Taj Mahal’s debut is a perfect example of how The Blues and Rock are one and the same. It smokes from start to finish, greatly thanks to Ry Cooder’s presence on guitar. There’s a lot of use of the word “baby”, but it seems to mean something deeper than when you hear it today in the latest cancerous pop morsel. I’ve always admired singers who seem to be able to sing right from their gut, like Howlin’ Wolf and Taj Mahal. Of course, no Blues album is complete without a reference to a gypsy woman, which Taj Mahal was aware of. hahaha. –Rob
Album Reviews
Khan “Space Shanty” (1972)
Try as I might I can’t find one flaw on this record. Great prog/space rock from this one album project featuring the amazing instrumentation of Gong’s Steve Hillage (guitar) and Egg’s Dave Stewart (keyboard). On top of all that you get some great songs. Seldom has a forty-five minute album gone by so fast. I’ve got my bags packed and ready to move into this Space Shanty. –Brian
Al Green “Call Me” (1973)
Sometimes, less is more. Sometimes, a skeletal backbeat, some whisper-thin organ and a barely audible moan can trump a mighty wail over lush, swelling orchestration. If you were to put any of the tracks off of Call Me on a soul compilation next to Aretha Franklin or, say, Wilson Pickett, they’re going to sound out of place. Compared to most soul or R&B artists, there is no muscle, not in the music or the vocals. It isn’t that Al Green doesn’t have a voice to shatter mountains (he does), it’s just that he chooses not to deploy it here. And while you might be able to resist his spell for 3 1/2 minutes at a time, the effect of all of these tracks taken together is delirious and intoxicating. Instead of coming to you, Al never raises his voice. He makes you lean close, really pay attention. He teases and seduces and withholds gratification until even the slightest breath is devastating. “Have You Been Making Out O.K.” is aimed at an ex-lover, and designed to buckle her knees by the end of the first verse. The two country standards lose none of the heartache of the originals, but are completely re-conceptualized in a soul setting so that they’re sexy and barely recognizable. Even “Jesus Is Waiting” is a sultry come-on to examine your faith. Bottom line, this is a classic. You need this album. –Lucas
Hüsker Dü ”Candy Apple Grey” (1986)
A far cry from the ealier fuzzed-out-high-electric sound they created on past works, but the extremely catchy melodies are what makes Candy Apple Grey truly soar. I didn’t know how to take it at first. My first exposure was New Day Rising and that, of course, is what made me fall in love with them, so I was a little taken’ aback with the melancholy subject matter. Nevertheless, this has become my favorite Husker album by a long shot. There’s no filler, just 10 top-notch songs that I never get tired of hearing. The set perfectly displays how far these guys have progressed from album to album and the fact that it was their major label debut paints the notion of a band that reached their full potential and achieved every ambition they set out to accomplish. Candy Apple Grey is hands down one of the most perfect albums I have ever heard. –Jason
Herbie Hancock “Headhunters” (1973)
Essential jazz-funk and one the high points in the impressive career of the genius that is Herbie Hancock. Tackling jazz-funk head on and making the genre’s defining LP. Funky music with improvised solos and high level musicianship from a stellar cast of support players. Everyone who has a passing interest in jazz or funk should own a copy of this LP. For the hip hop lovers its always great to hear how many familiar samples you come across as you listen to the music. –Jon
Duke Ellington “Far East Suite” (1967)
After touring the Middle and Far East, Ellington brought a little of the local music back with him and recorded Far East Suite. My first impression of Far East Suite: Oh my god. Second impression? Same. Listen to “Blue Pepper (Far East of the Blues)” and tell me with a straight face that you don’t think the exact same thing. You couldn’t do it. –Rob
Durutti Column “LC” (1981)
DC’s second, and best, in my humble opinion, LP was generously handed to us by Factory in 1981. Musically spare, and almost obscenely mature, this record is one of those VERY FEW that I honestly think can ‘suit any of my moods.’ Allow me to (reluctantly..) explain my use of the classic ‘suit any mood’ cliche…The playing is both relaxed and tense, the atmosphere playful yet extremely serious, the artwork is controlled yet with splashes of orange and greenish blacks jumping outside of the frame. Each song stands completely on its own, mostly hovering around the 3-5 minute mark, but when being taken in as a whole, seem to blend into one large piece. Timelessness is something most artists strive for, and Mr. Reilly and Co. approach the achievement and struggle to attain it in such a graceful and beautiful way I can listen to them grapple with it all day without tiring. The title is an abbreviation for “La Lotta Continua”, which is an Italian anarchist slogan for ‘the struggle continues’ and the fact that I hear the action and drama of that struggle everytime I listen to the record, makes me revisit on a near daily basis. Pure, thought provoking, European art. -Richard
Bobby Hutcherson “Dialogue” (1965)
This is quite an allstar lineup: Bobby Hutcherson(vibes), Andrew Hill (piano), Sam Rivers (sax), Joe Chambers (drums), Richard Davis (bass), Freddie Hubbard (trumpet). Bobby Hutcherson made Dialogue after spending time recording with Eric Dolphy. That’s probably why this album feels a bit quirky and out of joint, but it’s also why it’s so good. For the most part this is great post-bop with an avant-garde flavor. The third and fourth tracks are avant-garde with a post-bop flavor. Richard Davis’ bass work has impressed me quite often and Dialogue is no exception. Frankly, Andrew Hill’s playing on the title track scares me. [It’s that good.] There’s no other way to describe it. –Rob
Gentle Giant “Octopus” (1972)
Octopus manages to be one of the most beautiful, creative and insane albums from the 70’s simultaneously. Gentle Giant’s strange progressive mix of classical music and hard rock, along with the medieval feeling vocals is very refreshing. Especially among other “prog” groups like Pink Floyd that grow stale. Octopus branches in as many directions as an octopus has legs. Very few other prog-rock groups have ever come close to equaling this level of achievement. –Rob
Chameleons “Strange Times” (1986)
How can you not think The Chameleons are the most underrated band of all time, once you get this far into their catalogue? The guitars single handedly inspired U2 and Interpol, the lyrics were approaching topics unconventional and honest, and the albums were just so complete and original. From the sorrow of losing a close friend to the excitement/desperation of losing your virginity, Strange Times carried a weird variety of topics and themes that carried feelings of joy and sadness. With no mention in Rolling Stones top 500 albums list, no mention in Pitchfork’s 80s list, a recent reunion that went unnoticed, there is no second chance for the mainstream to get a glimpse into the genius of The Chameleons. It will forever be remained as that band with the awesome sleeves that your uncle has in his collection. Probably some derivative post-punk shit, nothing important. –Allistair
Jeff Beck Group “Truth” (1968)
Blow by Blow is the only other Jeff Beck album I’ve heard and it’s completely different from this one. It’s groovy, instrumental fusion that matched the musical trends of the 1970s. Truth on the other hand is heavy Blues-Rock that a lot of people cite as the birth of Heavy Metal. Blues slide guitarists like Robert Nighthawk and Hound Dog Taylor that would crank their amps way the hell up and play with a mean streak deserve just as much credit though. You can’t pin the creation of any genre on a single person. In general the music has a vibe that really reminds me of The Who for some reason. The guitar playing of Jeff Beck is potent and the vocals are a surprise. Rod Stewart used to know how to rock? I wonder what happened to the guy. –Rob
Minnie Riperton “Come to My Garden” (1970)
You’ll rarely hear music this magical. Borrowing from soul, orchestral pop and psychedelia in equal measures and seemingly unscathed by commercial considerations, on “Come To My Garden” Minnie follows a more organic, pastoral and ultimately more genre-busting path than during her later, more commercially successful period with Capitol Records. Also, her voice seems more in tune with the arrangements and is generally less affected, putting her often multi-tracked whistle register to chilling use as what sounds like a human woodwind instrument, which is best exemplified on “Completeness”. On the evidence of this utterly delicious recording, Riperton clearly has been a major influence on vocalists such as Kate Bush and Alison Goldfrapp. I’m spellbound and speechless. Listen here. —Michael
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