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The Band |
141 |
| Stage Fright |
1970
Capitol
UK: 15
US: 5
Producer: The Band |
| Following on from their remarkable eponymous album from earlier in the year, The Band were always going to struggle to replicate its outstanding quality of song-writing. While the opening track ‘Strawberry Wine’ was rather unexceptional, the group’s third album does some contain some fine songs: the jaunty title track with a charming vocal from Rick Danko, with Robbie Robertson’s lyrics addressing the fears and anxiety he often experienced playing live as the group became a major act; the upbeat ‘The Shape I’m In’ with a typically soulful vocal from Richard Manuel; and the impressive ‘The Rumor’ with its dark lyrical content. Despite the negative comparisons with its two predecessors, this collection was still a considerable commercial success reaching number five in the US. Stagefright would witness guitarist Robbie Robertson’s increasing dominance over the band’s song-writing; although Richard Manuel would receive co-writing credits on the wondrous ballad ‘Sleeping’ and the jaunty country-rock of ‘Just Another Whistle Stop’, the last two songs he would write for the band.
Track Listing: Strawberry Wine / Sleeping / Time To Kill / Just Another Whistle Stop / All La Glory / The Shape I’m In / The W.S. Walcott Medicine Show / Daniel And The Sacred Harp / Stage Fright / The Rumor.
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Jimi Hendrix |
142 |
| Are You Experienced? |
1967
Track / Reprise
UK: 2
US: 5
Producer: Chas Chandler |
| Despite omitting the three groundbreaking singles, ‘Hey Hoe’, ‘Purple Haze’ and ‘The Wind Cries Mary’, that preceded its release, Are You Experienced? was a huge critical and commercial success. Hendrix had earned his musical stripes playing guitar for the likes of Little Richard and the Isley Brothers. Trying his luck in London he soon found support from the Animals’ Chas Chandler, signing to Track Records, run by The Who’s manager Kit Lambert. Highly innovative for 1967, Hendrix quickly established himself as a musician and songwriter of considerable ability. His debut release was revelatory, mainly based around the highly charged rock of the likes of ‘Foxy Lady’, ‘Manic Depression’, and ‘Fire’, ably supported by the melodic bass playing of Noel Redding and the frenzied drums of Mitch Mitchell. Hendrix would cement his reputation at Monterey Pop Festival a few months after the release of this debut, continuing his innovative and experimental path until his death in 1970.
Track Listing: Foxy Lady / Manic Depression / Red House / Can You See Me / Love Or Confusion / I Don’t Live Today / May This Be Love / Fire / Third Stone From The Sun / Remember / Are You Experienced?
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Pearl Jam |
143 |
| Ten |
1992
Epic
UK: 18
US: 2
Producer: Pearl Jam & Rick Parashar |
| One of the finest releases from the early 1990s’ US alternative music scene, much maligned in some areas of the music press and with the band famously criticised by Kurt Cobain as commercial sell-outs, Ten was a huge commercial success for the Seattle group. The band benefited from Rick Parashar’s dynamic production, and a strength of song-writing that set them apart as one of the major forces in the grunge movement; the singles ‘Alive’, ‘Even Flow’ and ‘Jeremy’ were particularly impressive. Singer Eddie Vedder’s widely imitated vocal delivery was a key strength of the band, on the heartfelt ballad ‘Black’ his emotional intensity was remarkable, with it’s despairing lyrics addressing now familiar themes of isolation and regret. With the band, Vedder in particular, growing uncomfortable with the huge success they experienced with Ten, they consciously moved away on future releases from the more commercial elements that were so prominent on their debut, while still managing to maintain a large and devout fan base.
Track Listing: Once / Even Flow / Alive / Why Go / Black / Jeremy / Oceans / Porch / Garden / Deep / Release.
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Bruce Springsteen |
144 |
| The River |
1980
C.B.S. / Columbia
UK: 2
US: 1
Producer: Jon Landau, Bruce Springsteen & Steve Van Zan |
| Combining the sombre material that had dominated his previous release Darkness On The Edge Of Town with some spirited rock n’ roll, Springsteen released a sprawling double album of infectious rock songs and heartfelt ballads. The River provided Springsteen with his first US number one album, and the pop hooks of hit single ‘Hungry Heart’ brought him an even wider audience at the start of what would be his most commercial decade. While the vibrant simplicity of the likes of ‘Two Hearts’ and ‘Jackson Cage’ would make an immediate impact, it was the ballads on which Springsteen truly demonstrated his depth of song-writing talent; the haunting regret of ‘Stolen Car’ and the moving ’Independence Day’ addressing the tensions of his fraught relationship with his father, were particularly impressive. However, it was the title track that was really remarkable; a solemn and nostalgic longing for lost innocence and youth, the song’s characters beaten down by the hardships of life. Springsteen would follow this release with Nebraska, a sparse and bleak folk record that, while alienating many of his fair-weather fans, only served to further his huge artistic reputation.
Track Listing: The Ties That Bind / Sherry Darling / Jackson Cage / Two Hearts / Independence Day / Hungry Heart / Out In The Street / Crush On You / You Can Look (But You Better Not Touch) / I Wanna Marry You / The River / Point Blank / Cadillac Ranch / I’m A Rocker / Fade Away / Stolen Car / Ramrod / The Price You Pay / Drive All Night / Wreck On The Highway.
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Black Sabbath |
145 |
| Master Of Reality |
1971
Vertigo / Warner Bros.
UK: 5
US: 8
Producer: Rodger Bain |
| Following on from the groundbreaking Paranoid album, Black Sabbath returned with the heavier Master Of Reality, enjoying their first and only top ten album in the US, where they had experienced considerable acclaim and success as a live attraction. The album was marked by a juxtaposition of riff heavy numbers, such as the opening stoner-anthem ‘Sweet Leaf’ and the explosive ‘After Forever’, and plaintive folk influenced numbers such as ‘Orchid’ and the haunting desperation of the sombre ‘Solitude’ which included gentle flute parts from guitarist Tony Iommi. It was Iommi whose playing really dominated this release, his innovative and distinctive guitar driving the aforementioned ‘After Forever’ and the forceful ‘Children Of The Grave’, tuning his guitar down by tone and a half to create the heavy dynamics of many of the album’s tracks. Sabbath would return with the more experimental Vol. 4 album the following year that, although an impressive effort, lacked the focus and cohesion of this highly original collection.
Track Listing: Sweet Leaf / After Forever / Embryo / Children Of The Grave / Orchid / Lord Of This World / Solitude / Into The Void.
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Bob Dylan |
146 |
| Blood On The Tracks |
1975
C.B.S. / Columbia
UK: 4
US: 1
Producer: Bob Dylan |
| After a series of unremarkable albums in the first half of the 1970s, Dylan returned to the Columbia label with perhaps one of the finest collections of his career. Reflecting the emotional turmoil he was experiencing in his private life whilst separating from his wife Sara, Blood On The Tracks addressed intimate themes of regret, anger and isolation throughout. While musically it was a continuation of the spirited, ramshackle folk-rock sound that had dominated his records through the latter part of the 1960s, the depth of his song-writing, his lyrical efforts in particular, was astounding. Particular highlights were the bitter ‘Tangled Up In Blue’, the melancholic ‘Simple Twist Of Fate’ and the ambitious and lyrically inventive ‘Lily, Rosemary And The Jack Of Hearts’. The album was a critical and commercial hit reaching number one in the US, and with the impressive Desire released the following year that included ‘Hurricane’, his first protest song since the 1960s, reconfirming Dylan’s reputation as an outstanding creative talent.
Track Listing: Tangled Up In Blue / Simple Twist Of Fate / You’re A Big Girl Now / Idiot Wind / You’re Gonna Make Me Lonesome When You Go / Meet Me In The Morning / Lily, Rosemary And The Jack Of Hearts / If You See Her, Say Hello / Shelter From The Storm / Buckets Of Rain.
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Neil Young |
147 |
| Tonight’s The Night |
1975
Reprise
UK: 48
US: 25
Producer: David Briggs, Neil Young & Tim Mulligan |
| The title track set much of the tone for the album; Young’s fragile, cracked voice paying homage to roadie Bruce Berry who had recently succumbed to a heroin overdose. Rejected in 1973 by his record company as a unsuitable follow-up to the hugely successful Harvest, due to its fractured, ragged performances and its dark lyrical content, Tonight’s The Night wouldn’t be released until 1975, with the liner notes paying tribute to the aforementioned Berry and Crazy Horse guitarist Danny Whitten, whose heroin addiction had also proved fatal. Whitten took lead vocals on the raucous ‘Come On Baby Let’s Go Downtown’ recorded live in 1970, and tales of a drug deal gone wrong permeated the haunting ‘Tired Eyes’. Ben Keith’s steel guitar playing was beautiful throughout the record, combining perfectly with Nils Lofgren’s delicate piano on the stunning ‘Albuquerque’. Young did allow himself a brief respite from the darkness with the tender ‘New Mama’, a wondrous acoustic ballad with warm harmonies. Young would follow this collection with the impressive Zuma album, released later the same year, that despite some great songs lacked the emotional intensity of Tonight’s The Night.
Track Listing: Tonight’s The Night / Speakin’ Out / World On A String / Borrowed Tune / Come On Baby Let’s Go Downtown / Mellow My Mind / Roll Another Number (For The Road) / Albuquerque / New Mama / Lookout Joe / Tired Eyes / Tonight’s The Night - Part II.
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Jackson Browne |
148 |
| For Everyman |
1973
Asylum
UK: -
US: 43
Producer: Jackson Browne |
| Browne had already tasted considerable success with his top ten US single ‘Doctor My Eyes’ and a co-writing credit on the Eagles’ ‘Take It Easy’ in 1972. It was Browne’s own version of ‘Take It Easy’ that opened this 1973 collection, with some graceful pedal steel from Sneaky Pete, segueing into the lilting, emotive ‘Our Lady Of The Well’, one of the Californian singer-songwriter’s most affecting compositions. Most of the set was made up of introspective balladry, based around Browne’s gentle voice and his subtle piano and guitar playing, ably supported by David Lindley on electric guitar, the pick of which included ‘I Thought I Was A Child’ and ‘For Everyman’, with a fine harmony vocal from David Crosby. Browne also picked up the tempo on the upbeat country rock of ‘Red Neck Friend’ and ‘Ready Or Not’. Browne would follow this release with Late For The Sky, that continued in a similar mellow and contemplative vein, experiencing increasing levels of commercial success well into the 1980s.
Track Listing: Take It Easy / Our Lady Of The Well / Colors Of The Sun / I Thought I Was A Child / These Days / Red Neck Friend / The Times You’ve Come / Ready Or Not / Sing My Songs To Me / For Everyman.
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The Zombies |
149 |
| Odessey and Oracle |
1968
C.B.S. / Date
UK: -
US: 95
Producer: The Zombies |
| While The Zombies’ promising debut Begin Here had relied mainly on covers, Odessey and Oracle established the fine song-writing gifts of keyboardist Rod Argent and bassist Chris White. Mixed with the sweet vocals of Colin Blunstone and the groups penchant for harmony heavy psychedelic pop, this collection stands as one of the finest pop albums of all time. Argent’s melodic ear was perhaps the most impressive, contributing the dynamic ‘Care Of Cell 44’ with its impressive harmonies, the gentle piano ballad ‘Rose For Emily’, the dreamy psychedelic rock of ‘Hung Up On A Dream’ and the remarkable ‘’Time Of The Season’ that provided the band with huge success in the US singles’ charts. White mainly relied on Beatlesesque balladry, offering the fine ‘Brief Candles’ and the delightful ‘This Will Be Our Year’. The group had disbanded by the time Odessey And Oracle was released in the spring of 1968 with Blunstone and Argent both heading for solo careers, leaving this as the defining testament to the band’s exceptional gifts.
Track Listing: "Care of Cell 44 / A Rose for Emily / Maybe After He's Gone / Beechwood Park / Brief Candles / Hung up on a Dream / Changes / I Want Her She Wants Me / This Will Be Our Year / Butcher's Tale (Western Front 1914) / Friends of Mine / Time of the Season.
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|
The Who |
150 |
| Tommy |
1969
Track / Decca
UK: 2
US: 4
Producer: Kit Lambert |
| Pete Townshend had hinted at the musically ambitious rock opera concept on the Who’s two previous albums, A Quick One and The Who Sell Out, but no-one was quite prepared for the grand aspirations of this compelling and innovative release. The now infamous tale of a deaf, dumb and blind boy-turned-messiah spread to twenty-four tracks and changed modern music and The Who’s fortunes forever. The release of Tommy, and their career-defining performance of it at Woodstock, brought the band unprecedented commercial success and critical acclaim in the US and throughout the world. Despite the often confusing narrative, Tommy largely succeeded on the strength of Townshend’s song-writing and Kit Lambert’s spirited production; the single ‘Pinball Wizard’ was one of the most dynamic and impressive songs the Who ever recorded, and the likes of ‘Christmas’ and ‘We’re Not Gonna Take It’ were also equally remarkable, as was the dramatic ‘See Me, Feel Me’ theme that singer Roger Daltrey whole-heartedly embraced in the band’s remarkable live performances.
Track Listing: Overture / It’s A Boy / 1921 / Amazing Journey / Sparks / Eyesight To The Blind (The Hawker) / Christmas / Cousin Kevin / The Acid Queen / Underture / Do You Think It’s Alright? / Fiddle About / Pinball Wizard / There’s A Doctor / Go To The Mirror! / Tommy Can You Hear Me? / Smash The Mirror / Sensation / Miracle Cure / Sally Simpson / I’m Free / Welcome / Tommy’s Holiday Camp / We’re Not Gonna Take It.
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| THE GREATEST ALBUMS
EVER 141-150 |
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