classical -ISH

https://www.wuvt.vt.edu/playlists/set/35342

Time		Artist	Track	Album
09:01:28		The Moody Blues	The Day Begins	Days of Future Passed
09:06:42		Emerson, Lake, & Palmer	Promenade / The Gnome / Promenade	Pictures At An Exhibition
09:13:30		Yes	Cans and Brahms	Fragile
09:15:14		Mason Williams	Classical Gas	The Mason Williams Phongraph Record
09:18:23		Apollo 100	Joy	Boogie Nights
09:20:41		Sky	Toccata	Toccata
09:25:20		Electric Light Orchestra	10538 Overture	Ole Elo
09:30:49		The Nice	Rondo	The Thoughts of Emerlist Davjack
09:39:00		Jeff Beck Group	Beck's Bolero	Truth
09:41:53		Chicago	So Much to Say, So Much to Give / Anxiety's Moment / West Virginia Fantasies / Colour My World	Chicago (II)
09:49:02		Blood, Sweat & Tears	Variations on a Theme By Erik Satie (1st and 2nd Movements)	Blood, Sweat and Tears
09:51:16		Lana Del Rey	Old Money	Ultraviolence
09:55:37		Bright Eyes	Road To Joy	I'm Wide Awake, It's Morning
10:00:19		Peter Gabriel	Down The Dolce Vida	Peter Gabriel (I)
10:04:45		Led Zeppelin	Kashmir	Physical Graffiti
10:15:32		Robyn Hitchcock	Chinese Water Python	Eye
10:15:35		Ella Fitzgerald	My Reverie	Clap Hands, Here Comes Charlie!
10:18:40		Beyoncé	Ave Maria	I Am... Sasha Fierce
10:22:23		Lady Gaga	Ajejandro	The Fame Monster
10:27:14		Janelle Monáe	Say You'll Go	The ArchAndroid
10:32:56		Nas	I Can	God's Son
10:37:59		Pet Shop Boys	Go West	PopArt
10:43:40		Ennio Morricone	Theme from "The Mission"	Pure Moods
10:45:08		Sting	Russians	The Dream of the Blue Turtles
10:49:20		Yngwie Malmsteen	Icarus' Dream Suite Op. 4	Rising Force
10:57:25		Frank Zappa	Exercise #4	The Yellow Shark
11:00:24		Walter Murphy	A Fifth of Beethoven	Saturday Night Fever
11:03:19		Jem	They	Finally Woken
11:06:35		Mika	Grace Kelly	Life In Cartoon Motion
11:09:52		Fiona Apple	Extraordinary Machine	Extraordinary Machine
11:13:29		Elvis Costello with the Brodsky String Quartet	I Almost Had a Weakness	The Juliet Letters
11:17:26		The Go! Team	My World	Proof Of Youth
11:19:36		The Beatles	Yesterday	Yesterday and Today
11:21:30		The Rolling Stones	As Tears Go by	Big Hits (High Tide and Green Grass)
11:24:15		Nick Drake	Cello Song	Five Leaves Left
11:28:54		The Church	Sisters	The Church
11:32:31		Queen	It's A Hard Life	The Works
11:36:34		Muse	Plug in Baby	Origin of Symmetry
11:40:24		Bush	Glycerine	Sixteen Stone
11:47:19		Lou Reed	Street Hassle: Waltzing Matilda/Street Hassle/Slipaway	Street Hassle
11:58:09		Radiohead	Exit Music (For a Film)	OK Computer

a night at the opera

Queen pondered on the lesson of life's insanity in a cruel world and cried for a love gone stale with the dynamic drama of this fandango magnifico.  After a headlining world tour supporting their 'Sheer Heart Attack' album, the band severed ties with Neptune Productions and Trident Studios, eventually signing with Elton John's manager, John Reid.  Brian May expressed at the time:   "It affects your morale. Your capacity for working. It dries you up completely when you're worrying about business things. We couldn't write at all in that three months. We came back from Japan thinking, 'Great, we're going to finish the writing and then record it,' but the whole thing with Trident blew up at that point, and we spent the next three months being businessmen, which is the last thing we wanted to be. But now it's all sorted out -- all the emotions came out in a big flood -- and I think it's going to be really good...It's more extreme. It's varied, but it goes further in its various directions. It has a couple of the heaviest things we've ever done and probably some of the lightest things as well. It's probably closer to 'Sheer Heart Attack' than the others in that it does dart around and create lots of different moods, but we worked on it in the same way we worked on 'Queen II'. A lot of it is very intense and very ... layered."

Deacon relates:     "Everybody goes off to their separate homes to get their stuff together," Taylor says, "and then we all sort of get together somewhere else for about two weeks and pool all of the material we have - play around with it, pull it to pieces, throw some out, change bits, and get a sort of rough idea, as good an idea as we can, of what shape the album's going to take. It's a very soul-destroying time...I'm very sort of finicky, you know. I get something written and then I listen to it the next day and I throw it away out of hand. Probably too finicky, but I don't know, I get sort of fussy and go off my own ideas very quickly. The others usually never get to hear them even."

'A Night at the Opera' was produced with Roy Thomas Baker (who had helmed their first three) in London at Lansdowne Recording Studios, Olympic Sound Studios, Roundhouse Recording Studios, and Scorpio Sound Studios; as well as at Rockfield Studios in Monmouthshire, Wales.  Queen co-produced the sessions that featured Freddie Mercury on lead vocals, backing vocals, piano, jangle piano, and woodwind vocalizations;    Brian May on guitars, ukulele, backing vocals, harp, orchestral backdrops, toy koto, and  lead vocals on "'39" and "Good Company";   Roger Taylor on drums, percussion, brass vocalizations, backing vocals, and lead vocals on "I'm in Love with My Car";   and   John Deacon on bass guitar, double-bass,  and Wurlitzer electric piano.  At the time, it was one of the most expensive albums ever made with studio costs of reputedly forty thousand pounds.  

Mercury would muse:   "I do enjoy the studio, yes. It's the most strenuous part of my career. It's so exhausting, mentally and physically. It drains you dry. I sometimes ask myself why I do it. After Sheer Heart Attack we were insane and said never again. And then look what happens!...I think that is the basis of Queen actually. We were very, very meticulous. That has now become an obsession in a funny way, for want of a better word. It's subconscious now, but we feel that we have to better that past standard we've created. Otherwise they'll say, God, look at what they did on Sheer Heart Attack and look at what they're churning out now. And you have to supercede it for your own satisfaction...But I did discipline myself... Take vocals, because they're my forté - especially harmonies and those kind of things. On Queen II we've gone berserk. But on this album I consciously restricted myself. That's brought the songwriting side of it across, and I think those are some of the strongest songs we've ever written."

'A Night at the Opera'  took the world by storm, going to number sixteen in France; ten in Sweden; nine in Austria and Japan; five in Germany; four in Norway and the US;  and number one in Australia, the Netherlands, and the UK.  It has sold over twelve million copies worldwide.  

http://www.queenonline.com/


http://www.queenarchives.com/


lyrics:
http://genius.com/albums/Queen/A-night-at-the-opera





"Bohemian Rhapsody" became a worldwide smash hit, spending nine weeks on the top of the British charts, where it is the third biggest selling single of all time.  In the US, it went to number nine.  In 1992, it was re-released after it was featured in the film 'Wayne's World', sending it up the charts to peak at number two.  

Mercury:   "It was just one of those pieces I wrote for the album: just writing my batch of songs. In its early stages I almost rejected it, but then it grew. We started deciding on a single about halfway through. There were a few contenders - we were thinking of 'The Prophet's Song' at one point - but then 'Bohemian Rhapsody' seemed the one. There was a time when the others wanted to chop it around a bit, but I refused. If it was going to be released, it would be in its entirety. We knew it was very risky, but we had so much confidence in that song - I did anyway. I felt, underneath it all, that if it was successful it would earn a lot of respect...People were all going, You're joking, they'll never play it, you'll only hear the first few bars and then they'll fade it out. We had numerous rows. EMI were shocked - A six-minute single? You must be joking! The same in America - Oh, you just got away with it in Britain."

Deacon:   "When we finished the album, the Night at the Opera album, that was the track on it that we thought we were gonna release as a single in England first. And when we released it in England we didn't necessarily think it'd be released in America, cause we know even over here, you know, the AM tastes are even more (hesitates) stricter. Anyway we did have thoughts about even in England, perhaps editing it down at all, but we listened to it over and over again and there was no way we could edit it. We tried a few ideas, but if you edited it, you always lost some part of the song, so we had to leave it all in. And luckily it took off anyway."

https://www.youtube.com/watch?v=fJ9rUzIMcZQ


Is this the real life? Is this just fantasy?
Caught in a landslide, no escape from reality
Open your eyes, look up to the skies and see
I'm just a poor boy, I need no sympathy
Because I'm easy come, easy go, little high, little low
Any way the wind blows doesn't really matter to me, to me

Mama, just killed a man, put a gun against his head
Pulled my trigger, now he's dead
Mama, life had just begun
But now I've gone and thrown it all away
Mama, ooh, didn't mean to make you cry
If I'm not back again this time tomorrow
Carry on, carry on as if nothing really matters
Too late, my time has come
Sends shivers down my spine, body's aching all the time
Goodbye, everybody, I've got to go
Gotta leave you all behind and face the truth
Mama, ooh, I don't want to die
I sometimes wish I'd never been born at all

I see a little silhouetto of a man
Scaramouche, Scaramouche, will you do the Fandango
Thunderbolt and lightning, very, very fright'ning me
(Galileo.) Galileo. (Galileo.) Galileo. Galileo figaro magnifico
I'm just a poor boy, nobody loves me
He's just a poor boy from a poor family
Spare him his life from this monstrosity
Easy come, easy go, will you let me go?
Bismillah! No, we will not let you go
(Let him go!) Bismillah! We will not let you go
(Let him go!) Bismillah! We will not let you go
(Let me go.) Will not let you go
(Let me go.) Will not let you go. (Let me go.) Ah
No, no, no, no, no, no, no
(Oh mamma mia, mamma mia) Mama mia, let me go
Beelzebub has a devil put aside for me, for me, for me!

So you think you can stone me and spit in my eye?
So you think you can love me and leave me to die?
Oh, baby, can't do this to me, baby!
Just gotta get out, just gotta get right outta here!

Nothing really matters, anyone can see
Nothing really matters
Nothing really matters to me
Any way the wind blows

"You're My Best Friend"  was a worldwide hit.  







'A Night at the Opera'
full album:




Side one
1. "Death on Two Legs (Dedicated to...)"   Freddie Mercury 3:43
2. "Lazing on a Sunday Afternoon"   Mercury 1:08
3. "I'm in Love with My Car"   Roger Taylor 3:05
4. "You're My Best Friend"   John Deacon 2:50
5. "'39"   Brian May 3:25
6. "Sweet Lady"   May 4:01
7. "Seaside Rendezvous"   Mercury 2:13

Side two
8. "The Prophet's Song"   May 8:17
9. "Love of My Life"   Mercury 3:38
10. "Good Company"   May 3:26
11. "Bohemian Rhapsody"   Mercury 5:55
12. "God Save the Queen" (Instrumental) Traditional, arr. May 1:11

apple

Mother Love Bone transcended grunge with crystal-sheen dance electra and golden words of faded glory.   The band initially came together from various Seattle bands in 1988 when Andrew Wood (from Malfunkshun) joined with Jeff Ament and Stone Gossard (from Green River) as Lords of the Wasteland.  They changed their name to Mother Love Bone when Bruce Fairweather (also from Green River) and  Greg Gilmore (from Ten Minute Warning) joined the fold.  The buzz over their live shows led to a deal with PolyGram subsidiary Polydor in which the label created the Stardog Records imprint just for them.  Their debut EP Shine only increased their profile and began to create a stir over the Seattle music scene.  

'Apple' was recorded over three months at The Plant in Sausalito, California and London Bridge Studios in Seattle, Washington with production by Bruce Calder, Terry Date, Mark Dearnley, and Mother Love Bone.  The sessions featured  Andrew Wood on vocals and piano;   Bruce Fairweather on lead guitar;   Stone Gossard on rhythm guitar;   Jeff Ament on bass guitar, backing vocals, art direction, and concept;   and  Greg Gilmore on drums.   As the album was being finalized, Wood overdosed on heroin and was left braindead, effectively ending the band.  The album release was delayed for several months.  

Wood would express in his final interview:   "There were some mixes that were sent to us, and we sent them back to be remixed; and there was still, like, four or five songs that still had to be remixed again. Now it's all settled and ready to be pressed. Apple is nearly an hour long...I guess there's still a little grunge in the guitars from the Green River days. We didn't lose any of the grunge we needed, but we may be right in throwing some of the ugly grunge away. It's called stale grunge... I'm pretty content with the sound right now. I think I'm a bit more mellow than anybody else in the band. The whole set is pretty mid-tempo. We're not like a real "head swinging" type of band..."Stardog Champion" is a kinda...fake, kinda patriotic rock anthem of sorts. That's gonna be the first single and video. When I wrote "Holy Roller," I didn't even know what a holy roller was. I just thought it was a cool term. Actually, I was thinking of a Paul McCartney and Wings song "Let Me Roll It." I don't know why it made me think of holy rollers. "Captain High-Top" is just a total rock propaganda kinda thing. I kinda see "Heartshine" as our "Achilles' Last Stand" of the album. It's long and real powerful. I was kinda depressed about leaving Malfunkshun for a long time. Still am, kinda. I feel like, you know, I left them stranded. I've got a brother besides Kevin who, ah, is kinda insane in a way, and he makes the whole family worry about him, so "Heartshine" is a little about both of my brothers...Nobody else has really brought any in. I think I'd find it hard to sing someone else's lyrics. I've got a guitar but I've written most of my songs with keyboards as of late. I wrote "Stargazer" on guitar. I don't really consider myself a songwriter but, rather, a guy who makes up music. I don't know chords. I don't know notes. I can't even tell the guys in my band what I'm playing. I can't say, "Well, it's G-A-C-D," or whatever. They have to come and watch me and figure it out... just kinda making up my own method of playing. That's been my whole thing...[Rehab is] a total struggle. When you first get out, you're on this pink cloud, and it's pretty easy. After a while things start getting more real, and you have to just stay straight a second at a time."










Stargazer
https://www.youtube.com/watch?v=p9n9gW1wCks



Stardog Champion
https://www.youtube.com/watch?v=k7CPIXnaeeQ



Chloe Dancer / Crown Of Thorns - Live 1989
https://www.youtube.com/watch?v=pAF3BksqxZ0







'Apple' 
full album:




This Is Shangrila - 00:00
Stardog Champion - 03:44
Holy Roller - 08:45
Bone China - 13:15
Come Bite The Apple - 17:04
Stargazer - 22:33
Heartshine - 27:28
Captain Hi-Top - 32:08
Man Of Golden Words - 35:17
Capricorn Sister - 39:01
Gentle Groove - 43:22
Mr. Danny Boy - 47:29
Crown Of Thorns - 52:21





interview with Gossard and Ament 1990







Malfunkshun: The Andrew Wood Story

http://www.dailymotion.com/video/x2hupqy


Malfunkshun - The Andrew Wood Story (DVD) by AlfredoPangue

http://www.veoh.com/watch/v704980228N6Xe7X5


Watch Malfunkshun: The Andrew Wood Story (2005) in Music  |  View More Free Videos Online at Veoh.com

ritual de lo habitual

Jane's Addiction were lit to pop, digging something up with pleasure and pain in the dangerous decadence of this laughing larcenous lollapalooza.   After releasing their live eponymous debut on local XXX Records in 1987, they signed with Warner Brothers for the controversial 'Nothing's Shocking'.  Their next album 'Ritual de lo Habitual' was recorded at Track Record in North Hollywood, California  with  Perry Farrell on lead vocals,   Dave Navarro on guitar,   Eric Avery on bass,   and  Stephen Perkins on drums,   with  Charlie Bisharat on violin ("Of Course") and  electric violin ("Then She Did..."),  Ronnie S. Champagne adding bass ("Of Course");   John Philip Shenale on strings ("Then She Did..."),   and  Geoff Stradling on piano ("Obvious," "Then She Did...").  Once again, Perry Farrell did the artwork and shared production credit with Dave Jerden.    Tensions ran high in the studio as Farrell and Avery were feuding over Avery's advances toward Farrell's (classic) girlfriend Casey Niccoli.  There were a lot of drugs muddying the process and Farrell and Niccoli's friend Xiola Blue (who inspired the song "Three Days") overdosed after visiting for a long weekend.  

Avery:    "There was definitely the sense that we had set something in motion and it became a monolith.  It was its own beast.  For me, it turned into just putting the hooks in the side and being dragged along with it.  I think that the lifestyle and the drugs and all that stuff--I don’t think any of that changed with getting popular...I didn’t want any attention.  So, for me, my participation in the band was totally part of being an artist--I’m supposed to do things, push the edge of my personal life so that it will inform me and then therefore inform my art, my work...When the band took off, though, it was definitely larger than we ever expected it to be."



Navarro:    "The tribal thing goes way back for us. One of Stephen’s strengths and weaknesses is that for the life of him he cannot play a simple drumbeat. It’s amazing to me. He cannot play four bars of a drumbeat twice, without it being different. [laughs] He doesn’t want to do a standard drum-time thing, he wants to do something unique. So when the song will call for kick, hat and snare [sequence]. He won’t play the hat or he won’t play the snare, because that’s what everyone would expect him to play. That’s always been our thing...So even though a certain song may be crafted and written by me, when Stephen approaches the part…well, that’s what makes the band, the band."



Perkins:   "I don't really play straight beats, that's true. Like I said, I'm a jazz drummer. When I hear Elvin Jones and Art Blakey, I don't hear them playing repetitive parts. They're reacting to the other musicians or even their environment. When I was growing up, I couldn't play with jazz musicians - everybody was picking up guitars and forming rock bands. So that's where I had to go...In my heart, though, I love playing with a jazz mentality – something that's very lyrical and expressive. Even somebody like Mitch Mitchell...See, you take Mitch or Charlie Watts or Keith Moon, and the great thing is, they took those Motown beats and brought more personality and lyricism to them. The pulse was there, but there was room for a jam, improvising...I am pretty lucky to be playing with a lot of the same guys for a number of years, so there is a secure feeling between us. We can reach one another's minds. With other musicians I've played with, they get lost sometimes. Sure, I improvise, but I'm not changing the actual time signature; I'm just changing where certain beats fall...Navarro and Perry know what I do, so they're grooving with me."



Farrell:    "Whatever I do, I try to make it feel like it's the first time I've ever done it...I imagine that nobody knows me, so I do what I like. No reservations.  This is a very different philosophy from the stardom thing, where once you start getting known, you somehow have this moral and social obligation to act a certain way. With me, it's always been little Perry. Nobody's gonna cast a social obligation on me. That's why I don't pay attention to the people who want to censor things...I'm going out of my way to turn your head," Farrell stated bluntly, saying he was "extremely" proud of Ritual. "I don't feel I should be persecuted because I like to give people a rise. That's the whole point of art, to create or highlight some kind of confrontation. I expect I'm going to p- some people off - that goes with the territory. But the status quo moves slower than me, and if I slowed down to write for the status quo, I would probably sink into anonymity."



Navarro:   "My favourite album is the Ritual album.  It moves me the most, artistically and sonically. All four of us were on top of our game, as musicians and creatively. Perry, in particularly, shines in a way that I hadn't heard before; that record just highlights all four of us the best...To be honest, I was so deeply rooted within the whole process that it was very difficult to feel any influence that it may or may not have had.  I was just as absorbed in that band and the process and the touring and the record cycle at the point of Ritual De Lo Habitual that I had been at the point of the Triple X release. It gradually became larger stages but when we started playing, it always felt relatively similar and comfortable. It wasn't until much later that I realised that there was any impact whatsoever. I knew there was impact and I knew people liked us but I didn't understand that it was important, at the time  ...  To be perfectly honest with you, I've got nothing to hide. I didn't expect to make it through that year and I didn't care what I wrote. Things turned out for the best, I made it through, I'm alive and healthy and happy, and I've changed my thinking a lot. It's cool because I've had the destructive experience in Jane's Addiction, I've had the destructive experience on my own and I got through it - I think that's more compelling than to just live a destructive life and - what's the word I'm looking for? - capitalise on it."

Farrell:  "[The role of drugs] was very important.  There were moments there when that was detrimental. There was one particular time when I thought, 'I'm using drugs to be controversial too much'. I thought that my karma would catch me and it did...I was doing an MTV interview once and they were asking me all about drugs and I was saying how great drugs were and I said, 'Hey, look, I've got a new haircut, don't I look like the devil?' With that stuff, as my grandmother would say, 'It's all fun and games until someone gets hurt'. I got hurt. I got to a point where I couldn't sing at all unless I had a hit of crack before I went on." 


Despite the uproar over the risque album cover, 'Ritual de lo Habitual' wound its way to number fifty in Australia, thirty-seven in the UK, thirty in Canada, and number nineteen in the US.  It went on to sell over two million copies.  For the tour, Farrell set up the Lollapalooza festival with several diverse alternative acts opening for a headlining Jane's Addiction:   Siouxsie and the Banshees, Living Colour, Nine Inch Nails, Fishbone, Violent Femmes, Ice-T’s Body Count, Butthole Surfers, and Rollins Band.  






http://janesaddiction.com/








"Been Caught Stealing" was a number one hit on the modern rock singles chart.  

I've been caught stealing
Once when I was 5
I enjoy stealing
It's just as simple as that
Well, it's just a simple fact
When I want something,
I don't want to pay for it
I walk right through the door
Walk right through the door
Hey all right!
If I get by, it's mine
Mine all mine!
My girl, she's one too
She'll go and get her a shirt
Stick it under her skirt
She grabbed a razor for me
And she did it just like that
When she wants something, she don't want to pay for it
She walk right through the door
Walk right through the door
Hey all right!
If I get by, it's mine
Mine all mine!
We sat around the pile
We sat and laughed
We sat and laughed and waved it into the air!
And we did it just like that
When we want something, we don't want to pay for it
We walk right through the door
Walk right through the door
Hey, all right!
If I get by, it's mine, mine, mine, mine, mine, mine, mine. . .

https://www.youtube.com/watch?v=jrwjiO1MCVs




"Stop!" also hit the top of the modern rock singles chart. 
señores y señoras
nosotros tenemos más influencia con sus hijos que tu tiene
pero los queremos…
creado y regado de Los Angeles
Juana’s Adicción!
https://www.youtube.com/watch?v=ZwI02OHtZTg







"Three Days" was inspired by a three day binge of sex and heroin with Casey Niccoli, Xiola Blue, and Perry Farrell.
At this moment
you should be with us
feeling like we do
like you love to
but never will again
I miss you my dear Xiola
I prepared the room tonight
with Christmas lights
a city of candles
fresh sheets
we are all filled with dense clouds
that have us sunk into the mattress
I need to touch your skin…
an alien she was…
No one made friends as easily as Xiola…
Drug pushing constructors
We were always in the audience that plagued her.
One night I met a poet…
https://www.youtube.com/watch?v=mySAZ3jqVcg




"Classic Girl"
https://www.youtube.com/watch?v=9M-t9yNQymc








'Ritual de lo Habitual' 
full album:

https://www.youtube.com/watch?v=5VR7dGxgptw



All songs written and composed by Perry Farrell, Dave Navarro, Eric Avery and Stephen Perkins.

1. "Stop!"   4:14
2. "No One's Leaving"   3:01
3. "Ain't No Right"   3:34
4. "Obvious"   5:55
5. "Been Caught Stealing"   3:34
6. "Three Days"   10:48
7. "Then She Did..."   8:18
8. "Of Course"   7:02
9. "Classic Girl"   5:07

live in Milan 11/10/1990
https://www.youtube.com/watch?v=r5NN8eMDir0