Fuckin' A's every ESSENTIAL album you should own thread

[Icesickle]

i feel like icesickle should not be allowed to post albums in this thread.

Although the albums I posted didn't have the broad impact that your debut had, dog, they're all great albums. f u sir.

[intuition]

i feel like icesickle should not be allowed to post albums in this thread.

Although the albums I posted didn't have the broad impact that your debut had, dog, they're all great albums. f u sir.

[Icesickle]

Did you listen to any of them or are you just acting like a lil' bitch like usual.

Exile in Guyville and Maxinquaye are pretty universally recognized as important/classic albums. The Wilco/Bragg/Guthrie albums are great too.

[drizzle]

Code: Select all

http://www.sendspace.com/file/h3wpdq

you have no idea how much i appreciate this

volume one hasn't left the speakers all weekend

[cascarrabias]

Wilco is not essential.

[Icesickle]

Wilco is not essential.

Might not be, but a case could be made for Yankee Hotel Foxtrot.

Woody Guthrie is, however, and Wilco and Bragg make Guthrie's songs sound better than Guthrie could.

[cascarrabias]

Agree about Guthrie. Definitely a must have.

[chillhood]

The Velvet Underground - The Velvet Underground & Nico (1967)

Code: Select all

http://www.sendspace.com/file/h4mx32

nice thread. this is where madlib got the idea for the cover for ahmad miller's 1st ep

http://www.discogs.com/release/119795

[chillhood]

some input:


Frank Zappa & The Mothers Of Invention - We're Only in It for the Money (1968)


http://www.zshare.net/download/2305604a6c3d73/
even though Chunga's Revenge might be my fav Zappa album

"This is the epidome of Frank's early psychadelic experimentation. His brilliant satire of the 60s is worth a listen for any fan of his. That said, I DONT' recommend starting with this if you're interested in his work. You've really got to understand Frank to appreciate this record. If you step into here without knowing what you're steping into (as I did), you'll probably be scared off. The songs really gel together and all should be regarded as individual fragments of the album itself. Despite some fine melodies, the lyrics are without question the centerpiece of the album, dealing with an array of characters created by Zappa to essencially poke fun at the 60s (although there are some serious songs like "Mom & Dad"). Frank's experimental side is also out in full force, as is very well demonstrated on "The Chrome Plated Megaphone of Destiny". Although not for first time Zappa listeners, We're Only In It For the Money is essencial listening."

www.progarchives.com

Eric Dolphy - Out to Lunch (1964)

Eric Dolphy
Out to Lunch
Blue Note
1964

Being a Charles Mingus fanatic, I often ask the question, ג€œAre you into Eric Dolphy?ג€ To my appalled surprise, more often than not I get the response ג€œWho?ג€ That, my dear fellow jazzites, is totally unacceptable!

For those of the aforementioned group who have not been knocked down at the knees while Dolphy blows from the speakers, I'll testify. Before his untimely demise from diabetes in 1964 at the age of thirty-six, Eric was responsible for some of the finest, most original and eclectic material to be etched into the body of jazz. Starting out in classical flute under the tutelage of Elise Moennig, Dolphy began using the bass clarinet as a tool of improvisation. He then proceeded to work with Chico Hamilton, gaining some popularity that spanned a prolific output for Prestige in 1960-61.

This period may have been his most productive, but many critics and fans considered his tenure at this time with Mingus as his big break. His output with Mingus's Jazz Workshop is legendary. The temperamental Mingus saw Dolphy in the same light as Miles Davis did Coltrane, calling Dolphy a saint. His use of Dolphy's multi-instrumentalist-bass clarinet, alto sax and flute-tact and original style was a big part of the Workshop and was heartbroken when Dolphy headed back out on his own as a bandleader. Much like John Coltrane, Dolphy had a taken a while to build up his spotlight and also was taken under the wing of a genius who allowed his style to reach a large audience. It is easy to parallel the two musicians; once they stepped out the shadows of their mentors they created some the greatest and most original work of the '60s. As with fellow free jazz innovator Ornette Colman-and of course Trane-Dolphy was fundamental in creating the foundation of free jazz and avant-garde.

Out to Lunch is one of the finest records of its kind. This record is easily at the caliber of A Love Supreme and The Shape of Jazz to Come. That may seem a mighty bold statement. Well, dear readers, I mean every word. Out to Lunch flows soft and serene, then edgy and forthright. The magic is the way Dolphy leads his band. A touch of ease drops over the soundscape of the tracks before the trademark blast of jagged rips and chops run to the edge off a cliff and dangle with sounds that shake jazz's boundaries. Dolphy shows himself as solid bandleader and arranger who opens up plenty of room of for his players. Much in the ideology of his fellow avant garde players, the solos exude experiment. Yet Dolphy's control is masterful and no matter how far out he gets, you can feel his passion and know his path has been well articulated.

A great example of the record's contrast in sound is ג€œSomething Sweet, Something Tender,ג€ which lays out a smooth layer of vibes by Bobby Hutcherson before Dolphy launches into his atonal attack. His work is not altogether estranged from the music that came before. If nothing else his style builds on the work of bebop masters. But for this time around Dolphy walks away from those conventions and gives the experimental a huge to canvas for his textures. This record is where Dolphy starts blazing into the territory of Cecil Taylor. Unlike Taylor, Eric tried for natural or possibly 'nature' sounds which included imitating bird and others gathered from nature.

Though not for the faint of heart, this is a certain bible for the avant garde players to come such as Anthony Braxton, Albert Aylers and John Zorn. Although the Prestige recordings spark a point that critics often argue, Dolphy was a freer player than Coltrane but held more to tradition than Coleman. Is this true? Out to Lunch shows Dolphy more apt for sonic annihilation than keeping in tradition, but the playing is in many ways a freer flight than what Coltrane was doing at the same period. None the less Dolphy shows his passion and unique style that would influence future players still to this day.
http://www.allaboutjazz.com/php/article.php?id=2077

http://rapidshare.com/files/24044173/Out_to_Lunch.zip


The Delfonics - La La Means I Love You (1997)

Among the originators of the Philly soul sound of the late '60s and pre-disco '70s, the Delfonics fashioned hit after hit with the same basic formula of ultra-romantic crooning, three-part harmonies, and a supremely mellow accompaniment that came with a pillow of lush string orchestrations. The 20 Delfonics hits collected on La-La Means I Love You--including their best-known songs, "La-La Means I Love You" and "Didn't I (Blow Your Mind This Time)"

baby makin' music forreal...: http://www.megaupload.com/?d=HAPTNEGD



Andrew Hill - Point of Departure (1964)

http://rapidshare.com/files/106811060/Hill_max.rar

James Brown - The Payback (1973)


http://rapidshare.com/files/122616403/J ... ayback.zip

Wayne Shorter - Night Dreamer (1964)

http://rapidshare.com/files/94014430/wa ... 6_-_-_.rar

RAMP (Roy Ayers Musical Project) - Come Into Knowledge (1977)


http://www.mediafire.com/?zvkhmynnxns

[GM Dizzy Skillespie]

i feel like icesickle should not be allowed to post albums in this thread.

Although the albums I posted didn't have the broad impact that your debut had, dog, they're all great albums. f u sir.

Me seconding The Wrens - Meadowlands as an essential album won't help Icesickle's argument because I'm a hipster douchebag, but...

if anyone with credibility would like to step up and credit that album, it deserves it.
Definitely one of the best records released in the 2000s.

Also that Polvo albums rules.
I would have liked to get some Archers of Loaf and Superchunk up in this bitch, but I will settle for Polvo for now.

[The Iron Sheik]

Frank Zappa & The Mothers Of Invention - We're Only in It for the Money (1968)


http://www.zshare.net/download/2305604a6c3d73/
even though Chunga's Revenge might be my fav Zappa album

"This is the epidome of Frank's early psychadelic experimentation. His brilliant satire of the 60s is worth a listen for any fan of his. That said, I DONT' recommend starting with this if you're interested in his work. You've really got to understand Frank to appreciate this record. If you step into here without knowing what you're steping into (as I did), you'll probably be scared off. The songs really gel together and all should be regarded as individual fragments of the album itself. Despite some fine melodies, the lyrics are without question the centerpiece of the album, dealing with an array of characters created by Zappa to essencially poke fun at the 60s (although there are some serious songs like "Mom & Dad"). Frank's experimental side is also out in full force, as is very well demonstrated on "The Chrome Plated Megaphone of Destiny". Although not for first time Zappa listeners, We're Only In It For the Money is essencial listening."

www.progarchives.com

arguably my favorite album

[BlingRhames]

the wrens will never make an album that is the best of any extended period of time. they have some good songs though.

[Random Sample]

Hot Rats is my favorite zappa album.

[The Drunken Poet]

some input:


Frank Zappa & The Mothers Of Invention - We're Only in It for the Money (1968)


http://www.zshare.net/download/2305604a6c3d73/
even though Chunga's Revenge might be my fav Zappa album

"This is the epidome of Frank's early psychadelic experimentation. His brilliant satire of the 60s is worth a listen for any fan of his. That said, I DONT' recommend starting with this if you're interested in his work. You've really got to understand Frank to appreciate this record. If you step into here without knowing what you're steping into (as I did), you'll probably be scared off. The songs really gel together and all should be regarded as individual fragments of the album itself. Despite some fine melodies, the lyrics are without question the centerpiece of the album, dealing with an array of characters created by Zappa to essencially poke fun at the 60s (although there are some serious songs like "Mom & Dad"). Frank's experimental side is also out in full force, as is very well demonstrated on "The Chrome Plated Megaphone of Destiny". Although not for first time Zappa listeners, We're Only In It For the Money is essencial listening."

www.progarchives.com

Eric Dolphy - Out to Lunch (1964)

Eric Dolphy
Out to Lunch
Blue Note
1964

Being a Charles Mingus fanatic, I often ask the question, ג€œAre you into Eric Dolphy?ג€ To my appalled surprise, more often than not I get the response ג€œWho?ג€ That, my dear fellow jazzites, is totally unacceptable!

For those of the aforementioned group who have not been knocked down at the knees while Dolphy blows from the speakers, I'll testify. Before his untimely demise from diabetes in 1964 at the age of thirty-six, Eric was responsible for some of the finest, most original and eclectic material to be etched into the body of jazz. Starting out in classical flute under the tutelage of Elise Moennig, Dolphy began using the bass clarinet as a tool of improvisation. He then proceeded to work with Chico Hamilton, gaining some popularity that spanned a prolific output for Prestige in 1960-61.

This period may have been his most productive, but many critics and fans considered his tenure at this time with Mingus as his big break. His output with Mingus's Jazz Workshop is legendary. The temperamental Mingus saw Dolphy in the same light as Miles Davis did Coltrane, calling Dolphy a saint. His use of Dolphy's multi-instrumentalist-bass clarinet, alto sax and flute-tact and original style was a big part of the Workshop and was heartbroken when Dolphy headed back out on his own as a bandleader. Much like John Coltrane, Dolphy had a taken a while to build up his spotlight and also was taken under the wing of a genius who allowed his style to reach a large audience. It is easy to parallel the two musicians; once they stepped out the shadows of their mentors they created some the greatest and most original work of the '60s. As with fellow free jazz innovator Ornette Colman-and of course Trane-Dolphy was fundamental in creating the foundation of free jazz and avant-garde.

Out to Lunch is one of the finest records of its kind. This record is easily at the caliber of A Love Supreme and The Shape of Jazz to Come. That may seem a mighty bold statement. Well, dear readers, I mean every word. Out to Lunch flows soft and serene, then edgy and forthright. The magic is the way Dolphy leads his band. A touch of ease drops over the soundscape of the tracks before the trademark blast of jagged rips and chops run to the edge off a cliff and dangle with sounds that shake jazz's boundaries. Dolphy shows himself as solid bandleader and arranger who opens up plenty of room of for his players. Much in the ideology of his fellow avant garde players, the solos exude experiment. Yet Dolphy's control is masterful and no matter how far out he gets, you can feel his passion and know his path has been well articulated.

A great example of the record's contrast in sound is ג€œSomething Sweet, Something Tender,ג€ which lays out a smooth layer of vibes by Bobby Hutcherson before Dolphy launches into his atonal attack. His work is not altogether estranged from the music that came before. If nothing else his style builds on the work of bebop masters. But for this time around Dolphy walks away from those conventions and gives the experimental a huge to canvas for his textures. This record is where Dolphy starts blazing into the territory of Cecil Taylor. Unlike Taylor, Eric tried for natural or possibly 'nature' sounds which included imitating bird and others gathered from nature.

Though not for the faint of heart, this is a certain bible for the avant garde players to come such as Anthony Braxton, Albert Aylers and John Zorn. Although the Prestige recordings spark a point that critics often argue, Dolphy was a freer player than Coltrane but held more to tradition than Coleman. Is this true? Out to Lunch shows Dolphy more apt for sonic annihilation than keeping in tradition, but the playing is in many ways a freer flight than what Coltrane was doing at the same period. None the less Dolphy shows his passion and unique style that would influence future players still to this day.
http://www.allaboutjazz.com/php/article.php?id=2077

http://rapidshare.com/files/24044173/Out_to_Lunch.zip


The Delfonics - La La Means I Love You (1997)

Among the originators of the Philly soul sound of the late '60s and pre-disco '70s, the Delfonics fashioned hit after hit with the same basic formula of ultra-romantic crooning, three-part harmonies, and a supremely mellow accompaniment that came with a pillow of lush string orchestrations. The 20 Delfonics hits collected on La-La Means I Love You--including their best-known songs, "La-La Means I Love You" and "Didn't I (Blow Your Mind This Time)"

baby makin' music forreal...: http://www.megaupload.com/?d=HAPTNEGD



Andrew Hill - Point of Departure (1964)

http://rapidshare.com/files/106811060/Hill_max.rar

James Brown - The Payback (1973)


http://rapidshare.com/files/122616403/J ... ayback.zip

Wayne Shorter - Night Dreamer (1964)

http://rapidshare.com/files/94014430/wa ... 6_-_-_.rar

RAMP (Roy Ayers Musical Project) - Come Into Knowledge (1977)


http://www.mediafire.com/?zvkhmynnxns

Yo chill,

Thanks for all the jazz... You got any Ornette Coleman???

[Fuzzy Logic]

bump

[catfish hunter]

i think this is the thread i always knew was hidden somewhere on philaflava. As I was viewing the pages here I kept waiting for some slip ups or i would see an album and think about something that was essential only to find it a few posts later. So much has been covered here but me being me I noticed a few albums i wish were in here.

Black Flag - My War (b side was the origins of sludge punk). Of Course BF should be a given so im not gonna go into all that.

It blows my mind that there hasnt been a single Melvins album in this whole thread


wheres the Circle Jerks Group Sex album?

no Butthole Surfers?

This thread needs to be kept alive and Im really glad i found the best thread on this forum.

but on the real. this is an excellent thread and why doesnt it have a sticky?

[Fuzzy Logic]

I'm pretty sure the Melvins Houdini is somewhere in here

I would love to get a download of some Surfers

[catfish hunter]

I swear i looked throught this whole thread at every post and i guess i must have missed the Melvins but it was a treat to see whoever posted Bl'ast. I was crunk.

[Y@k Bollocks]

It blows my mind that there hasnt been a single Melvins album in this whole thread


wheres the Circle Jerks Group Sex album?

no Butthole Surfers?

These threads pop up every few years, and Melvins albums and 'Group Sex' have definitely been posted before. I know because I posted 'Group Sex', and 'Houdini', 'Stoner Witch' and 'Bullhead', amongst others.

Its all about sharing though, so if you feel somethings missing then post that isht up.

I must say - there's never been much Butthole Surfers discussion here. I have a couple of their albums but know pretty much nothing about them, so if you got any recommendations then throw that shit up!

[Tommy Bunz]

I was planning on upping Stoner Witch but i guess it slipped my mind since this thread hasn't been bumped too much in a while.

As far as the Butthole Surfers, I only ever copped ElectricLarryLand, is there other albums I need? I've only ever heard negative things about them here, but they aight with me.

Thread is also dearly missing some Meat Puppets now that I think about it

[catfish hunter]

this thread is seriously lacking the Goatsnake albums.

[Dunnnnleavy]

lol, the point of the thread is to upload stuff on your own that you deem "essential"...not to shake in shagrin with, "man, you know what ELSE the rest of you forgot about!"

[Tommy Bunz]

Meat Puppets - II

Too High To Die is a great album and much more accessible, but this is their masterpiece.




Split Myself In Two 2:24
Magic Toy Missing 1:22
Lost 3:26
Plateau 2:22
Aurora Borealis 2:45
We're Here 2:43
Climbing 2:43
New Gods 2:13
Oh, Me 3:02
Lake of Fire 1:57
I'm a Mindless Idiot 2:30
The Whistling Song 2:57
Teenager(s) (Bonus Track) 3:36
I'm Not Here (Bonus Track) 1:55
New Gods (Bonus Track) 2:14
Lost (Bonus Track) 3:03
What to Do (Bonus Track) 2:35
100% of Nothing (Bonus Track) 1:50
Aurora Borealis (Bonus Track) 2:29

http://www.mediafire.com/?ymyut1bjmxg

[Money Gripp]

this thread is seriously lacking the Goatsnake albums.

You're seriously lacking in uploads in this thread, chief. Less talking, more uploading.

[catfish hunter]

im still learning how to upload albums. im not too savy in that department yet. i just wanted to chime in and voice my appreciation.

i will see what i can accomplish as soon as i teach myself the "game"

[Money Gripp]

www.mediafire.com

It's easier than Stacy Hamilton.

[catfish hunter]

right on man. thanks.

how do i pull songs out of itunes if the album isnt saved to my comp but is copied into my itunes?? then i could just copy and paste the pic.

[Masked Terror #1]

It's easier than Stacy Hamilton.

[RacquetballGangsta]

@ butthole surfers
i love whitey

[chillhood]

some input:


Frank Zappa & The Mothers Of Invention - We're Only in It for the Money (1968)


http://www.zshare.net/download/2305604a6c3d73/
even though Chunga's Revenge might be my fav Zappa album

"This is the epidome of Frank's early psychadelic experimentation. His brilliant satire of the 60s is worth a listen for any fan of his. That said, I DONT' recommend starting with this if you're interested in his work. You've really got to understand Frank to appreciate this record. If you step into here without knowing what you're steping into (as I did), you'll probably be scared off. The songs really gel together and all should be regarded as individual fragments of the album itself. Despite some fine melodies, the lyrics are without question the centerpiece of the album, dealing with an array of characters created by Zappa to essencially poke fun at the 60s (although there are some serious songs like "Mom & Dad"). Frank's experimental side is also out in full force, as is very well demonstrated on "The Chrome Plated Megaphone of Destiny". Although not for first time Zappa listeners, We're Only In It For the Money is essencial listening."

www.progarchives.com

Eric Dolphy - Out to Lunch (1964)

Eric Dolphy
Out to Lunch
Blue Note
1964

Being a Charles Mingus fanatic, I often ask the question, ג€œAre you into Eric Dolphy?ג€ To my appalled surprise, more often than not I get the response ג€œWho?ג€ That, my dear fellow jazzites, is totally unacceptable!

For those of the aforementioned group who have not been knocked down at the knees while Dolphy blows from the speakers, I'll testify. Before his untimely demise from diabetes in 1964 at the age of thirty-six, Eric was responsible for some of the finest, most original and eclectic material to be etched into the body of jazz. Starting out in classical flute under the tutelage of Elise Moennig, Dolphy began using the bass clarinet as a tool of improvisation. He then proceeded to work with Chico Hamilton, gaining some popularity that spanned a prolific output for Prestige in 1960-61.

This period may have been his most productive, but many critics and fans considered his tenure at this time with Mingus as his big break. His output with Mingus's Jazz Workshop is legendary. The temperamental Mingus saw Dolphy in the same light as Miles Davis did Coltrane, calling Dolphy a saint. His use of Dolphy's multi-instrumentalist-bass clarinet, alto sax and flute-tact and original style was a big part of the Workshop and was heartbroken when Dolphy headed back out on his own as a bandleader. Much like John Coltrane, Dolphy had a taken a while to build up his spotlight and also was taken under the wing of a genius who allowed his style to reach a large audience. It is easy to parallel the two musicians; once they stepped out the shadows of their mentors they created some the greatest and most original work of the '60s. As with fellow free jazz innovator Ornette Colman-and of course Trane-Dolphy was fundamental in creating the foundation of free jazz and avant-garde.

Out to Lunch is one of the finest records of its kind. This record is easily at the caliber of A Love Supreme and The Shape of Jazz to Come. That may seem a mighty bold statement. Well, dear readers, I mean every word. Out to Lunch flows soft and serene, then edgy and forthright. The magic is the way Dolphy leads his band. A touch of ease drops over the soundscape of the tracks before the trademark blast of jagged rips and chops run to the edge off a cliff and dangle with sounds that shake jazz's boundaries. Dolphy shows himself as solid bandleader and arranger who opens up plenty of room of for his players. Much in the ideology of his fellow avant garde players, the solos exude experiment. Yet Dolphy's control is masterful and no matter how far out he gets, you can feel his passion and know his path has been well articulated.

A great example of the record's contrast in sound is ג€œSomething Sweet, Something Tender,ג€ which lays out a smooth layer of vibes by Bobby Hutcherson before Dolphy launches into his atonal attack. His work is not altogether estranged from the music that came before. If nothing else his style builds on the work of bebop masters. But for this time around Dolphy walks away from those conventions and gives the experimental a huge to canvas for his textures. This record is where Dolphy starts blazing into the territory of Cecil Taylor. Unlike Taylor, Eric tried for natural or possibly 'nature' sounds which included imitating bird and others gathered from nature.

Though not for the faint of heart, this is a certain bible for the avant garde players to come such as Anthony Braxton, Albert Aylers and John Zorn. Although the Prestige recordings spark a point that critics often argue, Dolphy was a freer player than Coltrane but held more to tradition than Coleman. Is this true? Out to Lunch shows Dolphy more apt for sonic annihilation than keeping in tradition, but the playing is in many ways a freer flight than what Coltrane was doing at the same period. None the less Dolphy shows his passion and unique style that would influence future players still to this day.
http://www.allaboutjazz.com/php/article.php?id=2077

http://rapidshare.com/files/24044173/Out_to_Lunch.zip


The Delfonics - La La Means I Love You (1997)

Among the originators of the Philly soul sound of the late '60s and pre-disco '70s, the Delfonics fashioned hit after hit with the same basic formula of ultra-romantic crooning, three-part harmonies, and a supremely mellow accompaniment that came with a pillow of lush string orchestrations. The 20 Delfonics hits collected on La-La Means I Love You--including their best-known songs, "La-La Means I Love You" and "Didn't I (Blow Your Mind This Time)"

baby makin' music forreal...: http://www.megaupload.com/?d=HAPTNEGD



Andrew Hill - Point of Departure (1964)

http://rapidshare.com/files/106811060/Hill_max.rar

James Brown - The Payback (1973)


http://rapidshare.com/files/122616403/J ... ayback.zip

Wayne Shorter - Night Dreamer (1964)

http://rapidshare.com/files/94014430/wa ... 6_-_-_.rar

RAMP (Roy Ayers Musical Project) - Come Into Knowledge (1977)


http://www.mediafire.com/?zvkhmynnxns

Yo chill,

Thanks for all the jazz... You got any Ornette Coleman???

my bad for answering so late. didn't browse this thread in a minute
yeah I got a few Ornette Coleman albums namely:
the shape of jazz to come
this is our music
skies of america

more jazz:
Elvin Jones Complete Blue Note Sessions (really excellent)
Sun Ra - Lanquidity (excellent too)
Chico Hamilton - The Dealer
Oneness of Juju - Live at 131 Prince Street (this is heavy!)