Rock

Fripp & Eno “Evening Star” (1975)

The second collaboration between the two highbrow British art/prog rockers, Evening Star pairs Fripp’s “Frippertronic” guitar, layered and sustained indefinitely through use of analog tape loops, with synthesizer and various treatments from Eno, for an ambient match made in heaven. The serene first side is highlighted by the beautiful title track, which borders on melodic, while still maintaining the minimalist style of Eno’s ambient works. Conversely, the second side, titled “An Index of Metals,” quietly builds layers of ever more dissonant guitar, developing an unnerving atmosphere. This is an album that effortlessly creates a distinctly reflective mood, and is an essential item for fans of either artist. –Ben

The Records “The Records” (1979)

Sure, their flawless, jet-setting single “Starry Eyes” is reason enough to pick up The Records’ debut, but the album as a whole is stuffed with more sugary goodness than your average box of Frosted Flakes. The first side is jam-packed with the restless “All Messed Up and Ready to Go,” adolescent buzz of “Teenarama,” minor key mood piece “Girls That Don’t Exist,” and choice deep cut in the lingering ballad “Up All Night,” while the remainder is highlighted by the punchy rock of “Girl,” nervous “Insomnia,” and jukebox hero tale, “Another Star.” With the requisite vocal harmonies and ringing guitars filled out with the occasional organ or synthesizer, The Records is steadfast in it’s delivery of classic power pop confection. –Ben

Black Sabbath “Master of Reality” (1971)

The beautiful thing thing about the first few Black Sabbath records is that, although they’re the heaviest, darkest, and most extreme representations of electric guitar driven music at that time, it’s the kind of thing a five year old could get down to at first listen. Their undeniably satisfying grooves, hooks, and drive leave them sounding as easily digestible as Creedence Clearwater Revival, only dipped in wax and plugged through a marshall stack in the dark. Master Of Reality, Sabbath’s third testament, is probably their darkest. From the black haze of a cover and heaviest album title of all time, to guitar tone that sounds like the amps took bong rips, the record has enough vibe to spook a horse. The songs are laid back and seem to exercise groove endurance, giving the effect of psychedelia through hypnotism. Juxtaposing the fuzz are two short mellow instrumentals and the angelic “solitude,” which sounds like a candle glowing under the ocean. Art of the highest order and accessible to all walks. if you haven’t yet gotten down, I suggest getting down immediately. -Alex

Kiss “Hotter Than Hell” (1977)

Even though I was an impressionable kid smack dab in the middle of the ’70s I was a late comer to Kiss. It’s long, dumb story, but when I finally did come around it was Kiss’ second album, “Hotter Than Hell,” that turned me on. Specifically, the track “Parasite.” It completely did me in… it’s start/stop sing-a-long lurch… yeah, just my style. The genius, beyond “Hotter Than Hell” obviously being Kiss, is the entire record is solid American mid ’70s Rock and Roll, a bit sing-a-long glam and a little stoned… yep, just right… and that ’70s rock record production, was it engineered (is it the compression?) to feel a tad quiet so you had to turn it up way too loud? –Nipper

Crazy Horse “Crazy Horse” (1971)

An oft-forgotten little gem of the early 70s, this album is in some respects better than you’d expect a Crazy Horse album to be; but in hindsight, a really strong album by Crazy Horse without Neil Young makes sense. They had all the ingredients necessary for a great band, which is why Young’s albums with them rarely relegate them simply to backing status. The songs are solid, the performances predictably lazy without sounding lifeless, and the group shows a surprising amount of variety both in terms of style and in terms of dynamics. You may be surprised by the number of songs on here that you’ve already heard covered with varying levels of success. Highly recommended to those who own the Neil Young albums, and heartily recommended to fans of early 70s rock in general. –Will

Flamin’ Groovies “Flamingo” (1970)

We all know progressive rock. But who among us knows of the superior pleasures of regressive rock? Only those who listen to the likes of the Flamin’ Groovies, a cult band in the truest sense, who sound out of time and place whenever they’re played, because they’re both backward and forward looking, trapped in a netherworld of bandwagon jumping and hipster snobbery. Yet sometimes they seem to nail the world down in just the right place with their no-frills garage rock and oddly innocent decadence. Flamingo is the one that does it for me. More consistent than Teenage Head (their other near-masterpiece), this one is an almost relentless 10-track barnburner. It’s a drunkard’s record. A brawler’s record. The record waiting for that summer’s night cruise in the Dodge Challenger. In a just world, “Second Cousin” and “She’s Falling Apart” would be classics. “Road House” sounds like The Who in ’65 crossed with The Gun Club in ’80. Join the cult. Go on, drink it, it’s good for you. –Will

Cheap Trick “Cheap Trick” (1977)

One of the best albums and greatest debuts of all time! “Cheap Trick” must have sounded light years ahead of its time when it arrived in 1977. Arena rock and power pop meet glam and punk with a trashy, live, unpolished sound. Too pop to be punk and too punk to be considered pop, the record tanked in ’77, but listening to it now it’s hard to imagine how this record wasn’t an instant hit. A few years later Cheap Trick would fill stadiums but musically they never topped this debut. Highlights include the glam “ELO Kiddies,” the dark and delightfully perverted “Daddy Should Have Stayed In High School,” the catchiest song ever written about the IRS, “Taxman Mr Thief,” and the infectious “Oh Candy.” Power pop perfection! –David

Arthur Brown “The Crazy World Of Arthur Brown” (1968)

Occasionally, screaming out of two scant seconds of dead FM radio silence, would be “I AM THE GOD OF HELL FIRE, and I give you FIRE!” Terrified, before the first phrase of the song’s riff was finished, I’d jump up and turn off the radio. Um, it WAS the mid ’70s and, being a kid easily creeped out, I truly believed Arthur Brown WAS the god of hell fire! He, and his big CREEPY voice… it’s possessing as it IS possessed…, was coming after ME! It haunted me, if ever I thought about evil things (um, clowns mostly) that song, that VOICE, provided the soundtrack. Eventually, I got over being honestly freaked out, it was just theatrics (RIGHT?!). Now “The Crazy World Of Arthur Brown” is one of my favorite ’60s albums. The A side is a wicked psychedelic concerto of swirling Hammond organ, thundering drums and Mr. Browns big BAD voice… which gives me shivers, still. –Nipper

X “Under The Big Black Sun” (1982)

A record that sums up Americana as well as any other. “Under The Big Black Sun” is proof that X was as good of a country band as they were a punk band. Rockin’, rollicking, dissonant and dizzying, this record is a forty-five minute bender. Bookended by “The Hungry Wolf” (an superblast of syncopated yell along) and “The Have Nots” (possibly the best drinking song ever), this is the soundtrack to an unencumbered night out. –Cameron

T. Rex “T. Rex” (1970)

First Tyrannosaurus Rex release featuring the shortened moniker, T. Rex balances Bolan’s brain-fried, hippie-folk mysticism with a pop sensibility that would explode in T-Rexstacy, once he figured out this stuff might sound better with bass and drums. Of course, Bolan could craft a killer hook in his sleep, and T. Rex is full of them, be it on tender numbers like “Diamond Meadows,” close encounter of “The Visit,” electric freak out “Jewel,” or glam boogie previews like “One Inch Rock,” many numbers benefiting especially well from added string accompaniment. Highly recommended to anyone wanting to dig deeper than “Electric Warrior.” –Ben

Blue Öyster Cult “Blue Öyster Cult” (1972)

Long before the mega-hits “Godzilla” and “(Dont Fear) The Reaper” roamed FM radio waves there lived a different kind of creature: “Blue Öyster Cult” the album. Everything about BÖC is unique: from their mysterious name, the umlaut over the Ö and the famous hook and cross logo to the cryptic lyrics and their instantly recognizable sound. Nowhere is their uniqueness more apparent than on this classic self-titled debut. The music lies somewhere between psychedelia and heavy metal and the cover features black and white op-art that perfectly captures the sci-fi and horror themes inside. My favorite tracks are the classic “Cities on Flame with Rock and Roll,” the tripped out “Screams,” the even trippier “She’s as Beautiful as a Foot” and the country-rock of “Redeemed” with it’s beautiful harmonies. All I can say is: “More Cowbell!” –David