Musical Engagement Space

Evocative music for daydreaming or people-watching. In between a few of the tracks, there are elephants, lions and birds unwittingly caught on tape, roaring and snarling in the wild. They are the only African elements on this record. It's actually soul jazz with Latin overtones and a lot of percussion instruments swathed in reverb. The vibraphone is the primary solo instrument, except for one lonely trumpet solo. The mood of this record is a little on the melancholy side and, at times, downright spooky. Nice cover, too. — Library User

While the Beach Boys toured Japan in 1966, Brian Wilson, fueled by marijuana and a burgeoning interest in LSD, stayed in L.A. and recruited the cream of the city’s studio musicians to record a group of experimental and relatively melancholy songs. The other Beach Boys, upon returning home, worried aloud that the new material strayed too far from the formula. In the short term, America didn’t love Pet Sounds, and the band felt vindicated. In the long term, it’s become an undeniable pop masterpiece, and a monument to Wilson’s tortured soul. — Library User

Is this the Beatles’ finest hour? We could argue about it indefinitely. Or we could listen to the evidence. The backwards guitar parts in “I’m Only Sleeping.” The despair in “Eleanor Rigby.” The terror in “She Said, She Said.” And the sheer joy of being alive in “Got to Get You into My Life.” McCartney’s savage guitar solo in “Taxman.” (Yes, McCartney!) “Yellow Submarine” is still funny. “Good Day Sunshine” is still fun. And Lennon’s eerie finale, “Tomorrow Never Knows,” makes us wonder — is there no bottom to this well? — Library User

Bach was probably the greatest organist of all time. The instrument fascinated him so much that he once walked more than 200 miles to attend a performance. Besides composing his own works for the organ, he also adapted orchestral and chamber works by other composers to be played on the organ. On this album we can listen to samples of both styles. The concerto in A minor modeled after Vivaldi that concludes this set of pieces played by Mr. Biggs is a sparkling showcase of Bach's staggering technique, his sense of drama, his fertile imagination, and his unmatched ability to communicate deeply with an individual listener. Bach's music is universal; it makes you feel like you're floating in outer space. — Library User

A kinder, gentler Dock Boggs recorded in the mid 1960's, just a couple of years before his death. Back in 1927 he sounded like a prickly old man when he recorded the twelve songs that would haunt listeners and musicians for four decades. This collection is the third in a series after someone tracked him down, set him in front of a microphone and rolled the tape. Boggs' once-powerful, unhinged cackle was now not much more than a croak. The banjo sounds warmer and the once sharp edges are softer and not nearly as frightening as they were in his prime. Compare this recording with his 1927 recordings and hear the difference. — Library User

After two albums of strumming, twee, psychedelic folk rock, The Man Who Sold the World announces Bowie’s arrival as the Ziggy Stardust character that would define his classic period. From the opening wisp of guitar feedback of "Width of a Circle" to the last grinding echoes of "The Supermen," the album is a tour de force of dark rock, sexually charged, androgynous and paranoid, reveling in a dystopian world of gods come to life and twisted desires. This album, anchored by Tony Visconti’s production and Mick Ronson’s brilliant guitar work, set the tone for the 70’s and paved the way for the goth, dark wave, and glam rock that flourished in its wake. — Library User

With a sonic portfolio that boasts commissions for the Xenon classic pinball machine, sounds for the Meco Star Wars theme, the Atari TV commercials and the electronic sound effects in the original Stepford Wives film (amongst many others), the mutant electronic music CV of Suzanne Ciani is proof that—in a 1970s commercial world of boys toys monopolised by a male dominated media industry—a woman's touch was the essential secret ingredient to successful sonic seduction. Meet the American Delia Derbyshire of the Atari generation... — From the album cover.

A landmark of spiritual jazz---droning tamboura; dreamy harp flourishes; tiptoeing bass lines; earthy, bluesy piano-playing. Generally calm and gentle, but with some far-out solos from Pharaoh Sanders to shake you out of your zen-like state. Put this record on and zone out. — Library User

"Sheets of sound" was how critics described Coltrane's lightning-fast solos during this period, the late 1950's. Elegant ensemble playing, almost like Duke Ellington's band, gave this revolutionary music a dignified air as well. The two worlds collide under a halo of heavy reverb. Comfortably familiar and exhilaratingly strange at the same time, this is a good record to listen to if you know nothing about jazz. It's accessible, yet challenging. Listening to Blue Train could help your understanding of jazz and of music in general, which is high praise for a record that's over 60 years old. — Library User

A futuristic double LP of slinky, funky mysterious pieces from 1974 that we’re still catching up with. Right out of the gate, Miles throws down the gauntlet: “He Loved Him Madly” is a 32-minute dirge dedicated to the recently deceased Duke Ellington. The jazz establishment listened in open-mouthed horror to four sides of Miles’ spooky space-rock. They must have reached for the smelling salts during “Rated X,” in which Miles’ aggressive, dissonant organ-playing gave the music a spectral edge. No one in rock, jazz, or funk knew what to make of Get Up with It. Jazz critics hated it. Record buyers avoided it. Radio said no way. Miles wouldn’t record another studio album for 7 years. — Library User

Troops of Tomorrow is a pillar in the tenement of punk rock and the Exploited bring the noise that boxes your ears from the start. Raw guitar riffs, heavy percussion, and growling vocals come together in a dense production aesthetic that backs you up against a wall. It is no surprise this musical mayhem rose from the dust kicked up by a series of riots that broke out across England in 1981. The effects spread across the UK, further fueling the themes that pervade punk rock: distrust of authority, working-class angst, and economic hardship. The residual fury is melted into the grooves of this record. Put on the headphones and feel the aggression. — Library User

Eugene is a wet place. Ferns thrive in such environs. And so it makes sense that a band from Eugene would drench its vocalist in reverb. This is a dreamy, introspective record, that also rocks like stoner metal or swings like the Kinks. “Secret Cathedrals" is so entrancing you'll forget what planet you’re on. And “Tranquilizer” shows listeners that Ferns are not afraid of prog rock and that they can deliver a crushing riff convincingly. Eugeneans take heed: any town, city or village would be proud of this band. — Library User

1964 was the start of the British Invasion. But there was a Brazilian invasion that year, too. This record led the charge. Bossa Nova (meaning "New Trend" or "Fashionable Wave") had been around since the late 1950's. Now it would explode after the release of "The Girl from Ipanema," a hit single taken from this record. It was sung by Gilberto's wife, Astrud, who had never sung professionally. She would sing only two songs on Getz/Gilberto but her voice had such presence that she dominated the album. There is so much more to listen to: saxophonist Getz has a breathy tone that perfectly suits the occasion. João Gilberto's sultry strumming and murmuring vocals are trance-inducing. And the songs, mostly written by pianist Jobim, are tremendous. — Library User

Like the roar of a wounded animal, the voice of Chester Arthur Burnett projected undisguised pain and suffering. He may have been hurt, but he was still plenty tough. Standing 6 foot 3 and weighing 275 pounds, he summoned that voice from someplace deep inside where few people have gone. This is a short collection of 12 cuts, all from the 1950s. The music is primitive, hypnotic, and raw. No Grammys for producing and engineering here. Guaranteed to melt the snowflakes in your life. — Library User

The equinox occurs twice a year when the sun crosses the celestial equator and day and night are of equal length. This album mimics that event in two musical suites that occupy each album side. The cover depicts humanoid creatures peering through binoculars. Are they watching us? Are they watching space? Jean Michel Jarre aims to lift you up and out of their view to bear sonic witness to the celestial event. On wings of shimmery synth and waves of computerized drumbeats, you’ll soar through a gallery of interstellar plasma, complete with the inevitable bits of space junk. Panned by critics almost unanimously, this music still manages to transport you out of this earthly realm and it's a pretty fun ride. Get ready for liftoff. — Library User

Feeling thoughtful, dark and moody? If not, you will after you listen to Unknown Pleasures by English post-punk band Joy Division. This album came out in 1979 and is their debut. Full of twisted musicianship, the bass, guitar and drums swirl around singer Ian Curtis as he drags you through his angst. It’s cathartic, ugly and beautiful. It’s not an album to listen to on a sunny spring day but it’s perfect for a cold, foggy and dark winter night. — Library User

Urgent percussion resonates the depths. Are you above or below and does it even matter while you’re traversing the hypnotic synth landscapes of this quintessential trip-hop experience? Steadying rhythm grounds and creates the anchor to explore the intoxicating vocals on tracks like “Black Milk” and “Group Four”. While the haunting of electric guitars drives you into temporary mania on the track “Angel”. This full-spectrum, downtempo masterpiece will be both Persephone and Aphrodite. — Library User

Let’s get funky and so much more! This was The Meters’ fourth album produced in 1972. For anyone familiar with their former releases it was a radical risk-taking shift towards integrating more lyrics into their already vibrant sound. The fusion of funk/acid rock and musical influences of Hendrix and Sly and the Family Stone are apparent in songs like – You’ve Got to Change (You’ve Got to Reform) and Stay Away. And then comes an even more notable surprise when you listen to their track Birds, written by Neil Young. Not to be missed are the sweet rhythmic sounds of their güiro, woodblock, cowbell and tambourine. In this album the tempo seems to hop up and down from tune to tune creating a bumpy ride that simply works. Shake it, baby! — Library User

After late-70’s punk deconstructed rock and roll and lashed out at disco, the early 80’s saw a group of youngsters in Washington DC get together and play a big role in inventing a new angle on punk rock. Very fast, loud and aggressive, Minor Threat was at the forefront of, what is now referred to as, American Hardcore. But music was only half of what they were doing; there was a clear message as well and it had to do with sobriety, a clear head and integrity. The existence of this band was short-lived and their “complete discography” is only 47:10 long. Each song is a quick jab to the head and ears, screaming at everybody to wake up! — Library User

Dark Side of the Moon is an album comprised of a purposely well-sequenced collection of songs that flow into each other – some of the segues will likely make you smile. David Gilmour’s guitar work is beautifully lyrical, the solos epic yet without redundant or excessive notes. Roger Water’s lyrics explore the concepts of aging and death and the toll these processes take on sanity.  Many elements of sound, often unconventional, are perfectly mixed into the songs. These contribute to the underlying concept and contribute to the feeling the album creates. A great experience for listeners in a philosophical and/or meditative state, and – to fully appreciate the exquisite production – even better on headphones. — Library user

Released in 1995, Cuban Linx is the Wu-Tang Clan at the height of their powers. Billed as Raekwon the Chef’s solo debut, the album is officially co-headlined by his partner in rhyme, Ghost Face Killer, and unofficially by the rest of the Clan. A criminology rap masterpiece, the LP is filled with classic verses, influential concepts and vintage mid 90’s RZA production. More cinematic than any other record in the Wu-Tang catalog, the narrative is a hip-hop anthology of street tales, movie samples and dusty records looped up to let Rae and Ghost do what they do best; tell stories and talk mad s**t. — Library User

The 90’s needed Rage Against the Machine as much as anything. But like most anti-establishment offerings of that decade, their image was gobbled up by the crass consumerism that was wild-firing its way through every extant counter-cultural straw palace. Consumerism subsumed any messages antithetical to its corrosive taint, de-fanging and rendering it a commercial spectacle to be accessorized as part of a well-marketed, disposable identity. Regardless, this album remains vital and the intelligent anger it embodies is something we need now as much as ever. Despite its fate to be unconsidered closely by many, rocked out to absentmindedly at music festivals, or later endorsed by political candidates who represent everything the band rages against, it belongs in the cultural archives of vital social commentary delivered in fine form, and should be honorably remembered for it’s richness and cutting message. — Library User

What more could be said about Elliott that hasn't already been said? More than just the man of misery, Elliott's soft-spoken poetry is cushioned between his sweet melodic guitar playing and a broken heart. Elliott invites his listeners into a world of somber --- into the shadows of his mind. His songs strike something in you that is both blissful and full of anguish. From every splinter of his broken heart, it will strike you. — Library User

Is it old? Is it new? It doesn't matter. You're just supposed to feel it. Nothing more. This record is not meant for the intellect. It's addressed to the gut and the groin. The simplicity of it is breathtaking. There's magic in these grooves and you will be reminded of every glorious summer day you've ever spent, or maybe your first kiss. Choose any blissful memory and let Jr. Thomas and the Volcanos smolder in the background. By the time their 33 minutes are up, you will be dancing and smiling in spite of your cynical self. — Library User

A jaunty reggae album that skillfully blends elements of blues, funk, and gospel. Funky Kingston is a multifaceted gem that lifts the spirit with gorgeous harmonies, soothes the troubled mind with compassionate lyrics, and bounces along merrily from one track to the next. Listeners, abandon all that you associate with the two cover tracks on this album. Toots makes them his own. Vocally, Toots delivers the goods with the grit of Otis Redding and the conviction of a preacher as he reminds us that, though life is hard, it is important to have faith. — Library User

A slow-moving beast of a record. These Eugeneans are not afraid to take their time and wallow in their message of doom. How is that message transmitted? With strange chords that reek from the stench of alternate tunings, and with unorthodox structures and rhythms. These are not your traditional verse/chorus/bridge/verse/chorus songs. They swing hard at times. They radiate atmosphere. And they can be brutal. On "The Screen" I thought I heard the sound of loggers cutting a Redwood with a crosscut saw. Think you can scream along with those hoarse vocals just because you find them reminiscent (at times) of the classic gritty stoner-metal style? A word of advice: Don't try this at home ... or in the library, for that matter. — Library User

Why do people get all worked up about Neil Young? Flip this record to side 2 and start with the first cut. Instantly, you will be awash in brooding guitar chords. Let them engulf you. Listen to Neil's tale about what it's like to be alone in this world, followed by a solo ---spare but eloquent--- that uses silence and space like Miles or Monk. Neil Young is a minimalist rock composer who makes the most of his modest talents. His voice isn't pretty and yet he's a great singer. And, sure, Eddie Van Halen can play circles around him, but can he write songs like this? Can anyone? — Library User