What are you listening to?

[Savonarola]

The Byrds - Fifth Dimension (1966)

The first (though certainly not the last) Byrds' album to feature a major line up change, Gene Clark left the band.  The songwriting was taken over by Jim McGuinn and David Crosby.  The result is an album that's all over the place, from traditional folk songs (John Riley, Wild Mountain Time) to psychedelia (5D, Eight Miles High) to country-rock (Mr. Spaceman), to a Nazim Hikmet poem set to music (I Come and Stand at Every Door).  The low points on the album are David Crosby's attempt at avant-garde experimentation, What's Happening?!?! (it will be much worse on the next album) and their version of "Hey Joe" (though to be fair, there was no way of knowing at the time that Hey Joe was really a Jimi Hendrix song.  Bob Dylan had the same problem with his version of "All Along the Watchtower."  )

On that subject there are no Dylan covers, a rarity on Byrds' albums.

[Admiral Yi]

I was listening to some Byrds and CSN at a neighbor's house after hours the other day.  Pretty sure we listened to some tracks off Fifth Dimension. Good guy, young, plays bass in a local band.  Maybe I'll ask him to take a look here and see if he wants to sign up.

I maintained that Crosby was dead weight (fat joke not intended) on CSN.  That they were all about Nash singing on top of Stills.

I've sung a couple of their songs and have trouble picking out the melody.  It almost sounds like their singing two harmonies around a missing melody.  I'm thinking in particular of Teach Your Children and Judy Blue Eyes.  I have the same problem with some (not all) Simon & Garfunkel songs.

[Savonarola]

I've sung a couple of their songs and have trouble picking out the melody.  It almost sounds like their singing two harmonies around a missing melody.  I'm thinking in particular of Teach Your Children and Judy Blue Eyes.  I have the same problem with some (not all) Simon & Garfunkel songs.

I think that's a good insight about CSN.  It's what gives many of their songs such a distinct sound.  I can't think of a Simon and Garfunkel song like that though, (and now I have the 59th Street Bridge Song stuck in my head.)

[Admiral Yi]

I think that's a good insight about CSN.  It's what gives many of their songs such a distinct sound.  I can't think of a Simon and Garfunkel song like that though, (and now I have the 59th Street Bridge Song stuck in my head.)

Cecilia is the first song I thought of.  I listen to that and I don't feel sure who's singing melody and who's singing harmony.  Except differently than CSN they're singing two high harmonies.

[dps]

I made the mistake of listening to a song by Insane Clown Posse. 

Probably made another by referring to anything they recorded as a "song".     

[garbon]

Nirvana - Lithium

My phone helpfully suggested "Lothian" or "Morning"

[The Minsky Moment]

Thelonious Monk-- Underground (1968)

Last Columbia album, last major recording for Monk, and one his best.   The album cover won a grammy.

[The Minsky Moment]

Art Blakey & Jazz Messengers - Straight Ahead (1981)

Live date from California club - this was one of the strongest Messengers lineup led by Bobby Watson on alto sax, and a 19 year old Wynton Marsalis on trumpet, still working things out, but already showing his virtuosity.  (Branford would join the band  shortly after this session) Nothing innovative here but an enthusiastic set in front of an appreciative audience.  Not to mention two band members - Watson and Billy Pierce -- share names with moderately famous ballplayers.

[Liep]

Morrissey - Spent the Day in Bed

[The Minsky Moment]

Charlie Christian - Harlem Jazz Scene 1941

This is a homebrew bootleg recording by a Columbia student of the Minton's club in Harlem where modern jazz music was born.  The sound quality is nowhere near as good as Christian's work with Bennie Goodman (also recommended) but the playing makes up for it.  Dizzy Gillespie plays on a few tracks as well.

Christian died the next year, aged 25 - he never recorded an album as a leader.  Nonetheless an argument can be made that he is the most important - or most influential - musician in American history.  He was one of the founders of the bop style in jazz, and this recording shows how advanced he was, at a time when Charlie Parker was still playing in a territory band.  His solo technique on electric guitar is a direct influence on all guitarists who came after, of all genres.  If you listen to and like anyone who plays electric guitar, they have been influenced by Charlie Christian, whether they know it or not.  There is a direct connection between Christian and 1950s blues and R&B - guys like BB King and Chuck Berry, and basically any rock and roll guitarist that ever played is just building off the foundation that Christian built and others popularized.

[frunk]

Pixies: Live at Brixton Academy 1991

I forgot that the Pixies used to look like they were enjoying themselves.

[The Minsky Moment]

Wes Montgomery- Smokin at the Half Note (1965)

Montgomery has the best claim to be the heir to Charlie Christian although he evolved a very distinct style.  He is backed by his de facto house band — the former Miles Davis rhythm section of Wynton Kelley, Paul Chambers, Jimmy Cobb. 

[The Minsky Moment]

Art Blakey and the Jazz Messengers - Keystone 3 (1981)

More Wynton-era Messengers, this time with brother Branford on board.  Often regarded as the best of this period, not so much for Wynton's playing (good but IMO he was better on a studio session from that period) but because Blakey himself was inspired on this live date.

[frunk]

Songs: Ohia, Live at the Star Club Dresden 1999

Decent set that really gets going when they hit Coxcomb Red.

[Ed Anger]

Devo - Head like a Hole cover.

It's....."unique"