Originally released in June of 1972, Bowie's "rock concept album" broke the then still obscure musician and changed the face of rock'n'roll forever—and that ain't hyperbole. If this wasn't the album that gave Freddie Mercury his dream, I can't imagine what was.
There was no "sophomore slump" for Bob Dylan. Quite the contrary. His first album brought promise, but it was an album of covers with but two originals and it hardly sold. Some at Columbia called signing Dylan "Hammond's Folly," and the lackluster sales for Dylan's debut seemed to back them up.
“Strange Days” was the perfect album for its time. For music lovers at a time when records were the main means by which a generation communicated with its culture, the title, cover art, music and sound resonated with the meaning of the fall of 1967 (even though the album was recorded the previous spring at L.A.’s Sunset Sound).
Starting in 1954 the late veteran DJ William B. Williams hosted a long-running radio show on WNEW-AM called "Make Believe Ballroom" (a name, coincidentally, we also used at summer camp for kids who prematurely wore jock straps before they really had a need to).
This is the third album from Brooklyn based Clare and the Reasons and its first to be issued on vinyl. Movie, the group's 2007 debut features Van Dyke Parks and Sufjan Stevens to give you an idea of what's going on here.
Why listen to "purist" British blues bands recreating what they've heard on record or in clubs, when you can hear the real thing? That's how I've always felt about it. This album by the British blues band Ten Years After is something else and perhaps in retrospect it's unfair to tag TYA as a "purist blues band."
All of Fiona Apple's albums have been been personal and confessional (some might say "self absorbed") but this one is really personal and confessional and attractively self-absorbed too.
The Grateful Dead's "Touch of Grey" was a spirited 1987 marching order to an aging Baby Boomer generation to "get by" and its assuring affirmation that "we will survive" was a stroke of timing and musical genius. The song became an unlikely hit for a group that didn't have or need hits and helped propel the band to further heights of both popularity and creativity.
Over the past few years, jazz fans have been treated to some astonishing, heretofore unreleased treasures. Unlike in the rock world, where such finds, along with “bonus tracks” usually tell you why they weren’t released in the first place (with Bob Dylan being a notable exception), these jazz releases have felt like un-mined diamonds, only occasionally in the rough.
We like promoting independent vinyl projects so when Nova Social’s Thom Soriano contacted Analogplanet about a review of their new album For Any Inconvenience we bit.
Canada-born pianist Oscar Peterson was among jazz's most popular performers. HIs lyrical appeal crossed musical boundaries so that many people who didn't consider themselves jazz fans were fans of Oscar's.
Watching the aged PBS fund raising audience creep ever closer to my demographic has been a thirty year creepy creep. First it was fund raising aimed at the WWII big band consuming generation.
Dr. and Mrs' J.C. Willke's double LP set "How to Teach Children The Wonder of Sex" is taken from a videotape of a lecture given by the couple to the faculty and staff of the University of Kentucky Medical Center back in 1966.
Mrs. Willke does not perform the first version of "#9" on the second album of the two LP set How To Teach Children The Wonder of Sex. However, both she and Dr. Willke make a lot of sense on the second album of this two LP set.
The fourth Doors album was not particularly well-received when first issued in 1969. The inclusion of horns and strings was for many a deal breaker, but what really made more pull back was the sense of a less than fully integrated ensemble appearing to come apart at the seams.