John Cox

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Tagged music · everything

The 100 Greatest Albums of All Time

Consequence magazine released an updated version of its "100 Greatest Albums of All Time" list, 12 years after the original 2010 edition, reflecting significant shifts in musical culture, taste, and available recordings. The new list was compiled through extensive debate among staff members (only two of whom worked on the original), weighing factors like an album's impact at release, retrospective significance, influence on evolving musical trends, and the pure joy it brings to listeners. The publication acknowledges that readers will inevitably disagree with placements and omissions, but stands by the selections as a thoughtful assessment of musical greatness rather than a claim to objective truth.

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The Banality of Genius: Notes on Peter Jackson's Get Back

Ian Leslie argues that [[Peter Jackson]]’s decision to present [[Get Back]] as an eight‑hour chronicle transforms what could have been a tidy highlights reel into an anthropological study of creative life. By lingering on the drab [[Twickenham]] studio, the messy, windowless basement and the quotidian rituals of [[The Beatles]] — flaccid toast, mugs of tea, cigarettes, hangovers, lunchtime routines and offhand jokes — the film compels us to attend to microscopic social signals: looks, smiles, a sigh. That patient, sometimes boring attention produces intimacy; as viewers we start to inhabit the band’s rhythm and feel their small joys and tensions with unusual intensity. Leslie suggests that this banality is the mechanism through which genius is revealed, and that prolonged reportage can reawaken creative urges in audiences and collaborators alike.

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Best of Bootie 2006

I can see this is a page describing Bootie's 2006 annual mashup compilation with bonus tracks, but the content provided doesn't include the actual article text or arguments that would typically be saved. The page appears to be primarily navigation and structural elements for a music download platform, showing sections for tracks, bonus tracks, videos, monthly top 10 mashups, and themed albums. Without the substantive content of what was actually saved, I cannot write an accurate summary explaining why this particular piece was worth keeping.

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Grateful Dead Streaming - Listen to Live Concerts & Vault Recordings | Play Dead

Play Dead is the official Grateful Dead streaming service launching with over 20 previously unreleased complete shows, plus two new vault recordings added weekly, all in high-resolution audio quality. The service provides access to the band's entire official discography including Dave's Picks box sets and archival releases, organized chronologically by performance date for the first time. At $9.99/month or $99.99/year, it also integrates with the nugs platform for access to related artists like Dead & Company and Phil Lesh & Friends.

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The Magic Number by De La Soul on Apple Music

Plays from YouTube. Nothing is loaded from Google until you press play.

De La Soul's 1989 debut *3 Feet High and Rising* revolutionized hip-hop by embracing eccentric, genre-agnostic production that drew samples from Schoolhouse Rock, Steely Dan, Johnny Cash, and obscure sources rather than the standard James Brown and Funkadelic fare, creating a playful, boundary-pushing sound that established them as alternative-nation thought leaders. The album's stream of consciousness lyrics, loopy slang, and whimsical skits wrapped in cultural commentary about self-expression and individuality became a blueprint for decades of alternative rap, influencing everyone from Arrested Development to Gorillaz. The group's catalog was kept off streaming services for years due to copyright clearance issues stemming from their aggressive sampling, making the recent release particularly bittersweet following member Trugoy's death in 2023.

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Cobain loved them, Tarantino used them... then came the drug-fuelled downfall — MOJO

The Pleasure Principle At the height of Nirvana’s ascendancy, Urge Overkill were a Kurt Cobain-endorsed, Albini-produced acrylic flash of ’70s soul-stylings and Cheap Trick rock optimism. Then heroin, gangs and guns were added to the equation. Keith Cameron looks back on their short, stylish reign. Urge Overkill (l-r): Eddie “King” Roeser, Nash Kato and Blackie Onassis, Los Angeles, 1995. IN LATE 1991, JUST AS SMELLS like teen spirit was lighting a fire under the world, Nirvana toured the US and

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Eric Burdon: the hellraiser who had it all and then lost it | Louder

Eric Burdon's career spanned from leading The Animals through their British Invasion hits in the mid-1960s to fronting the funk band War and enduring a tumultuous solo career marked by legal disputes, band feuds, and personal tragedy. The piece chronicles his immersion in 1960s counterculture—his acid use, friendships with Jimi Hendrix and Janis Joplin, and role as a cultural intermediary between British and American music scenes—while documenting how mismanagement, contractual disputes, and internal conflict fractured his various projects and left him bitter for decades. By 2013, after a back operation and creative renewal, Burdon had achieved a measure of peace with his chaotic past and recognized his luck in having witnessed and participated in the transformative moments of postwar popular music.

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Shameika by Fiona Apple on Apple Music

Plays from YouTube. Nothing is loaded from Google until you press play.

Fiona Apple's fifth album, recorded alone in her Los Angeles home over eight years, channels anxiety and claustrophobia through a deliberately lo-fi sound dominated by live drums and minimal production that somehow feels perfectly timed for pandemic isolation. The album strips away the lush arrangements of her previous work, replacing them with raw percussion and Apple's characteristically sharp, unflinching lyrics that blend personal rage with societal anger without sacrificing wit or playfulness.

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