🎼 #GuelphMusicClub: Best of 2016


Yep, it’s true. Phoenix from the ashes and all that good stuff…depending on your opinion of this blog, I suppose. Either way, I’M BACK.

But, yeah, I’m dreadfully late this year with my best of 2016 recap but I don’t feel too bad about it this go around. In fact, does it bother anyone else that most major music publications and review sites/blogs tend to have their year-end lists published near the top of December? That means that albums released at the very end of the calendar year aren’t even available to be considered if their roundtable discussions are taking place throughout October/November. And I always thought it was dumb to see year-end lists incorporating items from the year previous – DUMB. Continue reading


In the end, it took a local hashtag for me to kickstart this blog.

These tweeps I know in the third-dimension (and some I do not) began to chatter about a loose coalition of Guelphites wanting to geek out over their favourite records. I was all, “wtf y not”, and decided I would like to contribute, ok?

The first installment of the #GMC is a five-part week-by-week series. Apparently, I was sleeping while this beast was being created. Shout out that dude Aaron tho @ MusicLives for graciously putting me on despite missing the first deadline.

So, the initial challenge is to list your top five albums that emerged between the period of 1963-1973.

No prob bro!

* note – these albums are not ranked or listed in any order of preference.. I will simply be contributing releases which I feel were landmark records from this decade

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Stan Getz & João Gilberto (feat. Antonio Carlos Jobim) – Getz/Gilberto  (1964)

It is one of the most beautiful albums ever made.

Also, the quintessential bossa nova record.

Getz had already been touched by the genre upon returning to the United States from a European trek in the early 60s. He collaborated with Charlie Byrd and Luiz Bonfá on the Jazz Samba series which primed American audiences for a bossa nova craze that would peak and ultimately be defined by the release of Getz/Gilberto.

The record is important for many reasons:

  • Getz invited Gilberto and Jobim, the inventors of the style, from Brazil to NYC. These sessions resulted in the first truly authentic American bossa nova recordings and what remains as one of the best selling jazz albums to this day
  • It turned Gilberto’s then-wife, Astrud – who had previously only sang within the confines of her own home – from a virtual unknown into a bona fide superstar (it also introduced Astrud to Getz, the two of whom began a relationship subsequent to her divorce from JoĂŁo)
  • The first ever jazz album to receive the Album of the Year Grammy Award
  • One of the earliest recordings helmed by the late, great, and recently deceased, Phil Ramone – which also netted him his first of many Grammy’s (Best Engineered Recording [non-classical], 1965)
  • Legendary artwork by abstract-expressionist, Olga Albizu – arguably her most famous piece

Soothing vocals and gorgeous harmonies, this is one of those records everyone needs to hear before they die. The smooth-as-butter sax of Getz adds just the right amount of spice to the sparse guitar of Gilberto. Getz/Gilberto is a legendary piece of work appropriate for almost any occasion.

One of my absolute favourites.

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As a side, since I missed out on week one and was forced to condense this list to four, I am going to double down on @Bookshelfnews and give a shout to Mr. Marvin Pentz Gaye, Jr. and his masterpiece, What’s Going On. No need to go too in depth as it has already been covered.. but, in my opinion, this is one of the most delicate, powerful, and enduring records of all time. His words and sentiments remain as pertinent today as ever.

Gordy wanted Marvin to drive Miss Daisy. Mr. Gaye wasn’t with it.

I dare you watch this without smiling.

R.I.P., Prince of Soul.