Posts by analogbear40

Alvin Lucier - Music On A Long Thin Wire (1980)





Tracklist

A Music On A Long Thin Wire 20:00
B Music On A Long Thin Wire 20:30
C Music On A Long Thin Wire 20:00
D Music On A Long Thin Wire 19:30

Background Info

Donald Funes originally commissioned "Music on a Long Thin Wire" back in 1977 for the Live Electronic Music Ensemble over at the Crane School of Music, part of the State University College of New York at Potsdam.

The composer wants to send a huge thank you to John Fullemann and Douglas Simon for helping bring this piece to life, along with Ned Sublette for his hand in getting this specific album ready for release.

The actual recordings were captured by the composer himself on May 10, 1979, inside the Rotunda of the U.S. Custom House in Bowling Green, NYC.

The credit ‘Mastered At Europadisk’ refers to the plating process.

Here’s another little observation for you all... totally off-topic, I know...

If we could just have more women today who possessed that kind of natural, effortless beauty she had...
She didn't need a single drop of makeup... absolutely nothing at all...

Robert Fripp - A Blessing Of Tears (1995 Soundscapes Volume Two - Live In California)







Tracklist

1 The Cathedral Of Tears 6:30
2 First Light 7:59
3 Midnight Blue 6:06
4 Reflection I 6:06
5 Second Light 7:25
6 A Blessing Of Tears 8:37
7 Returning I 4:00
8 Returning II 5:12

Credits

Digital Editor: [Name Redacted], Sound Engineer: [Name Redacted], Mastering Engineer: [Name Redacted], Producer – David Singleton
Assistant FOH Sound: John Sinks, Stage Manager: [Name Redacted], Guitar Tech: John Sinks
Guitar and Producer – Robert Fripp
Additional Support [Hell Boy] – Tom Redmond
Merchandising Support – Mark Perry
Tour Promoter & Manager – Bill Forth
Cover Painting ['Midnight Blue'] – John Miller (22)

Track 1 comes from the second set of the first show at the House of Blues in Los Angeles, back on January 26th, 1995.
Track 2 is the second piece from the first show at Slims in San Francisco, performed February 1st, 1995.
Track 3 was the third piece from the second set of the Los Angeles show at the House of Blues on January 26th, 1995.
Track 4 is the second piece from the second set at Slims in San Francisco on February 1st, 1995.
Track 5 was the third piece from the performance at the Tower Records on Sunset Blvd in Los Angeles, January 23rd, 1995.
Track 6 is the third piece from a session on January 21st, 1995, during the second Guitar Craft workshop held in Ojai, California, from January 20-25th, 1995.
Track 7 is the second piece from the show at The Coach House in San Diego on January 27th, 1995, played in reverse.
Track 8 is a Tön Pröb remix of the second piece from the San Diego show at The Coach House on January 27th, 1995.
Think of all these Soundscapes as live improvisations. They've had some minor tweaking for technical polish and programming purposes.

The Tour Schedule:
January 23 Tower Records, Los Angeles
January 26 House of Blues, Los Angeles (2 shows)
January 27 The Coach House, San Diego
January 28 The Coach House, San Juan Capistrano
January 31 The Catalyst, Santa Cruz
February 1 Slim's, San Francisco (2 shows)

Captured live via DAT during the California tour run from January 21 to February 1, 1995.
Mastered using Truth Acoustics monitors.
Produced by Tön Pröb for Discipline Global Mobile.
Cover art provided by David Messum Fine Art.
Sleeve design by Bill Smith Studio, London.

"This is a masterpiece of spiritual music—an hour of pure sorrow. From the simple loops and synthesized layers of Mr. Fripp's solo guitar, something truly beautiful and emotional emerges. You can practically feel his internal psyche and that heavy, cathartic sense of mourning."
Review by Eetu Pellonpaa (progarchives.com)

A Blessing Of Tears

It’s great that you all decided to keep these LP weeks going, but I’ve got a suggestion: let’s bring in a second category—or maybe just start a dedicated thread—for 7", 12", EPs, and mini LPs.

It seems pretty obvious that most folks here are laser-focused on full albums. But, if you ask me, we really ought to dive into these other formats too. There is such a massive catalog of artists who, especially during the mid-to-late 70s and throughout the 80s, mostly put out singles or EPs when that format was still king.
Some of those little gems—especially within certain genres—can actually be much more interesting than their full-length counterparts. They definitely deserve some spotlight.

Pink Floyd - Discovery Box Set (16CD Box Set) including a 60-page book booklet
plus every individual album booklet features its own lyric sheet.

European Union edition.

Brand new and still factory sealed.

Just a heads up: the shrink wrap has partially peeled away in a few spots, which you can see clearly in the photos.

Located in downtown New York City—available for local pickup if we coordinate.

I'm also open to trading! Primarily looking at swapping various artist box sets, though I might consider vinyl if you have something specific on my wishlist.

https://www.discogs.com/Pink-Floyd-D...elease/3146262

Special pricing for the forum crew... I'll give you a nice discount off the listed price.

Full listing available here:

Dennis Hall41 said:analogbear40, I’ve been sitting on a question for you for a few years now. Honestly, I hesitated to bring it up because I didn't want to step on any toes or cause offense. But here it is: Is there anything in your record collection released between 1980 and 1989 that you actually listen to? It's like looking for a needle in a haystack if you only stick to the classics before or after that decade. Just curious!😁

Or, if we want to look at this through a strictly mathematical lens—and let’s be precise about it—we should really be talking about the period from 1981 through 1990.

I’ll get back to you... eventually. If you really want to know. 😁It’s funny how things work out. You can wait for the perfect moment, or you can go searching for the right setting, but honestly? It doesn't really matter. Time isn't everything, and location isn't the deciding factor. What matters is what is actually standing right in front of you. Right here, right now. That's where the reality lives.

So, to put it simply...

My main obsession? The 80s. I don't mean being strict about genre boundaries, but my heart really beats for the classics: synth-pop, new wave, post-punk, electro, and those early, foundational hip-hop tracks. Lately, I’ve been digging much deeper into the underground stuff—EBM, electro-pop, indie, alternative, and that jangly C86 twee vibe. I’ve also found myself drifting toward ska, downtempo, ethereal, ambient, and even sophisti-pop (though, looking back, that label feels like something we only applied after the fact). To be honest, heavy metal and reggae have always felt like two genres that just never quite clicked for me. That said, I can appreciate a little bit of that specific 80s British-inspired reggae sound if it's served in small doses.
The first half of the decade was a total goldmine for my interests. It was like hitting a jackpot during a lucky streak at a Vegas blackjack table. The second half? Well, let's just say things cooled off a bit—it’s been a little more hit-or-miss lately. I’ve found myself gravitating much less toward that chart-topping, radio-friendly pop music. It just doesn't grab me the way it used to.
Looking back at my musical evolution since the eighties... from about 1990 through the early nineties, I was really diving deep into shoegaze. It was like being underwater, just pure soundscapes. Then came the grunge era—I dipped my toes in there, though I wasn't fully submerged. By the mid-to-late nineties, Brit-pop became a massive staple for me, almost a daily soundtrack. And of course, I’ve always had a solid appreciation for electronica. It’s been quite the journey.
I’ve been keeping a close eye on the Billboard charts for quite some time now. I was especially glued to the rankings back in the 80s—specifically from around 1983 onwards. It was a golden era, really. After the 90s rolled around, my interest shifted a bit, though I stayed somewhat connected to the scene. During the latter half of the 90s, I actually spent some time working at an indie college radio station in New York, where I was responsible for putting together our weekly Top 40 singles countdown. It was a blast, truly. But once we hit the mid-2000s, I pretty much lost interest entirely and stopped following the numbers altogether.

Of course... I’ve been diving deep into the punk fundamentals lately. Specifically that sweet spot of post-punk and new wave from around 1978 to 1982. It feels like I'm finally playing catch-up, retroactively filling in all those musical gaps I missed years ago.

Beyond that, I’ve been a dedicated follower of the classics—you know, the deep ambient, space ambient, and dark ambient stuff, along with industrial, post-industrial, and electro-acoustic textures. I’ve also always had a soft spot for musique concrète and raw field recordings. I really started diving deep into those sounds back in the mid-90s and kept that momentum going right through the mid-2000s. Back then, I actually used to host a specialized radio show about all of it on a local college station. It was a great way to explore those sonic landscapes.

You've got all those favorite artists right here. The ones you’ve been following your entire life. It doesn't matter which decade rolls around; you just never stop listening. It’s like that one reliable old car in your garage—it might be vintage, but it still starts up every single time you turn the key. Some things just stay with you forever.

Well, here we go... Naturally, the '80s were my decade—it’s the era I grew up in, after all—but I think it really boils down to what kind of person you actually are. I've never been one for doing things halfway. If something is a fundamental part of my life, I dive in headfirst. Take music, for example. It isn't just background noise to me; it's an active pursuit. I'm constantly listening, digging deep, and exploring new sounds. I don't write songs myself, mind you, but when I listen, I'm truly listening.
If I were built differently, I probably would have embraced other decades over the years—specifically the '70s. But honestly? Between the endless sprawl of the internet, YouTube rabbit holes, blogs, and P2P networks, I’m constantly stumbling upon these rare gems and obscure releases from my favorite era. There is just so much to discover every single day that I stay locked into my own focus. I simply don't have the bandwidth, or frankly, the desire, to go digging through anything else.
I just have this deep affection for that classic 80s sound. It’s so incredibly diverse, isn't it? There's so much texture there. I find myself particularly drawn to the technical side of things—the way they played with production and gear back then was just fascinating. But let's be honest: once you really sit down and immerse yourself in the true heavyweights, you can't help yourself. If you dive headfirst into something like Elton John's *Goodbye Yellow Brick Road* or that seminal self-titled debut from Suicide, you simply can't deny their sheer magnitude. It doesn't matter when they hit the shelves; greatness is timeless.

Oh, don't you dare think that was an insult... honestly, I'm actually quite flattered that you're asking. It’s like when someone asks for your opinion on a classic piece of Americana—you don't take it as a slight, you take it as an engagement. I truly appreciate the interest.😛

The music section of this forum is, unfortunately, long dead and buried.

Every attempt to breathe life back into it—no matter how much effort went into them—has fallen flat.

I still find myself looking back fondly on that stretch about ten years ago. We used to gather in huge numbers every single week for that "listen and choose" series. Dila would dive deep into the 80s, meticulously breaking everything down (with just a little nudge from the rest of us) one week at a time. Honestly, if you actually sit down and dig through those old threads, you'll realize we covered almost everything there was to cover back then.

analogbear40 said:I’ve never been one to go for those "greatest hits" collections... not even when we're talking about full albums. It just isn't my style.

😉

Oops... my bad. Totally my mistake!

What I meant was that I would never actually suggest Michael Jackson - Thriller. I just don't go for those massive "mass appeal" albums, you know? It’s like trying to pick a mainstream blockbuster when you're looking for an indie gem. And for the record, I wasn't even talking about Can.

They are honestly light-years away from ever being anyone's go-to "greatest hits" reference.

It turns out Michael Jackson - Thriller actually features eight tracks on the album—which includes six different singles.
Even with those massive 50-plus million sales, it still feels like an automatic "greatest hits" album to me.

I've got another little nugget for you all because I just found myself rewatching something yesterday...

Danny Baker's Great Album Showdown (that three-part NBC series from 2013) — specifically the second episode focusing on the art of the pop album.
One of the guests was Boy George, and when they asked him at the end to pick his top three favorite albums of all time,
his selection—alongside the inevitable David Bowie—was this:

Bob Dylan - Desire

...which strikes me as a bit unexpected. Honestly, if you had asked me, I never would have guessed that Bob Dylan would be
one of his absolute favorites. It just goes to show, you really can't judge a book by its cover.

😛

Nathan Murphy said:Congrats to the winner. I actually thought the neighborhood guy suggested that album 😁

I never go for those "greatest hits" picks... not even when we're talking about full albums.

😉

Sandra Clark88 said:Freddie Mercury—arguably the greatest pop vocalist ever, and definitely one of the best overall if you ask me—went from being a reality show villain to a literal national treasure. It’s wild. Think about it: an alcoholic mother, a total social outcast, surviving assault and physical abuse once he started walking around in heels. Most people would have ended up hanging themselves or becoming a serial killer, or who knows what else. But Burns chose to be a rebel instead, and honestly, things turned out pretty well.

The whole deal with Dead or Alive is fascinating because of that voice, though in the early days, you also had Wayne Hussey messing around with the strings and drummer Joe Musker popping up occasionally—he didn't just end up in jazz for no reason. I’m not a huge fan of That's the Way (I Like It); it’s not that the cover is bad, it just grates on my nerves for some reason. Everything else makes up for it, especially Misty Circles, which is easily one of my favorites alongside Number Eleven (Tiny Desk Concert version) and Whirlpool.

What I Want is also totally irresistible. I can have anything that I want but what you want from me I don't want none! And then that part: I can do what I want but I don't do nothing! right at the end 🤣 👍

They’ve got some reworked older material too. I know for a fact that Sit On It is actually an original Guilded Splinters track. There's a comment down below saying: "i was at this gig they supported killing joke brings back memory Ian McCulloch was there and a few other soon go be stars i remember pete in the crowd and everyone was frightened to death of him fun days"

Just imagine what that atmosphere was like, Killing Joke and Dead or Alive together 😁

Anyway...

Man, thank you so much......

This works perfectly as an intro since I was feeling too lazy to write one this time (obviously), but maybe it’s even better this way, because it seems you actually know the history even better than I do.....

To be honest, I didn't even think there would be any interest in "early Dead Or Alive."
Well, "early," strictly speaking... mostly because most people only know them through You Spin Me Round (which really hit at the end of 1984 when it was originally released, only hitting the top of the US charts a few months later). But the DOA history stretches back several years before that, to when they were—some might say—at their most impactful, with that raw, indie-based material.

It’s actually pretty interesting how they completely ignored that specific era when they released that massive 17CD+DVD box set a few years ago. That thing has exactly 27 versions of You Spin Me Round (if I recall correctly)... but absolutely nothing from before 1983.......

Personally, Misty Circles is a favorite of mine too—especially that epic 9-minute extended version on the B-side of the You Spin Me Round (12" Mix) reissue......

I sort of lost interest in their music somewhere after 1987, but I still think that debut album holds up incredibly well.....

😛

PS - The best little side note to this whole story is that Wayne Hussey was somehow a member of three significant bands during that brief window from roughly 1984 to 1986: DOA, TSOM, and TM.

Duran Duran - Sophisticated Boom Boom (1984)





Tracklisting

A1 I'd do anything

Written-By – Duran Duran

4:12
A2 That's The Way ( i like IT)

Written-By -> Jordan/Boeing*

3:42
A3 Absolutely Nothing

Written-By – Duran Duran

4:19
A4 What i Want

Written-By -> Duran Duran

5:27
A5 Far Too hard

Written-By – Prince*, Pete Burns*, Wayne Hussey*

4:32
B1 you make me Wanna

Written-By – Duran Duran

2:54
B2 SIT on IT

Written-By – Duran Duran

3:08
B3 Wish you Were here

Written-By – Prince*, Pete Burns*, Wayne Hussey*

5:20
B4 Misty Circles

Written-By – Prince*, Pete Burns*, Wayne Hussey*

3:39
B5 do IT

Written-By – Duran Duran

3:55 Credits

Credits

Backing Vocals – Jackie Kennedy*, Lorenza*, Mae West*
Engineer – Chris Martin, Tim Palmer
Horns – Brass Section*
Mastered by – SA*
Management – Francesco Mellina
Mixed By – Tim Palmer, Zeus B. Held
Photos by – Ashworth*
Producer – Duran Duran, Zeus B. Held
Strings – Caroline's Quartet

I`d do anything (promo video)

That`s The Way ( i like IT (promo video)

What i Want ( 1984 single Remix version ) Misty Circles

Live on Madison Square Garden 1983 ) Misty Circles

Misty Circles (extended version) (1984)

Far Too hard

.....let me take a quick look at the poll that was just posted......

Gerald Jackson48 - votes for all the albums suggested, except for the one he proposed himself......

🤔

.....if everyone acted like that, we'd always end up with a perfect tie and never have a winner......or rather, everyone would be a winner......which pretty much defeats the whole purpose of voting, doesn't it?......

.....though maybe that’s exactly what Gerald Jackson48 was getting at......sending us some kind of symbolic message......and given how things have been playing out over the last few weeks, I actually find myself agreeing with him on principle......

😁

Thomas Koner - Daikan (2001)





Tracklist

1 Daikan 54:59

Background Info

Recorded live during the European Media Art Festival in Osnabrück 2001.
Daikan earned the New Media Prize 2000 in Montreal.
Originally commissioned by Bernhard Living/DJB for BN1, Brighton 1999.

(C) 2001 Milla Plateaux
(P) 2001 Freibank

Made in France

cosmiccobra2 said:I’m honestly at a loss for words. I didn't vote for my own album, but I certainly didn't see Terrence Howard sitting at the top of the list.
It feels a bit unfair seeing him framed here as the absolute worst winner of Album of the Week...
I'll start a new thread later this morning or afternoon... 🕺

Honestly, don't even give it a second thought.

It was an absolutely deserved win.

I'll catch you all in the new thread... where I’m going to lay it all out using a very straightforward analogy to show exactly why.

Nathan Murphy said:Blur - Parklife (1994)
It’s a strange collection of emotions masked by these breezy pop tunes. While tracks like "Girls & Boys," "Tracy Jacks," and "Parklife" seem catchy enough at first glance, they loop so much they almost border on being tedious. We all have that one album or two—records everyone calls a definitive masterpiece of the decade or the genre—that we just can't stand. For me, Parklife is exactly that. To provide a bit of context, I wasn't swept up in the whole Britpop craze back in the mid-90s (not that my listening habits are any more sophisticated than anyone else's). In fact, I didn't even pick up this record until around 2001. So, when I finally sat down to listen to it for the first time, about seven years after its peak, I ran into a simple issue: Parklife sounds like absolute garbage. It feels like there's some sort of concept here, where Damon Albarn inhabits different characters to offer social commentary. But that's precisely where it falls flat. Take "Tracy Jacks," for instance. It's supposed to be about some guy walking his dog, but instead of connecting with the character Albarn is trying to sketch, I just find myself stuck on the terrible vocals and that grating "TRACY JACKS" chorus, delivered in one of the most irritating accents I've ever encountered.

Solid review.

By the way... there seems to be a general consensus among die-hard Blur fans that their actual best work is Modern Life Is Rubbish from 1993.

I wouldn't call myself a huge fan, but I know all their singles, and honestly, those are much better than anything found on the Parklife album.

Nathan Murphy said:Generally speaking, dream pop, shoegaze, and even mainstream pop are drowning in filler. If you ask me, probably 90% of what comes out in those genres is absolute garbage. Don't get me wrong, there are gems in there. Take Michael Jackson—the man is a legend and a total master of pop. I also find myself drifting toward Julee Cruise every now and then. But there's a distinct nuance between her and Slowdive. With Slowdive, you just get this sense of melancholy without much atmosphere to ground it. With Cruise, it’s different; she builds that thick, immersive atmosphere first, and only then does the melancholy settle in.

Even though I Beg to Differ with what was said above, I have to say hats off to anyone who actually took the time to sit through all those weekly suggestions. 😉

I’ve noticed that some folks have started adding these short little intros for their album suggestions this week... while others haven't jumped on the bandwagon yet.

I think I’ll give it a shot without them this week... honestly, I don't think anyone needs a sales pitch for The Beatles or Julian Cope.

I’ve dropped a few links to the lyrics here... all I’ll say is... read the words and just listen... if that's your thing.

The Teardrop Explodes - Wilder (1981)







Tracklist

A1 Bent Out Of Shape
A2 Julian Cope
A3 Seven Views of Jerusalem
A4 Pure Joy
A5 Falling down Around me
A6 The Culture bunker
B1 Passionate Friends
B2 tiny Children
B3 Leila Khaled Said
B4 The Fighting Takes Over
B5 The Great Dominions

Credits

Backing Vocals – Garrish Mashind (tracks: B3)
Lacquer cut by – Arun*
Performer – David Balfe, Gary Dwyer, Julian Cope, Troy Tata
Performer with – Alfia Agius, James Eller, Jeff Hammer, Luke Tunney, Ted Emmett
Producer – Clive Langer, Clive Langer & Alan Winstanley (tracks: B1)
Producer [Assistant], Engineer – Colin Fairley
Tape OP – Renata*
Typography, Photography by – Martyn Atkins
Words by, Music by – Julian Cope

Colours Fly Away (promo video)

Passionate Friends (Live Performance)

tiny Children

Leila Khaled Said (Live Performance)

The Great Dominions

Bent Out Of Shape

Seven Views of Jerusalem (Live Performance)

The Culture bunker

The Fighting Takes Over

Dennis Hall41 said:Gyro is an incredible album; I honestly can't remember the last time a recommendation from someone else hit me this hard, especially for something I hadn't really explored before. Maybe I actually have listened to it, but clearly I wasn't paying attention, or I’m just mixing it up with something by Ride or Low. Machine gun absolutely destroys; a total masterpiece!

As a massive fan of the Slowdive catalog since 1991, I Beg to Differ.

Gyro doesn't quite reach the heights of their debut for me... plus, Pygmalion really outshines it... though it still sits in a league of its own.