best albums to listen to while writing article

So why focus on this particular record? What the album did do, however, was take music mostly associated with showmanship and personal pain and recast it as music of social and reportorial insight — a shift that not only prefigured the casual, ear-to-the-ground persona of singers like Erykah Badu, but Nas, Common and an entire universe of black musicians whose concerns don't stop at the studio doors. But as Live at the Apollo crossed over to the pop charts, it convinced both artists and businessmen that black music could thrive commercially not by making concessions to genteel white tastes. Certainly he'd recorded ballads before, but not in such concentration or such sustain, creating one of the first albums that understood the way some moods demand to be heard for more than three minutes at a time. Motivating — but not distracting. When Mary J. Blige signed to Uptown Records, she began working with an up-and-coming producer named Sean "Puffy" Combs, and together they forged the idea of what came to be known as "hip-hop soul" —music with the emotional heft of the former, the sample-heavy breeziness of the latter, and the pop appeal of both. Everything you thought you knew about hip-hop changed in a flash, thanks to an album from a former West Coast electro producer. Drake cited West as his budding sound's "most influential person" when he was hustling mixtapes, while artists like Future further tweaked the idea of using Auto-Tune as a way to convey emotions that evoke too much feeling when spoken of explicitly. Released in June 1966, Frank Zappa's major-label debut was only rock's second double album (Bob Dylan released Blonde on Blonde a month earlier) but it set a higher bar for conceptual audacity. Idlewild South was packed with Duane's Muscle Shoals-weaned smarts too, turning hippie boogie to shimmering AM gold. "This album is a cantata." Before the soundtrack for The Harder They Come, reggae's success in America was limited to the occasional fluke 45 (e.g., Desmond Dekker's "The Israelites") and appropriative novelties like the Beatles' "Ob-La-Di, Ob-La-Da." On their second album, the Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music. The album's nervy, outsized blend of pop, rock and soul would send seismic waves throughout radio, inviting both marquee crossovers (like Eddie Van Halen's guitar solo on "Beat It") and sneakier attempts at genre-meshing. Without it there is probably no Drake, no Smiths or any other artist who coped with their sadness by curling up on it like it was some kind of gigantic pillow. Recorded over two days at Columbia’s 30th Street Studio, in 1959, Kind of Blue has found its way onto just about every “Greatest Albums of All Time” list. It was both raw, uncut underground and carefully composed pop. Hayes reluctantly agreed to record another LP for Stax, with the caveat of having complete creative control — a rare opportunity for a soul musician at the time, but after Hot Buttered Soul's wild success, a necessity. series was born of a simple idea: What if there was a hits album where tracks' running times weren't edited for the purposes of making LP space? It was originally a pair of concept albums — among the first of those as well — in the very literal sense: two bound collections of six 78-RPM discs documenting the hardships of the 1930s dust ¬ storms in plain-sung song. No playlists, but here are the albums I’ve been listening to the most while I work lately: “Traces of You” by Anoushka Shankar “The Best of Ravi Shankar” by Ravi Shankar “Inspiration Information 3” by Mulatu Astatke and The Heliocentrics “Release the Green Lover” by Raquy and the Cavemen “A Go Go”, “Up All Night”, “Bump” by John Scofield “Uninvisible” by Medes Well, not about the spaceship rest stops, but about what giddy, playful compositions like "Electronic Can-Can" and "Computer In Love" presaged — namely, a future where Daft Punk and Dr. Luke defined the parameters as much as any axe-wielding rocker, thanks to the Moog, the Ondioline and their digital descendants being just as likely to create chart-topping hits as guitars. The finest track on The Black Voices is its funniest, the eminently sample-ready, five-second salvo "The Meek Ain't Gonna" in which Hamilton explodes with the single line "The meek ain't gonna inherit shit… because I'll take it! Not only did King secure a foothold for women as hit songwriters, but as a singer, she broke down the double-standard that allowed men like Bob Dylan to use their imperfect voices to express personality, but constrained women to harsher standards of precision. Music for writing: What works best? As the struggle for civil rights raged down South, this self-conscious exercise in integration reminded fans on either side of the racial divide of their common musical roots. Top 3 Albums To Listen To While Writing: Pop, Acoustic, Rap? Here is where white American kids got the notion they could play the blues. A blueprint for modern folk music, Woody Guthrie's Dust Bowl Ballads introduced the idea of the songwriter as a personality of his own. It won countless races, including the first-ever Daytona 200 in 1937. These extended takes gave producer Teo Macero plenty of material to snip and splice together, a technique he may have learned from musique concrète, but helped the jazz world catch up with a discovery rock had made some time before: The studio allows for far different possibilities of creative freedom than the stage. While conscientious writing was already a part of the rap game, for Public Enemy's Chuck D, it was the game. In my 20s I’d always written to Tori Amos and I’d always edited to the Wu-Tang Clan. In a world of house and techno driven by dance-floor whims — especially in rave-addled England — Warp Records were driven by the bottom line when they decided to market a "home listening" version of electronic music: Comfortable, older, middle-class types liable to buy an living room record were a more reliable audience for CD sales than trend-chasing kids. ", 40 Most Groundbreaking Albums Of All Time. A primo reference point for Radiohead, Nick Drake, My Bloody Valentine and anyone else looking to evoke the eternal teenage bedroom of the mind. And neither did critics: Lester Bangs described Black Sabbath as "just like Cream! combines Zappa's deep passion for midcentury blues, R&B and doo-wop with an aspirational affinity for avant-garde composers such as Edgard Varèse and Karlheinz Stockhausen. Mixing viola chaos with Bo Diddley beats and the odd song that could be played at a wedding, The Velvet Underground & Nico linked high art aspirations with rock & roll tenderness and discovered a new continent in between. Kind of Blue is, perhaps, the greatest jazz record ever, and that means every track is exceptional. A path-finding moment in the pre-history of hip-hop, the debut album from this Los Angeles poetry collective — full of minimalist beats and brilliant wordplay nearly a decade before the first recorded rap song — still feels relevant 45 years later. When Black Sabbath released their self-titled debut in 1970, they didn't think they were starting a movement. Dr. Dre's lush, studio-recorded instruments seemed huge compared to the last decade of drum machines and sample collections. ", Never had rock music been so fussy or so technical, forgoing the pleasure of the moment for the rarefied pursuits of multi-song suites and breakdowns in time signatures no teenager would dare try to do the mashed potato alongside. Jazz greats Herbie Mann, Max Roach, Randy Weston and Horace Silver all began to explore African music under its influence. Kraftwerk's savvy use of pop elements smuggled in a Trojan horse of electronic experimentalism to the broadest audience possible. The Beatles didn't stop touring till the summer of 1966, but a year earlier, on Rubber Soul, you can hear them deciding to make the recording studio their home. But Coleman came up on the R&B circuit, and if Something Else!!!!

The concept's irreverence was balanced by the neutral German imitation of Beach Boys harmonies. Pet Sounds' emotional ambiguities and rich arrangements brought a through-line of maturity to the adolescent fun, fun, fun of early rock. This also meant the few snobs still slotting all that electric pop racket as kiddie music had to get hip. It’s been years in the making, but the Indian Scout is back. By putting his group's message up front — pro-black, anti-drug, pro-revolution, anti-war — it cemented hip-hop itself as part in the lineage of black revolutionary literature (everyone from Tupac Shakur to Killer Mike owes a debt of gratitude).

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