joz-norris | Albums
Explore Guy Colson's board " albums you have to hear" on Pinterest. | See more ideas about Albums, Music albums and Album covers. David Byrne, Various ArtistsTrue Stories, A Film By David Byrne: The Complete Soundtrack · Fleet FoxesFirst Collection – · WilcoWilco (the album). And even though it weighs in at a total of 19 songs, the album boasts enough . Throughout this record it is when the skins and sticks meet that things truly take and a couple transitional orphans on shuffle -- there's an irrefutable charm to .
There's more cynicism and snark here, more grim attitude and more off-kilter strangeness than anything that preceded them. Even when it sounds beautiful it sounds a bit like a piss-take of the concept of beauty.
I don't unreservedly love every song here, but I have to hand it to them for being game-changers. This is a lot of cartoonish fun. It's all edited to sound like a pirate radio broadcast, with silly nonsense commercials interrupting the songs.
The songs themselves are sort of middling, but do include two of my favourite hard rock anthems of the 60s. I Can See For Miles. As such, it's over-long and inconsistent but, as any true artist can attest, if you throw shit at the wall for long enough, eventually you WILL write "Back In The U. There's a story that Peter Green desperately wanted to be one of the blues greats, but knew he never could be because he was a well-off, well-educated, middle-class white English man, so it would always be inauthentic.
Supposedly, this thought made him so depressed that he got the blues and became one of the blues greats. I love this story so much. Certainly the weirdest album yet to feature on this list, and a strong contender for the weirdest album of all time. There's a minute song written from the point of view of a single-celled organism. I also find it very difficult to imagine these guys in a recording studio, everything sounds like it could only ever be played in a wood.
Tull's down-to-earth, rootsy debut is a bit of an anomaly in their wider discography - it's more straightforwardly bluesy and less quirky than their later output, and Ian Anderson plays almost as much harmonica as he does flute. Nonetheless, the seeds of their future brilliance are already sown here. He's obviously an amazing, pioneering guitarist and a great singer, but I find he's sometimes guilty of psychedelic rock's preponderance to meandering without a strong musical hook to attach his talent to.
All Along The Watchtower.
Most of Joni Mitchell's debut consists of haunting, mysterious, pretty folk ballads but isn't necessarily the obvious work of someone who would become one of the greatest singer-songwriters of all time.
But then there's "Cactus Tree," one of the most beautiful songs ever written and possibly, in my opinion, Joni's best. You hear that one and go "Oh yeah, she'll probably go on to be absolutely brilliant. I only started listening to Leonard Cohen last year before he died, as it happens. I'm not big on grief bandwagonsso he's not yet had time to burrow under my skin and convince me he's an all-time great. I'll concede that he's great at writing very sad, mournful, melancholic little songs, but some of this is a bit too dry and lifeless for me.
Some of it is excellent though. Mothers head honcho Frank Zappa got frustrated with the record label while editing this, so just went mad in the editing room and chopped it to bits. As such, many songs last only a minute or so and are randomly interrupted by fragments of other songs, or by weird, unsettling noises or snatches of sinister whispering. An odd listen, but a fascinating insight into a guy's strange creative process.
I don't know much about the Brazilian Tropicalia movement, but if Os Mutantes are a decent representative of it, I'd like to know more. This album is loads of fun, and deeply bizarre. Like listening to a lucid dream set at a carnival. For me, it trails off a bit towards the end, but it's been a really fun ride up to that point. You find yourself listening to this honey-voiced 60s crooner singing brilliant theatrical interpretations of Jacques Brel, or beautiful orchestral ballads, all the time knowing that there's a real mania in his brain somewhere.
After the solid groundwork he'd laid with Them, Van Morrison's solo debut was a bit of a forgettable stumble. So, so, so, so good. I do genuinely enjoy this album, but most of it sort of for novelty purposes. Then "Time Of The Season" kicks in at the end and reminds you that these guys could also write a really cool song when they put their minds to it.
So a bit of everything here. Time Of The Season. The most arrogant name for a band ever. I'm sceptical about Bob Dylan at the best of times, so you can imagine my scepticism when it comes to the independent releases by Bob Dylan's backing band. It also has the aberration that is "Jawbone," though, so don't expect me to rave about it. Though not the last Beatles album released, it was the last they recorded and they go out on a massive high.
The first half consists of a bunch of songs that are their maturest, most inventive and confident to date, and the second half is an ambitious, elaborate song-suite that ranges from the ridiculous "Mean Mr Mustard" to the sublime "Golden Slumbers. With absolutely no room for discussion, Creedence's John Fogerty is easily in the top 5 coolest vocalists in the history of rock music - just growling, snarling, gutsy perfection.
Creedence's simple, straightforward blues rock is fantastic and made them a bigger band worldwide than the Beatles in Born On The Bayou. Turns out this does have some great songs in between its blander moments, though I'm not remotely tempted to revise my opinion that Graham Nash is just beyond awful. Big shout-out to "Letter To Hermione," an often-neglected Bowie classic. Dusty Springfield's early stuff is enjoyable enough, but is mostly quite forgettable pop with the odd absolute club banger.
In '69 she said "Enough! I want to honour my soul influences more! Sadly, despite obviously being brilliant, it didn't sell very well and she never bettered it. Son Of A Preacher Man. I'm a fairly recent convert to Fairport Convention, so I don't have much of great insight to say about them.
Sandy Denny's voice is amazing, the band sound great and I really like the folksy acoustic vibe. They're slightly more on the popular side of folk music as opposed to its traditional side here, but would cross that line on the next record. It's just as much fun and still hauntingly beautiful in places, but mostly consists of lengthy traditional folk ballads or instrumental reels rearranged for a full band, so is inherently a bit more exciting and original.
From its traditional blues numbers to its blistering instrumental jams, to the astonishing prog-rock brilliance of "Oh Well," Peter Green's final album with Fleetwood Mac really showcases what a visionary musician he was. After this he lost his mind to LSD and to his own disgust with his success, and faded away from the spotlight.
He remains one of music's great enigmas. Zappa's first solo outing separate from the Mothers features a bunch of delightfully odd, colourful, eccentric and intricately arranged jazz fusion instrumentals, with a characteristically snarling guest vocal from Captain Beefheart on "Willie The Pimp. This is just very nice, chilled-out, folksy blues-rock of the highest order.
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Admittedly it doesn't yet have any of the killer guitar riffs or catchy tunes that Free would excel at just a year later, but they were about sixteen when this came out, so fair enough, really. Lying In The Sunshine. The music itself on this is a sort of bluesy soul which is really well-played and entertaining but feels a bit familiar, particularly when listening through this list chronologically.
But I think Janis Joplin's legacy isn't necessarily that of a pioneering musician or artist, but simply that of an incredible singer, and boy can she sing. Original Tull guitarist and traditional bluesman Mick Abrahams is out, and the wonderful Martin Barre is in. As such, less shackled by a traditionalist band-mate, Ian Anderson is able to stretch his imagination a bit more here.
It's still bluesy folk rock, but it's starting to feel quirkier and more imaginative - there are more flute solos, for one thing. A New Day Yesterday. From the haunting sadness of "Tin Angel" through the joyous pop of "Chelsea Morning" to the absolute perfection of the all-time classic that is "Both Sides, Now," this is just a truly brilliant record.
Not her best, mind. More yet to come. List, meet Progressive Rock. The first prog album to feature on the list also happens to be one of the very best - squealing guitars, squawking saxes, pompous Mellotron, scary distorted vocals. It's also noticeable listening to the 60s chronologically how utterly alien this sounds - it's menacing and terrifying and totally unlike any previously existing music. Also the best album artwork of all time.
Feel free to skip "Moonchild," obviously. It combines the space and loveliness of lates cool jazz with the restlessness and strangeness of lates fusion to create something that, in places, feels like a prototype for ambient music in the 70s, where the atmospheres and textures are more important than the notes.
After a disappointing solo debut, Neil Young hit paydirt by teaming up for the first time with his best-ever backing band, the raucous, plodding numbskulls of Crazy Horse. This album features two of Neil's best-loved long guitar jams, "Cowgirl In The Sand" and "Down By The River," but my favourite track is the simple joyful country rock of the title track.
Everybody Knows This Is Nowhere. The songs are lovely and Drake has a lovely voice, but I just wish Boyd had reined it in a bit. It's like travelling back in time to a Medieval village and having a right old knees-up among all the ducks and the cabbages. I got weirdly obsessed with Peter Sarstedt at uni, considering he only has one song anybody even vaguely knows. It's all very ridiculous, but it's also utterly, utterly charming.
Like I said, needlessly obsessed. Nobody needs to listen to two Peter Sarstedt albums, but do you know what, I'm glad I did because this one's great too. He's a bit cheeky on this one too, a cheeky glint in his eye, and slightly less earnest than before. What a delightful man. I quite like Syd Barrett's quirky psychedelic aesthetic, but generally I find early Pink Floyd too self-indulgent and meandering.
It doesn't get enough love. Green Is The Colour.Tomorrowland Belgium 2017 - Axwell Λ Ingrosso W2
If You Go Away. Walker's first album consisting exclusively of his own compositions, and it's a very theatrical, Gothic affair. Also his last album to achieve much popular success or critical praise, prior to a couple of decades in the wilderness, before fully converting into an avant-garde puncher of meat and visionary artiste in the 90s with the bewildering Tilt. Sly Stone didn't invent funk music, but I do think he played an important role in bridging the gap between the more familiar, soul-based funk of James Brown and co.
Loads of raw attitude on this album's longer jams, but also a lot of sweet-natured fun on the shorter hits. But here they really push the actual songcraft.
This is a much less cynical album than the first two, and almost feels like they've sincerely tried to make something pleasant.
Beginning To See The Light. One of the first ever concept albums, a rock opera about a deaf, blind, mute boy who's really good at pinball. Their debut album's best song is a beautiful piano ballad, and it includes covers of the likes of the Byrds and the Beatles.
It's all great, and there's still the odd wacky organ solo, but they'd push the boat out further on subsequent albums. Controversial opinion, but I think Cat Stevens from is a better singer-songwriter than Bob Dylan at any point in his career. I think Stevens is everything a singer-songwriter should be. The lyrics aren't poetic or epic, but they're simple and heartfelt. He's a great, great tunesmith, and has a real variety in the kinds of songs he writes.
He got very ill in and I reckon when he recovered he thought "I don't want to be remembered for writing silly novelty pop, I want to write proper songs," and started an incredible run of great albums. Exhibit A when defending the opinion above. Absolute club banger after club banger. Creedence are another one of those bands who never really varied their formula, but they did gradually finesse it.
This is their masterpiece. Also, on songs like "Ramble Tamble" or the minute version of "Heard It Through The Grapevine," they do begin to show signs of innovating beyond the simple Southern blues-rock formula. A shame they never really pursued it further.
Run Through The Jungle. OMG you guys, immediately go and follow David Crosby on Twitter, it's one of my favourite things on the internet. Secondly, it's weird that Neil Young definitely has ten times the talent than Crosby, Stills and Nash, but his contributions here aren't actually the best songs on the album. And third, a country rock version of Joni Mitchell's "Woodstock" has no right to be this good. Almost Cut My Hair.
Probably the one Bowie album where Bowie himself is threatened by being upstaged by the band around him. Mick Ronson is great on this. The Width Of A Circle.
50 essential cds from around the world | Music | The Guardian
Of all my favourite musical artists, Elton John is probably the one with the most unfairly maligned reputation - more so even than Marillion, because at least people have just never heard of Marillion, whereas everybody knows Elton John and thinks he just made shit glossy pop music. This totally overlooks the fact that for at least the first four years of his career I'd say longer he was a superlative singer-songwriter.
I love the string arrangements on this. There are still a few beautiful stripped-back ballads, but in general the piano, voice and strings vibe is augmented with guitars, horns and harmonicas to give it a real country-folk-rock band vibe. The debut album of the best ever instrumental prog band actually has a surprisingly large amount of vocal on it. Focus don't excel at vocally-led songs, but there's still enough of Jan Akkerman's guitar pyrotechnics and Thijs Van Leer's flute acrobatics to make this really entertaining.
House Of The King. A bit of a hodge-podge, this. Free take all the laid-back, earthy, bluesy authenticity of their first couple of albums and dial it up with a bunch of amazing guitar riffs and solos and instantly catchy choruses. Paul Rodgers matures into one of the best rock singers of all time, and the whole thing is pretty much the perfect blues rock album. Also, they were still teenagers. I used to think this album was really boring.
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Of all the major prog bands, Genesis is the one I struggled most to get into. I should've started with this, their first progressive album and a great jumping-on point. Their trademark pomp and bombast is present, but in manageable amounts, and the songs are genuinely compelling.
My dad bought me this album when I first started playing the clarinet because there's a clarinet solo on "For Free.
For that reason, it will always be my favourite track on this album even though it's the album that has both "Big Yellow Taxi" and "Conversation" on it. It lacks originality, but it's still great. There's a sort of Medieval circus vibe about this. Utterly bizarre that Leon Russell became such an obscure figure after the 70s, considering both his obvious talent and the fact that this debut boasts guest turns from Mick Jagger, George Harrison, Ringo Starr and Eric Clapton.
Russell's brand of piano-led blues-rock was a big influence on Elton John, and the fact that time was so unkind to his legacy and so few people have heard of him is very sad. A Song For You. The Mothers had effectively disbanded by this point, though Zappa would occasionally team up with some of them and resurrect the name on the odd album. This is cobbled together out of previously unreleased recordings, and is basically Zappa and his mates doing more overblown instrumentals and eccentric doo-wop numbers.
By this point, you either like Zappa's aesthetic or you don't, to be honest. Here, Neil sidelines Crazy Horse and mostly ditches the hard rock guitar jams, opting instead for a more stripped-back folk-singer vibe. And this is the mesmeric record which made that happen.
This is their peak. The West African superstar has brought many disparate elements to his music but with this magical collection he introduced the world to the mbalax sound. And no it doesn't feature '7 Seconds', his hit with Neneh Cherry. Festival in the Desert Various IRL, I played this show with my band - it's a three-day festival in the sands, miles from anywhere.
Fantastic, and the DVD is mind-altering. There was a Navajo speed metal group from Arizona and they hooked up with the guys from the desert - both their people had been shafted by imperial powers. It was the strangest thing seeing these sub-machine gun-carrying Tuareg hanging out with speed metallers from Scottsdale.
This spectacular recording is just one of the reasons why. Through the sterling work of a French fan see OMM52the sounds of swinging Addis Ababa in the s and s have been newly made available to - and lapped up in large numbers by - a curious global audience.
This set shows his slinky soukous sound at its best Franco's, that is, not Ali's. But the Kinshasa outfit - big Franco fans - now find themselves feted as being at the bleeding-edge of contemporary post-rock dance. I love this compilation. It's clearly African but it also sounds really inspired by house music. The way it uses synthesizers and electronic drums inspired me when we were making our first album. Here's a raucous selection of the local version of the genre, called kwaito, including the likes of the best-selling Zola.
The definitive Fania hits of the era are here, recorded in front of a breathless audience. An anthropologist, she mixes Mesoamerican traditions into her sound - with hints of a Mexican yodel in her arresting voice.
Plus there was plenty of invention here, like the incorporation of Cuban timba. Mambo-style hotel bands, cumbia rock combos and accordion-led cowboys - they're all here. But in Brazil you hear him being played everywhere, in taxis and on the expensive beaches. I really think he'll be a significant artist for years to come. He's a real spokesman. But they're obvious for a reason.