that come to mind: Sigur Ros' Ágætis byrjun Brian Wilson's Smile, & Yo La Tengo's I Can Hear The Heart Beating As One
Satori by Flower Travelling Band is a great rec for you, Chris.
Also check out Walter Wegmuller - Tarot. It might be easier to find it if you search for the Cosmic Jokers, but that's an excellent psych album for open spaces. Throw some Spacemen 3 on in there as well (maybe Dream Weapon, their live drone show.)
The Raveonettes - Whip It On (it's short, but at least "Bowels of the Beast")
Spiritualized - Pure Phase or Royal Albert Hall
Swans - Filth
Two Gallants - What the Toll Tells
Leonard Cohen - Songs of Love and Hate
The Drones - Wait Long By the River and the Bodies of Your Enemies Will Float By
The Clean - Anthology
Billy Bragg & Wilco - Mermaid Avenue
Yes, there are some puns here but I feel some of the deep, cathartic stuff would work well.
My original vision included a longer deeper Wilco album but it wasn't enough and then figured that there had to be some fun in there to give you something to look forward to.
Day 1 is a wrap. Thoughts on the recs that I listened to today:
The Flying Burrito Brothers - The Gilded Palace of Sin. I enjoyed this album a good deal, but definitely expected something much more psychedelic. This seemed like pretty straight forward country/Americana, which admittedly I'm not very well-versed in. I think I may have expected too much based on Tom and Bryan's labelling this a "perfect album"...would either of you guys care to elaborate on that? What am I missing here?
Flower Travellin' Band - Satori. This album was right up my alley. Completely fucking rad from start to finish. Had much more of the psych-rock sound I was looking for while driving through the barren desert. Why haven't I ever heard of these guys before?
Lindstrøm - Where You Go I Go Too. I hadn't heard a ton from this guy before, so this was a welcome recommendation. I listened to this as the sun was starting to go down while coming into downtown Las Vegas and then for awhile after. A bit on the cheesy side, much to my surprise, but it worked. I can't imagine only listening to this album in sections, it really is one long cohesive piece.
I intended to listen to Musick to Play in the Dark after the sun went down, but the first track didn't work so I put on the OTC's Black Foliage instead, which of course is never a bad idea.
Also, feedback is integral to this thread: Thanks for it.
Today was an A+++.
Like has happened before, a lot of times the 2nd day of a long drive starts out with me being really tired. So I needed something lively to get me going and put on Songs for the Deaf, which I probably hadn't listened to front to back in at least 5 years. Such a great and consistent record. After being very surprised at how much I loved Jeff the Brotherhood's We Are the Champions, I put on one of bmack's recs, Spacemen 3's Dreamweapon right after passing through Green River, Utah, and pretty much just zoned the fuck out for an hour while driving across the desert until the Colorado border. A perfect, stunning experience. I kept thinking how amazing it would have been to have been in that audience.
Sigur Ros' new one made a wonderful near sunset soundtrack while driving over the Rocky Mountains, the person who ripped the cd didn't input the track numbers, and I didn't realize I was listening to it in alphabetical order until a few songs in, but I kept going anyway and it worked great. And then the night began and ended with Coil's Musick to Play in the Dark, which was fucking incredible to listen to from dusk on, and reminded me a bit of listening to Scott Walker's The Drift for the first time, which coincidentally enough was on the same part of the same drive a little over a year ago.
I owe both bmack and SoulDischarge multiple beers next time I see them, one of the best overall listening days I've had in a long time.
Last edited by TallGuyCM; 05-24-2012 at 09:34 PM.
Glad to hear you liked Dreamweapon as much as you did. Thought that'd be right up your alley.
As far as Gilded Palace of Sin, while I like the psych-influenced guitar tracks (especially on Christine's Song) the thing that really kills me about the album is how perfectly Parsons melded Country, Rock and 60s Soul. The first time I listened to it, I heard pretty much country, because that's the palate they work with instrumentally, but the songs go far beyond 60s country tropes, and really extend beyond most country songwriting in general. Hot Burrito #1 and #2 are two astounding tracks of emotionality, vocal expressiveness and really swinging playing. I dunno, I love country too, but it's a special, strong album.
To which I'd add: It sounds like 'just country' to your ears today because this was one of the landmark albums that pushed actual country music out of where it was and down the road it went to be what it is today. (man, that's a shitty sentence, apologies). But if you lay it down next to what was going on in country music at the time, it's very much a different thing.
On Hot Burrito #1, for example, Parsons took what sounds like an old fashioned country weeper and infuses it with elements of anger, resentment, jealousy, and just overall darkness that comes from rock music, it was never seen in country like that. And the result is something totally new (at the time). And yeah sure lots of bands that followed, both good and bad, used this same formula. But no one ever pulled it off like Parsons did.
edit: and to echo what Bryan said -- on Hot Burrito #1 again, the singing is not very country at all, it's much much looser than the formal restrictions of country music at the time. Really it's more like soul music -- not that Parsons is trying to sound like a soul singer, but that he's using the same techniques of vocal inflections that add a subtle shading of meaning to the lyrics.
I'll be doing a lot of driving in Grand Teton and Yellowstone National Parks next week, so lots of scenery and wildlife.
Fresh off his "JUICY AUSTRALIA TOUR"
Real Estate - Days
The two latest Tallest Man on Earth records.
Boris - 7/29 - The Mohawk
NIN/Soundgarden/ - 8/14 - Austin 360
Woods - 8/20 - Holy Mountain
Jamie xx - 8/27 - The Mohawk
Little Dragon - 8/31 - Moody Theater
Ty Segall - 9/5 - The Mohawk
Seth Troxler - 9/5 - Vulcan Gas Company
Black Lips/King Khan & BBQ Show - 9/12 - J. Lorraine Ghost Town
For when the sun is shining brightly: Sleater-Kinney - The Woods
For a more contemplative time, maybe dusk: Nick Drake - Five Leaves Left
If you're doing late night driving, when the stars are out and the moon is so bright you can't believe it: The Field - From Here We Go Sublime and Radiohead - Kid A
If you drive through a forest and have that strobe-light effect from the moon and the trees: Pink Floyd - Piper at the Gates of Dawn
For a long stretch of road: Sigur Ros - Agaetis Byrjun and Modest Mouse - the Moon and Antarctica
I drove through the Park in May. Saw the largest elk I've ever seen in my life standing on the side of the road. I was the only car on the road. It was a spectacular sunset, totally perfect.
Was playing the Stones at the time. Some Girls.
I'm driving from LA to Seattle-ish on Monday. Four day roundtrip drive. All on the 5.
I think I'll use some of those LA to Fresno recs that I never got to for the first and fourth days...it's pretty much just farmland on the 5 the whole time between LA and Sacramento.
The pretty parts of the drive are what I could use some further recs for...visuals like this:
And of course, I could use an album or two for that dreadful stretch between Eugene and Portland.
Also, what should we listen to when you stop in Portland to have dinner with me?
Chris, did I tell you to listen to Unwound - Leaves Turn Inside You? If not, that is a definite must.
Pere Ubu - Dub Housing
The Gun Club - Fire of Love
Sunset-y time: Manitoba (now Caribou) - Up in Flames
Skip Spence - Oar
At night: Bjork - Homogenic
The Verlaines - Bird Dog
You didn't. I've heard a few songs from that album, and I really like it. Thank you!
Unwound seems to be the rare occasion where a band's later work is their most acclaimed, eh?