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Classic Album Sundays

CAS Marvin Gaye ‘What’s Going On’ Legacy Playlist

Take a trip through the influence of Marvin Gaye with our What’s Going On Legacy playlist featuring artists such as Sly and The Family Stone, The Rolling Stones, Gil Scott-Heron, Bilal, Laura Mvula and Childish Gambino.

The album is available to buy here.

Classic Album Sundays London presents Marvin Gaye ‘What’s Going On’ Sunday December 2nd 2018
Read more: Rocky Mountain Audio Fest Album Blogs – Marvin Gaye ‘What’s Going On’
Listen: Marvin Gaye ‘What’s Going On’ Musical Lead Up Playlist

from Classic Album Sundays


CAS Marvin Gaye ‘What’s Going On’ Musical Lead Up Playlist

Take a journey through our playlist of tracks that inspired Marvin Gaye featuring artists such as The Five Keys, Clyde McPhatter, Little Willie John, Smokey Robinson, Curtis Mayfield and many more.

The album is available to buy here.

Classic Album Sundays London presents Marvin Gaye ‘What’s Going On’ Sunday December 2nd 2018
Read more: Rocky Mountain Audio Fest Album Blogs – Marvin Gaye ‘What’s Going On’
Listen: Marvin Gaye ‘What’s Going On’ Legacy Playlist

from Classic Album Sundays

CAS Sounds of a City: Belfast – Van Morrison ‘Astral Weeks’

Listen to Colleen ‘Cosmo’ Murphy’s seventh episode of her BBC 6Music ‘Sounds Of A City’ series in which she chooses the album that she feels is timelessly evocative of and has the strongest bond with the featured metropolis. So far she has visited Glasgow, Bristol, Edinburgh, Manchester, Liverpool and Sheffield and on this edition, she journeys over the Irish Sea to the Emerald Isle and Northern Ireland’s capital city: Belfast. Along with Van Morrison, Stuart Bailie, Lauren Onkey, Tim Wheeler (Ash) and David Kitt, she explores the connections between Astral Weeks and Belfast.

Van Morrison’s 1968 masterpiece Astral Weeks is regarded as one of the most significant albums of all time and has become and integral part of Belfast. Colleen explores the album’s connections with the city with special guests: Van Morrison, Stuart Bailie (BBC Ulster and author of Trouble Songs: Music and Conflict in Northern Ireland), Terri Hooley (Ulster’s Godfather of Punk), Tim Wheeler from Ash, singer/songwriter David Kitt and Laura Onkey (Senior Director of NPR Music and author of Blackness and Transatlantic Irish Identity: Celtic Soul Brothers).

Read more: Album of the Month – Van Morrison ‘Astral Weeks’
Listen: Van Morrison ‘Astral Weeks’ Musical Lead-Up Playlist
Listen: Van Morrison ‘Astral Weeks’ Legacy Playlist



from Classic Album Sundays

CAS Classic Album Sundays with Paloma Faith: Album Inspirations for National Album Day

Check out the full interview from our evening with Paloma Faith at The British Library as she was interviewed by CAS founder Colleen ‘Cosmo’ Murphy ahead of the first ever National Album Day.

Paloma Faith’s powerful pop-soul style and captivating stage presence have brought her a string of platinum and multi-platinum albums, including the most recent, The Architect. An actor and activist as well as singer, Faith’s is refreshingly honest and forthright voice in the music world.

She is also ambassador for the British Phonographic Industry’s first ever National Album Day a week-long series of events and activity around the country – culminating on 13 October – that will celebrate all aspects of the album format on its 70th anniversary.

Classic Album Sundays’ National Album Day Round-Up

from Classic Album Sundays

CAS Sonic Youth ‘Daydream Nation’ by Jim Poe

Our 30th anniversary listening party for Sonic Youth’s Daydream Nation last week at Classic Album Sundays Sydney was pretty remarkable for me just as a listener and music fan. I can’t recall being hit so hard by an album I knew so little. And in this case, having always known about the album and its reputation, but never having given it a chance. Realising 30 years late, to my alarm, that it absolutely lives up to the hype, that it’s as utterly briliant as everyone said it was, and that I had sadly missed out. To my alarm, but also my delight. I’m kind of obsessed with it now, it’s weird.

And the remastered version I picked up for the party – the 2014 repress, featuring the 2007 remaster by John Golden – is so good. In two years of doing CAS in Sydney, it’s one of the best pressings we’ve had, I think – up there with the awesome original pressing of PJ Harvey’s Rid of Me we played a few months ago. I’ve never heard my partner J.P. Ducharne’s Klipsch Heresy speakers banging like that before – so loud but so full and vivid and cinematic. Very loud but not too loud, intense but really balanced, and hypnotic – especially in the dark. You could feel Steve Shelley’s kickdrum in your gut (what a great drummer he is) – and hear Kim Gordon’s bass kind of floating out there above the wall of noise in its own melodic ether in this Peter Hook kind of way. Not so much like SY was playing in the room as they were playing… in my head? That’s corny but that’s how it felt.
The thing is, I’ve never been much of a fan of SY, though I’ve always respected them and so many of my friends love them, including my wife. You can’t be a music fan my age and not have thought about Sonic Youth a great deal, but they were always like this big gravitational influence in a distant orbit. They always embodied a certain aspect of American indie I wasn’t crazy about, especially the more I got into funkier and more electronic stuff; and also something about the New York art scene I found kind of alienating. I don’t think I’d ever even heard Daydream all the way through. It’s embarrassing to admit! It’s such a landmark of underground rock, and it was released around the same time that so many of their equals in the pantheon like Hüsker Dü and the Pixies were changing my life.

Read more: Album Of The Month – Sonic Youth Daydream Nation

In fact, I did decide to get into SY when I was 17, in the summer of 1988, before my senior year of high school. I’d been reading a lot about them in Spin and Rolling Stone and other music magazines and they sounded like the business. At the time I had very little access to actually hearing underground and alternative music, except for buying albums. My family and I lived in Ft. Benning, Georgia; there was no college radio station near us; and I assure you, I didn’t go out or have a social life or anything like that. I was mostly on my own as a budding music fan. I read music mags obsessively, but if a band wasn’t being played on MTV’s 120 Minutes or on the USA Network’s Night Flight, both airing late at night once a week, I had no way of hearing them. So with my very limited cash – I might have $10, enough to buy one album, for a given month – I had to make careful choices. It was always such a gamble and such a thrill to buy an album by a band I hadn’t actually heard based on reading about them – to either discover a lifelong love, or to be crushingly disappointed. Usually no in between.

SY’s current album at the time was Sister. But as I often did back then, I decided to start early in their discography and work my way up. So I got 1985’s Bad Moon Rising – also because it had such a kickass cover. Well, Bad Moon is quintessential early Sonic Youth; it’s really noisy and dissonant and No Wave. That was just too much for my young ears at a point when I was into much more melodic and accessible stuff by Hüskers, the Replacements and R.E.M. So I concluded Sonic Youth were not for me. If I’d decided to start out with Sister, which is a good deal more refined and melodic, if not exactly safe, it might have been a different story.

Listen: Sonic Youth ‘Daydream Nation’ Musical Lead Up Playlist

Daydream Nation was released a few months later, and the critics went apeshit for it, it was mentioned on every other page of every magazine for months, and actually I fell in love with the Gerhard Richter painting on the cover. It really haunted me, imagining what kind of music that candle might represent. Maybe I should give it a chance, I thought. But I never did. I was too put off by the experience of Bad Moon Rising. And it wasn’t being played on MTV, so I couldn’t get a taste of it to change my mind.

Time passed, Sonic Youth got bigger and bigger, I enjoyed some of their hits, I thought “Kool Thing” was kool (especially as a Public Enemy fan), and I was kind of blown away by their documentary 1991: The Year Punk Broke (which features incredible footage of SY, Nirvana and other bands on tour together in that seminal year – it’s highly recommended). But I never got pulled back in enough to be a fan, and then I started getting into house and techno as a DJ in New York, and I wasn’t worried about it anymore. Crucially, I never saw them live – that might have made a difference. (They played a high school gym in L.A. when I was attending uni there. It was the Goo tour in the summer of 1990, Nirvana opened, and let’s just say I regret not seeing that show.)

This Daydream session for CAS came up at a point when I’ve been revisiting a lot of My Bloody Valentine, Lush and other noisy but oceanic and pretty stuff from the era. So there was something about the timing. A couple of weeks ago, while prepping for the party, I was so oddly apprehensive and so fascinated to finally put it on at home and listen to it, with this sort of dual set of ears, the me of now and the 17-year-old me listening to it at the same time. And I was kind of astonished at how melodic and gorgeous and spacey it is in and amongst all the noise. Some of the more anthemic songs like “Teen Age Riot” and “Hey Joni” would have been exactly what I was looking for back then, in that kind of Hüskerish, Dinosaur Jr.-ish emotive way. There’s something so heroic about some of those chord progressions, and the energy they sustain is really jaw-dropping. And the more free-floating flickering implosive ambience is so lovely in its noisy messed-up way. The references to William Gibson (e.g. Gordon’s “The Sprawl”) would have been cool as hell to me too – I was a William Gibson and cyberpunk fan starting in high school.
Dammit! I would have loved it, I think. I would have gone nuts for it, and I might have become a major fan. I felt this weird ache in my stomach, this 30-year loss. Especially when I was listening to it one evening and I heard myt wife singing along with it in the next room. Of course she was ahead of me on that! I felt overcome with regret.

Listen: Sonic Youth ‘Daydream Nation’ Legacy Playlist

But also… something about the delayed reaction makes me happy too. It’s kind of wonderful to get into something so late and dig it on so many other levels. I had a similar experience with Television’s Marquee Moon, another bloody obvious classic. I first heard it nine years ago, when I was still living in New York – the city whose alienation and euphoria it captures so well, as does Daydream Nation – and it changed my life. So I can get into Daydream now and hear how SY were influenced by the Slits, for example; and how they influenced Stereolab, my favourite band ever; and how all the ambience and noise presaged the dreampop and shoegaze like Lush and MBV that I’ve always loved; and co-producing with Public Enemy engineer Nicholas Sansano gave the album that extra kick. And how, as Matthew Stearns brings out in his terrific 33 ⅓ book about the album, Daydream really reflects my personal experiences of the landscapes and the textures and the heat and the claustrophobia of New York in that era. Things I could have never understood or appreciated as a kid. It makes it all feel new. It’s not the same as nostalgia, there’s something more immediate about it.

That’s the great thing about doing CAS, and about staying open to new music, or “new” music, as you get older. You might have a surprise discovery like that, even from a band you thought you had figured out. It’s really invigorating.

The album is available to buy here.

Jim Poe

from Classic Album Sundays

CAS Classic Album Sundays and The Jazz Cafe present: Kind Of New

Classic Album Sundays and Jazz Cafe’s partnership Kind Of New returns in 2019 with four amazing live interpretations of classic albums.

The series kicks off with Jill Scott’s iconic 2000 record Who Is Jill Scott? Words and Sounds Vol. 1 with Dylema Collective, who will also be performing some of their own material on the night on Tuesday 8th January 2019.

Tickets available here.

Kind Of New continues on Monday 11th February 2019 with Ella Fitzgerald and Louis Armstrong’s timeless collaborative album Ella And Louis, courtesy of jazz vocalist Cherise Adams-Burnett.

Tickets available here.

On Monday March 11th 2019 trumpeter Donald Byrd’s jazz fusion masterpiece Places and Spaces will be performed live by fast rising trumpeter and bandleader of Kokoroko, Sheila Maurice Grey.

Tickets available here.

The final edition of Kind Of New rounds off with afrobeat originator Fela Kuti’s three-album compilation Fela Kuti & His Koola Lobitos, performed by London sax star Camilla George on Monday 8th April 2019.

Tickets available here.

from Classic Album Sundays

CAS Richard Reed Parry (Arcade Fire) Top 5 Albums Of All Time

Following last year’s sell-out success, Classic Album Sundays returns to the Spitalfields Music Festival on Monday 3rd December 2018 with a classical-meets-electronic twist. In the spotlight for this event is multi-instrumentalist, producer and composer Richard Reed Parry, best known as a member of Grammy Award-winning band Arcade Fire. His chosen album is Snowflakes are Dancing by Japanese musician Isao Tomita.

Ahead of the event we were lucky enough to get the lowdown on Richard’s Top 5 Albums Of All Time.

Tickets available here.

Watch: Colleen ‘Cosmo’ Murphy, Max Richter and André de Ridder discuss Recomposed by Max Richter: Vivaldi’s ‘Four Seasons’ at Spitalfields Music Festival 2017

Talk Talk – Spirit of Eden

“The perfect recording.”

Charles Mingus – Mingus Ah Um

“My favorite record thus far from my favorite era of jazz thus far.”

Aphex Twin – Selected Ambient Works 85-92

“I never get tired of this, and i listen to it with shocking regularity.”

Roomful of Teeth/Caroline Shaw – Partita for 8 Voices

“Anyone who hasn’t heard this, please do so.”

Edgar Meyer – Bach Unaccompanied Cello Suites Performed on Double Bass

“For my money, the greatest version of the cello suites ever recorded, and it’s not on cello.”


from Classic Album Sundays

CAS Darius Brubeck Top 5 Albums Of All Time

We will be joined by Darius Brubeck on Sunday 25th November 2018 as part of EFG London Jazz Festival 2018 to take an in-depth look at the Dave Brubeck’s Time Out.

A subtle blend of cool and West Coast jazz, Dave Brubeck’s 1959 album went platinum – and included a similarly massive single hit with Take Five. Brubeck’s son Darius fills in the background to an album that changed jazz perceptions, exploring unconventional time signatures and themes suggested by the Quartet’s tour of Europe and Asia the previous year.

Tickets available here.

Classic Album Sundays London presents The Joe Harriott Quintet ‘Abstract’ with Soweto Kinch For EFG London Jazz Festival Sunday 25th November 2018 4.45 pm – 6:30 pm

Miles Davis – Kind of Blue

“This is such an obvious choice, you can’t leave it out. Everyone who loves jazz knows why. I’ll try to throw in some surprises now.”

Duke Ellington – Unknown Session

“This has been a favourite since I heard it in 1986. This was a small-group session featuring Ellington’s his top soloists at the time; Johnny Hodges, Lawrence Brown, Harry Carney and Duke himself is unusually prominent as a soloist. Each track features one of these players. The whole album radiates melancholy, soulful wisdom. ‘Life is what it is, and yet…’ It gets me every time.”

Chick Corea – Now He Sings, Now He Sobs

“This was a shrewdly chosen birthday gift from my father. I was in my early 20s and still mentally a teenager looking for ‘my own music’ and not finding it. I felt doomed as a pianist because my generation wasn’t into old standards and playing contemporary pop songs on piano just seemed corny and desperate.   Chick’s first trio album showed me there was a future after all!”

Frank Sinatra – Swing Easy

“This is still my reference for standards. The musicianship and arrangements backing Sinatra’s deliberate, yet casual, delivery will probably never be bettered.”

Dave Brubeck – Indian Summer

“This is a very late career solo album. It reminds me of a period when my wife and I spent a lot of time visiting my parent’s home in Connecticut. He used to go into his living room daily and just play. I wouldn’t call it practising because it was more like self-communion, finding a zone between memory and invention.”


from Classic Album Sundays

CAS Classic Album Sundays Washington D.C. Presents The Beatles ‘The Beatles’ (The White Album)

For our November 2018 session we celebrate the 50th anniversary of The Beatles “The White Album”!!

Fifty years ago, The Beatles released what would be their highest-selling and arguably most polarizing album to date, an eponymous release commonly known as The White Album. Like Sgt. Pepper’s Lonely Hearts Club Band before it, The White Album has over time become a yardstick for rating a band’s discography. To be able to, often erroneously, deem a band’s records as “their White Album”, and have people know what that means, speaks to its pervasive influence.

A sprawling double-LP at 30 tracks, The White Album is as varied as it is ambitious. Laced with humor, curiosity, and trademark-Beatles joy, the tracks spread from the outright silly (“Piggies”), to the searingly aggressive (“Helter Skelter”), to the disturbingly effective avant-garde (“Revolution 9”). Each one of these songs, even the occasionally flawed inclusions, add to the charm and cohesion of the expertly-sequenced record, cementing its place among their crowning achievements .

Buy the album here.

Read more: Ken Scott’s Top Five Albums Of All Time

Washington DC

Date and Time: Sunday November 11th 2018 2:00pm – 4:00pm


Songbyrd Music House and Record Cafe, 2477 18th St NW, Washington DC 20009


$5 – $7 in advance


Joe Lapan

Audio Menu provided by Audioism.

REGA Planar 3 turntable with Elys MM CartridgeREGA Fono MM Phono PreampAudioism MicroZOTL Preamp (David Berning Design), Audioism Venue-Class Playback SystemXcilica HD System ProcessorAudioism ZOTL Amplifiers (David Berning Design), Class AB Hybrid Amplification for Subs, WyWires Audio Interconnects

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