Documentos de Académico
Documentos de Profesional
Documentos de Cultura
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sound safe.
The Rise and Fall of Ziggy Stardust and the Spiders from Mars, David Bowie
Only Bowie could pull this off: an apocalyptic concept album by a horny alien drug addict alter-ego who wails his way through eleven glam anthems en route to rock 'n' roll suicide.
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personal, socially conscious work, forever altering the terrain of American soul music. If the Funk Brothers, Motown's most underappreciated backing band, sound especially white hot, that's because it's the first record they ever got credit for.
Illmatic, NaS
How to be an MC.
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friend sing beautiful songs about girls and loneliness and wasting time, if your best friend was one of the smartest guitarists and lyricists of our time.
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all original material, including "Paint It Black." Recorded when they were twenty-two. This was the British Invasion.
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Destroyer, KISS
While most bands start out as bands and evolve into cartoon characters, KISS started out as cartoon characters and evolved into a band. By the time they recorded Destroyer, their fifth record, they were at their peak, reached just moments before they began falling apart. (The iconic cover art is almost prophetic, the four members leaping off the top of the mountain they had finished climbing together.) The lead track, "Detroit Rock City," probably remains their best song; "Beth" pulled the improbable double-double of giving birth to the power ballad while also guaranteeing that we'd never have to listen to Peter Criss sing again.
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but The Bends gave us just the right doses of good and weird in equal measure and at once.
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goes, no matter where he sees her, no matter what wrong she does, no matter how big she gets, no matter what rough road she takes, she's still his baby.
The Good, the Bad, and the Ugly Soundtrack, Ennio Morricone
It's the Old West set to electric guitar by an Italian, which is somehow authentically American.
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"Tangled Up in Blue." Because of the heartbreaking confusion in "Simple Twist of Fate." Because of the heartache of "Shelter from the Storm." Because you tap your foot through all 8:50 of "Lily, Rosemary and the Jack of Hearts." Because "Buckets of Rain" is a beautiful lullaby if you don't listen to the words. And because: "You're an idiot, babe. It's a wonder that you still know how to breathe."
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York, Nirvana
It's the last time a huge band recorded a surprising album.
The Best of Mississippi John Hurt (Live at Oberlin College, 1966), Mississippi John Hurt
You listen to this album and you can't believe you're not listening to two guitars and a standup bass. But it's one man: one very old, very well-traveled man. He gives them three gospel songs just to get everyone settled and then the real blues raw, funny, dirty, and interrupted occasionally (and endearingly) by a forgotten lyric.
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Deep down inside, every red-blooded American man is a lovelorn, whiskey swilling cowboy with a heart full of sorrow. The clinking of glasses in the background of this recording only adds to the sweet misery.
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Makes you think that a woman's voice could do any rock band good. Lou Reed's heroinaddled musical lifeblood, for so long dependent on grit and experimentation, is chastened and made beautiful.
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The better soundtrack would be the songs from True Stories the movie as sung by John Goodman and Pops Staples and others. But this underrated record (underrated even by David Byrne himself) will do.
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After getting dumped by Ava Gardner, Sinatra responds with a crushing meditation on heartbreak and desolation.
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getting serious in 1978. That's also when they brought in Marky to replace Tommy on drums, making Road to Ruin the debut of what a lot of us consider the band's classic lineup. Here they hustled their shared love of 1960s girl groups and New York City's needle alleys to a new level, taking sing-along choruses and three-chord riffs and turning them into high-school anthems, only two of which ran over three minutes. Road to Ruin is the definition of tight.
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Made up of recently unearthed songs that were almost thrown out with the trash after he recorded them for a Nashville radio show. Worth it if only for Hank's spoken-word introductions.
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Anthems of whiskey and women and helplessness and fear and trucks and guns and whiskey and women.
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been partially paralyzed and bound to a wheelchair since he was eighteen would be incidental if it weren't for the handful of songs on this quietly triumphant album that deal with the subject.
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Only Cohen could make such simple lyrics, modest ideas, and almost-whispered vocals seem so commanding.
Penthouse, Luna
Languid. Suspicious. Witty. This album defined "cool." For the indie-pop set at least.
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