Desert Island Music Album Draft 2013 - draft complete
- Thread starter VF21
- Start date
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With my 25th and final selection, I choose:
The Doors - L.A. Woman - 1971
This album epitomizes the Doors at their most poetic, with interludes of psychedelic madness interspersed with postmodernist philosophy and a little bit of a Morrison death wish. Radio hits include Love Her Madly, L.A. Woman, and the all time classic Riders on the Storm. I have yet to add much piano to my island, but I'll gladly take along Ray Manzaderek's keyboarding to fill the long island afternoons.
Track List:
Side 1:
1. The Changeling - 4:21
2. Love Her Madly - 3:20
3. Been Down So Long - 4:41
4. Cars Hiss by My Window - 4:12
5. L.A. Woman - 7:49
Side 2:
6. L'America - 4:37
7. Hyacinth House - 3:11
8. Crawling King Snake - 5:00
9. The WASP (Texas Radio and the Big Beast) - 4:16
10. Riders on the Storm - 7:09
More: http://en.m.wikipedia.org/wiki/L.A._Woman
The Doors - L.A. Woman - 1971
This album epitomizes the Doors at their most poetic, with interludes of psychedelic madness interspersed with postmodernist philosophy and a little bit of a Morrison death wish. Radio hits include Love Her Madly, L.A. Woman, and the all time classic Riders on the Storm. I have yet to add much piano to my island, but I'll gladly take along Ray Manzaderek's keyboarding to fill the long island afternoons.
Track List:
Side 1:
1. The Changeling - 4:21
2. Love Her Madly - 3:20
3. Been Down So Long - 4:41
4. Cars Hiss by My Window - 4:12
5. L.A. Woman - 7:49
Side 2:
6. L'America - 4:37
7. Hyacinth House - 3:11
8. Crawling King Snake - 5:00
9. The WASP (Texas Radio and the Big Beast) - 4:16
10. Riders on the Storm - 7:09
More: http://en.m.wikipedia.org/wiki/L.A._Woman
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For my final pick, I select:
R.E.M. - Fables of the Reconstruction - 1985
This was the first R.E.M. album I owned as a kid... and, at this point in their career, they were flawless. Nothing too preachy, nothing too lame (Shiny Happy People???), and nothing too depressing (Everybody Hurts = sappiest song of all time), just excellent alternative rock music. Jangly and folky, just perfection... Songs likes "Driver 8", "Cant get there from here", "Green Grow the Rushes", "Life and how to live it", "Feeling Gravity's Pull" and the rest are all memorized in my mind forever. Listened to this excessively then and still listen to it now. A real gem and worth a solid listen.
R.E.M. - Fables of the Reconstruction - 1985
This was the first R.E.M. album I owned as a kid... and, at this point in their career, they were flawless. Nothing too preachy, nothing too lame (Shiny Happy People???), and nothing too depressing (Everybody Hurts = sappiest song of all time), just excellent alternative rock music. Jangly and folky, just perfection... Songs likes "Driver 8", "Cant get there from here", "Green Grow the Rushes", "Life and how to live it", "Feeling Gravity's Pull" and the rest are all memorized in my mind forever. Listened to this excessively then and still listen to it now. A real gem and worth a solid listen.
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with the ninth pick in the twenty-fifth round of the 2013 Desert Island Music Draft, i select...
Deftones - Koi No Yokan (11/12/12):
01 Swerve City
02 Romantic Dreams
03 Leathers
04 Poltergeist
05 Entombed
06 Graphic Nature
07 Tempest
08 Gauze
09 Rosemary
10 Goon Squad
11 What Happened To You?
http://en.wikipedia.org/wiki/Koi_No_Yokan
Genre: alternative metal, experimental metal, shoegaze, art rock, post-punk, post-hardcore
well this was both a painstakingly difficult decision and a tremendously easy one at the same time. when faced with the uncertainty of where to end my draft, it made the most sense for me to bring things full circle, back to the first band i truly fell in love with, back to a group of musicians that still manage to thrill me to this day. here is an edited version of the review i wrote for Koi No Yokan last year:
"Koi no yokan" is a Japanese expression that invokes a sense upon first meeting a person that each will fall in love with the other. The phrase should not be confused with "love at first sight," however. "Koi no yokan" instead expresses the inevitability of deep, lasting love at some point in the future, rather than the instant physical attraction implied by "love at first sight." Those who have experienced a feeling such as this know how it craters an individual at their center. It is not a cliche; it is a transcendence.
That said, I must say that Deftones' new album, Koi No Yokan, is terribly easy to fall in love with upon first listen, and every repeated listen thereafter. I have been a Deftones fan as long as I can remember. In high school, I listened to the band's 2000 masterwork, White Pony, every single morning as encouragement to crawl out of bed and stumble my tired *** out the door. Drummer Abe Cunningham was my reason for picking up the sticks, and the band's gift for groove has always set them apart from their less-resilient peers. And while that groovy sensibility remains intact, Koi No Yokan is easily the band's most atmospheric to date. The sonic palette the Deftones have chosen to paint with this time around is lush, inviting, and dynamic. Whereas White Pony felt very much like a soundtrack for sprinting over the surface of a scorched Earth, Koi No Yokan is instead a starstruck odyssey across the skyline. Often, it actually plays like the album cover looks, like some sort of alt metal-scored version of Blade Runner.
The Deftones haven't revealed those depths of those layers at the outset, though, as opener "Swerve City" bludgeons its way out the gate with a sledgehammer riff that bounces like Meshuggah at a block party. You could hardly be blamed if your fist is drawn to the air repeatedly during this track, and you would also not be blamed for flashing a widescreen smile during the "oh oh-oh whoa oh-oh" of the chorus, a not altogether unwelcome nod towards stadium-sized grandeur. At two minutes and forty-five seconds, "Swerve City" is a compact track that somehow manages to flash all kinds of new tricks in its short span. Three-quarters of the way through, vocalist and second guitarist Chino Moreno plays a rather stunning lead, something encroaching upon the boundaries of guitar solo, a rarity in Deftones songs. Overall, it is just a stellar first track that wastes no time in announcing the further revitalization of a band that very well could have faded from our view due to unfortunately tragic circumstances.
Koi No Yokan is now the second album the Deftones' have recorded without longtime bassist Chi Cheng, who was the victim of a violent car crash in November of 2008 that jettisoned him from the passenger seat of his sister's vehicle, landing him in a coma that persisted until April of this year, when he very sadly passed away (please remember to wear your seat belts, friends). Sergio Vega, former bassist for seminal post-hardcore heroes Quicksand, stepped in and brought new life to a band uncertain of its future. The result was 2010's gloriously unvarnished Diamond Eyes, and Vega's contributions are certainly more in the foreground this time around. Right at the outset, the overdriven bass melodies of "Swerve City" pummel the listener with monolithic abandon. It's like being caught at the bottom of a waterfall, forever trapped in its undertow.
Vega's presence doesn't recede as the album burns on, either. "Romantic Dreams" features one of the nastiest bridges on Koi No Yokan, as well as a few surprises by way of shifting time signatures, another new trick the Deftones are unafraid to brandish with the boldness of a band fully aware of their identity. "Leathers" begins with an eerie, swirling synth and some ghostly guitar-picking from Moreno, but, after forty seconds of tension-building, Stef Carpenter's 8-string makes an unannounced appearance, as the song bursts it's own chest cavity wide open like the most memorable scene from 1979's Alien. Even the lyrics evoke such violence, as Moreno belts out the chorus: "Shedding your skin / showing your texture / time to let / everything inside show."
Opening with a series of hand claps (!!!), "Poltergeist" grooves as hard as any track on Koi No Yokan. It's got the swagger of Around the Fur-era Deftones married with the bizarre melodic sensibility of the heaviest tracks on their self-titled record. Carpenter meatgrinds a massive riff straight through the song, while Cunningham shows off his dynamic, head-nodding, beat-oriented flair. And the low-end is absolutely fierce, as Sergio continues to leave his mark on a band renewed by his influence. "Poltergeist" is all confrontation. Moreno bites down on his words, baiting the subject of the song: "Come on, just say it!! / Just say you like to keep this pace / just to drive me wild!!"
After the torrent of the opening four tracks comes "Entombed," easily one of my favorite songs on Koi No Yokan. It's working title was "Dazzle," and, from its opening notes, it's easy to see why. As versatile as the Deftones have proven to be across a twenty-year career, lead guitarist Stephen Carpenter has always maintained a slavish dedication to big riffs on down-tuned guitars. Of course, he's squeezed more out of his particular comfort zone than most ever could, but "Entombed" actually sees Carpenter finger-tapping for the first time on a Deftones record. Coupled with a tasteful balance of programmed and live drums, and some twisty, pitch-shifted bass work, it is simply... dazzling, and the resulting song is wholly unexpected, like some sort of crazy, late-80's electro-metal power ballad tinged with the soaring histrionics of Duran Duran's most arena-ready songs. The fireworks-laden conclusion to "Entombed" features an onslaught of cymbal crashes and a series of rather victorious-sounding synth stabs courtesy of do-it-all soundscapist Frank Delgado, a truly impressive and stunning send-off for a tremendously surprising standout track.
Urgent and propulsive like Fugazi at their angriest, "Graphic Nature" is rooted in the band's nearly-amelodic presentation of sensuality as hazard. It is a crooked, unsettling beast of a song, as Moreno lets the come-on's slide off his lips: "Tell me how you do it / every time it takes my knees out / still every time you do it / I'm surprised." Abe Cunningham's relentless beat underpins the song's quirky sense of melody, and it recalls the hi-hat f***ery and kick-snare syncopation of Deftones' classic "Digital Bath," but more threatening in its thrust, like splitting the difference between "Digital Bath" and "Rx Queen." Following this nod to the old is something entirely new for the Deftones. First official single "Tempest" finds them in hard rock waters, without once devolving into post-grunge reunion fodder. After lulling the listener into its gaze, the song grooves its way into existence like the fiendish lovechild of Depeche Mode and Soundgarden. Similar in scope to the violence of "Leathers," lyrically speaking, Moreno declares, "I'd like to be taken apart from the inside." It is an almost-startlingly catchy vocal performance from a lead singer who has taken his time in crafting a signature style.
Moreno continues to stand head and shoulders above his peers in heavy music. As he nears 40 years of age, it's becoming abundantly clear that Moreno has little inclination towards the throat-shredding of his youth, though he is still wont to unleash the occasional blood-curdler, summoned from somewhere beyond the edges of your better-than-average B-list slasher film. The weapons-grade blast of demonic possession that follows the hauntingly pregnant pause at 2:55 of "Leathers" comes to mind. But then there's a song like "Gauze," which is as beefy as any song on Koi No Yokan, yet features some of the most soaring high notes we've heard from Chino this side of Diamond Eyes standout "976-EVIL." Absent from "Gauze" are the screams that might have occupied its heaving borders had it appeared on a Deftones album a decade ago. Some fans may be disappointed by this absence across the length of Koi No Yokan, but those same fans have consistently been disappointed since the turn of the millennium, as Chino has inched further towards the melodic. These listeners have stunted in their growth, refusing to mature with the band, and Chino has called their bluff on this album. In my estimation, the Deftones are better for it.
"Rosemary" arrives with the sludgiest riff on the album, buzz-sawing back and forth at a creeping, dirge-like pace, as Stef Carpenter slow burns his way through the song with a grinding, gnarled riff, offering brutal 8-string counterpoint to Chino's understated picking. Frank Delgado also adds incredible depth to "Rosemary" with some equally-understated but haunting synth work, like part of a lost outtake from John Carpenter's Escape From New York film score. As the song's massive chorus begins to soften, Moreno plaintively sings, "Stay with me," like the world might collapse should the subject of the song dissolve "across the empty skies." It is such a commonplace sentiment, but so tenderly delivered and disarming at the same time. It's the Deftones at their best, as they balance heavy and pretty so naturally that one must wonder why the Deftones, an influence on countless metallers this side of 2000, are so f***ing difficult to emulate.
The beastly riffage that ushers in the close of "Rosemary" unexpectedly gives way to a soothing outro that recalls Moreno's guitar-wielding in his side project Team Sleep, which in turn gives way to the beautifully-rendered intro to "Goon Squad," Koi No Yokan's penultimate track. The prettiness doesn't hold up, though, as the song shows its cards after a minute-long build, offering a torrent of discord as the album winds down. Though "Good Squad" takes its time getting there, it is, ultimately, very to-the-point, very back-to-basics alt metal. And there's nothin' wrong with that.
Finally, album closer "What Happened To You?" sends the album off in stately, majestic fashion. If it's not entirely what the listener is expecting, it's also a truly welcome surprise, sporting a staccato-like beat and a dream pop bent, like some strange collage of The Police, XTC, Cocteau Twins, My Bloody Valentine, and The Cure. It's remarkable how the Deftones are able to coalesce all of these disparate influences into their evolution as a band without ever falling too far away from that unique sound their fans clamor for. Koi No Yokan is a triumph of unparalleled quality in 2012, another masterpiece from a band that has never allowed time, trend, or tragedy to hold them back from the furthest reaches of their creative drive. It comes with my highest recommendation.
Deftones - Koi No Yokan (11/12/12):
01 Swerve City
02 Romantic Dreams
03 Leathers
04 Poltergeist
05 Entombed
06 Graphic Nature
07 Tempest
08 Gauze
09 Rosemary
10 Goon Squad
11 What Happened To You?
http://en.wikipedia.org/wiki/Koi_No_Yokan
Genre: alternative metal, experimental metal, shoegaze, art rock, post-punk, post-hardcore
well this was both a painstakingly difficult decision and a tremendously easy one at the same time. when faced with the uncertainty of where to end my draft, it made the most sense for me to bring things full circle, back to the first band i truly fell in love with, back to a group of musicians that still manage to thrill me to this day. here is an edited version of the review i wrote for Koi No Yokan last year:
"Koi no yokan" is a Japanese expression that invokes a sense upon first meeting a person that each will fall in love with the other. The phrase should not be confused with "love at first sight," however. "Koi no yokan" instead expresses the inevitability of deep, lasting love at some point in the future, rather than the instant physical attraction implied by "love at first sight." Those who have experienced a feeling such as this know how it craters an individual at their center. It is not a cliche; it is a transcendence.
That said, I must say that Deftones' new album, Koi No Yokan, is terribly easy to fall in love with upon first listen, and every repeated listen thereafter. I have been a Deftones fan as long as I can remember. In high school, I listened to the band's 2000 masterwork, White Pony, every single morning as encouragement to crawl out of bed and stumble my tired *** out the door. Drummer Abe Cunningham was my reason for picking up the sticks, and the band's gift for groove has always set them apart from their less-resilient peers. And while that groovy sensibility remains intact, Koi No Yokan is easily the band's most atmospheric to date. The sonic palette the Deftones have chosen to paint with this time around is lush, inviting, and dynamic. Whereas White Pony felt very much like a soundtrack for sprinting over the surface of a scorched Earth, Koi No Yokan is instead a starstruck odyssey across the skyline. Often, it actually plays like the album cover looks, like some sort of alt metal-scored version of Blade Runner.
The Deftones haven't revealed those depths of those layers at the outset, though, as opener "Swerve City" bludgeons its way out the gate with a sledgehammer riff that bounces like Meshuggah at a block party. You could hardly be blamed if your fist is drawn to the air repeatedly during this track, and you would also not be blamed for flashing a widescreen smile during the "oh oh-oh whoa oh-oh" of the chorus, a not altogether unwelcome nod towards stadium-sized grandeur. At two minutes and forty-five seconds, "Swerve City" is a compact track that somehow manages to flash all kinds of new tricks in its short span. Three-quarters of the way through, vocalist and second guitarist Chino Moreno plays a rather stunning lead, something encroaching upon the boundaries of guitar solo, a rarity in Deftones songs. Overall, it is just a stellar first track that wastes no time in announcing the further revitalization of a band that very well could have faded from our view due to unfortunately tragic circumstances.
Koi No Yokan is now the second album the Deftones' have recorded without longtime bassist Chi Cheng, who was the victim of a violent car crash in November of 2008 that jettisoned him from the passenger seat of his sister's vehicle, landing him in a coma that persisted until April of this year, when he very sadly passed away (please remember to wear your seat belts, friends). Sergio Vega, former bassist for seminal post-hardcore heroes Quicksand, stepped in and brought new life to a band uncertain of its future. The result was 2010's gloriously unvarnished Diamond Eyes, and Vega's contributions are certainly more in the foreground this time around. Right at the outset, the overdriven bass melodies of "Swerve City" pummel the listener with monolithic abandon. It's like being caught at the bottom of a waterfall, forever trapped in its undertow.
Vega's presence doesn't recede as the album burns on, either. "Romantic Dreams" features one of the nastiest bridges on Koi No Yokan, as well as a few surprises by way of shifting time signatures, another new trick the Deftones are unafraid to brandish with the boldness of a band fully aware of their identity. "Leathers" begins with an eerie, swirling synth and some ghostly guitar-picking from Moreno, but, after forty seconds of tension-building, Stef Carpenter's 8-string makes an unannounced appearance, as the song bursts it's own chest cavity wide open like the most memorable scene from 1979's Alien. Even the lyrics evoke such violence, as Moreno belts out the chorus: "Shedding your skin / showing your texture / time to let / everything inside show."
Opening with a series of hand claps (!!!), "Poltergeist" grooves as hard as any track on Koi No Yokan. It's got the swagger of Around the Fur-era Deftones married with the bizarre melodic sensibility of the heaviest tracks on their self-titled record. Carpenter meatgrinds a massive riff straight through the song, while Cunningham shows off his dynamic, head-nodding, beat-oriented flair. And the low-end is absolutely fierce, as Sergio continues to leave his mark on a band renewed by his influence. "Poltergeist" is all confrontation. Moreno bites down on his words, baiting the subject of the song: "Come on, just say it!! / Just say you like to keep this pace / just to drive me wild!!"
After the torrent of the opening four tracks comes "Entombed," easily one of my favorite songs on Koi No Yokan. It's working title was "Dazzle," and, from its opening notes, it's easy to see why. As versatile as the Deftones have proven to be across a twenty-year career, lead guitarist Stephen Carpenter has always maintained a slavish dedication to big riffs on down-tuned guitars. Of course, he's squeezed more out of his particular comfort zone than most ever could, but "Entombed" actually sees Carpenter finger-tapping for the first time on a Deftones record. Coupled with a tasteful balance of programmed and live drums, and some twisty, pitch-shifted bass work, it is simply... dazzling, and the resulting song is wholly unexpected, like some sort of crazy, late-80's electro-metal power ballad tinged with the soaring histrionics of Duran Duran's most arena-ready songs. The fireworks-laden conclusion to "Entombed" features an onslaught of cymbal crashes and a series of rather victorious-sounding synth stabs courtesy of do-it-all soundscapist Frank Delgado, a truly impressive and stunning send-off for a tremendously surprising standout track.
Urgent and propulsive like Fugazi at their angriest, "Graphic Nature" is rooted in the band's nearly-amelodic presentation of sensuality as hazard. It is a crooked, unsettling beast of a song, as Moreno lets the come-on's slide off his lips: "Tell me how you do it / every time it takes my knees out / still every time you do it / I'm surprised." Abe Cunningham's relentless beat underpins the song's quirky sense of melody, and it recalls the hi-hat f***ery and kick-snare syncopation of Deftones' classic "Digital Bath," but more threatening in its thrust, like splitting the difference between "Digital Bath" and "Rx Queen." Following this nod to the old is something entirely new for the Deftones. First official single "Tempest" finds them in hard rock waters, without once devolving into post-grunge reunion fodder. After lulling the listener into its gaze, the song grooves its way into existence like the fiendish lovechild of Depeche Mode and Soundgarden. Similar in scope to the violence of "Leathers," lyrically speaking, Moreno declares, "I'd like to be taken apart from the inside." It is an almost-startlingly catchy vocal performance from a lead singer who has taken his time in crafting a signature style.
Moreno continues to stand head and shoulders above his peers in heavy music. As he nears 40 years of age, it's becoming abundantly clear that Moreno has little inclination towards the throat-shredding of his youth, though he is still wont to unleash the occasional blood-curdler, summoned from somewhere beyond the edges of your better-than-average B-list slasher film. The weapons-grade blast of demonic possession that follows the hauntingly pregnant pause at 2:55 of "Leathers" comes to mind. But then there's a song like "Gauze," which is as beefy as any song on Koi No Yokan, yet features some of the most soaring high notes we've heard from Chino this side of Diamond Eyes standout "976-EVIL." Absent from "Gauze" are the screams that might have occupied its heaving borders had it appeared on a Deftones album a decade ago. Some fans may be disappointed by this absence across the length of Koi No Yokan, but those same fans have consistently been disappointed since the turn of the millennium, as Chino has inched further towards the melodic. These listeners have stunted in their growth, refusing to mature with the band, and Chino has called their bluff on this album. In my estimation, the Deftones are better for it.
"Rosemary" arrives with the sludgiest riff on the album, buzz-sawing back and forth at a creeping, dirge-like pace, as Stef Carpenter slow burns his way through the song with a grinding, gnarled riff, offering brutal 8-string counterpoint to Chino's understated picking. Frank Delgado also adds incredible depth to "Rosemary" with some equally-understated but haunting synth work, like part of a lost outtake from John Carpenter's Escape From New York film score. As the song's massive chorus begins to soften, Moreno plaintively sings, "Stay with me," like the world might collapse should the subject of the song dissolve "across the empty skies." It is such a commonplace sentiment, but so tenderly delivered and disarming at the same time. It's the Deftones at their best, as they balance heavy and pretty so naturally that one must wonder why the Deftones, an influence on countless metallers this side of 2000, are so f***ing difficult to emulate.
The beastly riffage that ushers in the close of "Rosemary" unexpectedly gives way to a soothing outro that recalls Moreno's guitar-wielding in his side project Team Sleep, which in turn gives way to the beautifully-rendered intro to "Goon Squad," Koi No Yokan's penultimate track. The prettiness doesn't hold up, though, as the song shows its cards after a minute-long build, offering a torrent of discord as the album winds down. Though "Good Squad" takes its time getting there, it is, ultimately, very to-the-point, very back-to-basics alt metal. And there's nothin' wrong with that.
Finally, album closer "What Happened To You?" sends the album off in stately, majestic fashion. If it's not entirely what the listener is expecting, it's also a truly welcome surprise, sporting a staccato-like beat and a dream pop bent, like some strange collage of The Police, XTC, Cocteau Twins, My Bloody Valentine, and The Cure. It's remarkable how the Deftones are able to coalesce all of these disparate influences into their evolution as a band without ever falling too far away from that unique sound their fans clamor for. Koi No Yokan is a triumph of unparalleled quality in 2012, another masterpiece from a band that has never allowed time, trend, or tragedy to hold them back from the furthest reaches of their creative drive. It comes with my highest recommendation.
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Okay, well, I still have queued up a number of big albums that have been pushed down and pushed down the list as the draft goes along, but have decided to close with something smaller and more intimate:
The Story - Brandi Carlile - 2007
Special singer. BIG voice. But just saying big voice is almost an insult in this case, because its what she does with that voice that is special. Many big voiced singers just plow through with their weapon, hitting notes square on, or singing scales to show it off. But Brandi...her control is amazing, she sings the delicate moments as well as the big notes and she has the ability to make her voice...ache, for lack of a better word. She sings emotion. In another life she could have been a torch singer, or a blues singer. She's normally classified folk rock, but she spans alt rock chick, folk, bluesy singing, country touches (her mom was a country singer), gospel echoes. In any case she's a true artist, and deserves to be much bigger than she is. In just one listen its quite obvious she is much more talented than a certain wildly popular country pop princess right now, but talent doesn't always mean what it should in the industry. Other artists know her and love her stuff. But in a clear channel world, you gotta be one of the cool kids. My favorite song of hers is actually off her debut album, and I long pondered taking that one instead, but her sophomore effort has so many good songs on it I had to switch to this. good backing band too, with two brothers on bass/guitar who have been with her from the start I think, occasional splashes of cello, which is my favorite moody instrument etc. But you get a singer of this caliber and that stuff is just window dressing. Nice window dressing, but this is one of those singers who you could just lean back and listen to just her and her guitar on the beach of your island for eternity.
No autotune needed:
Turpentine (live): http://www.youtube.com/watch?v=8RA1YHcX12E
Downpour (live): http://www.youtube.com/watch?v=5uK7CSc06hw
In alt rock mode:
My Song: http://www.youtube.com/watch?v=Ahi09hiGDbo
The Story - Brandi Carlile - 2007
Special singer. BIG voice. But just saying big voice is almost an insult in this case, because its what she does with that voice that is special. Many big voiced singers just plow through with their weapon, hitting notes square on, or singing scales to show it off. But Brandi...her control is amazing, she sings the delicate moments as well as the big notes and she has the ability to make her voice...ache, for lack of a better word. She sings emotion. In another life she could have been a torch singer, or a blues singer. She's normally classified folk rock, but she spans alt rock chick, folk, bluesy singing, country touches (her mom was a country singer), gospel echoes. In any case she's a true artist, and deserves to be much bigger than she is. In just one listen its quite obvious she is much more talented than a certain wildly popular country pop princess right now, but talent doesn't always mean what it should in the industry. Other artists know her and love her stuff. But in a clear channel world, you gotta be one of the cool kids. My favorite song of hers is actually off her debut album, and I long pondered taking that one instead, but her sophomore effort has so many good songs on it I had to switch to this. good backing band too, with two brothers on bass/guitar who have been with her from the start I think, occasional splashes of cello, which is my favorite moody instrument etc. But you get a singer of this caliber and that stuff is just window dressing. Nice window dressing, but this is one of those singers who you could just lean back and listen to just her and her guitar on the beach of your island for eternity.
No autotune needed:
Turpentine (live): http://www.youtube.com/watch?v=8RA1YHcX12E
Downpour (live): http://www.youtube.com/watch?v=5uK7CSc06hw
In alt rock mode:
My Song: http://www.youtube.com/watch?v=Ahi09hiGDbo
Last edited by a moderator:
Okay, well, have stacked up a number of big albums that have been pushed down and pushed down the list as the draft goes along, but have decided to close with something smaller and more intimate:
The Story - Brandi Carlile - 2007
Special singer. BIG voice. But just saying big voice is almost an insult in this case, because its what she does with that voice that is special. Many big voiced singers just plow through with their weapon, hitting notes square on, or singing scales to show it off. But Brandi...her control is amazing, she sings the delicate moments as well as the big notes and she has the ability to make her voice...ache, for lack of a better word. She sings emotion. In another life she could have been a torch singer, or a blues singer. She's normally classified folk rock, but she spans alt rock chick, folk, bluesy singing, country touches (her mom was a country singer), gospel echoes. In any case she's a true artist, and deserves to be much bigger than she is. In just one listen its quite obvious she is much more talented than a certain wildly popular country pop princess right now, but talent doesn't always mean what it should in the industry. Other artists know her and love her stuff. But in a clear channel world, you gotta be one of the cool kids. My favorite song of hers is actually off her debut album, and I long pondered taking that one instead, but her sophomore effort has so many good songs on it I had to switch to this. good backing band too, with two brothers on bass/guitar who have been with her from the start I think, occasional splashes of cello, which is my favorite moody instrument etc. But you get a singer of this caliber and that stuff is just window dressing. Nice window dressing, but this is one of those singers who you could just lean back and listen to just her and her guitar on the beach of your island for eternity.
No autotune needed:
Turpentine (live): http://www.youtube.com/watch?v=8RA1YHcX12E
Downpour (live): http://www.youtube.com/watch?v=5uK7CSc06hw
In alt rock mode:
My Song: http://www.youtube.com/watch?v=Ahi09hiGDbo
The Story - Brandi Carlile - 2007
Special singer. BIG voice. But just saying big voice is almost an insult in this case, because its what she does with that voice that is special. Many big voiced singers just plow through with their weapon, hitting notes square on, or singing scales to show it off. But Brandi...her control is amazing, she sings the delicate moments as well as the big notes and she has the ability to make her voice...ache, for lack of a better word. She sings emotion. In another life she could have been a torch singer, or a blues singer. She's normally classified folk rock, but she spans alt rock chick, folk, bluesy singing, country touches (her mom was a country singer), gospel echoes. In any case she's a true artist, and deserves to be much bigger than she is. In just one listen its quite obvious she is much more talented than a certain wildly popular country pop princess right now, but talent doesn't always mean what it should in the industry. Other artists know her and love her stuff. But in a clear channel world, you gotta be one of the cool kids. My favorite song of hers is actually off her debut album, and I long pondered taking that one instead, but her sophomore effort has so many good songs on it I had to switch to this. good backing band too, with two brothers on bass/guitar who have been with her from the start I think, occasional splashes of cello, which is my favorite moody instrument etc. But you get a singer of this caliber and that stuff is just window dressing. Nice window dressing, but this is one of those singers who you could just lean back and listen to just her and her guitar on the beach of your island for eternity.
No autotune needed:
Turpentine (live): http://www.youtube.com/watch?v=8RA1YHcX12E
Downpour (live): http://www.youtube.com/watch?v=5uK7CSc06hw
In alt rock mode:
My Song: http://www.youtube.com/watch?v=Ahi09hiGDbo
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Round 25, pick 11
With the three hundred ninety-fifth pick of the draft, Mr. Slim Citrus selects:
Kanye West, Graduation (2007)
I'd narrowed my final pick down to one of three albums, so I called up my best friend (best known to those of you in my FKL hoops league as Hidden Dragons), and said, "Pick for me." And he did.
Graduation was Yeezy's third studio album. It sold over four-hundred thousand copies on its first day of release, and debuted at Number One on the Billboard 200. It sold over nine hundred thousand copies in the first week, and was ultimately certified Double Platinum by the RIAA. Five of the tracks were released as singles, and three of them went Platinum or better, including the chart-topping "Stronger," whose beat was based on the Daft Punk song "Harder Better Faster Stronger." The album was nominated for eight Grammys in 2008, and ended up winning three, including Best Rap Album.
This is definitely my favorite Kanye West album: the first two, while they each had several great hits, annoyed me, since it seemed like West was trying to work out his personal animosity towards higher education, and going out of his way to point out how successful he became after dropping out of college, as if his experiences were the exception rather than the rule. And the albums that he's released after this one have too much pancake on them to want to be stuck on a desert island with them. For those reasons, I feel as though Graduation was Ye's peak, both in terms of creativity and maturity. It's also probably the last album he released before his ego went from merely planet-sized to galaxy-sized.
The final track, "Big Brother," is a tribute to his mentor, Jay-Z, and probably the closest to humble West has ever been in his career: it talks about his relationship with Jay-Z, how he basically ascended to a fan to a peer, and how his relationship with Hova has changed from hero worship, to one of a sibling rivalry. Jay-Z was said to have gotten emotional the first time he heard it, calling it Kanye's best song since "Jesus Walks." It ends with a message that can be applied in pretty much all walks of life, and which was, essentially the reason he wrote the song: don't wait until it's too late to let someone know that you look up to them ("People never get the flowers while they can still smell 'em..."). It also seemed like a fitting song to go out of the draft on.
(cite: Wikipedia).
Top Three favorite non-singles (may not be available via mobile):
With the three hundred ninety-fifth pick of the draft, Mr. Slim Citrus selects:
Kanye West, Graduation (2007)
I'd narrowed my final pick down to one of three albums, so I called up my best friend (best known to those of you in my FKL hoops league as Hidden Dragons), and said, "Pick for me." And he did.
Graduation was Yeezy's third studio album. It sold over four-hundred thousand copies on its first day of release, and debuted at Number One on the Billboard 200. It sold over nine hundred thousand copies in the first week, and was ultimately certified Double Platinum by the RIAA. Five of the tracks were released as singles, and three of them went Platinum or better, including the chart-topping "Stronger," whose beat was based on the Daft Punk song "Harder Better Faster Stronger." The album was nominated for eight Grammys in 2008, and ended up winning three, including Best Rap Album.
This is definitely my favorite Kanye West album: the first two, while they each had several great hits, annoyed me, since it seemed like West was trying to work out his personal animosity towards higher education, and going out of his way to point out how successful he became after dropping out of college, as if his experiences were the exception rather than the rule. And the albums that he's released after this one have too much pancake on them to want to be stuck on a desert island with them. For those reasons, I feel as though Graduation was Ye's peak, both in terms of creativity and maturity. It's also probably the last album he released before his ego went from merely planet-sized to galaxy-sized.
The final track, "Big Brother," is a tribute to his mentor, Jay-Z, and probably the closest to humble West has ever been in his career: it talks about his relationship with Jay-Z, how he basically ascended to a fan to a peer, and how his relationship with Hova has changed from hero worship, to one of a sibling rivalry. Jay-Z was said to have gotten emotional the first time he heard it, calling it Kanye's best song since "Jesus Walks." It ends with a message that can be applied in pretty much all walks of life, and which was, essentially the reason he wrote the song: don't wait until it's too late to let someone know that you look up to them ("People never get the flowers while they can still smell 'em..."). It also seemed like a fitting song to go out of the draft on.
(cite: Wikipedia).
Top Three favorite non-singles (may not be available via mobile):
- Big Brother.
- Champion. Features a sample of the Steely Dan song, "Kid Charlemagne."
- The Glory.
In an attempt to make the decision-making process of my pick easier at the beginning of the draft I decided to pick 5 albums per decade, with the exception of the 60s and 00s, which would have had respectively two and three picks each. The 60s picks were reduced beacuse that's the decade I know less music from, the 00s (and 10s) because I almost exclusively like really obscure stuff from those years.
The extension to 25 picks allowed me to have 5 albums per rock music decade, this is my fifth 60s pick and obviously my last overall.
Monks - Black Monk Time (1966)
wiki
Completely idiotic and completely unique at the same time.
"All the members were American GIs stationed in Germany in the mid-1960s[...] The Monks played The Top Ten Club in Hamburg, where The Beatles had played earlier in the 1960s. Upon their discharge from the army the band developed a distinctive musical style, and took up a distinctive name and image to go with it. The transition from their earlier, more conventional and less provocative aesthetic to the abrasive and cutting-edge sound of their Black Monk Time period was partly induced by the influence of "a pair of loopy existentialist visionaries" named Walther Niemann and Karl H. Remy. Remy, a university student of design in Ulm, and Niemann, a student of Folkwang Arts Academy in Essen, "designed" the Monks as "anti-Beatles": short hair with tonsures, black clothes, ropes around the neck, and an image of being hard and dangerous.
At the beginning of 1965, Dave Day and Roger Johnston, on a whim, got their heads shaved into monks' tonsures. The rest of the band followed their lead, and to complete the image, the band took to wearing a uniform - all black, sometimes in cassocks, with nooses worn as neckties. [...] The brazen attitude toward sensitive subjects was reportedly not well met. They received confused audience reactions at concerts, and one attendee attempted to strangle Gary Burger at a show in Hamburg, for perceived blasphemy."
This is one of the very first garage rock full length records in history and also one of the most interesting, both for the out of whack background of the band and its groundbreaking sound, which combined primitive garage shredding and droney psichdelic elements which would be seen again a decade later with the birth of krautrock.
I didn't have this on my original shortlist because unfortunately it got tied to unpleasant, girl-related, memories. I stumbled upon it while going through my library a couple of days ago and decided to give it a listen since now I'm over the stuff mentioned before. Needless to say I enjoyed like I used to and now it's back into my "favourite albums of all time" rotation.
The extension to 25 picks allowed me to have 5 albums per rock music decade, this is my fifth 60s pick and obviously my last overall.
Monks - Black Monk Time (1966)
wiki
Completely idiotic and completely unique at the same time.
"All the members were American GIs stationed in Germany in the mid-1960s[...] The Monks played The Top Ten Club in Hamburg, where The Beatles had played earlier in the 1960s. Upon their discharge from the army the band developed a distinctive musical style, and took up a distinctive name and image to go with it. The transition from their earlier, more conventional and less provocative aesthetic to the abrasive and cutting-edge sound of their Black Monk Time period was partly induced by the influence of "a pair of loopy existentialist visionaries" named Walther Niemann and Karl H. Remy. Remy, a university student of design in Ulm, and Niemann, a student of Folkwang Arts Academy in Essen, "designed" the Monks as "anti-Beatles": short hair with tonsures, black clothes, ropes around the neck, and an image of being hard and dangerous.
At the beginning of 1965, Dave Day and Roger Johnston, on a whim, got their heads shaved into monks' tonsures. The rest of the band followed their lead, and to complete the image, the band took to wearing a uniform - all black, sometimes in cassocks, with nooses worn as neckties. [...] The brazen attitude toward sensitive subjects was reportedly not well met. They received confused audience reactions at concerts, and one attendee attempted to strangle Gary Burger at a show in Hamburg, for perceived blasphemy."
This is one of the very first garage rock full length records in history and also one of the most interesting, both for the out of whack background of the band and its groundbreaking sound, which combined primitive garage shredding and droney psichdelic elements which would be seen again a decade later with the birth of krautrock.
I didn't have this on my original shortlist because unfortunately it got tied to unpleasant, girl-related, memories. I stumbled upon it while going through my library a couple of days ago and decided to give it a listen since now I'm over the stuff mentioned before. Needless to say I enjoyed like I used to and now it's back into my "favourite albums of all time" rotation.
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My first job out of college had me working in an office from 3 in the afternoon until the wee hours of the next morning, scrambling to meet deadlines before sunrise so we could come back later that afternoon and start all over again. When the most frantic parts of our cram sessions began winding down and the night's finish line was in sight, we'd flip on a TV for some ambient cool-down noise. Cartoon Network's Adult Swim became our Xanax - which also meant the final show of the block, Samurai Champloo, would inevitably be the last sounds humming through the office as we packed it in for the night/morning.
For those not familiar, Samurai Champloo is an overtly stylized anime anachronistically mixing the Japanese Edo period with modern Hip-Hop culture and its soundtrack suits its idiosyncratic premise. Now, I am by no means an anime fan, but given the circumstances and the cyclical nature of our work-fueled stress dissipating in synchronization with the show coming on, it established a Pavlovian response in me to the music, associating it with the euphoria of finishing a marathon.
Because of all this, I sought out a musician I would have honestly never cared about nor even known existed otherwise, just in the hopes of bottling that euphoria. While the Samurai Champloo soundtrack (or should I say, all four of them) as a collaborative work is obviously ineligible, I'm happy to take the seminal, universally acclaimed work from the man behind it.
Metaphorical Music - Nujabes (2003)
Nujabes' (Jun Seba) style mixes cool jazz, jazz fusion, nu jazz and multiple genres of hip hop to create a supremely mellow and atmospherically chill ambiance that naturally flows through the course of the album. Some critics have commented that Metaphorical Music expertly mixes a nostalgic feel for true, raw form jazz with modern, underground hip hop styles to create something that is both familiar and entirely original. And as to Nujabes himself (who sadly died in a car crash in 2010) they say he was among the greatest producers of his generation carving out an innovative and unique mark on the world of hip hop.
For my part, Pavlovian trained or not, his work helped me appreciate and enjoy a whole new universe of music I didn't even know I could like and, perhaps most importantly, helped me zen out after particularly stressful days.
Metaphorically, his music is my hammock and lemonade.
http://en.wikipedia.org/wiki/Metaphorical_Music
For those not familiar, Samurai Champloo is an overtly stylized anime anachronistically mixing the Japanese Edo period with modern Hip-Hop culture and its soundtrack suits its idiosyncratic premise. Now, I am by no means an anime fan, but given the circumstances and the cyclical nature of our work-fueled stress dissipating in synchronization with the show coming on, it established a Pavlovian response in me to the music, associating it with the euphoria of finishing a marathon.
Because of all this, I sought out a musician I would have honestly never cared about nor even known existed otherwise, just in the hopes of bottling that euphoria. While the Samurai Champloo soundtrack (or should I say, all four of them) as a collaborative work is obviously ineligible, I'm happy to take the seminal, universally acclaimed work from the man behind it.
Metaphorical Music - Nujabes (2003)
Nujabes' (Jun Seba) style mixes cool jazz, jazz fusion, nu jazz and multiple genres of hip hop to create a supremely mellow and atmospherically chill ambiance that naturally flows through the course of the album. Some critics have commented that Metaphorical Music expertly mixes a nostalgic feel for true, raw form jazz with modern, underground hip hop styles to create something that is both familiar and entirely original. And as to Nujabes himself (who sadly died in a car crash in 2010) they say he was among the greatest producers of his generation carving out an innovative and unique mark on the world of hip hop.
For my part, Pavlovian trained or not, his work helped me appreciate and enjoy a whole new universe of music I didn't even know I could like and, perhaps most importantly, helped me zen out after particularly stressful days.
Metaphorically, his music is my hammock and lemonade.
http://en.wikipedia.org/wiki/Metaphorical_Music
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Star Anna and the Laughing Dogs - Alone In This Together (2011) (wiki link to artist)
Well, I wasn't really sure which way I was going to go with my last pick, but when Brick put up that big voice in his 25th pick, I got a hankering for the same sort of thing, and Star Anna rushed to the top. Sometimes the iTunes single of the week is a winner, and Star Anna is one of my favorite artists I've discovered that way. She's got a powerful, slightly gravelly voice, and she rips out the most emotion-filled bluesy rock you can ask for. If you don't know it, I think this is worth a listen.
(Link to Alone In This Together, the "single" - album version has better pacing but I can't find it online)
(Link to Just Leave Me There)
(Link to a live version of For When I Go - I'm actually surprised at the quality of this recording and the fact that she rips it live perhaps better than in the studio)
Well, I wasn't really sure which way I was going to go with my last pick, but when Brick put up that big voice in his 25th pick, I got a hankering for the same sort of thing, and Star Anna rushed to the top. Sometimes the iTunes single of the week is a winner, and Star Anna is one of my favorite artists I've discovered that way. She's got a powerful, slightly gravelly voice, and she rips out the most emotion-filled bluesy rock you can ask for. If you don't know it, I think this is worth a listen.
(Link to Alone In This Together, the "single" - album version has better pacing but I can't find it online)
(Link to Just Leave Me There)
(Link to a live version of For When I Go - I'm actually surprised at the quality of this recording and the fact that she rips it live perhaps better than in the studio)
Decisions, decisions... After mulling it over, my 25th and final pick shall be:
Lyle Lovett and His Large Band -- Lyle Lovett (1989) http://www.allmusic.com/album/lyle-lovett-and-his-large-band-mw0000198947
I love this album. And have since it was new and I was too young a kid to understand how clever it is. At the time of its release, Lyle Lovett was known as a pretty straightforward country artist, but this album is a pastiche of specific forms of blues, jazz, and country, making it very hard to pin down musically. On top of that, "Here I Am," the album's biggest single (I believe) is about 50% absurdist spoken word. And later in the album, Lovett includes a cover of "Stand By Your Man" almost wholly lacking in irony or camp. It would likely be unlistenable if not for the excellent musicianship and earnest delivery. But I'm taking it along because after owning it in various forms for over two decades, it's still an album that I listen to frequently.
"Good Intentions": http://www.youtube.com/watch?feature=player_detailpage&v=AG84p9dfV00#t=68
"Nobody Knows Me": http://www.youtube.com/watch?v=VQbTRcUbHwY
"I Married Her Just Because She Looks Like You": http://www.youtube.com/watch?v=l7GIw0g_xrI
Lyle Lovett and His Large Band -- Lyle Lovett (1989) http://www.allmusic.com/album/lyle-lovett-and-his-large-band-mw0000198947
I love this album. And have since it was new and I was too young a kid to understand how clever it is. At the time of its release, Lyle Lovett was known as a pretty straightforward country artist, but this album is a pastiche of specific forms of blues, jazz, and country, making it very hard to pin down musically. On top of that, "Here I Am," the album's biggest single (I believe) is about 50% absurdist spoken word. And later in the album, Lovett includes a cover of "Stand By Your Man" almost wholly lacking in irony or camp. It would likely be unlistenable if not for the excellent musicianship and earnest delivery. But I'm taking it along because after owning it in various forms for over two decades, it's still an album that I listen to frequently.
"Good Intentions": http://www.youtube.com/watch?feature=player_detailpage&v=AG84p9dfV00#t=68
"Nobody Knows Me": http://www.youtube.com/watch?v=VQbTRcUbHwY
"I Married Her Just Because She Looks Like You": http://www.youtube.com/watch?v=l7GIw0g_xrI
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You didn't say you were thinking of picking Brandi Carlile, you actually did it. So quit thinking about setting that handlebar nosehair moustache trend and actually do it. Send me a pic so I can see how it looks as well as I was able to hear Brandi Carlile's sound. Then, you know, from this draft's history there's about a 1-in-25 chance I'll follow your lead!
ok folks here we go..... With the Final Selection of the 2013 Kings Fans Desert Island Music Album Draft my pick is:
The Police- Reggatta De Blanc- 1979
wiki
Although I do not have any personal connection to this album as I have had with all of my other selections there is one song on this album which made this a must have. In the spirit of us being alone on a deserted Island the song "message in a bottle" fits the theme perfectly.
Here is the first verse of the song so you can understand my thought process in picking this album
Just a castaway
An island lost at sea
Another lonely day
With no one here but me
More loneliness
Than any man could bear
Rescue me before I fall into despair
I'll send an SOS to the world
I'll send an SOS to the world
I hope that someone gets my
Message in a bottle [x2]
That's it everyone Time to start building my raft. There are a couple of Islands I must get to in order to to steal back some of the albums which I really missed out on.
The Police- Reggatta De Blanc- 1979
wiki
Although I do not have any personal connection to this album as I have had with all of my other selections there is one song on this album which made this a must have. In the spirit of us being alone on a deserted Island the song "message in a bottle" fits the theme perfectly.
Here is the first verse of the song so you can understand my thought process in picking this album
Just a castaway
An island lost at sea
Another lonely day
With no one here but me
More loneliness
Than any man could bear
Rescue me before I fall into despair
I'll send an SOS to the world
I'll send an SOS to the world
I hope that someone gets my
Message in a bottle [x2]
That's it everyone Time to start building my raft. There are a couple of Islands I must get to in order to to steal back some of the albums which I really missed out on.
Nice pick, KG4. Very appropriate.
Okay, we're now officially done with the draft. Next step is for each participant to rank the other 15 so we can determine seeding for the votes. Since UK kings fan did not complete the draft, he will be ranked in last place. I think it's only fair that he not be ranked above anyone who actually finished.
Please send me your rankings in a PM, listing the others in declining order of preference.
Thanks!
Okay, we're now officially done with the draft. Next step is for each participant to rank the other 15 so we can determine seeding for the votes. Since UK kings fan did not complete the draft, he will be ranked in last place. I think it's only fair that he not be ranked above anyone who actually finished.
Please send me your rankings in a PM, listing the others in declining order of preference.
Thanks!
What I took:
1.10 - Back in Black - AC/DC - 1980
2.07 - Cosmo's Factory - Creedence Clearwater Revival - 1970
3.10 - Babel - Mumford and Sons - 2012
4.07 - Full Moon Fever - Tom Petty - 1989
5.10 - Under the Table and Dreaming - Dave Matthews Band - 1994
6.07 - Funhouse - Pink - 2008
7.10 - Live Through This - Hole - 1994
8.07 - Californication - Red Hot Chili Peppers - 1999
9.10 - Drunken Lullabies - Flogging Molly - 2002
10.07 - Sex, Love and Rock & Roll - Social Distortion - 2004
11.10 - Sheryl Crow - Sheryl Crow - 1996
12.07 - MTV Unplugged: 10,000 Maniacs - 10,000 Maniacs - 1993
13.10 - Heartbeat City - The Cars - 1984
14.07 - The End of the Innocence - Don Henley - 1989
15.10 - The Lumineers - The Lumineers - 2012
16.07 - Sonic Temple - The Cult - 1989
17.10 - And Out Come the Wolves - Rancid - 1995
18.07 - Let's Face It - The Mighty Mighty Bosstones - 1997
19.10 - Come On Over - Shania Twain - 1997
20.07 - Fallen - Evanescence - 2003
21.10 - Rise and Fall, Rage and Grace - The Offspring - 2006
22.07 - Yes I Am - Melissa Etheridge - 1993
23.10 - Eliminator - ZZ Top - 1983
24.07 - Bad Reputation - Joan Jett - 1981
25.10 - The Story - Brandi Carlile - 2007
Now for traditional leftover posts, these were other things bobbing around on my list that did no make it:
Beauty and The Beat -- The Go-Gos (1981) -- in running for final pick
Under My Skin - Avril LaVigne (2004) -- in running for final pick
Mr. Tambourine Man -- The Byrds (1965) -- this was the pick I was going to make before I swapped it out for The Lumineers
Sparkle & Fade -- Everclear (1994)
Nu Metal pick I never made, basically lost to Evanecence:
Meteora -- Linkin Park (2003)
Papa Roach (undecided on album)
Lost out to ZZ Top when I was looking for 80s:
Reckless -- Bryan Adams (1984)
Pretenders Learning to Crawl (1984)
She's So Unusual -- Cyndi Lauper (1983) (kind of lost out to Melissa Etheridge/Shania Twain too)
Billy Idol (undecided)
Avett Brothers (undecided)
Bob Seger (undecided, was still pondering taking one of his albums)
The Hit List -- Joan Jett (1989) (went the other way with her)
The Sound of White/On A Clear Night -- Missy Higgins -- also in running with Carlile pick
Nebraska/Tunnel of Love -- Bruce Springsteen
Conan the Barbarian soundtrack (again, took it last time)
And this was my list last time -- mostly avoided it just to be fresh, but could have taken any:
1.03 - AC/DC - Back in Black - 1980
2.14 - Green Day - Dookie - 1994
3.03 - Bruce Springsteen - Born In the USA - 1984
4.14 - Mighty Mighty Bosstones - Let's Face It - 1997
5.03 - 10,000 Maniacs - MTV Unplugged (Live) - 1993
6.14 - The Fugees - The Score - 1996
7.03 - Rancid - ... And Out Come the Wolves - 1995
8.14 - Tina Turner - Private Dancer - 1984
9.03 - The Cars - The Cars - 1978
10.14 - Green Day - American Idiot - 2004
11.03 - Tom Petty - Full Moon Fever - 1989
12.14 - Joan Jett & the Blackhearts - I Love Rock N' Roll - 1981
13.03 - Pat Benatar - Crimes of Passion - 1980
14.14 - Tracy Chapman - Tracy Chapman - 1988
15.03 - David Gray - White Ladder - 1999
16.14 - Trevor Jones and Randy Edelman - The Last of the Mohicans - 1992
17.03 - Basil Poledouris - Conan the Barbarian (Soundtrack)* - 1982
18.14 - John Cougar - American Fool - 1982
19.03 - Kelly Clarkson – Breakaway – 2004
20.14 - Three Days Grace - One X - 2006
1.10 - Back in Black - AC/DC - 1980
2.07 - Cosmo's Factory - Creedence Clearwater Revival - 1970
3.10 - Babel - Mumford and Sons - 2012
4.07 - Full Moon Fever - Tom Petty - 1989
5.10 - Under the Table and Dreaming - Dave Matthews Band - 1994
6.07 - Funhouse - Pink - 2008
7.10 - Live Through This - Hole - 1994
8.07 - Californication - Red Hot Chili Peppers - 1999
9.10 - Drunken Lullabies - Flogging Molly - 2002
10.07 - Sex, Love and Rock & Roll - Social Distortion - 2004
11.10 - Sheryl Crow - Sheryl Crow - 1996
12.07 - MTV Unplugged: 10,000 Maniacs - 10,000 Maniacs - 1993
13.10 - Heartbeat City - The Cars - 1984
14.07 - The End of the Innocence - Don Henley - 1989
15.10 - The Lumineers - The Lumineers - 2012
16.07 - Sonic Temple - The Cult - 1989
17.10 - And Out Come the Wolves - Rancid - 1995
18.07 - Let's Face It - The Mighty Mighty Bosstones - 1997
19.10 - Come On Over - Shania Twain - 1997
20.07 - Fallen - Evanescence - 2003
21.10 - Rise and Fall, Rage and Grace - The Offspring - 2006
22.07 - Yes I Am - Melissa Etheridge - 1993
23.10 - Eliminator - ZZ Top - 1983
24.07 - Bad Reputation - Joan Jett - 1981
25.10 - The Story - Brandi Carlile - 2007
Now for traditional leftover posts, these were other things bobbing around on my list that did no make it:
Beauty and The Beat -- The Go-Gos (1981) -- in running for final pick
Under My Skin - Avril LaVigne (2004) -- in running for final pick
Mr. Tambourine Man -- The Byrds (1965) -- this was the pick I was going to make before I swapped it out for The Lumineers
Sparkle & Fade -- Everclear (1994)
Nu Metal pick I never made, basically lost to Evanecence:
Meteora -- Linkin Park (2003)
Papa Roach (undecided on album)
Lost out to ZZ Top when I was looking for 80s:
Reckless -- Bryan Adams (1984)
Pretenders Learning to Crawl (1984)
She's So Unusual -- Cyndi Lauper (1983) (kind of lost out to Melissa Etheridge/Shania Twain too)
Billy Idol (undecided)
Avett Brothers (undecided)
Bob Seger (undecided, was still pondering taking one of his albums)
The Hit List -- Joan Jett (1989) (went the other way with her)
The Sound of White/On A Clear Night -- Missy Higgins -- also in running with Carlile pick
Nebraska/Tunnel of Love -- Bruce Springsteen
Conan the Barbarian soundtrack (again, took it last time)
And this was my list last time -- mostly avoided it just to be fresh, but could have taken any:
1.03 - AC/DC - Back in Black - 1980
2.14 - Green Day - Dookie - 1994
3.03 - Bruce Springsteen - Born In the USA - 1984
4.14 - Mighty Mighty Bosstones - Let's Face It - 1997
5.03 - 10,000 Maniacs - MTV Unplugged (Live) - 1993
6.14 - The Fugees - The Score - 1996
7.03 - Rancid - ... And Out Come the Wolves - 1995
8.14 - Tina Turner - Private Dancer - 1984
9.03 - The Cars - The Cars - 1978
10.14 - Green Day - American Idiot - 2004
11.03 - Tom Petty - Full Moon Fever - 1989
12.14 - Joan Jett & the Blackhearts - I Love Rock N' Roll - 1981
13.03 - Pat Benatar - Crimes of Passion - 1980
14.14 - Tracy Chapman - Tracy Chapman - 1988
15.03 - David Gray - White Ladder - 1999
16.14 - Trevor Jones and Randy Edelman - The Last of the Mohicans - 1992
17.03 - Basil Poledouris - Conan the Barbarian (Soundtrack)* - 1982
18.14 - John Cougar - American Fool - 1982
19.03 - Kelly Clarkson – Breakaway – 2004
20.14 - Three Days Grace - One X - 2006
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A bit delayed by yesterday's big changes, but as is tradition 'round these parts, my leftovers (in no particular order):
Cocktails With Joey -- Joey Altruda (1995)
The Burdens of Being Upright -- Tracy Bonham (1996)
Life -- The Cardigans (1995)
Get Lifted -- John Legend (2004)
Bonnie Raitt -- Bonnie Raitt (1971)
Pawn Shoppe Heart -- The Von Bondies (2004) http://www.youtube.com/watch?v=SGubyO9gS_s
Wake Up -- John Legend & The Roots (2010) http://www.youtube.com/watch?v=DXcwAyJQa9w
Alexander -- Alexander (2011) http://www.youtube.com/watch?v=s9yibUR5KNI
Mama's Gun -- Erykah Badu (2000) http://www.youtube.com/watch?v=OW0Sn1dvn9U
Check Your Head -- Beastie Boys (1992) http://www.youtube.com/watch?v=ru3gH27Fn6E
Up From Below -- Edward Sharpe & The Magnetic Zeroes (2009) http://www.youtube.com/watch?v=_7nD1T7mjp8
Carnival Eclecticos -- Galactic (2012) http://www.youtube.com/watch?v=b31i-I4u7EE
Show Your Bones -- Yeah Yeah Yeahs (2006) http://www.youtube.com/watch?v=jMMkP_ofpXg
Stompy Jones -- Stompy Jones (2003) http://www.youtube.com/watch?v=oEXDFr-9aJw
Broken Boy Soldiers -- The Raconteurs (2006) http://www.youtube.com/watch?v=yIw3AI4hLYk
Feelings -- David Byrne (1997) http://www.youtube.com/watch?v=8b57Q4pCXwY
Nouvelle Vague -- Nouvelle Vague (2004) http://www.youtube.com/watch?v=8oWO7Om17v0
Fever In Fever Out -- Luscious Jackson (1996) http://www.youtube.com/watch?v=0NhqN0KcWAE
With Teeth -- Nine Inch Nails (2005) http://www.youtube.com/watch?v=c1uaGkwmDa0
Hang On Little Tomato -- Pink Martini (2004) http://www.youtube.com/watch?v=XBvlNZ1xIvs
Turn the Radio Off -- Reel Big Fish (1996) http://www.youtube.com/watch?v=JldhbtTZDRw
Made in USA -- Pizzicato Five (1994)* http://www.youtube.com/watch?v=z22nzBVLCto
*Turns out this one wouldn't have been eligible, but it was being considered for much of the draft.
Cocktails With Joey -- Joey Altruda (1995)
Wake Up -- John Legend & The Roots (2010) http://www.youtube.com/watch?v=DXcwAyJQa9w
Alexander -- Alexander (2011) http://www.youtube.com/watch?v=s9yibUR5KNI
Mama's Gun -- Erykah Badu (2000) http://www.youtube.com/watch?v=OW0Sn1dvn9U
Check Your Head -- Beastie Boys (1992) http://www.youtube.com/watch?v=ru3gH27Fn6E
Up From Below -- Edward Sharpe & The Magnetic Zeroes (2009) http://www.youtube.com/watch?v=_7nD1T7mjp8
Carnival Eclecticos -- Galactic (2012) http://www.youtube.com/watch?v=b31i-I4u7EE
Show Your Bones -- Yeah Yeah Yeahs (2006) http://www.youtube.com/watch?v=jMMkP_ofpXg
Stompy Jones -- Stompy Jones (2003) http://www.youtube.com/watch?v=oEXDFr-9aJw
Broken Boy Soldiers -- The Raconteurs (2006) http://www.youtube.com/watch?v=yIw3AI4hLYk
Feelings -- David Byrne (1997) http://www.youtube.com/watch?v=8b57Q4pCXwY
Nouvelle Vague -- Nouvelle Vague (2004) http://www.youtube.com/watch?v=8oWO7Om17v0
Fever In Fever Out -- Luscious Jackson (1996) http://www.youtube.com/watch?v=0NhqN0KcWAE
With Teeth -- Nine Inch Nails (2005) http://www.youtube.com/watch?v=c1uaGkwmDa0
Hang On Little Tomato -- Pink Martini (2004) http://www.youtube.com/watch?v=XBvlNZ1xIvs
Turn the Radio Off -- Reel Big Fish (1996) http://www.youtube.com/watch?v=JldhbtTZDRw
Made in USA -- Pizzicato Five (1994)* http://www.youtube.com/watch?v=z22nzBVLCto
*Turns out this one wouldn't have been eligible, but it was being considered for much of the draft.
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