craner
Beast of Burden
To be honest, that was mostly to teach Barty something about drumming.
Craner's Top 100
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To be honest, that was mostly to teach Barty something about drumming.
sadmanbarty
Well-known member
it really is such a blessing to have craner.
i'll never understand how he wasn't lapped up by the london review of books or something back in the blogging heyday. i proper tragedy his voice isn't more widely shared.
to be fair it's not actually too late.
but we are truly lucky to have stumbled upon a forum where he exists and- when he chooses- flourishes.
a brilliant writer and character. he embodies a whole aesthetic.
truly amazing bloke.
i'll never understand how he wasn't lapped up by the london review of books or something back in the blogging heyday. i proper tragedy his voice isn't more widely shared.
to be fair it's not actually too late.
but we are truly lucky to have stumbled upon a forum where he exists and- when he chooses- flourishes.
a brilliant writer and character. he embodies a whole aesthetic.
truly amazing bloke.
craner
Beast of Burden
50.
The Rolling Stones, 'Shine a Light'
Complicated topic.
It’s interesting that Keith Richards is venerated these days as the authentic heart of the Stones, the grizzled blues veteran in the mold of his Delta heros, while Mick Jagger is ridiculed and belittled as the pantomime dame, the poseur, the shagger, the glorified tour manager obsessed with milking profit from deadly mega tours (and shagging). Yeah, right! What, are we supposed to see this all through Keith’s eyes? Are we that weak-minded and craven? What are we, Johnny Depp?
Apart from also being interested in money, Keith is as much of a poseur as Mick, in fact more so because it takes way more work and attention to detail to maintain an image of authenticity in the way that he does. It is worth pointing out that most, if not all, of the bad bits in Stones songs are caused by Mick (although I wouldn’t absolve Ronnie Wood of all blame on that score); but then again, in a perverse way, some of their greatest strengths are also down to Jagger. Ridiculous and venal as he is, he is also a great energizer, a lodestar.
He’s also a fucking funny counterpoint to Keith’s worst Rock and Roll hard man affectations. When punk came along, Keith was temporarily affronted and scared shit-less by the challenge to his credibility, while Mick just sort of shrugged it off, all part of the exciting milieu that formed the backdrop to his international shagging quest: “New York and London, too. Paris—there was punk there. Lots of dance music. Paris and New York had all this Latin dance music, which was really quite wonderful. Much more interesting than the stuff that came afterward.” It was kind of hilarious, too, when Mick tried to make the Stones go disco, to Keith's slow-burning fury (he still talks about it!). Then again, have you tried listening to Some Girls lately? It’s shit.
Anyway, this doesn’t matter to most sensible people who couldn’t give a fuck about Mick or Keith. That would include me, except for Exile on Main Street. I love this album. I am a bit obsessed with this album, actually. It helps that Mick was semi-detached from it, as he was too busy chasing Blanca Pérez-Mora Macías all around St Tropez and Cannes, leaving Keith alone to create his magnum opus. It also helps that Mick’s vocals are mixed down, finding a natural center within this awesome extended band of gospel singers, Bobby Keys, Jimmy Miller etc. Mick Taylor is at the peak of his powers. It sounds like a different band to the pantomime horse of later years, the Stones where Mick seems to loom out like a gargoyle or smear himself across the songs like glue.
This thing that Keith made is like the thing that Lindsey Buckingham made when left to his own devices: like Tusk, Exile is greater than the sum of its parts, a weird rattle bag of odd bits among pieces of great beauty. Luke thinks this is all stale beer and fags, but it’s actually fine wines, expensive drugs, free hookers, and antique art in French villas. It’s big, thrilling, murky, elegant and decadent. What an album!
The Rolling Stones, 'Shine a Light'
Complicated topic.
It’s interesting that Keith Richards is venerated these days as the authentic heart of the Stones, the grizzled blues veteran in the mold of his Delta heros, while Mick Jagger is ridiculed and belittled as the pantomime dame, the poseur, the shagger, the glorified tour manager obsessed with milking profit from deadly mega tours (and shagging). Yeah, right! What, are we supposed to see this all through Keith’s eyes? Are we that weak-minded and craven? What are we, Johnny Depp?
Apart from also being interested in money, Keith is as much of a poseur as Mick, in fact more so because it takes way more work and attention to detail to maintain an image of authenticity in the way that he does. It is worth pointing out that most, if not all, of the bad bits in Stones songs are caused by Mick (although I wouldn’t absolve Ronnie Wood of all blame on that score); but then again, in a perverse way, some of their greatest strengths are also down to Jagger. Ridiculous and venal as he is, he is also a great energizer, a lodestar.
He’s also a fucking funny counterpoint to Keith’s worst Rock and Roll hard man affectations. When punk came along, Keith was temporarily affronted and scared shit-less by the challenge to his credibility, while Mick just sort of shrugged it off, all part of the exciting milieu that formed the backdrop to his international shagging quest: “New York and London, too. Paris—there was punk there. Lots of dance music. Paris and New York had all this Latin dance music, which was really quite wonderful. Much more interesting than the stuff that came afterward.” It was kind of hilarious, too, when Mick tried to make the Stones go disco, to Keith's slow-burning fury (he still talks about it!). Then again, have you tried listening to Some Girls lately? It’s shit.
Anyway, this doesn’t matter to most sensible people who couldn’t give a fuck about Mick or Keith. That would include me, except for Exile on Main Street. I love this album. I am a bit obsessed with this album, actually. It helps that Mick was semi-detached from it, as he was too busy chasing Blanca Pérez-Mora Macías all around St Tropez and Cannes, leaving Keith alone to create his magnum opus. It also helps that Mick’s vocals are mixed down, finding a natural center within this awesome extended band of gospel singers, Bobby Keys, Jimmy Miller etc. Mick Taylor is at the peak of his powers. It sounds like a different band to the pantomime horse of later years, the Stones where Mick seems to loom out like a gargoyle or smear himself across the songs like glue.
This thing that Keith made is like the thing that Lindsey Buckingham made when left to his own devices: like Tusk, Exile is greater than the sum of its parts, a weird rattle bag of odd bits among pieces of great beauty. Luke thinks this is all stale beer and fags, but it’s actually fine wines, expensive drugs, free hookers, and antique art in French villas. It’s big, thrilling, murky, elegant and decadent. What an album!
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craner
Beast of Burden
Aww, gee. Thanks, Barty!
craner
Beast of Burden
51.
Steely Dan, 'Peg'
Now, I don't love Steely Dan like Diggedy Derek and Jim Clarke do (when we had a meet up in Clapton to honor Mark, these two had a mind-boggling in-depth discourse about their favorite Don Fagan moments, and frankly we all left them to it). In fact, I find them a bit boring and annoying. However, I really love this song, so I'll give them that.
Steely Dan, 'Peg'
Now, I don't love Steely Dan like Diggedy Derek and Jim Clarke do (when we had a meet up in Clapton to honor Mark, these two had a mind-boggling in-depth discourse about their favorite Don Fagan moments, and frankly we all left them to it). In fact, I find them a bit boring and annoying. However, I really love this song, so I'll give them that.
craner
Beast of Burden
52.
Hall and Oates, 'Maneater'
There were a few H&O songs in the frame for this slot, 'I Can't Go For That (No Can Do)' came very close. But this is their ultimate entry into the war of the sexes that is a part of art (see also Gang Starr 'Ex Girl to Next Girl', Phil Collins 'Easy Lover', the work of Camille Paglia). Slick MOR with a nasty edge.
Hall and Oates, 'Maneater'
There were a few H&O songs in the frame for this slot, 'I Can't Go For That (No Can Do)' came very close. But this is their ultimate entry into the war of the sexes that is a part of art (see also Gang Starr 'Ex Girl to Next Girl', Phil Collins 'Easy Lover', the work of Camille Paglia). Slick MOR with a nasty edge.
craner
Beast of Burden
53.
Whodini, 'One Love'
Can't remember when or how I first heard this, but it was an immediate key track and never left me. Simultaneously silly and very wise. I like the extended version, as it emphasizes the hard electro edge that underpins the lush synth stabs and washes. A temporary truce in the war of the sexes.
Whodini, 'One Love'
Can't remember when or how I first heard this, but it was an immediate key track and never left me. Simultaneously silly and very wise. I like the extended version, as it emphasizes the hard electro edge that underpins the lush synth stabs and washes. A temporary truce in the war of the sexes.
craner
Beast of Burden
54.
Drexciya, 'Sighting in the Abyss'
As well as founding the Todd Addicts Recovery Group, I also started the Dissensus Drexciya thread. I like them when they mix high concept with extreme melody, like this. I first heard them listening to Annie Nightingale on Radio 1 at about 4 'o' clock in the morning some time in 1994 when she played 'Hydro Theory' right after Tricky's 'Aftermath'. The next day I immediately ordered both records. She had a great show in those days, but I think the whole Dubstep Granny thing has gone too far now.
Drexciya, 'Sighting in the Abyss'
As well as founding the Todd Addicts Recovery Group, I also started the Dissensus Drexciya thread. I like them when they mix high concept with extreme melody, like this. I first heard them listening to Annie Nightingale on Radio 1 at about 4 'o' clock in the morning some time in 1994 when she played 'Hydro Theory' right after Tricky's 'Aftermath'. The next day I immediately ordered both records. She had a great show in those days, but I think the whole Dubstep Granny thing has gone too far now.
craner
Beast of Burden
55.
Lillo Thomas, 'I'm In Love'
There seems to be some confusion about who produced this. Mastercuts Rare Grooves liner notes claimed Mantronix were involved, YouTube says Kashif, Discogs say Paul Laurence. It's a mystery, because it has a really unique sound, hard and lush, like the Whodini track. As well as singing on this amazing song, Lillo also qualified for the 1984 U.S. Olympic sprinting team. Blessed with talents! He seems to have put on weight in recent years, though.
Essential Cranon material.
Lillo Thomas, 'I'm In Love'
There seems to be some confusion about who produced this. Mastercuts Rare Grooves liner notes claimed Mantronix were involved, YouTube says Kashif, Discogs say Paul Laurence. It's a mystery, because it has a really unique sound, hard and lush, like the Whodini track. As well as singing on this amazing song, Lillo also qualified for the 1984 U.S. Olympic sprinting team. Blessed with talents! He seems to have put on weight in recent years, though.
Essential Cranon material.
craner
Beast of Burden
56.
Adam and the Ants, 'Prince Charming'
"RIDICULE IS NOTHING TO BE SCARED OF"
This is a classic line and has been a guiding light for me, no less in this thread. I always knew this would be in it, and that was my motto.
Pop song as Manifesto. The early 80s Brits excelled at that, and this is one of the best. I think they were a fantastic band, but I also admire their arch rivals Bow Wow Wow too (it was complex, ask Blissblogger). This isn't actually my favorite Ants record, that would be Kings of the Wild Frontier. But never, ever listen to hipsters who tell you that Dirk Wears White Sox is the best Ants, because it's punk. It's not the best. Fuck punk. This stuff is the best.
Adam and the Ants, 'Prince Charming'
"RIDICULE IS NOTHING TO BE SCARED OF"
This is a classic line and has been a guiding light for me, no less in this thread. I always knew this would be in it, and that was my motto.
Pop song as Manifesto. The early 80s Brits excelled at that, and this is one of the best. I think they were a fantastic band, but I also admire their arch rivals Bow Wow Wow too (it was complex, ask Blissblogger). This isn't actually my favorite Ants record, that would be Kings of the Wild Frontier. But never, ever listen to hipsters who tell you that Dirk Wears White Sox is the best Ants, because it's punk. It's not the best. Fuck punk. This stuff is the best.
forclosure
Well-known member
Kings of the Wild Frontier is incredible every song is great
i heard some of their first album in a car ride once going to a gig i liked it but its been ages so i dunno if its still good
i heard some of their first album in a car ride once going to a gig i liked it but its been ages so i dunno if its still good
craner
Beast of Burden
57.
Intense, 'Journey to the Unknown'
This is the first jungle record I ever brought, from Derrik's Records bargain vinyl bin, late '93. I guess nobody else in Swansea wanted it, but what a score! I still have it and cherish it. In truth I didn't know what it was when I was rifling through, but it had a very promising look about it, very mysterious, very cool titles. I'd been listening to hardcore rave tapes, stuff like Top Buzz and Ellis Dee and also Aphex Twin and other techno bits and dreamed of a marriage between the two, but hadn't heard it. In those days, in South Wales, you couldn't access the cutting edge stuff that was easy to hear in London just by fiddling with the FM dial. This was a revelation, and within a few months it was getting easier to hear this kind of thing as jungle seeped in and Fantazia tapes with Bukem made it to South Wales. Everything fell into place from there (also reading a Reynolds piece in Melody Maker in this early time helped clarify what I was seeking). I can'r really describe the effect this record had on me, it was life changing. I introduced a bunch of my school pals to this stuff and they loved it but then eventually went down the alley of pills, fast cars (we were all just passing our driving tests), Happy Hardcore and Gabber. That's the provinces for you. I stuck with the programme and ended up writing this on Dissensus. Funny world.
Intense, 'Journey to the Unknown'
This is the first jungle record I ever brought, from Derrik's Records bargain vinyl bin, late '93. I guess nobody else in Swansea wanted it, but what a score! I still have it and cherish it. In truth I didn't know what it was when I was rifling through, but it had a very promising look about it, very mysterious, very cool titles. I'd been listening to hardcore rave tapes, stuff like Top Buzz and Ellis Dee and also Aphex Twin and other techno bits and dreamed of a marriage between the two, but hadn't heard it. In those days, in South Wales, you couldn't access the cutting edge stuff that was easy to hear in London just by fiddling with the FM dial. This was a revelation, and within a few months it was getting easier to hear this kind of thing as jungle seeped in and Fantazia tapes with Bukem made it to South Wales. Everything fell into place from there (also reading a Reynolds piece in Melody Maker in this early time helped clarify what I was seeking). I can'r really describe the effect this record had on me, it was life changing. I introduced a bunch of my school pals to this stuff and they loved it but then eventually went down the alley of pills, fast cars (we were all just passing our driving tests), Happy Hardcore and Gabber. That's the provinces for you. I stuck with the programme and ended up writing this on Dissensus. Funny world.
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Corpsey
bandz ahoy
These entries are getting better and better. The bottle is uncorked. Your memories bring back memories for me - the degraded memories of the 90s child growing up a cultural backwater, being fascinated by Helter Skelter and Dreamscape flyers, hearing the odd bit of Metalheadz (along with General Levy and Shy FX in the charts), and "World of Bass" by Ded Dread, by accident, on John Peel's show. And, toe curlingly, "Human Traffic" as a sort of intro to jungle, and rave tribalism (much missed now), even back then I knew that progressive house was shit and jungle was where the action was. The bad/cool boys at school were junglists, with their curtains and AWOL/MOVING SHADOW/spliffy jackets. But this was when I was about 13, 1997, jungle already over.
craner
Beast of Burden
58.
DJ A.K.A, 'The Farside'
Key pick from one of my favorite albums, Hard Leaders 4.
Creepy, clammy, crepuscular, with the crisp drums. Quintessential Darkcore. But it's not about Bladerunner, honest Barty.
Bedroom producer brilliance. Amazing how they made these incredible tracks on such basic software. Sorcery.
DJ A.K.A, 'The Farside'
Key pick from one of my favorite albums, Hard Leaders 4.
Creepy, clammy, crepuscular, with the crisp drums. Quintessential Darkcore. But it's not about Bladerunner, honest Barty.
Bedroom producer brilliance. Amazing how they made these incredible tracks on such basic software. Sorcery.
craner
Beast of Burden
59.
LFO 'LFO'
Heard this on Steve Wright in the Afternoon on Radio 1 when it was charting. He mocked it, sarcastially pronouncing "L...F...O". Even as kid, which I was then, I thought, "you twat" and was immediately converted to TECHNO. I mean, it took a couple of years for me to actually start listening to these kind of records, but I was already instinctively on their side. Truthfully, it seemed a bit basic to me then, but I was 12 and too busy enjoying Belinda Carlisle and Poison.
However, it's not basic at all: even now it's a magnificent, icy masterpiece with bass that my car speakers cannot handle (the whole frame wobbles if I play it loud). A stately but hard slice of coldness. Futurist and still The Future.
LFO 'LFO'
Heard this on Steve Wright in the Afternoon on Radio 1 when it was charting. He mocked it, sarcastially pronouncing "L...F...O". Even as kid, which I was then, I thought, "you twat" and was immediately converted to TECHNO. I mean, it took a couple of years for me to actually start listening to these kind of records, but I was already instinctively on their side. Truthfully, it seemed a bit basic to me then, but I was 12 and too busy enjoying Belinda Carlisle and Poison.
However, it's not basic at all: even now it's a magnificent, icy masterpiece with bass that my car speakers cannot handle (the whole frame wobbles if I play it loud). A stately but hard slice of coldness. Futurist and still The Future.
craner
Beast of Burden
60.
Black Box, 'Ride on Time'
The first Italian music I ever loved.
This is an amazing track. Face it. You know it is. Still sounds incredible, monolithic: a shrill, mechanical three minute intense orgasm. It was the soundtrack to every fair ride I went on in the early 90s and I still get that buzz of excitement and indecent expectation and satisfying climax every time I hear it. Maybe pure nostalgia, but still energizing.
I also had a big thing for the spawn of this in the following years, Euro house, handbag house, Haddaway, Livin Joy, Grace, that kind of thing. It made you forget, for a moment, that you lived in the UK, which was generally quite shit in those days.
This is in the pantheon of the greats.
Black Box, 'Ride on Time'
The first Italian music I ever loved.
This is an amazing track. Face it. You know it is. Still sounds incredible, monolithic: a shrill, mechanical three minute intense orgasm. It was the soundtrack to every fair ride I went on in the early 90s and I still get that buzz of excitement and indecent expectation and satisfying climax every time I hear it. Maybe pure nostalgia, but still energizing.
I also had a big thing for the spawn of this in the following years, Euro house, handbag house, Haddaway, Livin Joy, Grace, that kind of thing. It made you forget, for a moment, that you lived in the UK, which was generally quite shit in those days.
This is in the pantheon of the greats.
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sadmanbarty
Well-known member
Well, I'm standing here, what do I see?
A big nothing threatening me
It's so sad when you're young
To be told you're having fun
A big nothing threatening me
It's so sad when you're young
To be told you're having fun
yu'dunnit boss you've broken through to me now reference the aliyev clan in one of your future write ups.
craner
Beast of Burden
61.
808 State, 'Pacific State'
Having said that, this kind of thing makes me feel patriotic, which is rare. What other country - even the U.S. - is good enough at pop music to make something like this and send it up the charts? I could probably choose some more obscure house or techno record in this spot, but what's the point? This is The Sublime. I think Gerald was still on board at this point, which makes sense as it clearly points towards the Bukem aesthetic. The second best thing that ever came out of Manchester.*
*'Voodoo Ray' was the best.
808 State, 'Pacific State'
Having said that, this kind of thing makes me feel patriotic, which is rare. What other country - even the U.S. - is good enough at pop music to make something like this and send it up the charts? I could probably choose some more obscure house or techno record in this spot, but what's the point? This is The Sublime. I think Gerald was still on board at this point, which makes sense as it clearly points towards the Bukem aesthetic. The second best thing that ever came out of Manchester.*
*'Voodoo Ray' was the best.
craner
Beast of Burden
62.
DJ Rap, 'Spiritual Aura (Get Raw Mix)'
You all know I am an advocate of Rap. She stood up to the ludicrous Jungle Council patriarchy and said, "fuck you, I like M-Beat and General Levy, I'm gonna play it!"
She also made a slew of classics ('Digable Bass' and 'Switch' could also qualify for this spot), but this is the loveliest version of her signature tune.
Ruff Ambient Jungle, as we used to say. (Maybe we didn't.)
DJ Rap, 'Spiritual Aura (Get Raw Mix)'
You all know I am an advocate of Rap. She stood up to the ludicrous Jungle Council patriarchy and said, "fuck you, I like M-Beat and General Levy, I'm gonna play it!"
She also made a slew of classics ('Digable Bass' and 'Switch' could also qualify for this spot), but this is the loveliest version of her signature tune.
Ruff Ambient Jungle, as we used to say. (Maybe we didn't.)
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