Stop Making Sense on Saturday 27th January 2018
Stop Making Sense the 1984 concert film featuring a live performance by Talking Heads. Directed by Jonathan Demme, it was shot over the course of three nights at Hollywood’s Pantages Theater in December 1983, as the group was touring to promote their new album Speaking in Tongues. The movie is notable for being the first made entirely using digital audio techniques. The band raised the budget of $1.2 million themselves. The title comes from the lyrics of the song “Girlfriend Is Better“: “As we get older and stop making sense…”
Track listing; Psycho Killer, Heaven, Thank You for Sending Me an Angel, Found a Job, Slippery People, Burning Down the House, Life During Wartime, Making Flippy Floppy, Swamp, What a Day That Was, This Must Be the Place, Once in a Lifetime,Genius of Love (as Tom Tom Club), Girlfriend Is Better, Take Me to the River (Al Green, Mabon “Teenie” Hodges), Crosseyed and Painless.
A fantastic film enjoyed by a great crowd at AudioCollective
Pulp Fiction on Saturday 30th December
No film score was composed for Pulp Fiction; Quentin Tarantino instead used an eclectic assortment of surf music, rock and roll, soul, and pop songs. Tarantino chose surf music as the basic musical style for the film, but not, he insists, because of its association with surfing culture: “To me it just sounds like rock and roll, even Morricone music. It sounds like rock and roll spaghetti Western music.”
The soundtrack album, Music from the Motion Picture Pulp Fiction, was released along with the film in 1994. The album peaked on the Billboard 200 chart at number 21. Estella Tincknell describes how the particular combination of well-known and obscure recordings helps establish the film as a “self-consciously ‘cool’ text; use of the mono-tracked, beat-heavy style of early 1960s U.S. ‘underground’ pop mixed with ‘classic’ ballads such as Dusty Springfield’s ‘Son of a Preacher Man’ is crucial to the film’s postmodern knowingness.” The soundtrack is central, she says, to the film’s engagement with the “younger, cinematically knowledgeable spectator” it solicits.
Portishead’s Dummy On Saturday 18th November
We showcased the band’s debut studio album originally released on 22 August 1994, by Go! Beat Records. The album received critical acclaim, winning Portishead the 1995 Mercury Music Prize. It is often credited with popularising the trip hop genre, and is frequently cited in lists of the best albums of the 1990s. Although it achieved only modest chart success overseas, it peaked at number 2 on the UK Album Chart, and saw two of its three singles reach number 13. The album was certified gold in 1997 and has sold two million copies in Europe. The album was certified double platinum in the UK in 1996, for sales exceeding 600,000 copies. It had sold 825,000 copies in the United Kingdom as of September 2011.
The album will be played on new equipment supplied by the AC crew (we’ll be testing out our new high fidelity TIDAL streamer) and also include discussion (not too heavy!) video footage (of the performer) and a chance to bring along and play your own related vinyl.
The Velvet Underground & Nico is the debut album by American rock band the Velvet Underground, released in March 1967 by Verve Records. Accompanied by vocalist Nico, the album was recorded in 1966 while the group were featured on Andy Warhol‘s Exploding Plastic Inevitable multimedia event tour, which gained attention for its experimental performance sensibilities and controversial lyrical topics, including drug abuse, prostitution, sadomasochism and sexual deviancy.
Though the record was a commercial failure upon release and was almost entirely ignored by contemporary critics, The Velvet Underground & Nico is now widely recognized as one of the greatest and most influential albums in the history of popular music. In 1982, musician Brian Eno famously stated that while the album initially only sold approximately 30,000 copies, “everyone who bought one of those 30,000 copies started a band.”
The first AC night after the summer recess was selected from four post punk / new wave classics including The Gang of Four and The Cure
The groups selected Joy Divisions seminal classic Unknown Pleasures released on 15 June 1979 on Tony Wilson’s Factory Records label. Recorded and mixed over three successive weekends at Stockport’s Strawberry Studios in April 1979, the album was produced by Martin Hannett, who incorporated a number of unconventional recording and production techniques into the group’s sound. The cover artwork was designed by artist Peter Saville. It is the only Joy Division album released during lead singer Ian Curtis‘s lifetime.
July 22nd’s event was the last before the summer recess, it was a beautiful warm evening and made all the better by Revolver, the Beatles fantastic offering. Released on 5 August 1966, it was the Beatles’ final recording project before their retirement as live performers and marked the group’s most overt use of studio technology. As such video footage of the band was more difficult to come by but we did find these great clips. Beatles Revolver
Debate rages on as to whether it was their best album but despite that everyone, including a host of new attendees enjoyed the night.
June 17th featured Endtroducing... . This is the first classic album selected by the membership and was a fantastic night.
We featured lots of video footage of Joshua Paul “Josh” Davis (born June 29, 1972) better known by his stage name DJ Shadow. For the uninitiated he’s an American record producer and DJ. He first gained notice with the release of his highly acclaimed debut studio album, Endtroducing…... He has a personal record collection of over 60,000 records.
Look out for other back catalogue releases and work from the likes of including Unkle, Cut Chemist, Massive Attack Blackalicious, Zack de la Rocha, Keak Da Sneak, Mos Def, David Banner, and Dr Octagon and anything on MoWax, Quannum Projects or Solesides.
See our DJ Shadow YouTube playlist
April 30th 2017 Miles Davis – Kind of Blue
DATA SHEET Will’s Davis facts!
A night of classic jazz and wonderful video footage of Davis’s ensemble sextet, consisting of pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley, together with pianist Wynton Kelly on one track.
After the entry of Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) by basing Kind of Blue entirely on modality, in contrast to his earlier work with the hard bop style of jazz.
Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis’s best-selling album, but as the best-selling jazz record of all time.
See our MILES DAVIS YouTube playlist
April 1st 2017 Radiohead – Kid A
DATA SHEET Radiohead info’ from Will
We showcased electronica with this Radiohead monster from 2000. Some initial sonic issues were remedied and the live gig videos made the night feel like a true listening experience. More new friends joined us and we made our first group LP selection for the June event; DJ Shadow’s Endtroducing…
Kid A is the fourth studio album released on 2 October 2000 by Parlophone. On the verge of a breakdown after promoting Radiohead’s 1997 album OK Computer, songwriter Thom Yorke envisioned a radical change in direction. Radiohead replaced their rock sound with synthesisers, drum machines, the ondes Martenot, string orchestras and brass instruments, incorporating influences from genres such as electronic music, krautrock, jazz, and 20th-century classical music. They recorded Kid A with OK Computer producer Nigel Godrich in Paris, Copenhagen, Gloucestershire and their hometown Oxford, England.
See our RADIOHEAD YouTube playlist
March 4th 2017 David Bowie – Aladdin Sane
DATA SHEET Bowie news and views….
The inaugural AudioCollective event at The Shush Bar in The Swan Pub in Cheltenham. A great success we think and the first step in creating a local music listening community, thanks to the awesome Bowie back catalogue.
Aladdin Sane is the sixth studio album released by RCA Records on 13 April 1973. The follow-up to his breakthrough The Rise and Fall of Ziggy Stardust and the Spiders from Mars, it was the first album he wrote and released from a position of stardom.
NME called the album “oddly unsatisfying, considerably less than the sum of the parts”, while Bowie encyclopaedists Nicholas Pegg describes it as “one of the most urgent, compelling and essential” of his releases. The album cover featuring a lightning bolt across his face is regarded as one of Bowie’s most iconic images.
See our BOWIE YouTube playlist