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Swans and Death Grips, yea, but I didn’t think Centipede Hz is worth consideration.
I’d add “Ellen and Ben” instead of “Academy Award,” but other than that good list. Just keep your eye on the prize.
They all hold a special place, but Abbey Road particularly for me. What a way to end a career. My dad used to play nothing but The Beatles and Frank Sinatra in the car when I was young, so they became my favorite band and have affected my taste in music so much that I plan on putting my kids through the same gauntlet when I have some of my own. I sometimes get wrapped up in the idea of The Beatles as this story; something bigger than “just a band who made it very very big (John Lennon).” That is why I keep coming back to Abbey Road. Even though I appreciate the musicianship on Pepper more, and the emotion on the White Album more, and the energy of the early records more, Abbey Road seemed so self-aware and calculated, but never been less of a record for that reason. They knew when they were recording it (after Let It Be, for all you casual Beatles fans) to some degree that it would be their final act as a unit. That they were able to wrap up all the different aspects of the band people liked and summarize it, while at the same time being able to make the record coherent, to me is stunning.
I wonder sometimes what their legacy would have been like had they flipped Sides A and B of Abbey Road, like they had considered doing. We would have been left with “I Want You (She’s So Heavy)” as the last recorded song by The Beatles. The last notes you would have heard them play would have been a squalor of noise and anger that just stops. It would have been jarring, and I’m sure John would have found it delicious. I’m glad they chose the sequence they did though. It feels like remembering the good times at a funeral, parting ways after last call, or giving a fond goodbye to a best friend.
Also, completely random fact: In “Lovely Rita” (which is off Pepper, I know, but that’s aside from the point), at about 0:21, right as Paul comes in with the first verse, you can hear John in the background saying, “Ahh…power.” Just another (less obvious) example of his acid wit contrasting Paul’s buoyant optimism.
Mrs. Vanderbilt. Fo Sure.
Marble House – The Knife
When it really gets down to it, it’s hard to compete with Comfortably Numb
Pet Sounds is far and away my favorite. But, for the sake of changing it up, after Pet Sounds I’d go with Today!
Come on guys, who are we kidding? Wish You Were Here is fantastic and The Wall is epic, but nothing shines quite as bright as The Dark Side of the Moon.
Rollercoaster by Sleater-Kinney. When the drums and cowbell kick in, so does the 9th inning rally