And the heat goes on, if you only wouldn’t clap so hard:
40. (44) The Mountain Goats – The Sunset Tree (2005)
39. (*) Buffalo Springfield – Buffalo Springfield Again (1967)
38. (21) The Band – The Band (1969)
37. (29) Pink Floyd – Atom Heart Mother (1970)
36. (26) The Byrds – The Notorious Byrd Brothers (1968)
“My brothers for a horse!”
40. (42) Lambchop – How I Quit Smoking (1996)
39. (*) XTC – Skylarking (1986)
38. (23) Love – Forever Changes (1967)
37. (24) David Bowie – The Rise and Fall of Ziggy Stardust… (1972)
36. (35) Pixies – Doolittle (1989)
“Musical colon cleansing.”
Look out Cleveland, don’t reach for the secret too soon: #45-41:
45. (37) Animal Collective – Merriweather Post Pavillion (2009)
44. (*) Nick Cave & the Bad Seeds – Abattoir Blues/ The Lyre of Orpheus (2004)
43. (35) Cat Stevens – Tea for the Tillerman (1970)
42. (49) DJ Shadow – Endtroducing… (1996)
41. (*) Fleet Foxes – Helplessness Blues (2011)
“I’ll get back to you on Wednesday, soon you will see.”
45. (*) My Morning Jacket – Circuital (2011)
44. (25) Brian Wilson – SMiLE (2004)
43. (31) Fleetwood Mac – Bare Trees (1972)
42. (38) Animal Collective – Merriweather Post Pavillion (2009)
45. (15) Van Morrison – Moondance (1970)
44. (34) Guided By Voices – Bee Thousand (1994)
43. (28) The Beach Boys – Pet Sounds (1966)
42. (28) The Beatles – Sgt. Pepper’s Lonely Hearts Club Band (1967)
41. (47) Lee Hazlewood – Cowboy in Sweden (1970)
“The sound and definition of a Free Spirit.”
45. (*) Wilco – Yankee Hotel Foxtrot (2002)
44. (20) Neil Young – Harvest (1972)
43. (30) David Bowie – The Rise and Fall of Ziggy Stardust… (1972)
42. (48) Shearwater – Palo Santo (2006)
41. (47) Vampire Weekend – Vampire Weekend (2008)
“Slecht te been, gelegen in een ziekenhuisbed, schudt Neil even dit album van tussen de lakens uit.”
Genre: Rock, Heartland Rock
Preceded by: Born to Run (1975)
Followed by: The River (1980)
Related to: not available yet
I always had my doubts about people who cherish some kind of blind faith in an unassailable higher power. Whether it’s some teenager with a petrified glance into the deep nothing at a young Christians meeting, the stern ideologist that defends the healing power of the free market until his death, or people proudly risking their lives for the flag. Because of completely enigmatic reasons, I always suspected Springsteen fans of some mild form of this faith. However, driving a couple of miles, listening some music and having some beers always appeared to me as a more respectable way to overcome your tragic situation than killing other people.
The sixties just met their boundaries when Springsteen gets his first recording contract in 1972, signing with Columbia. The message that Messenger Bruce came to bring, is already told on his debut album (Greetings from Ashbury Park N.J. 1973): Springsteen is Jersey, and life can be tough out there. Just like its hastily released successor, it barely had any success, opposite to his numerous long live gigs throughout the region, ever injected with loads of energy. Messenger Bruce succeeds to absorb his growing amount of disciples into his story during these gatherings, but struggles in the studio due to his ambition to create the next Astral Weeks or first Desire. This is the point where he gets his first handshake from above, as he soon realizes that he just has to put that awesome live sound on a record. Thanks to an enormous production, he majestically succeeds with Born to Run (1975), but it was probably the endless tour that followed (because of a trial with manager Mike Appel, prohibiting him to record new material) that made him aware of the divine touch: such a muscled sound asks for a straight, in your face message.
It was the same exhausting tour (considering this his second handshake) that prevented him to become a victim of uninspired reproduction, withdrawing right after this trial (and the tour) to a farm in Jersey. Right there he observed the small world he grew up in, including the tough life of his parents. So, although Darkness on the Edge of Town may have a less bombastic sound than its predecessor (it’s basically all about the guitar-piano combo), it definitely wasn’t a revolutionary switch of style in Springsteen’s career. It was just the next step in the refinement of his golden touch on Born to Run: while society was creating more ‘losers’ than ‘winners’, Springsteen succeeded to appeal to both, just like religion serves to overcome your problems, as well as to legitimate your lack of problems.
Just like throughout his complete discography, he pushes his fans between despondency and hope on the album. It results in a well-balanced record, strongly tied together by the granite bookends on both sides. The strong songs in between are especially the three autobiographical ones: ‘Adam Raised a Cain’, where Springsteen addresses his father by biblical imagery (which was about all communication there was between both at that moment), ‘Factory’, his simple but impressive narrative about the worker’s life, and above all the magnificent ‘Something in the Night’. On this track, Springsteen seemed to have left behind his careless youth and has grew wiser the hard way, more specifically by his troubles in court: “You’re born with nothing, and better off that way. Soon as you’ve got something they send someone to try and take it away.”
However, the fist is really clenched on the opening and closing tracks. Springsteen summons his followers on ‘Badlands’ to stop complaining, to stop waiting, but to just make something out of it, after all, it’s no shame to be alive. Sounds simple, but a lot better when you disseminate it as if it were your own gospel: “Poor man wanna be rich, rich man wanna be king, and a king ain’t satisfied till he rules everything“. The fact that escapism is a serious option in this situation, is made clear on ‘Racing in the Street’: even if you’re living a miserable life with a shitty job and a desperate relationship, there’s always a way to escape, in this case through street racing. The song in that way continues Springsteens’s ode to a man’s urge for freedom that was set in on Born to Run: “Now some guys they just give up living and start dying little by little, piece by piece. Some guys come home from work and wash up and go racing in the street”.
Side 2 starts with a boom on ‘The Promised Land’, in which problems are faced and one is ready to eliminate them for once and for all. It was probably again Springsteens’ own hopeless situation that preceded the album that served as an inspiration: not being able to record a new album and to do what he wanted to do. The album is finally closed by its title track, being the sequel to ‘Racing in the Street’. The barriers that were on the path to the ultimate destiny are still being shaken off at that point, he just cut himself loose from everything that used to stop him and is ready to go all the way now. Bring on the darkness.
Famous live sounds of the master, from probably rock music’s most famous bootleg. As a result of his motorcycle accident that followed 2 months after finishing this world tour, it was one of Dylans last live perfomances until 1974. Dylan was backed by the Hawks, who kept him company during Dylans recovery in Big Pink and lined up again (as The Band) in that following tour of ’74, which was released on Before The Flood, another geat live album.
The best way to bypass your insecurity about something still remains acting like everything you’re doing is just one big parody, and before you can realize it everything you did ends up to be a smashing masterpiece. The combination of the ‘I want to die’ lyric with the oompah sounds and the terrific guitar solo makes this track one of Lennon’s most fascinating contributions to the White Album, on which it resides perfectly in all its nudity.
Bombastic Pumpkins at their asolute peak, with Mellon Collie being the ultimate cocktail of riff & melody. Luckily, and as always on this double album, the guitars dominate the second part of this song. Not very surprising by the way, as approximately 70 guitar tracks were used on this song. Quarrels with your bandmates seem inevitable at some point.
Uptempo drums-driven intro, ultimate stadium voice: the striking come-back of The Boss. Springsteen had been on a 7 year hiatus and it was his first collaboration with the E-Street Band in 18 years. The Rising was Springsteen’s response to 9/11, but in fact it was just the next episode in the whole Springsteen-saga, in which the high priest repeatedly offers hope to his most dedicated followers during gigantic mass gatherings. Good album (just a little too much fillers?).
From their sixth and final album: a rough song, with screaming guitars and a pumping organ. According to Jack White himself, an album about ‘being really happy’. What is there to add?
Must have been the greatest contrast in clearness the shuffle could come up with. Both fans of Dylan and Neil Young, Robin Pecknold and Kyler Skjelset joined forces to start one of the best things that happened to popular music during the last decade. They delivered two very strong albums, treated us on some really marvelous folk classics (like ‘Drops in the River’ on this EP) and easily equalize the sound of some of the seventies’ most famous Westcoast choirs. Pecknold apparently suffers from social anxiety, and the fact he only hangs out with his bandmates offers us hope regarding the release of that long expected third album.
Kings of Leon guitar intro? Green Day drums riff? Foo Fighters maybe? Wait, and your patience will be rewarded when echoes of Ride are coming through and it all turns into one big power trip. It all stems from the brain of Dylan Baldi, who made up numerous fictitious bands to place ‘their’ music on MySpace and find out whether or not somebody would appreciate it. One of those bands was Cloud Nothings, so just like Tame Impala and the early Grizzly Bear, it also started as a one guy project, that would only consist of a full band when playing live. This album (produced by Steve Albini), was the first one recorded with that live line-up.
Hypnotizing song full of eastern influences and the ultimate sixties voice of Ray Davies, somehow resembling Bowie and even a mopish Robert Plant here. Face to Face was the beginning of a dazzling period for the band, thanks to Davies’ nervous and physical breakdown preceding its release, as a lot of new songs that ended up on the album were written during his recuperation. Davies however continued to struggle, as that very new album (well, and the alcohol I prudently suppose) delivered him another bunch of headaches. Davies was not allowed by the record label to connect the songs with various sound effects as he intended and the psychedelic looking album sleeve was not at all to his satisfaction. Absolute fan.
Another old god with some more recent work, another anti-war one. Young’s lyrics and musical note are however not at all comparable to those of Springsteen: Neil is not here to give you hope, he wants to pour the incovienenth truth down your throath and asks you how it tastes. It’s an approach I appreciate, just like the way Young offered his album: it was released on the internet, but only as a whole, not as separate tracks. No direct and easy to digest consumption, but only the complete message.
This title track of Brian Eno’s third album, with a soft, rippling piano in the background, is the perfect soundtrack for that first spring morning. The window cautiously opens itself a little bit.
Lyrically, GNR had obviously grown up on this album, moving away from the juvenile drugs anthems that dominated their previous work. But also musically, the band was in fact at its peak on this album, containing some very strong rock songs. This one qualifies for mediocrity, but also manages to surprise with a country intro followed by a proggy piano. LA chemists that reinjected mainstream rock music with the demonic and shabby rock ‘n roll from the Stones, and like many predecessors, collapsed by withdrawing to the studio.
Although it was already announced many, many times during the preceding years by the record labels, it was only during the late seventies that the sales of records started to stagnate. That must have been the reason for EMI to completely squeeze this album, for example by including some sexy posters of the then only 19 years old Kate Bush. A little bit paradoxical of course, as Bush should have represented the emancipation of women in rock music by becoming the first woman to reach number 1 in the singles charts with ‘Wuthering Heights’ as well as the first woman at the top of the album charts with The Kick Inside. No surprise Bush started her own label after the forced follow-up album to stay in control over her own work.
The previous song could at least be called slightly sexually fueled, this one simply describes the story of a threeway relationship written by David Crosby himself. Although The Byrds could hardly been called conservative, they rejected the song for being too daring after which Grace Slick gratefully accepted the gift. Jefferson Airplane, just like The Byrds, did not have any hitsingle success anymore for some time at that point, due to numerous radio station bans because of supposed drugs references. However, just like The Byrds, it continued to deliver some good albums, like this one. The song reminds of the original folk roots of the band and is in that way representative for the album, on which psychedelic rock slowly starts to peel into the country rock that would be dominant on the last real album of the original band: Volunteers. That album also had to face numerous radio bans in the liberal US, this time not because of drugs references but for, let’s say, ‘political’ reasons.
Maybe one of those bands from the same area that was somehow responsible for the change in course of the group mentioned above. At their own turn, they still propagate some psychedelic elements on their debut album, well illustrated by some long instrumental jams like this one and break-through single ‘Susie Q’, that got CCR some fame in the Bay Area. Not to forget the album sleeve that makes clear that CCR was willing to ride the psychedelic wave a little.
One year later, at the other side of the ocean: blues rock is still king, but there’s also a wind blowing from another direction: prog rock. Just like in California, the own sound, in this case the muscled bass-percussion combo, is mingled with the new rising sound, witnessing the elaborate, Genesis-echoes from the near future by Steve Winwood on keyboards. Just like their prog colleagues, Blind Faith principally grabbed ships full of cash in the US by becoming a gigantic stadium act. Disbanded afterwards.
Recording in the drummer’s bedroom, intro containing a telephone conversation, all pretty indie for sure. Unfortunately it can’t really compete with peers and countrymen like Sunset Rubdown, Apostle of Hustle and Arcade Fire. A little snooty.
If I ever wanna hear about a ‘Third Way’ again, its Radiohead’s one. Clearly echoes Thom Yorke’s soloalbum, but more exuberantly dressed thanks to the electric guitar riff and lots of other reworked ornaments. Courtesy of Johnny Greenwood.
Kurt Wagner addressing you on a (apparently) way underrated debut albm. Many folk and country out there, well illustrated by the acoustic intro of this song. Lambchop’s line-up has been altered many, many times, but Wagner obviously forms the heart of this band, with one of the best senses of understatement ever heard.
Opening track and lead single of what is considered by some music professors as one of the best albums of all-time; sleeve designed by Andy Warhol (the Stones were artistically freed after breaking up with Decca Records) and riff ripped by Dandy Warhols. Whether the song was about Marsha Hunt or Claudia Lennear, old pictures of both are worthy of some research.
Perhaps the crown juwel on this album, that definitely pushed Tull in the middle of the earlier mentioned prog wave. Just like elsewhere on the album, captain Anderson refers to his relationship with his parents, while his flute sounds more aggressive than ever. The album reached number one in the UK in September 1969, to be removed from that position by… Blind Faith.