This Digital Harry Potter Escape Room Lets You Visit Hogwarts From Your Couch

This week especially has shown us all how we can get creative and come together in a time of need. From watching Hallmark holiday movies in March to coming together with people all over the world to see Mo Willems draw, the internet has been full of amazing, innovative activities that we can all enjoy from home. 

The best thing I have found to keep me entertained while we’re stuck at home is a Harry Potter Themed Digital Escape Room and it’s completely free!

This escape room was created by staff at the Peters Township Public Library in McMurray, PA. and you can complete it by yourself or with your family!

Harry Potter Themed Digital Escape Room

So, how does a virtual escape room work? Starting out, you’re told that this is your first year at Hogwarts. With your house already chosen, you’re told that this is going to be a team building activity. 

During this activity, you will be watching clips from Harry Potter movies, answering questions from the clips, heading into Gringotts where you’ll have to figure out the exchange rate between sickles and galleons, figure out how to do different spells and much, much more!

At first, I completed the escape room on my own so I could get a sense of what it was like. It was pretty funny looking at things like a cell phone and keypad as a wizard seeing these strange devices for the first time.

Then, I asked my youngest son if he’d like to come and do it with me. Of course he said yes! I mean, what kid wouldn’t be excited for a Harry Potter escape room! 

Doing the virtual escape room with someone else was much more fun because we were able to talk about what it might look like if we were actually there and help each other out when converting the sickles and galleons. 

I love how it sparked his imagination and made him really think about what it would be like to visit the wizarding world. 

It was really fun to see some of the trailers for the films, which were released so long ago! I mean, Daniel Radcliffe looks like a baby in the trailer for the Philosopher’s Stone!

To access the Harry Potter digital escape room, click here.

All you need is an internet connection and a browser. You can open it on your mobile phone or computer — any device that can access the web!

Now I think I need to go have a Harry Potter movie marathon.

FOR MORE STUCK AT HOME RESOURCES:

This content was originally published here.

The 10 best 90s rock albums to own on vinyl | Louder

Grunge, Brit-pop, industrial metal…Whether you loved it or hated it – and we’re guessing, since you clicked on this link, that it’s the former – the 90s provided one of rock music’s most wildly influential decades. 

From the dive clubs of Seattle to the, frankly, equally as divey clubs of Glasgow, innovative and experimental rock music was at its prime. 

But with a genre which was busting at the seams with essential albums, how do you go about furnishing your burgeoning vinyl collections with the stone-cold classics? 

That’s where we come in. We’ve assembled the quintessential collection of c jams which should form the foundation of every rock fan’s collection. 

And with an ever-growing collection of records, you might want to update your record player to one of the best turntables for your collection.

If you haven’t yet started your record collection – where have you been during the vinyl revolution!? – grab yourself one of these budget turntables and get started with a couple of these iconic albums.

Manic Street Preachers – The Holy Bible (Epic, 1994)

The Manic Street Preachers’ third album, The Holy Bible, was the last to feature lyricist and guitarist Richey Edwards. He was suffering from severe anorexia and depression during the record’s creation, and would ultimately disappear months after it was released. 

Much of what he was feeling and experiencing was put into the album’s lyrics, leading to a more ominous tone than the Manics’ previous albums. For the fans, it’s pretty much either a love or hate album, but one thing can’t be argued against: it’s an impeccably well-crafted album. 

The band moved away from their punk/hard-rock roots, and adopt more of a post-punk sound – although single Faster still displays that pure punk sound. To promote The Holy Bible, the Manics appeared on Top Of The Pops and played Faster while dressed in military clothing and balaclavas; the BBC reportedly received a record number of complaints – around 25,000. On its release, The Holy Bible was seen as a disappointment commercially, but praised by critics, and it has only grown in significance due to the events surrounding Richey Edwards. 

On the album’s 20th anniversary, a special boxset was released that includes a remix of the whole album, which some fans consider to be superior to the original mix.

Nine Inch Nails – The Fragile (Nothing/Interscope, 1999)

In the buildup to the release of The Fragile, fans simply didn’t know what to expect – and the fact that Nine Inch Nails’ vocalist Trent Reznor went on record saying it “sounded ridiculous” didn’t help. The Fragile is often compared to Pink Floyd’s The Wall, given that it’s a double album which explores isolation and depression among its prog-tinged trappings.

While there was a hint of the industrial sound from previous albums, Reznor developed the overall sound to include layers of ambient noise, pushing the album more towards the art rock movement, as opposed to the industrial alt-rock of Nine Inch Nails’ previous works. The opening track, Somewhat Damaged, made the wrong sort of headlines when it was reported to be one of 13 songs used by the CIA at Guantanamo Bay played to detainees as a means of torture.

The album on vinyl consists of three LPs; each comes in a black sleeve with the word ‘Nothing’ printed on it. It also has two additional tracks not available on the CD version, 10 Miles High and The New Flesh. A number of tracks were lengthened, while Ripe was shortened; in total, the vinyl version is almost two hours long.

Nirvana – In Utero (DGC, 1993)

“Teenage angst has paid off well, but now I’m tired and old.” The opening line of Nirvana’s third (and final) studio album immediately expresses its desire to leave the polished sound of its 1991 predecessor, Nevermind, behind. Following the astounding success of its breakthrough anthem Smells Like Teen Spirit, Kurt Cobain found himself overwhelmed with and despising of the band’s sudden stardom – a recurring theme of the album. 

Fearful of alienating its core fanbase, the band intended to produce a much more abrasive record, closer resembling the sound of debut album Bleach. Sadly, this was the last record released by the band before Cobain’s suicide less than a year later, although compilation and live albums were issued posthumously.

Shortly after recording wrapped up, rumours started to surface that Nirvana’s record label, DGC, disliked the album and was apprehensive towards releasing it in its state. Heart-Shaped Box, Pennyroyal Tea and All Apologies were later remixed by REM producer Scott Litt, alongside minor tweaks being made to the original mix elsewhere on the record, creating friction between producer Steve Albini and the band.

Despite a limited promotional campaign and quiet dismay from DGC, In Utero accrued 180,000 sales in its first week, went on to be certified 5x platinum, and has now sold 15 million copies worldwide. Original pressings of In Utero were cut in clear vinyl and limited to 15,000 copies in the US, and select other versions of the album feature hidden track Gallons Of Rubbing Alcohol Flow Through the Strip. The record has received a number of subsequent reissues across picture discs, unofficial coloured vinyls, double LP gatefolds, and as part of collector’s boxsets. Notably in 2003, DGC’s parent label, Geffen Records, released a vinyl reissue cut from different master tapes, widely accepted to be Albini’s original, unaltered mix. In celebration of the album’s 20th anniversary, a 3LP triple gatefold deluxe edition was released, featuring the entire album remastered over two discs at 45rpm and a 33 rpm disc of B-sides and rarities, all pressed on 180g heavyweight vinyl.

Oasis – Definitely Maybe (Creation, 1994)

If you look closely, Definitely Maybe’s iconic album cover is filled with all manner of fascinating insights into its performers. The shot of The Good, The Bad And The Ugly is a nod to one of Noel Gallagher’s favourite films; likewise, the photo of Burt Bacharach is a tribute to one of Noel’s musical heroes and is also thought to be a sly nod to Pink Floyd’s Ummagumma. There are also photos of George Best and Rodney Marsh, two of the most prominent football players to perform for Manchester United and Manchester City, respectively. And then of course there are the copious amounts of wine and cigarettes on display, an obvious nod to one of the most popular tracks on the album, Cigarettes & Alcohol. It’s a glorious piece of photography that effortlessly sums up both Oasis and the 90s.

While Definitely Maybe shot to the top of the UK charts and became the fastest-selling UK debut of all time – it would eventually sell over 15 million copies – its conception was far from straightforward. Initial recordings with Dave Batchelor proved unsuccessful, while recordings at Cornwall’s Sawmills Studio, this time with Noel producing alongside Mark Coyle, also failed to produce the desired effect. Owen Morris was eventually called in to salvage the recordings, mastering the album at Johnny Marr’s personal studio. The end result remains Oasis’ most exciting-sounding record, full of swagger and attitude, as if the very essence of the Gallaghers themselves was somehow captured within the double LP’s grooves.

Definitely Maybe didn’t just herald the arrival of the Gallaghers; it also helped to cement the arrival of Britpop that had been arguably kickstarted by misfits Suede, but was aggressively pursued by the likes of Blur, Elastica and Supergrass. The members of Oasis became as popular as their album, with the two brothers predictably absorbing most of the limelight. The popularity and success of Definitely Maybe probably helps to explain why original pressings can continually fetch over £100 on the second-hand market. Luckily, those with fewer pennies in their pocket can enjoy the rerelease that costs a fraction of the price.

Pavement – Slanted And Enchanted (Matador Records, 1992)

Routinely hailed as one of the 90s’ best rock albums, Pavement’s debut record Slanted And Enchanted isn’t an easy listen – but it is a compelling one. Comparisons to The Fall are often made, and with good reason, as the music is gritty, with trebly bass and drums that are hit rather than played. Pavement’s similarity to the pioneering Mancunian post-punks doesn’t stop there, either: both bands had a tendency to perform chaotic gigs that didn’t make sense to any but the most devoted fans; their mercurial frontman eventually split and reformed the band; and they never did what anyone expected or wanted them to do.

Slanted And Enchanted was raw, exciting and fairly primitive. Songs such as No Life Singed Her had plenty of energy; elsewhere on the album, highlights include Conduit For Sale!, an alternately quiet-loud-quiet affair with a nod to the slower end of American hardcore; Chelsey’s Little Wrists, a bathroom-quality wailathon with gibberish vocals and what sounded like a tapped jam jar keeping time; and the majestic Loretta’s Scars, a full-frequency guitar anthem that sounded as if it came close to making commercial sense. 

The rest of the songs oozed perverse energy. It’s obvious why college-rock fans flocked to see Pavement play life, and also why the band never made it anywhere near the big time. It was just too unorthodox – although that didn’t mean the songs weren’t good. A split in 1999 was followed 11 years later by a successful (if brief) reunion, and it’s no surprise that the gigs were packed to the rafters.

Pearl Jam – Ten (Epic, 1991)

Although bands like Soundgarden and Alice In Chains had achieved some success, it was Pearl Jam’s Ten that implanted grunge into the mainstream. Released around the same time as Nirvana’s Nevermind, grunge fans in 1991 were torn between the punk-infused harshness of Nirvana or the stadium-rock anthem sound that Pearl Jam mixed into Ten

The Pearl Jam sound fused classic rock, funk-inspired and reverb-fuelled riffs and sweeping choruses that Vedder could accompany with memorable lyrics. There was also the darker, more brooding side of Pearl Jam – such as Jeremy, a song written about a high-school student who shot himself in front of his class.

During the recording of the album, the band was known as Mookie Blaylock, after the professional basketball player. They changed their name after signing to Epic Records, but kept the nod to Blaylock by naming the album after the player’s jersey number. Ten remains Pearl Jam’s most successful album, despite being slow to sell. It was thanks to the success of the singles Even Flow, Alive and especially Jeremy that pushed Ten to eventually stay in the Billboard charts for more than 260 weeks. 

The 2009 rerelease is the most common version of the album on vinyl – you could search the web for an original pressing of Ten, but you’d be spending around the same amount of money as you would for a new copy. The rerelease can be distinguished by its white/cream cover with the band in black and white, and much like the sound of the album, it is closer to how the band originally wanted it to turn out. 

Radiohead – OK Computer (Parlophone/Capitol, 1997)

Named after a line from The Hitchhiker’s Guide To The Galaxy, OK Computer’s inspiration came from a number of different sources, including Pet Sounds by The Beach Boys, Miles Davis’ Bitches Brew, and the dislocation Yorke felt from the non-stop touring the band was doing in America. 

The end result is an album that is rife with dour, miserable lyrics and songs based around uncomfortable themes. Final single Airbag was inspired by a car crash that Yorke was involved with in 1987, while No Surprises discusses ‘A job that slowly kills you’ and ‘Bruises that won’t heal.’ The distinctive sound of OK Computer sent alarm bells ringing at Capitol, with sales projections reduced from two million units to half a million when they heard it. Ultimately, Capitol’s fears were unfounded, with OK Computer not only going on to sell over six million copies, but also drastically expanding the band’s international audience. 

Released in the late 90s, original pressings of OK Computer can often reach high prices online, but it typically sells for around the £80 mark. Fortunately, there are numerous other alternatives for those with a little less cash. EMI released a reissue in 2008, while XL Recordings released its own pressing in 2016. Perhaps the most desirable version of the album, however, was released in 2017 in the form of OK Computer OKNOTOK 1997 – 2017. Spread across three LPs, it not only features remastered tracks, but also eight remastered B-sides, three previously unreleased tracks, a hardcover art book, and numerous other goodies. It’s arguably the definitive version of a pretty definitive album, and should be in any serious collector’s library.

Rage Against The Machine – Rage Against The Machine (Epic, 1992)

Funk-metal begat rap-metal, which begat nu-metal, and somewhere embedded in that process was Rage Against The Machine: a band who combined rapped vocals with the catchiest of guitar riffs and reaped immense rewards. The foursome’s confrontational attitude towards authority helped them gain a mostly teenage audience when its self-titled debut album appeared in 1992, while its alliance with a major record label – despite its socialist politics – led to criticism from older, more cynical rock fans. 

While you may or may not enjoy frontman Zack de la Rocha’s splenetic rhymes, there’s no denying the sincerity behind his anti-corporate, anti-racist lyrics – and as for the band, there has rarely been a tighter, more musically competent guitar, bass and drums trio in the entire rock canon. Guitarist Tom Morello is a master of his instrument, coaxing such unorthodox sounds from it that the band felt it appropriate to place a sticker on the LP sleeve that stated ‘no samples, keyboards or synthesisers were used in the making of this record’.

And the songs? A blast from start to finish, without a weak one among them. Rage’s best-known song to this day is still Killing In The Name, which – with its infamous final shrieks of ‘Fuck you, I won’t do what you tell me!’ – is a stadium-igniting tune like no other. Bullet In The Head, with its anti-capitalist venom, and Wake Up, a vehement call to arms that soundtracked the 1999 sci-fi thriller The Matrix, are two other high points. The sum of these ten songs is far more than its parts, leaving us with an album that is simultaneously intelligent and aggressive. 

Soundgarden – Superunknown (A&M, 1994)

The late Chris Cornell was a man of many talents, quite apart from his unearthly vocal range. Prominent among them was his ability to write songs that fused hard rock with a pop-influenced melodic sensibility and present them to the masses with total conviction. It certainly helped that grunge – the Seattle sound in which his band,  Soundgarden, emerged – was based on a blend of singable choruses, metal riffs and a sense of nihilistic doom, all of which suited the band’s ethos perfectly.

Superunknown was Soundgarden’s fourth album, and the one that brought them to the wider, non-grunge-worshipping world. At least part of this was undoubtedly due to a single song, Black Hole Sun, a metallic bit of Beatles whimsy that was based on an impossibly catchy chord sequence in the chorus. Heavy-metal fans absolutely loved the song’s downtuned grind; grungers totally admired its depressive lyrics; and MTV and rock radio were all over the song like a rash. “It turned into our Dream On,” sighed guitarist Kim Thayil, referencing the huge, millstone-like power ballad from 1973 by Aerosmith.

The album turned out to be their swansong, at least in the group’s first period of activity; after its next album, 1996’s Down On The Upside, Soundgarden went on hiatus. A reunion in 2010 was progressing nicely until Cornell’s suicide in May 2017 at the age of only 52, tragically depriving his bandmates, fans and the rest of us of his phenomenal talent.

Primal Scream – Screamadelica (Creation, 1991)

It’s somewhat amazing to think that Screamadelica’s iconic album image very nearly didn’t happen. With the album due to launch in the September of 1991, the band was still without a cover just two months prior, and its band mates were desperate to use something that would match the statement their new music was making. In an interview with Daily Record, Alan McGee, who was Creation’s boss at the time, mentioned that he rejected Bobby Gillespie’s original request to feature the band alongside an attractive model, and suggested that they went with the sunburst that had featured on the album’s first single, Higher Than The Sun. The late Paul Cannell, who was Creation’s in-house artist, was asked to expand on the work that he did for Higher Than The Sun, altering the sun’s colours and creating a piece of psychedelic work that was every bit as flamboyant as the new album.

And Screamadelica really is a classic album worth celebrating. Created when acid house was just beginning to take off in the UK, Bobby Gillespie and the rest of the band were canny enough to know that they should embrace the rising club scene rather than ignore it. With that in mind, they enlisted the likes of Andrew Weatherall, The Orb, Hypnotone and The Rolling Stones’ producer, Jimmy Miller, to produce numerous tracks, creating a distinctive sound that not only helped the band move away from its original image, but proved that dance music and rock could coexist together.

While Screamadelica was recently rereleased in 2015, original pressings are still plentiful and available at very reasonable prices, meaning that you are able to catch a band at the height of its powers and drink in that glorious cover for very little outlay.

These entries were taken from our 100 Greatest Albums You Should Own On Vinyl special edition, which is available to buy now.

This content was originally published here.

The Who’s 20 greatest songs, ranked

This week should have witnessed the start of The Who’s UK tour. Instead, the band have become one of the many acts who have been affected by the coronavirus pandemic.

Now in their fifth decade as a recording act, the original quartet remain the quintessential drums, bass, guitar and vocalist rock band. The third part of the great triumvirate of English bands of the Sixties (with due respect to The Kinks), The Who were a force of nature both on stage and in the studio. Roger Daltrey was the charismatic front man, the manic Keith Moon – dwarfed by his massive drum kit – assailed his instrument, and Pete Townsend’s flailing whirlwind guitar action provided a strong visual focus. Meanwhile, laid-back bassist John Entwistle just stood and yawned while anchoring the overall sound. And it was all possible because of Pete Townsend’s wonderful songs, celebrated here on this list of the 20 greatest Who tracks.    

20) “I’m a Boy” (single, 1966) 

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Astonishingly, for all their phenomenal achievements, The Who have never had a number one single. “I’m a Boy”, with its gender identity theme, was an unlikely No 2 smash. Full of wonderful harmonies, this quirky study of a young man who rejects his mother’s attempts to raise him as a girl is one of Townsend’s most humorous, poignant and unusual songs. 

19) “Blue, Red and Grey” (The Who by Numbers, 1975) 

“Blue, Red and Grey” is rarely mentioned in lists of greatest Who songs, Roger Daltrey is a big fan of this charming low-key number – the eternally self-examining Townsend less so. Composed on the ukulele during a depressed time in his life, the only other instrumentation is the Hovis advert-themed brass, as Townsend sings about the simple joys of life no matter the time of day. 

18) “The Song is Over” (Who’s Next, 1971) 

One of the many highlights of the masterpiece that is Who’s Next is Pete Townsend’s vocal contributions, his highly affecting lighter voice provides an effective counter balance to Daltrey’s epochal hard rock sound. The Daltrey/Townsend vocal tag-team on this beautiful ballad, rescued from the abandoned Lifehouse project, is a delight (with the lyrics possibly referring to the ending of a love affair).  

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17) “Young Man Blues” (Live at Leeds, 1970)

Fittingly, the band touted by many as the greatest live act of the Seventies released an album capturing everything that made them great in the concert arena. It marked the end of The Who’s first great era and heralded the beginning of a new one. The powerhouse version of Mose Allison’s “Young Man Blues” found the quartet in their absolute pomp.

16) “Pictures of Lily” (single, 1967)

A boy falls in love with a picture of a Vaudeville artist only to be told that she had died in 1929. A la Peter Ibbotson, he finds comfort in his dreams with the subject of his desires. Or as Townsend says, it could simply be about masturbation. Regardless, it’s a power-pop classic of adolescent longing. 

15) “Who Are You” (Who Are You, 1978)

The title refers to a fraught meeting with covetous ex-Beatles and Rolling Stones manager, Allan Klein, prompting Townsend to go on a massive bender with Paul Cook and Steve Jones of the Sex Pistols. Alternatively proggy, hard rocking and melodious, the original quartet’s last hurrah is a fitting epitaph for Keith Moon, who died soon after it was released.

14) “Anyway, Anyhow, Anywhere” (single, 1965)

The famous Who harmonies are all over this Top 10 single, which is that rarest of beasts – a Townsend/ Daltrey co-write (the only time they wrote together). And how far ahead of the game this must have seemed in 1965, with its riot of feedback and distortion midway through. Nothing quite like it had ever been heard before and it proved infinitely influential. 

13) “The Real Me” (Quadrophenia, 1973)

All four members are at the peak of their powers on Quadrophenia’s glorious scene-setter, although it’s tempting to say that “The Real Me” is all about the bass. John Entwistle possessed an incredible ability to turn his bass guitar into a lead instrument, and his work here drives a dynamic song reflecting the conflicted personality of Jimmy, Quadrophenia’s protagonist.    



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The 20 best albums of 1995 ranked



Created with Sketch.
The 20 best albums of 1995 ranked

1/20 20. Cast – All Change

Retro Sixties meets Britpop on the Liverpool band’s excellent debut. John Leckie produced and main man John Power brought his La’s credentials, so guitars and harmonies shine. Hit singles “Walkaway”, “Alright” and “Sandstorm” are among the highlights and “Promised Land”, with fuzzed Neil Young guitars and a Ritchie Furay-like vocal, wouldn’t have sounded out of place on Buffalo Springfield’s first album.

2/20 19. The Jayhawks – Tomorrow the Green Grass

Channeling the spirit of Gram Parsons, the alt/country luminaries’ fourth album found them in their mid-career pomp. Gorgeous melodies and wistful vocals illuminate “Two Hearts” and aching opener “Blue”, while “Real Light” and “Ten Little Kids” display a rockier approach. The cover of “Bad Time” achieves the near impossible feat of weaving silk from a Grand Funk Railroad song.

3/20 18. Blur – The Great Escape

“Country House” might have won the singles race with Oasis, but The Great Escape’s reputation has fluctuated over the years. Still, there’s a broad scope to the songs here, the best of which – “Fade Away”, “The Universal” (one of Blur’s most ambitious), the Kinks-like “Charmless Man” and touching ballad “Yuko and Hiro” – ensure The Great Escape has a place on this list.

4/20 17. Alanis Morissette – Jagged Little Pill

One of the biggest and most unexpected successes of 1995, the Grammy album-of-the-year winner put the highly wrought Morissette on the confessional singer-songwriter map. Some found the unrelenting navel-gazing and uncompromising language overwhelming. Nevertheless, powerful songs such as “Ironic”, “You Oughta Know” and “Hand in My Pocket” struck a chord with many and the album sold shed-loads.

5/20 16. Black Grape – It’s Great When You’re Straight… Yeah

This phoenix-like rise from the ashes of the Happy Mondays topped the charts. Relics of the old sound remained, but on mighty epics “Reverend Black Grape”, “Kelly’s Heroes” and “Shake Your Money”, Shaun Ryder, joined by rapper Kermit and remixing guru Danny Saber, unashamedly looted various back catalogues, adding hip hop, rock, soul and funk to the 24-hour party.

6/20 15. Garbage – Garbage

This knowing, grungy mix of styles – presided over by Shirley Manson, one of the faces and personalities of the year – was a superb debut, laced with loops and samples. Arresting opener “Supervixen” immediately grabs the attention with its stop/start motif, and in among the multifaceted groove lie banging singles “Stupid Girl”, “Queer” and “Only Happy When It Rains”.

7/20 14. Paul Weller – Stanley Road

With Steve Winwood guesting on “Woodcutter’s Son” and “Pink on White Walls”, a lovely Traffic vibe permeates the autobiographical successor to Wild Wood. Described by Weller as the culmination of his solo career to that point, blistering opener “The Changingman”, soulful ballads “You Do Something to Me” and “Wings of Speed”, and the menacing “Porcelain Gods” rank among Weller’s finest.

8/20 13. The Smashing Pumpkins – Mellon Collie and the Infinite Sadness

“The impossible is possible,” Billy Corgan exhorts on the outstanding “Tonight, Tonight”, which follows the opening instrumental and really kick-starts this post-grunge classic. Corgan then attempts to prove it on a wildly ambitious and breathtakingly audacious double album – which, even at two hours long, and with a dazzling array of styles, doesn’t overreach itself, and which also includes other essential Pumpkins songs “1979”, “Zero” and “Muzzle”.

9/20 12. Elliott Smith – Elliott Smith

Smith’s lo-fi second album was the template for his future success and acclaim. A dark album with Smith baring his soul throughout, it has finger-picked guitars and hushed delivery that recall Nick Drake. Addiction and depression haunt beautifully structured songs like “Needle in the Hay”, “The Biggest Lie” and “Christian Brothers”, but this fragile, intimate record rewards repeated listening.

10/20 11. Elastica – Elastica

Fronted by glacial ice maiden Justine Frischmann, these magpies threatened to become better known for the bands they were ripping off on early singles “Connection” (Wire) and “Waking Up” (The Stranglers), both found here. However, Elastica’s debut album quickly powered its way to No 1 in the charts, their brand of spiky punk attitude striking gold in Britpop’s banner year.

11/20 10. Leftfield – Leftism

Club music entered the mainstream with this Mercury Prize-nominated album. Techno, punk, trance, ragga, tribal chants, it’s all here – and familiar even to the uninitiated, thanks to the frequent media use of tracks like “Release the Pressure” and “Song of Life”. It’s notable, too, for highly successful collaborations with Toni Halliday (“Original”), and John Lydon’s ferocious vocal on “Open Up”.

12/20 9. PJ Harvey – To Bring You My Love

Harvey’s rootsy third album tempered the rage of earlier works, however Harvey’s enduring themes, such as the paradox between the carnal and the spiritual, remain on tracks such as “The Dancer”. “Send His Love to Me” was a mainstream breakthrough, while the key track on arguably her best album, “Down by the Water”, was a chilling slice of swamp blues.

13/20 8. Bjork – Post

With scant regard for the difficult second album cliche, this truly original artist produced a brilliantly eclectic album, exploring ambient and electronica along with the usual pop and avant-garde elements. The quirky single “It’s Oh So Quiet” grabbed the headlines but the string-laden “Isobel”, the wonderful folk/techno hybrid “Hyperballad”, and the industrial beats of “Army of Me” proved much more rewarding.

14/20 7. Teenage Fanclub – Grand Prix

All the hallmarks of the art cherished by so many are here – great harmonies and melodies, jangly guitars, ramshackle yet finely crafted production on a suite of glorious Big Star, Byrds and Beach Boys-influenced songs. “Verisimilitude”, “Don’t Look Back”, the euphoric “I’ll Make It Clear” and “Sparky’s Dream” are absolute wonders, making this the Fannies’ finest record.

15/20 6. Mercury Rev – See You on the Other Side

More accessible than the avant-garde psychedelia of previous works, the dreamy ambience and gloriously off-kilter sounds of Mercury Rev’s third album anticipated Deserter’s Songs. David Baker’s departure handed vocal duties to Jonathan Donahue and jazzy flourishes and lush orchestration dominated. “Sudden Ray of Hope”, “Everlasting Arm” and “Racing the Tide” are just some of the majestic, expansive marvels on display here.

16/20 5. Pulp – Different Class

Jarvis Cocker trained his jaundiced eye on British social and sexual mores on Pulp’s breakthrough album, establishing himself as the wittiest, most articulate songsmith of his generation. The autobiographical “Mis-Shapes” and the voyeuristic “I Spy”, on which he made it quite clear what to do with your year in Provence, dazzle, and in the cherished “Common People”, Cocker created an anthem for the ages.

17/20 4. Supergrass – I Should Coco.

A joy from start to finish, full of humour, manic punk energy, great hooks and melodies in a wide range of styles, encompassing all manner of Sixties and Seventies influences. “Caught by the Fuzz”, “Alright”, “Mansize Rooster”, “Lenny” and “Time” are just some of the singalong classics that earned this classic debut a special place in the nation’s hearts.

18/20 3. Tricky – Maxinquaye

A brooding paranoia inhabits this disturbing but totally compelling journey through the mind of the trip hop maestro. Tricky merged various genres, sampling Public Enemy, The Smashing Pumpkins, Isaac Hayes, and Michael Jackson over deathly slow hip-hop beats and off-kilter sounds, juxtaposed with ethereal, occasionally sinister female vocals. A quarter of a century on, Maxinquaye remains innovative, influential and damn-near perfect.

19/20 2. Oasis – (What’s the Story) Morning Glory

The only matter still up for debate about this album is whether or not it trumps Definitely Maybe as Oasis’s finest hour. For me, the masterful songwriting and assured performances here just edge it, and there’s barely a misstep. “Champagne Supernova”, “Cast No Shadow”, “Morning Glory”, “Don’t Look Back in Anger” and “Wonderwall” are wonderful, with the rest not far behind.

20/20 1. Radiohead – The Bends

Downbeat, melancholic, yet wonderfully melodic and uplifting, with Thom Yorke’s tortured lyrics and anguished falsetto perfectly matched to soaring guitar-driven soundscape, rarely has such sweeping ambition been so bountifully fulfilled than on Radiohead’s boundary pushing second album. Epic in stature and vision, yet remarkably intimate, The Bends stood apart from Britpop and everything else in the storied year of 1995.

1/20 20. Cast – All Change

Retro Sixties meets Britpop on the Liverpool band’s excellent debut. John Leckie produced and main man John Power brought his La’s credentials, so guitars and harmonies shine. Hit singles “Walkaway”, “Alright” and “Sandstorm” are among the highlights and “Promised Land”, with fuzzed Neil Young guitars and a Ritchie Furay-like vocal, wouldn’t have sounded out of place on Buffalo Springfield’s first album.

2/20 19. The Jayhawks – Tomorrow the Green Grass

Channeling the spirit of Gram Parsons, the alt/country luminaries’ fourth album found them in their mid-career pomp. Gorgeous melodies and wistful vocals illuminate “Two Hearts” and aching opener “Blue”, while “Real Light” and “Ten Little Kids” display a rockier approach. The cover of “Bad Time” achieves the near impossible feat of weaving silk from a Grand Funk Railroad song.

3/20 18. Blur – The Great Escape

“Country House” might have won the singles race with Oasis, but The Great Escape’s reputation has fluctuated over the years. Still, there’s a broad scope to the songs here, the best of which – “Fade Away”, “The Universal” (one of Blur’s most ambitious), the Kinks-like “Charmless Man” and touching ballad “Yuko and Hiro” – ensure The Great Escape has a place on this list.

4/20 17. Alanis Morissette – Jagged Little Pill

One of the biggest and most unexpected successes of 1995, the Grammy album-of-the-year winner put the highly wrought Morissette on the confessional singer-songwriter map. Some found the unrelenting navel-gazing and uncompromising language overwhelming. Nevertheless, powerful songs such as “Ironic”, “You Oughta Know” and “Hand in My Pocket” struck a chord with many and the album sold shed-loads.

5/20 16. Black Grape – It’s Great When You’re Straight… Yeah

This phoenix-like rise from the ashes of the Happy Mondays topped the charts. Relics of the old sound remained, but on mighty epics “Reverend Black Grape”, “Kelly’s Heroes” and “Shake Your Money”, Shaun Ryder, joined by rapper Kermit and remixing guru Danny Saber, unashamedly looted various back catalogues, adding hip hop, rock, soul and funk to the 24-hour party.

6/20 15. Garbage – Garbage

This knowing, grungy mix of styles – presided over by Shirley Manson, one of the faces and personalities of the year – was a superb debut, laced with loops and samples. Arresting opener “Supervixen” immediately grabs the attention with its stop/start motif, and in among the multifaceted groove lie banging singles “Stupid Girl”, “Queer” and “Only Happy When It Rains”.

7/20 14. Paul Weller – Stanley Road

With Steve Winwood guesting on “Woodcutter’s Son” and “Pink on White Walls”, a lovely Traffic vibe permeates the autobiographical successor to Wild Wood. Described by Weller as the culmination of his solo career to that point, blistering opener “The Changingman”, soulful ballads “You Do Something to Me” and “Wings of Speed”, and the menacing “Porcelain Gods” rank among Weller’s finest.

8/20 13. The Smashing Pumpkins – Mellon Collie and the Infinite Sadness

“The impossible is possible,” Billy Corgan exhorts on the outstanding “Tonight, Tonight”, which follows the opening instrumental and really kick-starts this post-grunge classic. Corgan then attempts to prove it on a wildly ambitious and breathtakingly audacious double album – which, even at two hours long, and with a dazzling array of styles, doesn’t overreach itself, and which also includes other essential Pumpkins songs “1979”, “Zero” and “Muzzle”.

9/20 12. Elliott Smith – Elliott Smith

Smith’s lo-fi second album was the template for his future success and acclaim. A dark album with Smith baring his soul throughout, it has finger-picked guitars and hushed delivery that recall Nick Drake. Addiction and depression haunt beautifully structured songs like “Needle in the Hay”, “The Biggest Lie” and “Christian Brothers”, but this fragile, intimate record rewards repeated listening.

10/20 11. Elastica – Elastica

Fronted by glacial ice maiden Justine Frischmann, these magpies threatened to become better known for the bands they were ripping off on early singles “Connection” (Wire) and “Waking Up” (The Stranglers), both found here. However, Elastica’s debut album quickly powered its way to No 1 in the charts, their brand of spiky punk attitude striking gold in Britpop’s banner year.

11/20 10. Leftfield – Leftism

Club music entered the mainstream with this Mercury Prize-nominated album. Techno, punk, trance, ragga, tribal chants, it’s all here – and familiar even to the uninitiated, thanks to the frequent media use of tracks like “Release the Pressure” and “Song of Life”. It’s notable, too, for highly successful collaborations with Toni Halliday (“Original”), and John Lydon’s ferocious vocal on “Open Up”.

12/20 9. PJ Harvey – To Bring You My Love

Harvey’s rootsy third album tempered the rage of earlier works, however Harvey’s enduring themes, such as the paradox between the carnal and the spiritual, remain on tracks such as “The Dancer”. “Send His Love to Me” was a mainstream breakthrough, while the key track on arguably her best album, “Down by the Water”, was a chilling slice of swamp blues.

13/20 8. Bjork – Post

With scant regard for the difficult second album cliche, this truly original artist produced a brilliantly eclectic album, exploring ambient and electronica along with the usual pop and avant-garde elements. The quirky single “It’s Oh So Quiet” grabbed the headlines but the string-laden “Isobel”, the wonderful folk/techno hybrid “Hyperballad”, and the industrial beats of “Army of Me” proved much more rewarding.

14/20 7. Teenage Fanclub – Grand Prix

All the hallmarks of the art cherished by so many are here – great harmonies and melodies, jangly guitars, ramshackle yet finely crafted production on a suite of glorious Big Star, Byrds and Beach Boys-influenced songs. “Verisimilitude”, “Don’t Look Back”, the euphoric “I’ll Make It Clear” and “Sparky’s Dream” are absolute wonders, making this the Fannies’ finest record.

15/20 6. Mercury Rev – See You on the Other Side

More accessible than the avant-garde psychedelia of previous works, the dreamy ambience and gloriously off-kilter sounds of Mercury Rev’s third album anticipated Deserter’s Songs. David Baker’s departure handed vocal duties to Jonathan Donahue and jazzy flourishes and lush orchestration dominated. “Sudden Ray of Hope”, “Everlasting Arm” and “Racing the Tide” are just some of the majestic, expansive marvels on display here.

16/20 5. Pulp – Different Class

Jarvis Cocker trained his jaundiced eye on British social and sexual mores on Pulp’s breakthrough album, establishing himself as the wittiest, most articulate songsmith of his generation. The autobiographical “Mis-Shapes” and the voyeuristic “I Spy”, on which he made it quite clear what to do with your year in Provence, dazzle, and in the cherished “Common People”, Cocker created an anthem for the ages.

17/20 4. Supergrass – I Should Coco.

A joy from start to finish, full of humour, manic punk energy, great hooks and melodies in a wide range of styles, encompassing all manner of Sixties and Seventies influences. “Caught by the Fuzz”, “Alright”, “Mansize Rooster”, “Lenny” and “Time” are just some of the singalong classics that earned this classic debut a special place in the nation’s hearts.

18/20 3. Tricky – Maxinquaye

A brooding paranoia inhabits this disturbing but totally compelling journey through the mind of the trip hop maestro. Tricky merged various genres, sampling Public Enemy, The Smashing Pumpkins, Isaac Hayes, and Michael Jackson over deathly slow hip-hop beats and off-kilter sounds, juxtaposed with ethereal, occasionally sinister female vocals. A quarter of a century on, Maxinquaye remains innovative, influential and damn-near perfect.

19/20 2. Oasis – (What’s the Story) Morning Glory

The only matter still up for debate about this album is whether or not it trumps Definitely Maybe as Oasis’s finest hour. For me, the masterful songwriting and assured performances here just edge it, and there’s barely a misstep. “Champagne Supernova”, “Cast No Shadow”, “Morning Glory”, “Don’t Look Back in Anger” and “Wonderwall” are wonderful, with the rest not far behind.

20/20 1. Radiohead – The Bends

Downbeat, melancholic, yet wonderfully melodic and uplifting, with Thom Yorke’s tortured lyrics and anguished falsetto perfectly matched to soaring guitar-driven soundscape, rarely has such sweeping ambition been so bountifully fulfilled than on Radiohead’s boundary pushing second album. Epic in stature and vision, yet remarkably intimate, The Bends stood apart from Britpop and everything else in the storied year of 1995.

12) “Pinball Wizard” (Tommy, 1969)

The story of “the deaf, dumb and blind kid” reached No 4 in the UK and remains inexorably linked with Tommy, but is strong enough to transcend the rock opera and to even survive a cover by the New Seekers. Fantastic strummed acoustic guitars and slashing riffs from Townsend and an archetypal Daltrey vocal can both be heard on arguably the Who’s most famous song.

11) “See Me, Feel Me” (Tommy, 1969)

Actually part of Tommy’s closing song “We’re Not Gonna Take It”, “See Me, Feel Me” was extracted from that track as a stand-alone single after a legendary performance at  the Woodstock festival. Unlike “Pinball Wizard”, it failed to chart in the UK – the song’s strength and resonance lay in its status as the emotional and spiritual highpoint in the finale of Tommy.

10) “The Kids Are Alright” (My Generation, 1965) 

A Byrds’ influence is detectable on the jangly guitars of the ultimate Mod anthem, with a 20-year-old Townsend maturing quickly in terms of his songwriting. Here, his narrator is leaving someone or something behind – either his wife or the Mod movement itself. But he’s satisfied that “the kids are alright”. 

9) “5.15” (Quadrophenia, 1973) 

Documenting a drug fuelled train journey, this tremendous brass-driven single from Quadrophenia offers sweet and sour vocals, thumping percussion and blistering Townsend riffs, and culminates in the heartbreaking “why should I care?” coda. The band gave an ill-advised but memorable performance of “5.15” on Top of the Pops and, predictably enough, they destroyed their equipment and ran riot afterwards.

8) “I Can’t Explain” (single, 1965) 

The first of a run of classic three-minute hit singles has an edginess underneath the innocent charm. Perhaps that’s down to the power of 18-year-old Keith Moon or the garage rock/power pop fusion fuelled by the Kinks influence, in particular “You Really Got Me”, but as an opening statement, “I Can’t Explain” is pretty much unbeatable.  

7) “Behind Blue Eyes” (Who’s Next, 1971)

Who’s Next’s reputation rests not only on its power chord numbers, but the glorious ballads too. This is the best of them, although it still rocks out. Lyrics like “No one knows what it’s like/to be the sad man/behind blue eyes”, seem like a twist on “Tracks of My Tears”, however by any standards, “Behind Blue Eyes” is a Who classic.     

6) “Love, Reign o’er Me” (Quadrophenia, 1973)

The epic and hugely emotional conclusion to Quadrophenia is almost classical in its conception and execution. The instrumentation is world class, with Moon’s thunderous drums, Entwistle’s driving basslines and Townsend’s whiplash guitar and synthesised strings, vital components. However, “Love Reign o’er Me” is Roger Daltrey’s song, and his stunning, soaring vocal over the heartbreaking melody provides the majesty it deserves.  

5) “Substitute” (single, 1966) 

An intricate study of confused identity with the self-deprecating lyrics masterfully delivered by Daltrey. Townsend was moving on apace as a songwriter with some wonderful imagery here (“I see right through your plastic mac”). Power pop at its finest with the opening acoustic guitar chords and bass-driven solo etched on the memory, “Substitute” is perhaps The Who’s most-loved single. 

4) “Baba O’Riley” (Who’s Next, 1971) 

The anthemic opening track from The Who’s greatest album demonstrated how far Townsend’s song craft had progressed, even from the triumphant Tommy. The “Teenage Wasteland” lyric reflected Townsend’s observations of drug-addled fans at rock festivals, and the music is simply sensational, from the hypnotic synthesiser intro all the way through to the memorable electric fiddle climax. Daltrey’s essential vocal is the icing on the cake. 

3) “I Can See for Miles” (The Who Sell Out, 1967) 

The huge production with thundering Keith Moon drums and Townsend’s jagged riffs is the key to what Pete Townsend has described as the “ultimate Who record”. Townsend was crushed when this fantastic single stalled at No 10, but perhaps this rare excursion into psychedelia, with its themes of deceit and paranoia had too ominous a vibe for the trippy scene of 1967.        

2) “My Generation” (My Generation, 1965)

The Who’s early career-defining song spoke for and to a generation of disaffected youths. Entwistle’s incredible bass runs, Daltrey’s iconic stuttering vocal with implied expletive, Moon’s frenetic drumming, Townsend’s opening riff and closing feedback, and one of the most famous lines in rock, “Hope I die before I get old”, make this as influential as any one record can possibly be.

1) “Won’t Get Fooled Again” (Who’s Next, 1971) 

Over eight minutes long and featuring the most iconic scream in Seventies rock, the ultimate Who stadium anthem works on two levels – as a withering assessment of the political status quo and those who seek to change it, and as a mighty power chord epic. The mesmerising synthesisers embellish the majesty of The Who’s greatest song which Townsend called “a prayer”. 

This content was originally published here.

Neil Young Plays Rarities In 6-Song Fireside Session: Watch – Stereogum

Neil Young has joined the brigade of musicians offering up performance footage online. On his Neil Young Archives site, the legendary folk-rocker has posted a six-song solo acoustic Fireside Session directed by his wife, Daryl Hannah, at their Telluride, Colorado home. From various locations around the house, including the fire pit out back and the fireplace inside, Young performs selections from across his discography, including many rarities.

It begins with “Sugar Mountain,” a song he wrote way back in 1964 on his 19th birthday. Also on deck are his first run through “Little Wing” since 1977, played solo for the first time, and the first performance of Homegrown track “Love Art Blues” since 2008, and the first solo rendition of “Vampire Blues” since 1974. Rounding out the set are “Tell Me Why” and “Razor Love.”

The idea is to make this an ongoing series. On the Archives site, Young and Hannah write, “Happy to have you hang with us for a little while. It’s pretty rough around the edges, as any down-home/low tech slow interwebs production could be. … Hope you enjoy. Take care. Sending love and we’ll try to keep ’em coming.” Watch the first one here.

This content was originally published here.

Blake Shelton and Gwen Stefani Share Acoustic Version Of ‘Nobody But You’ – Country Now

As Blake Shelton and Gwen Stefani near the Top 10 on the country charts with their heartfelt duet, “Nobody But You,” the couple is sharing a new acoustic version of the song with fans.

Released Friday (March 20), the acoustic rendition of “Nobody But You” debuted with an accompanying music video that features the couple performing the song on a deck overlooking a beautiful valley.

Check out the brand new video above.

“Nobody But You” is Shelton’s latest single and third release from his new album, Fully Loaded: God’s Country. Shelton first heard the song after songwriter Shane McAnally, who co-wrote the tune alongside Ross Copperman, Josh Osborne and Tommy Lee James, pitched it to him while he was on set in Los Angeles.

“I was at The Voice compound and Shane McAnally is on Songland, so they were there doing some cross-promotion. Shane came to my trailer and said, ‘Man, I got a song for you,’” Shelton previously explained. “I knew he had Gwen’s number from a write, so I told him to send it to her as I was being called to set. I actually got the song twice because my producer Scott Hendricks emailed it to me right after.”

Sometime later, he decided to listen to the song and it stopped him right in his tracks.

“Then one day I was driving with Gwen and I said, ‘Hey let’s listen to that song from Shane, because Scott sent it to me too – it must be pretty incredible.’ When I heard it, I was just floored,” he recalled. “I realized how important that song was for me and where I am in my life right now. I just think it’s magical. I literally think it’s important of a song as I’ve ever recorded.”

Shelton and Stefani performed the song together at the 2020 Grammy Awards.

This content was originally published here.