By Robert Dimery, Michael Lydon
1001 Albums you need to pay attention ahead of You Die is a hugely readable record of the simplest, crucial, and the main influential pop albums from 1955 via 2003. conscientiously chosen by way of a group of foreign critics, every one album is a groundbreaking paintings seminal to the knowledge and appreciation of track from the Fifties to the current. incorporated with every one access are construction info and credit in addition to reproductions of unique album hide artwork. might be most vital of all, each one album featured comes with an authoritative description of its value and impression. one of the critics desirous about choosing the checklist are the superior recognized track reviewers and commentators, together with Theunis Bates (music author for Time and concrete editor at worldpop.com), Jon Harrington (staff author at MTV), Seth Jacobson (writer for Dazed & Confused), in addition to many others.
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Additional info for 1001 Albums You Must Hear Before You Die
The European avantgarde found a nucleus in Darmstadt where its abstruse, pseudo-scientific tendencies were encouraged in ivory tower conditions. By 1959 it was ready to crack from its own internal contradictions and the leading figures were experiencing keenly the need for a broader audience. For this the music had to change. Refrain was probably the first manifestation of this change in Stockhausens work. Since then his work has become quite clearly mystical in character. In a recent interview he says that a musician when he walks on stage should give that fabulous impression of a man who is doing a sacred service note the showmanship underlying that remark!.
Lrt, 1942. SMASH THE DECAYING IDEOLOGICAL AND CULTURAL SUPERSTRUCTURE SMASH THE BOURGEOIS CLASS ! AND ITS CAPITALIST SYSTEM DOWN WITH IMPERIALISM ! 32 ! CORRUPT CHAPTER 2 Criticising Cageand Stockhausen The American composer and writer ]ohn Cage, born 1912, and the German composer Karlheinz Stockhausen, born 1928, have emergedas the leading jigures of the bourgeois musical avantgarde. They are ripe for criticism. The grounds for launching an attack against them are twofold: first, to isolate them from their respective schoolsand thus release a number of younger composers from their domination and encourage these to turn their attention to the problems of serving the working people, and second, to puncture the illusion that the bourgeoisie is still capable of producing geniuses.
He describes thedevelopment towardsmonopoly capitalism,which he calls the immanent law of capitalistic productionitself, the centralisation of capital. He says : One capitalist always kills many. Hand in hand with this centralisation, orthis expropriation of many capitalists 'byfew, develop, on an ever-extending scale, the co-operative form of the labour process, the conscioustechnical application of science, the methodical cultivation of the soil, the transformation of the instru- ments of labour into instruments of labour only usable in common, the economising of all means of production by their use as the means of production of combined, socialisedlabour, the en- tanglement of all peoples in thenet ofthe worldmarket, and with this, the international character of the capitalistic regime.