|
Paul Simon |
051 |
| Paul Simon |
1972
C.B.S. / Columbia
UK: 1
US: 4
Producers: Paul Simon & Roy Halee |
| Simon’s first solo offering after disbanding one of the most successful duos of all time. It had been two years since the landmark Bridge Over Troubled Water album had brought Simon and Garfunkel phenomenal success, and much was expected from the act’s songwriter. Simon returned with a more low key effort relying on a stripped down approach to instrumentation, and although Garfunkel’s harmonic presence was missed, the song-writing and Simon’s heartfelt vocals were just as engaging and as thoughtful as ever. The ‘Mother and Child Reunion’ single would provide a hit single in both the US and the UK, but it was the effortless warmth and atmospherics of tracks such as ‘Duncan’ and ‘Peace Like A River’ that ensured that the whole album was a commercial and critical success. Simon would achieve further success throughout the decade, although his output was certainly not prolific as it had been during the 60s, and subsequent releases would lack the edge of this collection.
Track Listing: Mother And Child Reunion / Duncan / Everything Put Together Falls Apart / Run That Body Down / Armistice Day / Me And Julio Down By The Schoolyard / Peace Like A River / Papa Hobo / Hobo’s Blues / Paranoia Blues / Congratulations.
|
|
Guy Clark |
052 |
| Old No. 1 |
1975
R.C.A.
UK: -
US: -
Producer: Neil Wilburn |
| Originally from Texas, Clark had relocated to San Francisco and then Los Angeles to try his luck as a songwriter. Without success in California, Clark headed for Nashville, inspiring one of his greatest songs ‘LA Freeway’ and eventually landing a deal with RCA, recording Old No. 1 in 1975, supported by the likes of Emmylou Harris, David Briggs and Steve Earle. Although an impressive mix of country and folk, Clark only experienced modest sales, despite the depth of songs such as ‘Like A Coat From The Cold’ and ‘Desperados Waiting For The Train’. Like his friend, and fellow Texan, Townes Van Zandt, Clark has long been the focus of critical acclaim that never translated into commercial success; other singers would take Clark’s songs into the charts, Jerry Jeff Walker having a hit single with ‘LA Freeway’ in 1973. Clark has continued to release records to a small, but appreciative audience, but never quite achieving such an engaging collection as Old No. 1.
Track Listing: Rita Ballou / LA Freeway / She Ain’t Goin’ Nowhere / A Nickel For The Fiddler / That Old Time Feeling / Texas-1947 / Desperados Waiting For The Train / Like A Coat From The Cold / Instant Coffee Blues / Let Him Roll.
|
|
The Doors |
053 |
| L. A. Woman |
1971
Elektra
UK: 26
US: 9
Producers: Bruce Botnick & The Doors |
| Released a month before the death of enigmatic front man Jim Morrison, L A. Woman ranks as one of The Doors’ finest efforts. Embracing the influence of blues music more explicitly than on previous releases, The Doors and producer Bruce Botnick chose a rawer, more natural approach, with the minimum of overdubs; with bassist Jerry Scheff the band attempted to record as much as possible live in the studio. On this album The Doors managed to combine the poppy, melodic psychedelia of ‘Hyacinth House’ and ‘Love Her Madly’, the frantic rock n’ roll of ‘The Changeling’ and the stomping blues of ‘Been Down So Long’. However, it was the two lengthy and epic cuts which provided the main highlights of the record; the atmospheric and dramatic ‘Riders On The Storm’ and the raw rush of the title track both adding to the musical legend of Jim Morrison and The Doors.
Track Listing: The Changeling / Love Her Madly / Been Down So Long / Cars Hiss By My Window / L. A. Woman / L’America / Hyacinth House / Crawling King Snake / The WASP (Texas Radio and the Big Beat) Riders On The Storm.
|
|
Johnny Cash |
054 |
| At San Quentin |
1969
Philips / Columbia
UK: 2
US: 1
Producer: Bob Johnston |
| Cash’s musical career was nearly fifteen years old by the time this live album was released in 1969, by which time his sombre delivery and his enigmatic persona was legendary. Having achieved considerable commercial success with the Johnny Cash at Folsom Prison release the previous year, Cash enjoyed his first and only number one album in the US with At San Quentin. Backed by the Carter Family, The Tennessee Three and with Carl Perkins guesting on guitar, Cash’s performance was phenomenal, often his between song banter with the prison’s inmates was just as charged and as engaging as the music. The audience lapped up ‘San Quentin’ and hits such as ‘I Walk The Line’ and ‘A Boy Named Sue’ but it was the electrifying, raucous version of ‘Folsom Prison Blues’ that was a real highlight, with the Tennessee Three, with Bob Wootton having replaced Luther Perkins who had died in a house fire the previous year, on particularly impressive form.
Track Listing: Wanted Man / Wreck Of The Old 97 / I Walk The Line / Darling Companion / Starkville City Jail / San Quentin / A Boy Named Sue / Peace In The Valley / Folsom Prison Blues.
|
|
Big Star |
055 |
| # 1 Record |
1972
Ardent
UK: -
US: -
Producer: John Fry |
| Alex Hilton had enjoyed considerable success in the late 1960s with The Box Tops. Joining up with singer-songwriter Chris Bell for Big Star’s debut album, the group released three impressive albums until disbanding in 1978. The band relied on a heady mix of rock n’ roll guitars and an impressive feel for Byrds’ influenced melody; Big Star always maintained a pop sensibility and achieved considerable critical acclaim although mainstream commercial success consistently eluded them. The group’s attraction lay mainly in the magical writing partnership of Bell and Chilton and the almost effortless ease with which the group mastered lush West Coast harmonies, especially on the beautiful ‘The Ballad Of El Goodo‘ and ‘Give Me Another Chance‘, the like of which hadn’t been heard since the The Beach Boys and The Byrds’ heyday in the previous decade. The pretty simplicity of ‘Thirteen’ was a particular highlight in a collection of heartfelt ballads and energetic rock n’ roll tracks. The follow up album Radio City was just as impressive, and their influence has pervaded through the British and US indie music scenes, Teenage Fanclub, Lemonheads and Elliott Smith in particular, ever since.
Track Listing: Feel / The Ballad Of El Goodo / In The Street / Thirteen / Don’t Lie To Me / The India Song / When My Baby’s Beside Me / My Life Is Right / Give Me Another Chance / Try Again / Watch The Sunrise / ST 100/6.
|
|
The Who |
056 |
| Quadrophenia |
1973
Track / M.C.A.
UK: 2
US: 2
Producers: The Who |
| With The Who producing themselves for the first time, and with pressure to follow up the groundbreaking Tommy and Who’s Next albums, Pete Townshend returned to the Mod movement of the previous decade for inspiration. The story of a disillusioned teenager’s pill-fuelled life in London, looking for thrills in the capitol's clubs and on the seafront of Brighton, allowed The Who to weave an engaging story across this seventeen track opus. For the first time all compositions would be Townshend’s, allowing him to fully realise the grand vision in his head. Each member had an individual ‘theme’ that was introduced in the opener ‘I Am The Sea’ and revisited throughout the album. John Entwistle’s bass playing was exceptional throughout, as was Keith Moon’s frantic drumming. Entwistle also provided horn arrangements driving the frenetic ‘The Real Me’ along with Daltrey’s defiant vocals. Townshend would offer vocals on ‘I’m One’ and ‘Is It In My Head?’ that was part plaintive country twang and part raucous holler. A deserved commercial and critical success.
Track Listing: I Am The Sea / The Real Me / Quadrophenia / Cut My Hair / The Punk And The Godfather / I’m One / The Dirty Jobs / Helpless Dancer / Is It In My Head? / I’ve Had Enough / 5:15 / Sea And Sand / Drowned / Bell Boy / Doctor Jimmy / The Rock / Love Reign O’er Me.
|
|
The Shins |
057 |
| Wincing The Night Away |
2007
Sub Pop
UK: 16
US: 2
Producers: James Mercer & Joe Chiccarelli |
| While a more polished production than on their 2001 debut Oh, Inverted World and 2003’s Chutes Too Narrow, the Shins’ third album is by far their strongest and most confident release. The two singles, ‘Australia’ and ‘Phantom Limb’ are immediate pleasures, benefiting from the inventive stream-of-consciousness lyrics and jaunty arrangements that have become a trademark of this outfit. The real attraction of this collection and the Shins in general however, lies in the soaring vocal talent of James Mercer and his knack for writing impossibly infectious pop songs; melodies that work their way into the mind with repeated listens. Simplicity is often the key, no more so than the gentle lilt of closing song ‘A Comet Appears‘. It seems that the Shins are intent on building on their rich heritage of harmony-laden American pop for some time to come; their increasing commercial favour is evidently richly deserved.
Track Listing: Sleeping Lessons / Australia / Pam Berry / Phantom Limb / Sealegs / Red Rabbits / Turn On Me / Black Wave / Spilt Needles / Girl Sailor / A Comet Appears.
|
|
Traffic |
058 |
| Traffic |
1968
Island / U.A.
UK: 9
US: 17
Producer: Jimmy Miller |
| Following their engaging debut Mr Fantasy, that had mixed psychedelia and folk influences to great effect the previous year, Traffic produced an even more assured collection with their eponymous second album. The group benefited from the song-writing partnership of Steve Winwood and Jim Capaldi and also guitarist Dave Mason’s sterling contributions ‘Feelin’ Alright’ and ‘Don’t Be Sad’. Winwood would once again demonstrate the soulful vocals that had made him a star in the Spencer Davis Group, and at just twenty years old, with a fleeting but impressive stint with Blind Faith and a successful solo career ahead of him. Traffic would be the band’s second top ten album in the UK and would also break the top twenty in the US, where they would have consistent chart success for the next five years, despite disbanding for twelve months in 1969. Later collections would embrace Winwood’s growing interest in jazz, and although Mason would leave for a solo career, the song-writing remained just as strong.
Track Listing: You Can All Join In / Pearly Queen / Don’t Be Sad / Who Knows What Tomorrow May Bring / Feelin’ Alright / Vagabond Virgin / Forty Thousand Headmen / Cryin’ To Be Heard / No Time To Live / Means To An End.
|
|
Nick Drake |
059 |
| Bryter Layter |
1970
Island
UK: -
US: -
Producer: Joe Boyd |
| A more upbeat offering than his impressive debut Five Leaves Left and the darkness of his last release Pink Moon. Unlike his other albums, which mainly relied on nothing more than acoustic guitar for accompaniment, producer Joe Boyd achieved a fuller sound on Bryter Layter, courtesy of Robert Kirby’s elegant string arrangements and appearances from John Cale and three members of Fairport Convention, including guitarist Richard Thompson. Moving away from the pure folk style of his debut, a certain element of jazz influences were evident. Despite the production, the main attraction remained the soft, lilting vocals of Drake and the effortless ease with which his subtle melodies were conveyed. Particular highlights were the two ‘Hazey Jane’ numbers and the elegant ‘Northern Sky’ where John Cale’s stately organ and piano parts were wonderfully effective. Lack of commercial success only served to worsen Drake’s deep depression and his fleeting but brilliant musical career ended with a drug overdose in 1972.
Track Listing: Introduction / Hazey Jane II / At The Chime Of A City Clock / One Of These Things First / Hazey Jane I / Bryter Layter / Fly / Poor Boy / Northern Sky / Sunday.
|
|
Leonard Cohen |
060 |
| Songs Of Leonard Cohen |
1968
C.B.S. / Columbia
UK: 13
US: 83
Producer: John Simon |
| Prior to this, his debut release, Canadian Leonard Cohen had achieved modest success as a poet and novelist. His literary gifts were very much intact on this collection, his dark imagery a perfect match for his sombre vocals. Opting for, on the most part, a sparse set of arrangements, with Cohen’s voice backed by delicate, finger-picked acoustic guitar, producer John Simon allowed him much room for expression. Significantly, Simon had also been at the helm of another 1968 debut release, The Band’s Music From Big Pink, that was also to become a landmark of modern music. The melancholia and intensity of Cohen’s song-writing and performance set him aside from much of the singer-songwriter movement of the time. Tracks such as ‘Suzanne’ and ‘Sisters Of Mercy’ would rank as some of his finest; another highlight was the decidedly more up-tempo ‘So Long, Marianne’ with its graceful accordion flourishes. Cohen would continue in a similar vein for much of the next decade, with the exception of the awkward production that Phil Spector brought to 1977’s Death Of A Ladies’ Man, but Songs Of Leonard Cohen remains his most highly regarded work.
Track Listing: Suzanne / Master Song / Winter Lady / The Stranger Song / Sisters Of Mercy / So Long, Marianne / Hey, That’s No Way To Say Goodbye / Stories Of The Street / Teachers / One Of Us Cannot Be Wrong.
|
|
| THE GREATEST ALBUMS
EVER 51-60 |
|
|
|
|
