The Rolling Stones - Their Satanic Majesties Request 1967

Without a doubt, no Rolling Stones album — and, indeed, very few rock albums from any era — split critical opinion as much as the Rolling Stones' psychedelic outing. Many dismiss the record as sub-Sgt. Pepper posturing; others confess, if only in private, to a fascination with the album's inventive arrangements, which incorporated some African rhythms, Mellotrons, and full orchestration. Never before or since did the Stones take so many chances in the studio. This writer, at least, feels that the record has been unfairly undervalued, partly because purists expect the Stones to constantly champion a blues 'n' raunch world view. About half the material is very strong, particularly the glorious "She's a Rainbow," with its beautiful harmonies, piano, and strings; the riff-driven "Citadel"; the hazy, dream-like "In Another Land," Bill Wyman's debut writing (and singing) credit on a Stones release; and the majestically dark and doomy cosmic rocker "2000 Light Years From Home," with some of the creepiest synthesizer effects (devised by Brian Jones) ever to grace a rock record. The downfall of the album was caused by some weak songwriting on the lesser tracks, particularly the interminable psychedelic jam "Sing This All Together (See What Happens)." It's a much better record than most people give it credit for being, though, with a strong current of creeping uneasiness that undercuts the gaudy psychedelic flourishes. In 1968, the Stones would go back to the basics, and never wander down these paths again, making this all the more of a fascinating anomaly in the group's discography. AllMusic.

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Frank Zappa - Hot Rats 1969

Aside from the experimental side project Lumpy Gravy, Hot Rats was the first album Frank Zappa recorded as a solo artist sans the Mothers, though he continued to employ previous musical collaborators, most notably multi-instrumentalist Ian Underwood. Other than another side project — the doo wop tribute Cruising With Ruben and the Jets — Hot Rats was also the first time Zappa focused his efforts in one general area, namely jazz-rock. The result is a classic of the genre. Hot Rats' genius lies in the way it fuses the compositional sophistication of jazz with rock's down-and-dirty attitude — there's a real looseness and grit to the three lengthy jams, and a surprising, wry elegance to the three shorter, tightly arranged numbers (particularly the sumptuous "Peaches en Regalia"). Perhaps the biggest revelation isn't the straightforward presentation, or the intricately shifting instrumental voices in Zappa's arrangements — it's his own virtuosity on the electric guitar, recorded during extended improvisational workouts for the first time here. His wonderfully scuzzy, distorted tone is an especially good fit on "Willie the Pimp," with its greasy blues riffs and guest vocalist Captain Beefheart's Howlin' Wolf theatrics. Elsewhere, his skill as a melodist was in full flower, whether dominating an entire piece or providing a memorable theme as a jumping-off point. In addition to Underwood, the backing band featured contributions from Jean-Luc Ponty, Lowell George, and Don "Sugarcane" Harris, among others; still, Zappa is unquestionably the star of the show. Hot Rats still sizzles; few albums originating on the rock side of jazz-rock fusion flowed so freely between both sides of the equation, or achieved such unwavering excitement and energy. AllMusic.

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Prince - Dirty Mind 1980

Neither For You nor Prince was adequate preparation for the full-blown masterpiece of Prince's third album, Dirty Mind. Recorded in his home studio, with Prince playing nearly every instrument, Dirty Mind is a stunning, audacious amalgam of funk, new wave, R&B, and pop, fueled by grinningly salacious sex and the desire to shock. Where other pop musicians suggested sex in lewd double-entendres, Prince left nothing to hide — before its release, no other rock or funk record was ever quite as explicit as Dirty Mind, with its gleeful tales of oral sex, threesomes, and even incest. Certainly, it opened the doors for countless sexually explicit albums, but to reduce its impact to mere profanity is too reductive — the music of Dirty Mind is as shocking as its graphic language, bending styles and breaking rules with little regard for fixed genres. Basing the album on a harder, rock-oriented beat more than before, Prince tries everything — there's pure new wave pop ("When You Were Mine"), soulful crooning ("Gotta Broken Heart Again"), robotic funk ("Dirty Mind"), rock & roll ("Sister"), sultry funk ("Head," "Do It All Night"), and relentless dance jams ("Uptown," "Partyup"), all in the space of half an hour. It's a breathtaking, visionary album, and its fusion of synthesizers, rock rhythms, and funk set the style for much of the urban soul and funk of the early '80s. AllMusic.

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Nina Simone - Little Girl Blue 1957

Little Girl Blue, released in 1957, was Nina Simone's first recording, originally issued on the Bethlehem label. Backed by bassist Jimmy Bond and Albert "Tootie" Heath, it showcases her ballad voice as one of mystery and sensuality and showcases her up-tempo jazz style with authority and an enigmatic down-home feel that is nonetheless elegant. The album also introduced a fine jazz pianist. Simone was a solid improviser who never strayed far from the blues. Check the opener, her reading of Duke Ellington's "Mood Indigo," which finger-pops and swings while keeping the phrasing deep-blue. It is contrasted immediately with one of the — if not the — definitive reads of Willard Robison's steamy leave-your-lover ballad "Don't Smoke in Bed." The title track, written by Rodgers & Hart, features "Good King Wenceslas" as a classical prelude to one of the most beautiful pop ballads ever written. It is followed immediately by the funky swing in "Love Me or Leave Me" with a smoking little piano solo in the bridge where Bach meets Horace Silver and Bobby Timmons. It's also interesting to note that while this was her first recording, the record's grooves evidence an artist who arrives fully formed; many of the traits Simone displayed throughout her career as not only a vocalist and pianist but as an arranger are put on first notice here. "My Baby Just Cares for Me" has a stride shuffle that is extrapolated on in the piano break. Her instrumental and improvising skills are put to good use on Tadd Dameron's "Good Bait," which is transformed into something classical from its original bebop intent. "You'll Never Walk Alone" feels more like some regal gospel song than the Rodgers & Hammerstein show tune it was. Of course, one of Simone's signature tunes was her version of "I Loves You, Porgy," which appears here for the first time and was released as a single. Her own "Central Park Blues" is one of the finest jazz tunes here, and it is followed with yet another side of Simone's diversity in her beautiful take on the folk-gospel tune "He's Got the Whole World in His Hands," with quiet and determined dignity and drama. Another of her instrumentals compositions, "African Mailman," struts proud with deep Afro-Caribbean roots and rhythms. AllMusic.

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John Coltrane - Blue Train 1957

Although never formally signed, an oral agreement between John Coltrane and Blue Note Records founder Alfred Lion was indeed honored on Blue Train — Coltrane's only collection of sides as a principal artist for the venerable label. The disc is packed solid with sonic evidence of Coltrane's innate leadership abilities. He not only addresses the tunes at hand, but also simultaneously reinvents himself as a multifaceted interpreter of both hard bop as well as sensitive balladry — touching upon all forms in between. The personnel on Blue Train is arguably as impressive as what they're playing. Joining Coltrane (tenor sax) are Lee Morgan (trumpet), Curtis Fuller (trombone), Kenny Drew (piano), Paul Chambers (bass), and Philly Joe Jones (drums). The triple horn arrangements incorporate an additional sonic density that remains a trademark unique to both this band and album. Of particular note is Fuller's even-toned trombone, which bops throughout the title track as well as the frenetic "Moments Notice." Other solos include Paul Chambers' subtly understated riffs on "Blue Train" as well as the high energy and impact from contributions by Lee Morgan and Kenny Drew during "Locomotion." The track likewise features some brief but vital contributions from Philly Joe Jones — whose efforts throughout the record stand among his personal best. Of the five sides that comprise the original Blue Train, the Jerome Kern/Johnny Mercer ballad "I'm Old Fashioned" is the only standard; in terms of unadulterated sentiment, this version is arguably untouchable. Fuller's rich tones and Drew's tastefully executed solos cleanly wrap around Jones' steadily languid rhythms. Without reservation, Blue Train can easily be considered in and among the most important and influential entries not only of John Coltrane's career, but of the entire genre of jazz music as well. [In the spring of 1997, The Ultimate Blue Train CD was released, boasting 20-bit remastered audio as well as one alternate take of both "Blue Train" and "Lazy Bird." Additionally, the disc includes "At Least Listen" — an interactive CD-ROM program featuring video clips and interview clips with Fuller circa 1995, as well as many brilliant photographs taken during the recording sessions.] AllMusic.

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Brian Auger's Oblivion Express - Reinforcements 1975

What a surprise this album was to Brian Auger fans. Leaving behind the Jimmy Smith-meets-Santana groove the band had been working, Reinforcements finds the Oblivion Express veering onto the Average White Band's turf. Most of the tracks, in fact, sound like they were lifted right off the first couple of AWB albums. The music is uniformly strong, but the change in direction unfortunately did nothing to increase the band's audience, and may have sounded to some like a too-blatant attempt at commercial acceptance. Auger's electric piano and organ continue to dominate the solo space, and provide the connection to the band's earlier sound. Alex Ligertwood's soulful vocals here are stronger than any previous outing. Although it is unlike any other Oblivion Express recording, Reinforcements provides a tasty glimpse of British blue-eyed soul in the mid-'70s. AllMusic.

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Booker T & The MGs - Hip Hug-Her 1967

Still riding high years after the success of "Green Onions," Hip Hug-Her is another 11-song solid session of Southern soul delivered by one of the best bands in the business. In an attempt to appeal to the up-and-coming mod movement, the cover features an alluring model flanked by fashionable faceless people. But not to judge the album by its cover, Hip Hug-Her finds the group diving deeper into soulful territories, no doubt aided by the addition of bassist Duck Dunn to the fold. The title track is clearly one of the stronger cuts on the album, but other tunes such as the midtempo Motown anthem "Get Ready" and the group's interpretation of "Groovin'" make this one of the strongest full-lengths in the Booker T. & the MG's catalog. AllMusic.

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Ayers Rock - Big Red Rock 1974

Inspired by TRAFFIC, SANTANA and WEATHER REPORT, AYERS ROCK were a leading Australian jazz-rock band back in the 70's. The 5-piece set built their reputation on solid musicianship and complex arrangements and were the first Aussies to play to massive crowds on the US touring circuit, predating The LITTLE RIVER BAND, AC/DC, AIR SUPPLY, MEN AT WORK and INXS. They made two albums before splitting up in 1976, then the band's two vocalists and guitar players reformed again in the early 80's, with the help of new musicians, to record a third album.
Taped live in Melbourne over two nights in September 1974, their first album, "Big Red Rock", is made up of rather bluesy, rock-based songs with sax and flute that give it a slight jazzy feel. Their second album, "Beyond" (1976", however, is a different kind of beast. Here, the band goes for a much more fusion feel, with great drumming and strong vocals. However, it is not altogether a very even album as the band seems bent on balancing fusion elements with more accessible rock songs; the few fusion tracks contained are still worth a listen. The band's third album, "Hotspell" (1980) is unfortunately impossible to come by and can therefore not be rated (no photo available).
Not overly progressive but still worth checking out, the band's second album "Beyond" is their best and should appeal mostly to fans of the MAHAVISHNU ORCHESTRA.

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John James - Morning Brings The Light 1970

John James (born 1947) is a Welsh virtuoso fingerstyle guitarist and songwriter. He is best known for his original instrumental compositions for the guitar as well as interpretations of blues, folk, ragtime, jazz and classical tunes. John James was born in Lampeter, Wales and learned the rudiments of music at the piano, switching to the guitar at the age of 12.^[1] Initially he learnt his craft playing in local Pop and R&B bands but later focused on solo acoustic guitar work. He first made a name for himself in the folk clubs of the UK around 1968, playing arrangements of old blues, jazz and ragtime tunes (by composers such as Scott Joplin, and Reverend Gary Davis); Critics dubbed him the "Welsh Ragtime Wizard".^[2] He recorded several albums for Transatlantic in the early 70s including a groundbreaking album of duets with fellow guitarist Pete Berryman^[3] called "Sky in My Pie". He also became the first guitarist in the UK to arrange and record the music of Scott Joplin. In the mid 1970s he was signed up by Kicking Mule records and in 1976 released an album of original fingerpicking guitar solos and duets called "Descriptive Guitar Instrumentals". This also featured fellow guitarists John Renbourn and Duck Baker. According to Stefan Grossman, James's compositions were written out in musical form without the aid of the guitar - this enabled him to develop original ideas without being limited by his existing guitar technique.^[2]ohn James has recorded over 15 albums and toured extensively, playing with artists as diverse as Jools Holland, Ralph McTell, John Renbourn, John Martyn (Who was the best man at his wedding!) Led Zeppelin (he played support at their debut gig at London’s Round House in the 60s!), as a footnote, he was also a guest artist on the last ever Brownie McGhee and Sonny Terry UK Tour of 1976. He has performed at many prestigious venues including the Royal Albert Hall (London), the Paris Olympia, Edinburgh and Cambridge Folk Festivals etc. Apart from his recording and live work he has been influential in guitar education with compositions featuring in several guitar tuition books by Stefan Grossman (see "Bibliography" below). He was a columnist for "Guitar International" magazine and produced best-selling guitar tuition cassettes^[4] and videos.^[5] He has appeared on many UK radio and TV shows - including presenting a BBC TV series called “Broadsides".John James plays fingerstyle

on both a Martin M-38 acoustic and a Epiphone Emperor electric archtop guitar. His live shows are notable for his humorous anecdotes as well as virtuoso guitar picking.

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Harry Nilsson - Nilsson Schmilsson 1971

Harry Nilsson had a hit, a Grammy, and critical success, yet he still didn't have a genuine blockbuster to his name when it came time to finally deliver a full-fledged follow-up to Nilsson Sings Newman, so he decided it was time to make that unabashed, mainstream pop/rock album. Hiring Barbra Streisand producer Richard Perry as a collaborator, Nilsson made a streamlined, slightly domesticated, unashamed set of mature pop/rock, with a slight twist. This is an album, after all, that begins by pining for the reckless days of youth, then segues into a snapshot of suburban disconnectedness before winding through a salute to and covers of old R&B tunes ("Early in the Morning" and "Let the Good Times Roll," respectively), druggie humor ("Coconut"), and surging hard rock ("Jump Into the Fire"). There are certainly hints of the Nilsson of old, particularly in his fondness for Tin Pan Alley and McCartney melodicism -- as well as his impish wit -- yet he hadn't made a record as cohesive as this since his first time out, nor had he ever made something as shiny and appealing as this. It may be more accessible than before, yet it's anchored by his mischievous humor and wonderful idiosyncrasies. Chances are that those lured in by the grandly melodramatic "Without You" will not be prepared for either the subtle charms of "The Moonbeam Song" or the off-kilter sensibility that makes even his breeziest pop slightly strange. In short, it's a near-perfect summary of everything Nilsson could do; he could be craftier and stranger, but never did he achieve the perfect balance as he did here. AllMusic.

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Ayers Rock - Beyond 1975

Ayers Rock was a jazz-rock group formed in Melbourne, Australia, in 1973. Members included drummer Mark Kennedy, Ray Burton, Russell Dunlop, Chris Brown, Jimmy Doyle, Doug Gallacher, Col Loughman, and Duncan McGuire. They toured the U.S. in 1975-1976, but then broke up. Brown and Doyle reorganized under the name and performed as Ayers Rock through the early '80s.

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Country Joe McDonald - Hold on it's coming 1971

Political and ecological issues were set to musical accompaniment by Country Joe McDonald, who co-founded and led the psychedelic folk-rock band Country Joe & the Fish, the leading left-wing band of the '60s. Since the group's breakup in 1971, McDonald has continued to musically espouse his political views through his original, folk-like songs.

A native of Washington, D.C., McDonald grew up in El Monte, CA, a suburb of Los Angeles, where his parents, Florence and Worden, had moved to escape political difficulties in the capital city. Music played an important role through McDonald's childhood, and he attended many concerts at El Monte Legion Stadium; after becoming enchanted by Dixieland music, he frequented the Lighthouse Club in Hermosa Beach.

At the age of 17, McDonald enlisted in the U.S. Navy. Following his discharge after three years, he attended City College in Los Angeles for a year. Although he moved to Berkeley to continue his schooling, McDonald was distracted by his love of music and spent most of his time playing in bands like the Berkeley String Quartet and the Instant Action Jug Band, which included future bandmate Barry Melton.

Joined by folk guitarist Blair Hardman, McDonald recorded his first tunes in 1964. Released originally by First American Records, many of the songs were later re-recorded by McDonald for his 1976 album The Goodbye Blues.

McDonald continued to be active in politics in the mid-'60s, and published a left-wing magazine, Rag Baby. After publishing the first few issues of the magazine, McDonald conceived the idea of recording a special "talking" issue. Released as an EP, the issue featured two songs, "I Feel Like I'm Fixing to Die Rag," a Dixieland-like indictment of the Vietnam War, and "Superbird," a satire aimed at President Lyndon Johnson; both were credited to "Country Joe & the Fish." Following the completion of the project, McDonald and Melton agreed to form a more serious rock band.

With McDonald's political lyrics set to a dynamic rock beat, Country Joe & the Fish became popular in the San Francisco Bay area, performing frequently at the Jabberwocky coffeehouse in Berkeley and the Avalon and Fillmore Auditorium in San Francisco. Their second EP featured three of McDonald's tunes -- "Bass Strings," "Section 43," and "(Thing Called) Love."

Signed by Vanguard Records in December 1966, Country Joe & the Fish soon released their first album, Electric Music for the Mind and Body. Although "I Feel Like I'm Fixing to Die Rag" was intended to be included on the album, the record label convinced McDonald to omit it. It was finally released as the title track of the band's second album. A single of the tune reached number 32 on the Billboard charts. McDonald & the Fish made their East Coast debut at the Cafe Au Go Go in 1967. Following the release of their third album, Together, in 1968, the band toured Europe, where they were met by enthusiastic crowds. Their fourth album, Here We Are Again, released in 1969, featured musical guests Jack Casady of Jefferson Airplane and David Getz and Peter Albin of Big Brother & the Holding Company.

Together with the Fish, McDonald performed at most of the major music festivals of the '60s. Their performance at the Monterey Pop Festival in 1967 was featured in the film of the event. In addition to performing with the group at Woodstock in August 1969, McDonald performed a solo set that was capped by his obscene altering of the "Fish Cheer" intro to "I Feel Like I'm Fixin' to Die." Featured in the movie of the festival, the intro brought McDonald to international attention.

Woodstock, however, came during the final stages of the band's tenure. In the aftermath of the festival, McDonald was arrested in Worcester, MA for inciting an audience to lewd behavior, while Melton was arrested for possession of marijuana. Although they recorded a final album, C.J. Fish, with a new keyboard player and rhythm section, and had appeared in the 1970 film Zacharia, Country Joe & the Fish disbanded in 1971.

By that time, however, McDonald had signed a solo contract with Vanguard and recorded two albums in Nashville -- Thinking of Woody Guthrie, released in December 1969, and Tonight I'm Singing Just for You, released in May 1970. McDonald continued to tour and record as a solo singer/songwriter. During a tour of England, he recorded an album, Hold On: It's Coming, with accompaniment by Fleetwood Mac guitarist Peter Green and other British musicians. In Scandinavia, McDonald was contracted by film producer Knud Thorbjorsen to compose songs for a film based on Henry Miller's novel Quiet Days in Clichy. The three songs he wrote -- "Mara," "Ny's Song," and "Henry Miller and the Hungry World" -- were included on the film's soundtrack. When Grove Films attempted to import copies of the film to show in United States theaters, they were seized by customs and dubbed "obscene." Grove Films eventually won a court battle, and the movie premiered in New York in 1971. McDonald later scored and appeared in a Chilean film, Que Hacer, documenting Salvador Allende's successful campaign for president.

Beginning in April 1971, McDonald became active in the growing anti-war movement and appeared at demonstrations in San Francisco and Washington, D.C.. Together with Jane Fonda and Donald Sutherland, McDonald appeared during an FTA (Free the Army) tour of Vietnam that featured skits by former Second City members Ann and Roger Bowen. Although he became disenchanted with Fonda's political views and left the show, the experience earned McDonald a spot on President Nixon's enemy list.

Returning to the United States, McDonald recorded an EP with the San Fransisco-based band Grootna. A solo performance at the Bottom Line was released as a live album, Incredible Live!, in 1972. During 1972 and 1973, McDonald performed with the All-Star Band, a group mainly comprised of members of the Fish and Big Brother & the Holding Company. The band accompanied McDonald on his 1973 album Paris Sessions.

McDonald spent most of 1974 living in Europe. Returning to California in 1975, he joined a band, Energy Crisis, that featured former Fish Bruce Barthol and ex-Instant Action Jug Band member Phil Marsh. The band appeared on McDonald's 1975 album, Paradise with an Ocean View. The album, which included the anthemic tune "Save the Whales," reflected an increase in McDonald's ecological commitment.

The remainder of the '70s represented McDonald's most prolific period as he released seven albums -- Love Is a Fire, Goodbye Blues, Rock & Roll Music from the Planet Earth, Leisure Suite, On My Own, Into the Fire, and Child's Play. In 1977, Country Joe & the Fish temporarily came together again to record an album, Reunion.

Beginning in 1982, McDonald became involved with furthering the cause of Vietnam veterans and worked with such groups as Vietnam Veterans Against the War, Swords to Plowshares, and Vietnam Veterans of America. His experience peaked with the release of an album and video, Vietnam Experience, in 1988.

McDonald's 1991 album, Superstitious Blues, was a mostly acoustic effort and included two songs recorded with Jerry Garcia of the Grateful Dead. Carry On, released in 1995, was inspired by the death of McDonald's parents and featured his touching tribute to Florence Nightingale, "The Lady with the Lamp," and the title track, which featured Garcia on electric guitar. AllMusic.

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Creedence Clearwater Revival - Green River 1969

If anything, CCR's third album Green River represents the full flower of their classic sound initially essayed on its predecessor, Bayou Country. One of the differences between the two albums is that Green River is tighter, with none of the five-minute-plus jams that filled out both their debut and Bayou Country, but the true key to its success is a peak in John Fogerty's creativity. Although CCR had at least one cover on each album, they relied on Fogerty to crank out new material every month. He was writing so frequently that the craft became second-nature and he laid his emotions and fears bare, perhaps unintentionally. Perhaps that's why Green River has fear, anger, dread, and weariness creeping on the edges of gleeful music. This was a band that played rock & roll so joyously that they masked the, well, "sinister" undercurrents in Fogerty's songs. "Bad Moon Rising" has the famous line "Hope you've got your things together/Hope you're quite prepared to die," but that was only the most obvious indication of Fogerty's gloom. Consider all the other dark touches: the "Sinister purpose knocking at your door"; the chaos of "Commotion"; the threat of death in "Tombstone Shadow"; you only return to the idyllic "Green River" once you get lost and realize the "world is smolderin'." Even the ballads have a strong melancholy undercurrent, highlighted by "Lodi," where Fogerty imagines himself stuck playing in dead-end towns for the rest of his life. Not the typical thoughts of a newly famous rock & roller, but certainly an indication of Fogerty's inner tumult. For all its darkness, Green River is ultimately welcoming music, since the band rocks hard and bright and the melancholy feels comforting, not alienating. AllMusic.

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