Music that flipped the script?

[MrSquished]

Somebody already mention "Kraftwerk" on the first page, I'll mention them again.

Pretty sure they were the major player that popularized electronic/techno.

Most people I know have never heard of them.

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On a "similar" note, what about "Nightwish"?

I feel like they started the sort of "folk / gothic rock / techno".

- YouTube

Auf YouTube findest du die angesagtesten Videos und Tracks. Außerdem kannst du eigene Inhalte hochladen und mit Freunden oder gleich der ganzen Welt teilen.

www.youtube.com

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Which makes me think of "The Lord Weird Slough Feg".

They were like folk rock in the 90's, not sure if they were first at anything...

I Will Kill You/You Will Die

Provided to YouTube by The Orchard EnterprisesI Will Kill You/You Will Die · Mike Scalzi (HAMMERS OF MISFORTUNE) · John Cobbett (HAMMERS OF MISFORTUNE) · Slo...

www.youtube.com

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Going back a little further, there's "Operation Ivy".

Seems like they invented the 90's punk rock.

Knowledge - OPERATION IVY

Lyrics-I know that things are getting tougherWhen you can`t get the top OF the bottom of the barrel.Wide open road of my future now... It's looking fucking n...

www.youtube.com

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Nightwish might be to "mainstream" still, but the others seem fairly obscure to most people today.

Hard to recall exact events from even 5 years ago let alone 80+. How old am I? There can be only one.

You guys already have the "Beetles" and "Beach Boys", that must have been the 1960's right?

What about artists like "Neil Sedeka" , "Paul Anka" , and how could I not mention "Elvis Presley"?

What was earlier than that, hmm...that was "swing" right?

People can still recognize the unique voice of "Louis Armstrong" right?

How about "Benny Goodman" , "Jean Goldkette" , "Russ Morgan" , "Isham Jones"?

Kraftwerk is a good one. I have to admit I do know of them as pioneers of electronica with their electro style and often breakbeat driven tracks. Saw them at Coachella in 2004.

Although I got big into the rave and club scene, eventually buying turntables, I never got into most house music. Breakbeat varieties were what did it for me mainly. Including electro. Created by those guys.

 

[Torn Mind]

I think of Mozart as a savant and Beethoven laboured at his creations.

Really can't say that someone who could improvise as well as Beethoven would truly have a difficult time making them. Perhaps he wasn't quite as resourceful as Mozart, and it came more slowly to him than Mozart, but he certainly had a ear to make everything come together very well.

Some of Beethoven's genius is not in his compositions, but in his arrangements of his own works.

Mozart had to write quite a few practice notes to figure out the string quartet and he also had to labor his way into integrating contrapuntal writing into the musical language and paradigm of the time.

 

[Muse]

Wait a minute - you think the 39th isn't worth listening to????

You NEED to spend more time with these works. This is as close to perfection as a young man can come:

I listen to it several times a week. It gives me joy and peace simultaneously.

Those just came to mind. TBH, I haven't listened to a whole Mozart symphony for likely over 10 years. If I were to pick one today, it would be 40 or 41.

I would not put down on Mozart. He was a towering genius and I'm sure I've only scratched the surface of what his music has to offer. I have really loved much of what I have heard.

 

[Muse]

Kraftwerk is a good one. I have to admit I do know of them as pioneers of electronica with their electro style and often breakbeat driven tracks. Saw them at Coachella in 2004.

Although I got big into the rave and club scene, eventually buying turntables, I never got into most house music. Breakbeat varieties were what did it for me mainly. Including electro. Created by those guys.

Kraftwerk is interesting, but TBH, I think they're over rated. Show Room Dummies, Trans Europe Express, Pocket Calculator, Tour de France... they're OK, but look, you can't dance to that stuff, work up a sweat or get excited by any of that stuff. It's just clever electronica with vocals. Nice sound, no question, but not transcendental at all.

Well, you could dance to it, but I think it would be silly.

I finished my show today. Tomorrow I'll post here the tracks. I uploaded the show to our cloud. We normally broadcast live but we just can't do that during the pandemic.

 

[Torn Mind]

Both musical geniuses. Mozart pumped it out a lot faster. Both could and did pen inferior works much of the time. So did Bach. I think Beethoven's batting average was a lot higher than Mozart. He worked harder at not producing inferior works. Look at his piano concertos. 5 of them, each well worth hearing, even the first. Mozart, well, there are a handful I would go to in a heartbeat, but probably 20 not so much. Beethoven, 9 symphonies. All worth paying attention to. Only the 2nd seems obscure. Mozart? 35, 38, 40, 41. The others? I probably wouldn't bother.

The Linz is not a weak symphony at all. Completed in 4 days time, but it doesn't sound like it at all.

His concertos all have their moments, but the best performances are very YMMV even with big name pianists. It is extremely to make Mozart's concertos boring when he is played.

His cycle of piano concertos 11-13 was an attempt to sell the written music, which didn't do so well. But the 12th's 2nd movement is extremely moving.

The final movement of his 14th piano concerto is very catchy and to me, I think I've heard it somewhere. One of the finest examples of varied repeats changing the character of the original theme.

The 17th was written for his student, Barbara Ployer. Here, the innovation of having the winds as a required part of the orchestra is introduced. Since it was written for someone with lesser abilities, Mozart's sense of developing ideas to vary what is laid out in the orchestral exposition is laid out in full, including the cadenza. The 2nd movement is the most accessible movement emotionally because it's hard to screw up the gist of it regardless of tempo--even in his time, he had a letter where he says "It's an Andante, not an Adagio" -- while first and third movements can easily be played too boring by the pianist. The first is subtle but distinctively lyrical. The last movement is supposed to be peppy, but many pianists veer on the slow when they see "Allegretto"...which makes it boring.

The 19th. Ah, the 19th. That first movement is trulymental riddle of a work. The first movement is weird is that feels like it's forever transitioning, with just a few landmark motifs to remind you where you are. This effect is kinda sorta maybe similar to the effect of the Eroica's first movement, in which no second theme is easily identified and that gives the feel of a lack of structure even though the form is still a sonata. It's extremely hard to not make it boring, but Geza Anda and Helene Grimaud, though different stylistically, provide the most convincing takes on making the work show its magic.

The 21st is Mozart's majestic concerto, and though not as grand as the fifth concerto of Beethoven, is still the sister piece of the 20th, and thus has the same "feel" as its minor key companion in the first movement. Lost to time forever are the improvised candezas to the work, so depending on who plays it, it's written by someone else or none are played at all.

I also had a paradigm shift last year thanks to JoJo, that singer I mentioned earlier. Before, I certainly preferred Beethoven from time-to-time, but now, it's clear to me that even Beethoven has areas he could not match Mozart in.

 

[Muse]

I also had a paradigm shift last year thanks to JoJo, that singer I mentioned earlier. Before, I certainly preferred Beethoven from time-to-time, but now, it's clear to me that even Beethoven has areas he could not match Mozart in.

Fidelio is no match for Mozart's operatic production. I know little about it, because my opera appreciation is weak. But Mozart's operas are held in the highest regard by aficionados. TBH I've been more impressed with their reverence than by my appreciation so far. None the less, highly impressed! Don Giovanni, The Marriage of Figaro, and I suppose Ideomeneo are just out of this world great to hear it from those who know. Beethoven tried his hand, so to speak, Mozart was just there.

 

[sdifox]

Really can't say that someone who could improvise as well as Beethoven would truly have a difficult time making them. Perhaps he wasn't quite as resourceful as Mozart, and it came more slowly to him than Mozart, but he certainly had a ear to make everything come together very well.

Some of Beethoven's genius is not in his compositions, but in his arrangements of his own works.

Mozart had to write quite a few practice notes to figure out the string quartet and he also had to labor his way into integrating contrapuntal writing into the musical language and paradigm of the time.

I meant Beethoven spends more time refining it, not that he is not talented.

 

[Muse]

Here's the track listing for the fundraiser show I created. This is the music. There are mic breaks between most selections. Formatting this list is a nightmare in the forum software, but it's in order of play on the show as shown. The show will be on KALX 90.7 FM, SF Bay Area on this coming Wednesday, Oct. 21, 2020 at 3-5:45PM PDT. Streamable from www.kalx.berkeley.edu
- - - -
Van Halen - Eruption
Black Sabbath - Paranoid
Led Zeppelin - Good Times Bad Times
Zappa, Frank - Trouble Comin' Every Day (live Short <3 Minutes Off Youtube)
Muffs - Oh Nina (Live at Burger Boogaloo, 2014)
Presley, Elvis - Hound Dog
Hendrix, Jimi - Voodoo Child (Slight Return), Maui July 30, 1970 Live
MC5 - Kick Out The Jams
Carlin, Alex - Beatles Tribute (spiel And Song)
Hogan Brothers With Morrea Dickason - Within You Without You Jackson, Michael - Beat It (Eddie Van Halen On Guitar)
Saunderson, Kevin - Big Fun Public Enemy - Bring The Noise Bohannon, Hamilton - Let's Start The Dance Part 1 Cymande - Message, The
Sex Pistols - God Save The Queen (Live @ Winterland, last concert)
Coleman, Ornette - Tribute From Burns' Jazz Series
Charles, Ray - Let The Good Times Roll
McMurtry, James - Choctaw Bingo Cocker, Joe - Feeling Alright (Live with the Grease Band) Tharpe, Sister Rosetta - Didn't It Rain? (Live in the rain) Howlin' Wolf - Down In The Bottom (Live in a tiny club) Johnson, Robert - Me And The Devil Blues
Petersons, The - Jolene Toots And The Maytals - Reggae Got Soul (Live with Taj Mahal and many others)
Monroe, Bill And His Bluegrass Boys - Uncle Pen (Live at Grand Ole Opry)
Dylan, Bob - Absolutely Sweet Marie (Take 1, an outtake)
Stravinsky, Igor - Rite Of Spring (first 6+ minutes) Beethoven, Ludwig Van - Fifth Symphony (1st Movement, Toscanini conducting) Cream - I Feel Free (Live)

 

[MetalMat]

Man could you please please play any Sabbath song besides Paranoid (Iron Man as well)? I like the song but it's been played to death. I wish radio stations would take a chance and not play the same songs over and over, it's a reason why I pretty much quit listening to radio outside of sports stations. For example, how many times do I need to hear "Welcome to the Jungle" or "Paradise City" by GNR before I just get sick of it knowing that they have a bunch of other good songs that never get played.

 

[Muse]

Man could you please please play any Sabbath song besides Paranoid (Iron Man as well)? I like the song but it's been played to death. I wish radio stations would take a chance and not play the same songs over and over, it's a reason why I pretty much quit listening to radio outside of sports stations. For example, how many times do I need to hear "Welcome to the Jungle" or "Paradise City" by GNR before I just get sick of it knowing that they have a bunch of other good songs that never get played.

I had qualms, and I've heard it quite a few times but TBH, I'm not sick of it and didn't look for something else. Yes, I think it's a mistake but I already submitted the show. I could resubmit and request they play my opus 2. Thanks for your comments! Also, Good Times Bad Times is a super cliche, but I swear to God it sounded awesome to me the other day and decided to go with it, partly because it's real short (under 3 minutes). Most Led Zep I see are much longer. Anyway, GTBT is awesome, just brilliant. I remember when that came out. I found out about Led Zep while pumping gas into my car in L.A. A young guy told me about it, a complete stranger. I've had that experience maybe 3 or so times, once for Cream, once for Led Zep and once in a record store for Baby O'Reilly, a guy saying, "hey, you've gotta hear this!" I considered playing that, but it's real long and, well, not something people expect to hear on our station.

I started the show with 3 big hit tracks, the originals, and came on mic and kinda apologized and said most of what I was gonna play was alternate versions, live versions or covers.

 

[nakedfrog]

Love the Muffs, cool to see them on the list.

 

[WelshBloke]

You guys have covered most things so there's a bunch of stuff that I'd have mentioned but I don't need to now.

You seem to be light on 90s UK stuff.

Inspiral carpets were pretty much instrumental in the Madchester scene and that changed UK music a lot.

That's one of their more popular and accessable songs and I always love the lyrics.

 

[Muse]

Yup, I make no claim to be up on any scene actually. I've been exposed to a lot but a lot goes by me. There's a lot out there I have never been exposed to. I firmly believe this is true of most everybody, maybe actually everybody. There's so much music. We at any one time have around 400 (I'm guessing here) "feature play" in the bins, which is new releases (some of those are reissues), and they remain there for an average of 3-4 months, I think. Although if something is green dotted, it stays there less, at least it's supposed to. Red dots at least 3 months and those are "keepers." If nobody changes a green dot to a red dot (anyone can do that) it gets sold after leaving the feature bin. We are required as DJs to play at least 4 feature play items per hour. Now, I do NOT check out (i.e. preview to see if I like and might want to play on my show) everything in feature, just the things that strike me for one reason or another as being maybe worth checking out.

The feature play we have is sent to us by record companies, sometimes by the artist directly, and many times donated by our DJs and occasionally by our listeners. We also do go buy some things that our DJs feel we should have in the library with some of the funds we get from our fundraisers, but not a whole lot, it depend on our budget and how successful our fundraisers are. Generally we do pretty well, meet our fundraising goals, recently probably around $80,000 year. This year with live FR not possible, probably not as well. But our expenses will likely be less because we're locked out of the station, except for maybe 3 people.

What goes into our feature bins is but a fraction of new music being advanced by the "record industry," from tiny independent labels to bigger ones. And then there's the fact that a lot of new music, much of it absolutely quality music isn't even put out on CDs or vinyl. TBH, I mostly get exposed to new music by previewing feature, listening to OUR station (many of our DJs are very deep, deeper than our library and feature bins too), music I happen to be exposed to somehow, randomly. I also review a lot of new music for the station. We're required to do 9 hours of work/month, being on the air doesn't count for that. Most of my hours come from reviewing new releases (for me those are almost always CD's). Each feature play item has been reviewed by a staff member, who attaches a review, temporarily if green-dotted. We are limited to one hour work credit per CD, and it takes me much longer than an hour on average, but I get to hear new music that way, and critically, so I do it.

There's a lot of very very popular music I never hear!