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    • A few months ago there was a 'panel' on how to find new music. I was invited, but didn't participate. The truth is I don't find a lot of new music. When I do, it's usually a chance hear of something on the radio, or something my wife found reviewed in the newspaper, and then vetted.

      I do, however, find a lot of old music. Youtube is great for this, and I discover a lot of new (old) music through their recommendation algorithm. Sometimes, I'm amazed to find that something came out in the '70s because it still sounds so fresh and listenable today. And lots of music is getting re-released these days as collector items.

      I also happen to know quite a few musicians, and I talk to them about the music they like. They're often pointing me to things they think are cool - both old and new - and that's the inroad by which I explore music that was around when I was young, but was never exposed to at the time.

      So, in the spirit of paying this discovery forward, I thought I'd start this thread. And to keep it entertaining, and prevent it from being overwhelming, I'm going to spread this 'mix list' out over a year, releasing one track each week (except when I'm on holiday) - and each track will be from a different year. We'll start a track that was released in 1971, and end with one released in 2020 - which means I'm going to have to keep my ear to the ground this year and try to find something worth sharing!

      Here's what I'm going to share:

      1. A single track (maybe sometimes a full album if I can't find a separate track) from each year from 1971 to 2020.

      2. By necessity, this is all music to my own taste, and I hope to include a range. This means rock/pop. electronica, jazz, folk, classical, punk, traditional music, singer-songwriter, and 'world music' (which is really just music from another country - calling it 'world music' is a bit condescending, really). It will all have melody because that's how I like my music. I won't likely be playing any heavy metal, rap/hip-hop, discordant classical music, or acid jazz, but I may at times play something that challenges in the way these genres do, without going full blown.

      3. Song lengths will vary from short to very long. I happen to like a lot of long-form music, so you can certainly expect a fair amount of it. And let's face it, one reason you might never have hear of it is because it was too long for radio play.

      4. In the spirit of sticking to the theme of 'discovery' I'm going to try to pick things that were more obscure (at least here in the west), so don't expect any US/UK top 40 (or even top 100) hits.

      Please feel free to comment between the posts, but in order to try to prevent this from becoming a general catch-all for music, I'd ask that you only share music in this thread if it's directly related to my weekly entry, and explain why it's relevant. If you'd like to comment or share outside if this parameter, please start another thread.

    • 1971: Omelebele by Dr. Victor Olaiya's International All Stars

      I think it's pretty safe to say this song got no airplay in Canada in 1971, but luckily it's still got some life thanks to the hard work of music anthologists who go around collecting these songs. This one came to be about 10 years ago on an anthology called Afro Baby: The Evolution of the Afro-Sound in Nigeria 1970-79. My wife and I love this CD and play it often, but a Youtube search reveals that it's available on many different compilations. I especially love the later part of the song when the organ kicks in after the 4 minute mark.

    • 1972: Waka/Jawaka by Frank Zappa

      Frank Zappa was not the most accessible artist and seemed to poise his whole career around making music that challenged people to broaden their tastes. Because of that he wasn't especially radio friendly, even though almost everyone knew who he was. He's mostly known for his outré lyrics about sex and various elements of society he thought was worth ridicule. But he was also an incredible composer and arranger and made a lot of great instrumental pieces that were a lot of fun, even if they were too long or too diverse for radio play. Here's Manzares de la Rosa commenting in July of 2017:

      Frank was an iconoclast in every sense of the word. He made significant contributions to rock, jazz, avant-garde music and music recording and production in general, which means that any attempt at a consensus on his finest work feels very reductive.

      However, most music fans point at his “Big Band trilogy” as Zappa’s creative peak; the records Hot Rats (1969), Waka/Jawaka (1972) and The Grand Wazoo (1972) were statements of ambition, pushing the boundaries of jazz fusion, and inspiring countless experimental rock groups at the same time.

      But Waka/Jawaka itself is a sort of oddity. While Hot Rats explored a kind of melodic clarity and elegance in its construction, and The Grand Wazoo’s monumental scope is almost cinematic, this album was more of a free-form experience. The opener and closer to this trilogy are both considered canon-worthy for being compositional achievements, but this record is all about the jams. It’s all about the communion between one of the tightest bands ever assembled. Zappa’s personnel for Waka/Jawaka includes some of the most brilliant of his consistent collaborators — especially the enormous George Duke, a staple on the classic 70’s Mothers of Invention line-up — as well as musicians exclusively associated with this specific time, like pianist Don Preston and soon-to-be Journey drummer Aynsley Dunbar. - Manzares de la Rosa, July 7 2017

      My personal favourite on this album (and indeed the whole trio) is the title track, Waka/Jawaka, which apparently was named after something that appeared on a ouija board. This is Zappa's biggest Big Band sound, an 11+ minute-long track that opens with the initial brass statement before folding into a long, expressive mini-moog solo (1:40) that's replaced by guitar at 4:45. The trumpets re-insert the theme at 6:30 before pausing for a forty second drum solo at 7:20. The bass announces the return to the theme of the song at 8:00 and there's a dialogue between a trombone/horn section and another of trumpets and flutes. The big band then spends the last minute and a half re-stating the theme and marches off into the distance as the music fades into silence. This last section always reminds me of the theme to the TV show Dallas on speed.

      Although the album cover to Waka/Jawaka hearkens back to the first album in this series, Hot Rats, it's really the cover of the third album, The Grand Wazoo, that captures the spirit of this track for me. On it, we see the Grand Wazoo himself wielding his 'mystery horn' and leading an army of brass players as they blast a string band into submission with musical notes in an ancient landscape.

    • Zappa was before my time but I was always curious about him since his music didn’t get airplay. I remember reading a Rolling Stone magazine guide to great music and I didn’t know what to make of Zappa from their write up. He seemed to be a performance and his live shows a spectacle. So I was pleasantly surprised at how wondrous Waka/Jawaka sounded. Thank you for the time stamp guide for each movement: it helped greatly to orient myself to where the piece was at. What an incredible composer to create this.

      Looking forward to your next musical exploration.


    • Zappa's an acquired taste for sure, but Waka/Jawaka is a pretty good inroad. I was first introduced to Zappa when I was a kid by my dad, who had a big music collection and who particularly liked Zappa and Tom Waits. I never did acquire a taste for Waits, but I'm not dead yet.

      I remember in particular him playing Zappa's songs Montana and Po-Jama People for me, both of which have funny lyrics without being risque. I liked the songs well enough but wasn't really moved to explore further. Maybe I thought they were too silly, or too complex - or more likely too jazzy! But they sat there in my subconscious for a long time until one day I decided to revisit them, and that time - when listening to the back-up vocals on Montana in particular - I realized that Zappa was a genius, and from there I went into his back catalog to explore. I'm still exploring it, just me and my pygmy pony, over by the dental floss bush...

      Speaking of the back-up vocals on Montana, there's an interesting story behind them. I'll let Wikipedia tell it:

      Frank Zappa wanted to use backup singers on the songs "I'm the Slime", "Dirty Love", "Zomby Woof", "Dinah-Moe Humm" and "Montana". His road manager suggested The Ikettes, and Ike & Tina Turner were contacted. Ike Turner insisted that Zappa pay the singers, including Tina Turner, no more than $25 per song.[1] However, an invoice shows that they were actually paid $25 per hour, and in total $187.50 each for 7 1/2 hours of service.[2] During the recording sessions at Bolic Sound, Tina brought Ike into the studio to hear the highly difficult middle section of "Montana" which had taken the Ikettes a few days to learn and master. Ike listened to the tape and responded "What is this shit?" before leaving the studio.[1] Ike later insisted that Zappa not credit the Ikettes on the released album.[1]

      Next entry will be 1973 - a good year in music! Pink Floyd released Dark Side of the Moon. Genesis released Selling England by the Pound. Wings had Band on the Run, Mike Oldfield released Tubular Bells, and there was Black Byrd by Donald Byrd and Head Hunters by Herbie Hancock, and Goodbye Yellow Brick Road by Elton. And the above mentioned Montana on the album 'Overnight Sensation'.

      And so much more (, but my pick isn't on this list.

    • I still haven't had time to check out Waka/Jawaka, but I plan to. I've been intrigued by Frank Zappa, but I've never gone out of my way to actually listen to any of his music. The only real exposure I've had to his work is as the producer of an album called Trout Mask Replica, by Captain Beefheart. But that was released a few years before the start of your time line. It's definitely not an easy listen, but it's a great album. Captain Beefheart was another guy that was pretty far off the beaten path, so I wasn't surprised to find out he worked with Zappa.

    • Captain Beefheart sings on the only vocals on the Hot Rats album, on the song Willie the Pimp. I'm pretty sure he appears on other albums, too.

      I can give you a list of 'further listening' tracks from his 69-79 if you're interested. One thing I've noticed on Youtube is that there's always someone who says 'this is his best track' no matter what the track, so I think it's very personal what any individual might like.

    • Apocryphal's Intro to Frank Zappa

      My own path to Zappa was to start with the material I already knew from what my father played for me. I bounced off Zappa when I was younger and came back to him when I was older. Developing a taste for jazz helped. Still, Zappa liked to challenge listeners (and performers!) so I had to sit down with it and listen over several times to really get an appreciation. I started with One Size Fits All, then I branched out from there both forward and backward in time. Eventually I narrowed down my selections to a couple of playlists. Below is the music on these playlists. Those marked with a ~ sign are maybe more experimental (depending on what you're used to) and those with a * are more mainstream/accessible. Those marked with ! are instrumental.

      Golden Age Playlist 1973-1979

      Over-Nite Sensation 1973 - this is a short album with 6 tracks, often said to be his most straight forward rock and roll album, and pretty accessible. The closest he came to commercial success.

      * Camarillo Brillo

      * Dirty Love

      ~ Dinah-Moe Hum (Sexual content)

      * Montana

      Apostrophe (*) 1974 - technically a 'solo album' which means it doesn't feature the Mothers of Invention band, but might still have some members. Zappa is such a force I'm not really sure in matters which musicians he surrounded himself with, they were all good, and they all sound like Zappa, so I don't usually care whether it's 'solo' or not.

      Cosmik Debris

      *! Apostrophe'

      * Uncle Remus

      One Size Fits All 1975 - This is a great album, maybe his most accessible. If you just want one Zappa straight up rock and roll album, get this one.

      * Inca Roads
      * Po-Jama People
      * San Berdino

      Zoot Allures 1976 - I tend to prefer the instrumental tracks on this one.

      *! Black Napkins

      *! Zoot Allures

      Sheik Yerbouti 1979 - This was super productive year for Zappa with 5 albums - 3 of rock and roll (one of those a double issued in separate issues) and his first 'classical' album. Sheik Yerbouti was the most straight forward rock and roll album of the year, and on some lists it's considered his best ever album. I won't post any tracks - just listen to the full album after you've checked out the tracks listed here. There's a lot of irreverent and sexually charged material on this album, so be cautioned.

      Joe's Garage 1979 - Another candidate for his 'best ever album', Joe's Garage is a concept album that tells the story of a guy names Joe who forms a garage band with his buddies, but gradually gets chewed up and spit out by the system, which is represented by the narrator on the album, a sci-fi 'big brother' type figure called the 'Central Scrutinizer'. Zappa placed the narration of the 'Central Scrutinizer' between many of the tracks to introduce them. He voiced the character by whispering into a loud-speaker and recording it. Sometimes he cracked himself up with his own writing, so the moments where he laughs at his own humour is also captured. Conceptually, I think this is a really brilliant album. It was originally released as two separate LPs, Joe's Garage Part 1 and Joe's Garage Parts 2 and 3. Or in CD format it's a single CD package with two disks.

      * Joe's Garage This track changes tempo etc. a few times, so listen through it. This chronicles Joe's beginning in the garage.

      *! On the Bus

      * Lucille Has Messed My Mind Up Joe falls in love with a girl who hooks him on drugs, then gets dumped.

      ~ A Token of My Extreme Looking for meaning, Joe falls in with the Church of Apliantology, headed by a guy named Ron. To me this track sounds like the intro to a song that came out in 1976 on One Size, called Sofa No 2: Zappa was more popular in Germany (where they weren't offended by the lyrics) than at home, hence several German references in his music.

      *! Watermelon in Easter Hay often said to be Zappa's best guitar solo.

      Sleep Dirt 1979 - This album is mostly instrumental and has some great tracks. I didn't discover it until late because it isn't on any of the 'best zappa albums' I saw. But I can't explain why.

      ! Filthy Habits
      ! Sleep Dirt

      !~ The Ocean is the Ultimate Solution

      Older Instrumental Material:

      Hot Rats 1969 - The whole album is great, a fusion of hard rock and jazz, sometimes pretty acid, but it seriously rewards repeated listens. Considered by many Zappa's best album.

      *! It Must be a Camel

      Burnt Weenie Sandwich 1970 - Some great instrumental tracks here, and one of my all time faves below, which changes pace and sound 3 or 4 times through the song so listen to the whole thing:

      !~ Holiday in Berlin Full Blown

      The Grand Wazoo 1972 - Another classic solo album from his 'fusion trio' and partner album to Waka/Jawaka.

      !* The Grand Wazoo

      !** Blessed Relief

      !* Eat That Question

      That ought to keep you busy - have fun!

    • Thanks for the write-up. I'll definitely be looking into these. I've never been much of a jazz fan, but with his tendency to also fuse more rock and psych and other styles into the music, I may be able to get into some of his work.

      I do have to admit that Willie the Pimp is pretty great. Captain Beefheart's voice was so good. He does remind me of Tom Waits, another voice that I've always loved.

    • 1973: Remember The Future by Nektar

      The Progressive Rock (also often called Art Rock) movement came out of Britain in the late '60s. Elements of the genre had been gestating in the late work of bands like the Beatles, Pink Floyd, and the Moody Blues. The first full expression of Progressive Rock is considered to be King Crimson's 1969 album In The Court of the Crimson King. By 1973 the genre was in full swing and this year in particular saw the release of several landmark albums that are now considered exemplars of the genre (Genesis: Selling England By The Pound, or Pink Floyd: The Dark Side of the Moon). Progressive Rock bands appeared everywhere from Italy ( to Russia ( to the US ( and Canada ( where it was very popular in Montreal where I grew up, and would be a major influence on later bands to come out of the city.

      Nektar ( was a band of English musicians based in Berlin who formed in 1969 and released their first album in 1971. They achieved their best commercial success in 1973 with the concept album Remember the Future, which is conceived at a single running track broken into two parts (one for each side of the album). The album, though clearly now dated, still stands up to listening today and I sometimes like to dip into it. It's not as timeless as some of the music I'm going to pick for this collection, but I'm willing to be you haven't heard it before and it definitely reflects it's generation.

      Here's an Allmusic review by Gary Hill:

      Among Nektar fans, there are many who consider Remember the Future to be the band's creative peak. The album certainly creates the grounds for making that argument. Indeed, it is an ambitious work that is essentially one composition divided into two parts. The whole is performed in a very seamless and competent manner. Still, many critics just plain didn't get it. The juxtaposition of the two opinions makes this album to Nektar much like what Tales From Topographic Oceans was to Yes. The truth is probably somewhere between the two points, as it usually is. It truly is a very entertaining, well-written, and well-performed disc that showcases a very underrated band at the top of their game. Although this album isn't one of their best, it definitely is not a slouch. It does have a few elements that detract from it a bit, though. First, there is a '70s funk sound prevalent on the album that tends to date it a bit. Second, it can get to feel a bit repetitive. The final detriment is that the production quality sometimes feels a bit AM radio-ish and flat. All of these things only go so far in removing the album from the "masterpiece zone," though. The bottom line is that this is a fine progressive rock release that should please not only fans of the band, but fans of groups like Yes and Genesis equally well.

      Gary's opinion that the album 'isn't one of their best' doesn't seem to be widely shared, even on Allmusic, where there isn't another Nektar album with a better review or star rating. That said, I agree with all his criticisms. There's a reason you still remember bands like Pink Floyd, Yes, and Genesis, but not Nektar.

      Here's the digitally remastered version of the full album on Youtube. Since this is a longer (35 minute, actually short for an album) listen, you might like to skip ahead to head some different themes on the album. Here are time stamps to help you do that: 0.00 - 5:00 - 14:00 - 18.15 - 27:30. Youtube also has an original vinyl recording if you'd prefer to hear it with all the pops and hisses. Enjoy!