Pleasures U Like is the third studio album by American singer Jon B. Released on March 20, 2001 in the United States, it marked his first album under Tracey Edmonds' label Edmonds Record Group which was formed after Jon's previous label home Yab Yum Records had folded.[1] On Pleasures U Like, Jon reunites with past producers Babyface and Tim Kelley and Bob Robinson, who each produced one song. Also present on the album is the team of musician Joshua P. Thompson.[2]
The album earned generally mixed reviews and opened at number six on the US Billboard 200 and number three on the Top R&B/Hip-Hop Albums chart, selling 99,000 in its debut week, while also becoming Jon B's first top ten album. Despite this, Jon felt it was not marketed and promoted properly. The only song released from the album as a single was "Don't Talk"- which was due primarily to Jon wanting to get out of his contract with Epic Records. As a result, this would be his final album released on a major label.
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Tomika Anderson from Entertainment Weekly found that the singer "hits the bull's-eye with his beautiful love songs" and called the album "a soulful smorgasbord," based on the "right blend of intimacy and titillating sex grooves."[7] AllMusic editor Ed Hogan rated the album three out of five stars. He called Pleasures U Like Jon B.'s "most consistent album to date" and noted that a "cool, nighttime dance club vibe flows through the album. Not every song is a dance track; there are also a number of appealing ballads."[3] Diana Evans from NME called the "a sea of rather bland harmonies, limp beats and a ballad avalanche that borders on the tedious" and was "unlikely to bring about any drastic change in Jon's profile."[4]
Pleasures U Like bowed at number six on the US Billboard 200 and number three on the Top R&B/Hip-Hop Albums chart, selling 99,000 in its debut week, becoming the first top ten album for Jon B.[8]
This makes it extremely unlikely the illustration appeared in that 1968 publication as there is no mention of Arecibo (which is where the image was produced), so its appearance in the January 1971 issue of Scientific American is in all likelihood the first place it appeared for public consumption.
I guess the last piece to the puzzle is whether or not whomever created the image formally copyrighted it. The image would have been produced between 1968 and 1970, and as per law at the time, it would have had to be published with a copyright notice to receive protection (unlike today where works are automatically protected).
It looks like F.X. Timmes was right: Jen Christiansen, art director of Scientific American, has completed the search and found (and interviewed!) the mystery man behind image the in this fantastic piece. Harold Craft, a Cornell graduate student working at Arecibo in 1970, captured what has since transcended into an iconic plot.
Unknown Pleasures, the debut album from short-lived English rock band Joy Division, has been referred to as one of the most influential post-punk records of all time, and with good reason. The album borrows ideas from punk rock, such as its energy and its willingness to reduce a song to its bare essentials. Unknown Pleasures experiments with these ideas in a variety of interesting ways.
Pleasures U Like is the third studio album by Jon B. Jon reunites with past producers Babyface and Tim Kelley and Bob Robinson (Tim & Bob), who each produce one song. Also present on the album is Joshua P. Thompson, a songwriter and producer who is best known for his work with the R&B singer Joe.
This album cover represents radio signal pulses from the first pulsar discovered, CP 1919.
The raw data is available, and luckily for me someone had already used that data to generate SVG vectors corresponding to each of those lines.
To reproduce the look of the original album, I want to paint the top of each slide white, so I used blue tape and painstakingly cut the profiles of each slice manually:
PXL_20220522_12574438019201440 313 KB
From big stadium tours and big record deals to obscure club tours and an indie release… so the story goes for Quiet Riot. Forever remembered for their cover of Slade’s Cum on Feel the Noise, Quiet Riot have actually released a very solid album that will largely go unnoticed. After a few very mediocre releases during the 1990’s, this album is a return to the classic sound of Condition Critical and Mental Health. Guilty Pleasures certainly does not explore new territory, but it is the product of what the band does best- catchy testosterone charged hard rock. This certainly is not an earth shattering release. But with so many US 80’s hard rock bands reforming and releasing uninspired garbage albums just for a paycheck (anyone heard that disappointing Ratt album from a couple years ago?), I though it would be worthy to point out an exception.
After a few mediocre at best releases during the 1990’s, Guilty Pleasures is a return to Condition Critical or Mental Health era sounds. Actually, the musicianship is a bit better and the structure of the songs themselves is more complex and interesting. The guitar solos are particularly more impressive than in the past. The backing vocals are still as strong as before, making for very catchy and melodic chorus lines. Modern production makes for a much crisper sounded CD compared to the older albums. Had this album been released in the 1980’s in place of the very poppy QRIII album, I think the band’s popularity would not have faded nearly as fast as it did.
Similar to the bands earlier albums, Guilty Pleasures offers some groove driven rockers, some riff strong anthems, and two ballads for a total of eleven tracks. I could have done without one of the ballads, but that is a minor complaint. I Can’t Make You Love Me is a pretty good power ballad with a nice melody to it, but the acoustic Fly Too High is well, rather boring. At least it is the last track of the album so the listener can just quit listening at that point and not worry about looking for the remote to skip the track. Moving on… Like I said earlier, originality is not a word to describe this album as is quite evident with a couple tracks in particular. Rock the House is a straight up party rock song, and that opening drum line sounds *exactly* like Cum On Feel the Noise. Nonetheless, it is a fun song and catchy as hell. This would be a good one to open a live show with. When I saw the guys live last November, they played this tune in the middle of the set, and opened with Vicious Circle. Another highlight, but recognizable track is Blast From the Past, which is exactly that, a blast from the past. The opening riff reminds me a lot of the self titled Montrose album, or even the first two Riot albums, Rock City and Narita.
While I have moved on to newer things (when’s that new Running Wild and new Blind Guardian out??), I still like to hear from an old school hard rock band I grew up with that it still putting out quality material unlike some of their counterparts. No “Latest and Greatest,” “Live and More,” cover album, or uninspired studio album. This is a very solid album that should receive more attention, but unfortunately will not. Bottom line: If you’re looking to move on and find something new and more original, pass on this album. However, if you liked Quiet Riot back in their heyday, and don’t mind a familiar trip down memory lane, grab this album. It is a very solid release to say the least, and surely compares to the band’s first two (and most successful) albums.
Great album, I do have that. Turntables and LPs are still in boxes though. We moved into this still not quite finished house 18 months ago and unfortunately the TV room is the last room to be finished. But I still have the internet.
Krell spoke like he was only half-aware he had an audience, with a kind of stream of consciousness that produces language bewildering to the listener and taken for granted by the speaker. "I'm definitely, like, a very thought-oriented person," he said. "I like to talk and think. I talk constantly. I don't really know how to not talk. I don't really have a rich inner life."
How to Dress Well's recently released fourth studio album, Care, reveals a singer and producer who has moved away from the atmospheric moodiness that characterized his previous music. The first single, "Lost Youth/Lost You," an energetic pop song produced by Jack Antonoff, lyrically maintains some of the darkness that has long characterized his work but is animated by an exuberance that was previously absent. "I say I think I know what love is now / I think I got it figured out," sings Krell in the hook. "But then the second that I open my mouth / I want to change my heart again." The song defers to the conventions of glossy pop music without entirely surrendering Krell's compulsive tendency toward somberness, as does the rest of the album. He sings about a happiness that is constantly fleeting and a safety that is under constant threat.
He followed that up with Total Loss in 2012, which he wrote after the deaths of his best friend and his uncle. During that time, Krell was also working on a PhD in philosophy at DePaul University, writing a dissertation on nihilism, a fact that became a fixation for music journalists interested in emphasizing the "cerebral" aspects of his music (but which Krell downplays.) "I'm like, 'Yeah, I read all the unpublished letters in German that Jacobi wrote to, I don't know, the pupils of Mendelssohn,'" he said. "You'd be like, 'I don't give a fuck.' That's so lame. It's just not that cool." His academic history becomes evident in the way he talks, spontaneously flinging himself into a brief overview of neoliberalism in the middle of a conversation about pleasure in art. "The American logic is so dark," he said, in between bites of a squash blossom breakfast burrito. "We are the generation that is the first real lab test of this mode of political-economic reality. It's like, 40 years old, neoliberalism." He sings about this logic, the accumulation of debt, and "normalized anti-sympathy" on the 11th track of the album, "They'll Take Everything You Have." 589ccfa754
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