Kyuss - Blues for the Red Sun - (1992)

In honor of 4/20.

From allmusic (4.5/5):

"With Josh Homme's guitar tuned down two whole steps to C, and plugged into a bass amp for maximum distortion, stoner metal pioneers Kyuss achieve a major milestone in heavy music with their second album, 1992's Blues for the Red Sun. Producer Chris Goss masterfully captures the band's unique heavy/light formula, which becomes apparent as soon as the gentle but sinister intro melody gives way to the chugging main riff in the opener, "Thumb." This segues immediately into the galloping "Green Machine," which pummels forward inexorably and even features that rarest rock & roll moment: a bass solo. "Thong Song" alternates rumbling guitar explosions with almost complete silence, and "Mondo Generator" plays like an extended acid trip. The slow build of the epic "Freedom Run" and the driving "Allen's Wrench" are also highlights, and though the album is heavy on instrumentals, these actually provide a seamless transition from song to song."



Get it here.

The Stooges - Funhouse [Deluxe Edition] (1970)

One of my all-time faves. Like, we're talking Top 15 Albums of All Time-material.

From allmusic (5/5):

"The Stooges' first album was produced by a classically trained composer who dabbled in rock & roll and the avant-garde; their second was supervised by a guy who had once been the keyboard player with the Kingsmen, and if that didn't make all the difference, it at least indicates why Fun House was a step in the right direction right out of the gate. Producer Don Gallucci took the sensible approach that the Stooges were a powerhouse live band, and his best bet was to re-create the group's live set with as little fuss as possible. As a result, the production on Fun House bears some resemblance to the Kingsmen's version of "Louie Louie" -- the sound is smeary and bleeds all over the place, but it packs the low-tech wallop of a concert pumped through a big PA, bursting with energy and immediacy. The Stooges were also a much stronger band this time out; Ron Asheton's blazing minimalist guitar runs had gained little in the way of technique since The Stooges, but his confidence had grown by a quantum leap as he summoned forth the sounds that would make him the hero of proto-punk guitarists everywhere, and the brutal pound of drummer Scott Asheton and bassist Dave Alexander had grown to heavyweight champion status. And Fun House is where Iggy Pop's mad genius first reached its full flower; what was a sneer on the band's debut had grown into the roar of a caged animal desperate for release, and his rants were far more passionate and compelling than what he had served up before. The Stooges may have had more "hits," but Fun House has stronger songs, including the garage raver to end all garage ravers in "Loose," the primal scream of "1970," and the apocalyptic anarchy of "L.A. Blues." In 2005, Rhino Records released a deluxe edition of Fun House that gave the album a long-needed remastering for CD, and included a bonus disc of alternate takes from the original recording sessions. The additional disc isn't especially revelatory for hardcore fans, since everything on it (except for a very raw demo of "Loose") appeared on the box set 1970: The Complete Fun House Sessions, including the hilarious single mix of "Down on the Street" (with a neo-Ray Manzarek keyboard part clumsily overdubbed over the top), two songs that didn't make the final cut of the album, and Iggy imitating his favorite wrestler. But given the fact the 1970 box is out of print (and commanding big bucks on eBay), the bonus disc does a nice job of condensing its material and summing up how this Fun House took shape, and the remastering of the original album makes it sound as loud and proud on CD as it deserves. Fun House is the ideal document of the Stooges at their raw, sweaty, howling peak, and this expanded edition only adds to the album's glorious fury."

Get it here, before it most likely gets taken down.

David Bowie Megapost (1976-1979)

God, what artist/band can ever compare to Bowie's creative output in the 70s?

Station to Station (1976)

From allmusic (4.5/5):

"Taking the detached plastic soul of Young Americans to an elegant, robotic extreme, Station to Station is a transitional album that creates its own distinctive style. Abandoning any pretense of being a soulman, yet keeping rhythmic elements of soul, David Bowie positions himself as a cold, clinical crooner and explores a variety of styles. Everything from epic ballads and disco to synthesized avant pop is present on Station to Station, but what ties it together is Bowie's cocaine-induced paranoia and detached musical persona. At its heart, Station to Station is an avant-garde art-rock album, most explicitly on "TVC 15" and the epic sprawl of the title track, but also on the cool crooning of "Wild Is the Wind" and "Word on a Wing," as well as the disco stylings of "Golden Years." It's not an easy album to warm to, but its epic structure and clinical sound were an impressive, individualistic achievement, as well as a style that would prove enormously influential on post-punk."

Get it here.

Low (1977)

From allmusic (5/5):

"Following through with the avant-garde inclinations of Station to Station, yet explicitly breaking with David Bowie's past, Low is a dense, challenging album that confirmed his place at rock's cutting edge. Driven by dissonant synthesizers and electronics, Low is divided between brief, angular songs and atmospheric instrumentals. Throughout the record's first half, the guitars are jagged and the synthesizers drone with a menacing robotic pulse, while Bowie's vocals are unnaturally layered and overdubbed. During the instrumental half, the electronics turn cool, which is a relief after the intensity of the preceding avant pop. Half the credit for Low's success goes to Brian Eno, who explored similar ambient territory on his own releases. Eno functioned as a conduit for Bowie's ideas, and in turn Bowie made the experimentalism of not only Eno but of the German synth group Kraftwerk and the post-punk group Wire respectable, if not quite mainstream. Though a handful of the vocal pieces on Low are accessible — "Sound and Vision" has a shimmering guitar hook, and "Be My Wife" subverts soul structure in a surprisingly catchy fashion — the record is defiantly experimental and dense with detail, providing a new direction for the avant-garde in rock & roll."

Get it here.

"Heroes" (1977)

From allmusic (5/5):

"Repeating the formula of Low's half-vocal/half-instrumental structure, Heroes develops and strengthens the sonic innovations David Bowie and Brian Eno explored on their first collaboration. The vocal songs are fuller, boasting harder rhythms and deeper layers of sound. Much of the harder-edged sound of Heroes is due to Robert Fripp's guitar, which provides a muscular foundation for the electronics, especially on the relatively conventional rock songs. Similarly, the instrumentals on Heroes are more detailed, this time showing a more explicit debt to German synth pop and European experimental rock. Essentially, the difference between Low and Heroes lies in the details, but the record is equally challenging and groundbreaking."

Get it here.

Lodger (1979)

From allmusic (4.5/5):

"On the surface, Lodger is the most accessible of the three Berlin-era records David Bowie made with Brian Eno, simply because there are no instrumentals and there are a handful of concise pop songs. Nevertheless, Lodger is still gnarled and twisted avant pop; what makes it different is how it incorporates such experimental tendencies into genuine songs, something that Low and Heroes purposely avoided. "D.J.," "Look Back in Anger," and "Boys Keep Swinging" have strong melodic hooks that are subverted and strengthened by the layered, dissonant productions, while the remainder of the record is divided between similarly effective avant pop and ambient instrumentals. Lodger has an edgier, more minimalistic bent than its two predecessors, which makes it more accessible for rock fans, as well as giving it a more immediate, emotional impact. It might not stretch the boundaries of rock like Low and Heroes, but it arguably utilizes those ideas in a more effective fashion."

Get it here.

Roxy Music - For Your Pleasure (1973)

From allmusic (5/5):

"On Roxy Music's debut, the tensions between Brian Eno and Bryan Ferry propelled their music to great, unexpected heights, and for most of the group's second album, For Your Pleasure, the band equals, if not surpasses, those expectations. However, there are a handful of moments where those tensions become unbearable, as when Eno wants to move toward texture and Ferry wants to stay in more conventional rock territory; the nine-minute "The Bogus Man" captures such creative tensions perfectly, and it's easy to see why Eno left the group after the album was completed. Still, those differences result in yet another extraordinary record from Roxy Music, one that demonstrates even more clearly than the debut how avant-garde ideas can flourish in a pop setting. This is especially evident in the driving singles "Do the Strand" and "Editions of You," which pulsate with raw energy and jarring melodic structures. Roxy also illuminate the slower numbers, such as the eerie "In Every Dream Home a Heartache," with atonal, shimmering synthesizers, textures that were unexpected and innovative at the time of its release. Similarly, all of For Your Pleasure walks the tightrope between the experimental and the accessible, creating a new vocabulary for rock bands, and one that was exploited heavily in the ensuing decade."

Get it here.

The Afghan Whigs - Gentlemen (1993)

From allmusic (4.5/5) :

"The Afghan Whigs' sound was growing larger by the release during the days on Sub Pop, so the fact that Gentlemen turned out the way it did wasn't all that surprising as a result ("cinematic" was certainly the word the band was aiming for, what with credits describing the recording process as being "shot on location" at Ardent Studios). While Gentlemen is no monolith, it is very much of a piece at the start. While "If I Were Going" opens things on a slightly moodier tip, it's the crunch of "Gentlemen," "Be Sweet," and "Debonair" that really stands out, each of which features a tightly wound R&B punch that rocks out as much as it grooves, if not more so. Greg Dulli's lyrics immediately set about the task of emotional self-evisceration at the same time, with lines like "Ladies, let me tell you about myself — I got a dick for a brain" being among the calmer points. The album truly comes into its own with "When We Two Parted," though, as sad countryish guitars chime over a slow crawling rhythm and Dulli's quiet-then-anguished detailing of an exploding relationship. From there on in, things surge from strength to greater strength, sometimes due to the subtlest of touches — the string arrangement on "Fountain and Fairfax" or the unexpected, resigned lead vocal from Scrawl's Marcy Mays on "My Curse," for instance. Other times, it's all the much more upfront, as "What Jail Is Like," with its heartbroken-and-fierce combination of piano, feedback, and drive building to an explosive chorus. Dulli's blend of utter abnegation and masculine swagger may be a crutch, but when everything connects, as it does more often than not on Gentlemen, both he and his band are unstoppable."

Get it here.

Also:
The Afghan Whigs - Congregation (1992)

Cornershop - When I Was Born for the 7th Time (1997)

From allmusic (4.5/5):

"When I Was Born for the 7th Time is a remarkable leap forward for Cornershop, the place where the group blends all of their diverse influences into a seamless whole. Cornershop uses Indian music as a foundation, finding its droning repetition similar to the trancier elements of electronica, the cut-and-paste collages of hip-hop, and the skeletal melodicism of indie pop. Tying all of these strands together, the band creates a multicultural music that is utterly modern; it is conscious of its heritage, but instead of being enslaved to tradition, it pushes into the future and finds a common ground between different cultures and musics. Like Woman's Gotta Have It, large portions of When I Was Born for the 7th Time are devoted to hypnotic instrumentals, but the music here is funkier and fully realized. Cornershop hits an appealing compromise between detailed arrangements and lo-fi technology. There may be cheap keyboards and drum machines scattered throughout the album, but they are used as sonic texturing, similar to the turntables, synthesizers, samplers, sitars, and guitars that drive the instrumentals punctuating the full-fledged songs. When it chooses, Cornershop can write hooky, immediate pop songs -- "Sleep on the Left Side" and "Brimful of Asha" are wonderful pop singles, and "Good to Be on the Road Back Home" is an impressive, country-tinged tale -- but what makes When I Was Born for the 7th Time such a rich, intoxicating listen is that it balances these melodic tendencies with deceptively complex arrangements, chants, drones, electronic instrumentals, and funky rhythms, resulting in an album that becomes better with each listen."

Get it here.

Also:
Cornershop - Woman's Gotta Have It (1995)

Throwing Muses - The Real Ramona (1991)

From allmusic (4.5/5):

"The Real Ramona marked the perfect balance of Throwing Muses' angular songwriting and latent pop tendencies. Where Hunkpapa tried, somewhat unsuccessfully, to mix these elements, this album succeeds with surreal pop songs like "Counting Backwards" and "Red Shoes." They're catchy and riveting, clearly linked to the band's early material yet more focused and accessible. "Graffiti" and "Two-Step" are two of Kristin Hersh's most appealing pop snippets, but dark, uncompromising tracks like "Say Goodbye," "Ellen West," and "Hook in Her Head" reaffirm that she can still write troubling, fascinating songs like nobody else. And just before she left the Muses to form Belly, Tanya Donelly finally arrived as a full-fledged songwriter with the giddy, gleeful "Not Too Soon" and "Honeychain," proving that she could be a charming foil to Hersh's more challenging style. Their final album as a quartet, The Real Ramona highlights the best points of the group's sound, making it a great starting point for new Throwing Muses fans."

Get it here.

Also:
Throwing Muses - Throwing Muses (1986)

Erkin Koray - Erkin Koray 2 (1976)

From ignatius' review on RYM (4.5/5):

"This is my favorite Erkin Koray album, thanks to full, baroque arrangements and solid tunes. Here Koray comes across as something like a Turkish Scott Walker, a strong singer steeped in larger-than-life hypnotic melancholia, backed by terse, dizzying strings and some other Turkish instrumentation such as saz and other typical Anatolian percussive aspects, but the richness of the tunes and the blending of east/west pop approaches conquers all. Clearly, he's one of Turkey's biggest rock stars ever. Superb work."

Get it here.

Also:
Erkin Koray - Erkin Koray (1973)
Erkin Koray - Elektronik Türküler (1974)

Spoon - Girls Can Tell (2001)

From allmusic (4.5/5):

"Time may not exactly heal all wounds, but it can lend the perspective and strength to channel pain into something positive. Such is the case with Spoon; their perennial indie rock underdog status and disastrous stint on Elektra have focused and tempered the trio's brash energy instead of crushing it. Their third full-length, Girls Can Tell, reflects the group's lean, hungry stance in its spare, spiky, immaculately crafted songs. "Take the Fifth" and "Take a Walk" take Spoon's smart, bouncy, slightly tough signature sound to another level; while the ghosts of the Pixies, Nirvana, and Elvis Costello still haunt songs like "Lines in the Suit," Girls Can Tell's sharp wordplay, barbed guitars, and appealingly raw vocals prove that the group embraces their influences without becoming slaves to them. Britt Daniel's increasingly eclectic and expansive songwriting comes to the forefront on "Everything Hits at Once," a taut, brooding pop song driven by vibes, keyboards, yearning, and pride; "Me and the Bean" suggests the direction alternative/indie rock should have taken after Nirvana's implosion. This album is also Spoon's most emotionally eclectic collection of songs, ranging from "Anything You Want," a sunny pop song drawn with just a few artfully placed strokes to "1020 AM," a brooding, slightly psychedelic piece of folk-rock that recalls Daniel's Drake Tungsten side project. "This Book Is a Movie," an appropriately tense, filmic instrumental, and "Chicago at Night," a slightly spooky pop song with winding guitars and an off-kilter melody, complete Girls Can Tell, making it Spoon's most mature, accomplished work to date and a fine balance of fire and polish."

Get it here.

Shiina Ringo - Shouso Strip (2000)

Since I posted Tokyo Jihen's Adult earlier, it only made sense to upload one of Ringo's solo albums. Once again allmusic fails me, so here are some reviews from Rate Your Music:

"A great pop/rock album, that's exciting, exuberant and very, very catchy. The powerful, emotionally-charged vocals are a treat, and the little experimental tweaks in the instrumentation keep things vibrant and interesting. The chorus of "ギブス" (aka "Gips") is so uplifting it should lift the roof off your house. Highly recommended." - tommo (4.5/5)

"First of all in order to describe this to you, I must digress that on my initial experience with Ringo I couldn't put my finger on which side of the pretentious, over produced pop, mish mash/genius obscure rock album line this thing fell on. So of course I listened to it non-stop for days, researched everything I could find out about her and this album and now I can safely say that this falls on the latter side of that line.

It's a crazy, shape shifting experience, full of great, sly, mysterious guitar lines very reminiscent of Jonny Greenwood [partially due to the fact that I believe the guitar player (her boyfriend at the time) uses a Roland Space Echo or a similiar effect]. One other impressive thing about Shoso Strip is that although it's a solo album, the focus is on the music and atmosphere as a whole and not solely on Ringo.My theory about the album is that she had gone to the U.K. during the release of O.K. Computer, which had to have an influence on her music, she returned to Japan, and came out with this gem. While a slight few of the pop laden tracks get a bit average the rest of the album makes up for them. And although Ringo's voice can be a little annoying when she does her Alanis Morisette impression, she can really emote, create some memorable melodies, and shift along to the intricate changes with ease. Sometimes she does sing in a style similiar to Fiona Apple as well. On top of all that, this album is so skillfully produced that it just flows so effortlessly through all the chaotic and beautiful changes, it almost requires multiple listens.I do have a gripe with some of the guitars on here which can be really genius, but on a few tracks they seem overly simple, with your basic four chord, perfect fifth rifffage...but I'm being a bit hypercritical. Ultimately this is pretty amazing and seriously near perfect, which means a lot coming from me because I really had little affinity for female vocalists until I heard this." - TheWestWind (4.5/5)

Get it here.

Tokyo Jihen - Adult (2006)

東京事変 (Tokyo Jihen), which translates to Tokyo Incidents, is Shiina Ringo's current main project. I don't feel like writing my own review (which I'll get around to someday), so here are some words from some fellow RYM-ers:

"I dunno, there's this certain charm about Shiina Ringo that's lacking in some J-pop singers. It's either that or she's backed by really good musicians on this album. Now I'm not that familiar with her other releases, but I got hooked on this one when I first took it for a spin. The pop and rock elements work well together, and hints of jazz and bossa just make it more worthwhile. Some of my favorites include "Himitsu", "Tasogare Naki", "Blackout" and "Tegami" (because I'm a sucker for ballads). " - Happymeal (4/5)

"Tokyo Jihen's previous album had flirted with a certain smoky jazz bar atmosphere but it is in this album that they truly embrace it. Adult finds the incidents [sic] a lot more polished and a lot more comfortable with their own sound. They tackle standard pop/rock tunes from a new jazzier angle as well as doing straightforward piano ballads, flirting with lounge and bossa nova. They can do it all. Anyway, Shiina Ringo's vocals are fantastic as always and while this record lacks the eccentricities of her solo work, it is nonetheless essential for any Shiina fan. Hell, any pop fan in general. There is a lot to love here." - ninjavsself (4.5)

Me? I gave it a 4.5/5. It's a whole lot of fun, and pretty chill. If I had more than three hours of sleep in the past two days, then I'd be a lot more articulate. Meh. Take our collective recommendation.

Get it here.

Sarolta Zalatnay - Sarolta Zalatnay (2007)

From Stylus (B) :

"Oh, Cini, how little we knew ye. Literally. Sarolta Zalatnay, better known in her home country of Hungary as Cini, never really made it over to America in, well, any capacity. Being Hungary’s #1 pop star for a number of years, both the desire and the ability simply weren’t there. But in listening to this self-titled collection of some of her finest moments, it’s hard not to imagine an alternate reality where (with some English language versions, natch) that Cini could’ve been welcome over here as the second coming of Janis Joplin.

That idea is helped out considerably by the final track on Sarolta Zalatnay, in which Cini takes on Joplin’s classic “Move Over.” Cini provides a reasonable facsimile, even if she isn’t quite as full-throated about it. The charms on Sarolta Zalatnay aren’t always down to Cini’s brassy voice, though. Oftentimes it’s as much a pleasure to hear the Locomotiv GT, Metro, Omega, and Skorpio backing tracks. These instrumentals are remarkable for their funkiness; you can imagine enterprising DJs scouring this record for breaks, such as the ones that begin “Ne Hidd El,” “Zold Borostyán,” and “Rögös Úton.” Sarolta Zalatnay offers much for the listener not looking for the perfect breakbeat, though. “Adj Egy Percet” is a flute-flavored lament (I’m guessing) that speaks for much of its duration in the international language of “na-na-na”’s, while “M?nanyag Álmok” is a lushly orchestrated chamber-pop piece worthy of the Free Design.

The one name that I keep coming back to, however, when listening to Sarolta Zalatnay is Betty Davis. In comparing some of these tracks to the upcoming Light in the Attic reissues of Davis’s self-titled and They Say I'm Different albums, it’s hard not to hear Cini as the rock/jazz/soul/funk hybrid that is consistently hard to pin down, but equally as consistently hard to stop listening to.

Cini might’ve done well to take a page from Davis, however, after these stunning records were released and her collaborators began to embody what most American imagine Hungarian pop music sounds like. But instead of disappearing from the public eye, in 2001 she was seen in Hungarian Playboy (at the age of 54) and three years later she was convicted of fraud and sentenced to three years in prison.

With Sarolta Zalatnay, and recent reissues of Selda and Mustafa Ozkent, Finders Keepers is making a strong case for Eastern Europe as one of the final frontiers in the rock reissue game. In their press release for this record, they mention that Cini’s work here sits alongside Czechoslovakia’s Marta Kubisova's Songy a Balady, “as well as early LPs by Greece's Elpida and Poland's Maryla Radowics.” Let’s hope they’re in the pipeline."

Get it here.