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Paul Simon |
061 |
| Still Crazy After All These Years |
1975
C.B.S. /Columbia
UK: 6
US: 1
Producers: Paul Simon & Phil Ramone |
| Simon’s third solo album demonstrated that his exceptional song-writing talents remained undiminished. Buoyed by the huge hit ‘50 Ways To Leave Your Lover’, a humorous tongue in cheek single that stuck out from the more downbeat songs that surrounded it (the title track in particular illustrated a sense of weariness with the world), this 175 release brought Simon considerable commercial success. The song ‘My Little Town’ provided a particular highlight; a nostalgic look at the ambition of youth confined by small town life, reuniting Simon with Art Garfunkel five years after their separation following the huge success of Bridge Over Troubled Water. The familiar harmonies and the rousing horn parts offered a perfect foil to the more subdued numbers on the record; the single went top ten in the US and Garfunkel included the track on his own 1975 solo album Breakaway. Simon would enter a bit of a dry patch following this release, with the disappointing One-Trick Pony and Hearts And Bones albums, before experiencing further huge success with the groundbreaking Graceland album in 1986.
Track Listing: Still Crazy After All These Years / My Little Town / I Do It For Your Love / 50 Ways To Leave Your Lover / Night Game / Gone At Last / Some Folks’ Lives Roll Easy / Have A Good Time / You’re Kind / Silent Eyes.
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The Byrds |
062 |
| The Byrds |
1973
Asylum
UK: 31
US: 20
Producer: David Crosby |
| The Byrds’ much anticipated reunion album disappointed many on its release and it has been unfairly rated ever since, amid accusations that the group were reconvened purely for financial reasons. Although it was Crosby who assumed control of the production, in no small part to his recent phenomenal success with Crosby, Stills and Nash, the record was dominated by the song-writing talents of Gene Clark and Neil Young. Clark shone with his efforts, ‘Full Circle’ and ‘Changing Heart‘, while also taking the lead vocal on Young’s ‘Cowgirl In The Sand’ and the then unreleased ‘See The Sky About To Rain‘, where Roger McGuinn’s twelve-string chimed beautifully with the group’s country harmonies. McGuinn contributed the strong ‘Sweet Mary’ and Crosby rehashed ‘Laughing’ from his first solo album. The remainder of the album, with the exception of a fine reading of Joni Mitchell’s ‘For Free‘, with Crosby on lead vocals, remains rather patchy.
Track Listing: Full Circle / Sweet Mary / Changing Heart / For Free / Born To Rock N’ Roll / Things Will Be Better / Cowgirl In The Sand / Long Live The King / Borrowing Time / Laughing / See The Sky About To Rain.
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Steve Winwood |
063 |
| Arc Of A Diver |
1980
Island
UK: 13
US: 3
Producer: Steve Winwood |
| After his disappointing debut solo album in 1977, Winwood would take another three and a half years to release the impressive Arc Of A Diver. Handling all instrumentation himself, and with lyrical contributions from the likes of Will Jennings and Viv Stanshall, this collection would be yet another highlight in a truly illustrious career that had seen Winwood enjoy success as a precocious teenager in the Spencer Davis Group, as a blossoming songwriter in Traffic and as an integral part of the super group Blind Faith. The album and the single ‘While You See A Chance’ would both go Top 10 in the US; Winwood would enjoy considerable commercial success there for the remainder of the decade. Despite a polished production, and heavily reliant on the use of synthesiser, Winwood’s soulful vocals, strong musicianship and gift for melody created a warm and sincere collection of songs that he has struggled to replicate ever since.
Track Listing: While You See A Chance / Arc Of A Diver / Second-Hand Woman / Slowdown Sundown / Spanish Dancer / Night Train / Dust.
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Richard & Linda Thompson |
064 |
| I Want To See The Bright Lights Tonight |
1974
Island
UK: -
US: -
Producers: Richard Thompson & John Wood |
| On Richard Thompson's second solo album, his first with wife Linda, he continued the rich vein of song-writing that had flourished in his tenure with folk-rock pioneers Fairport Convention. Sharing vocals with Linda, Thompson used a variety of instruments and musicians, including fellow Fairport Convention guitarist Simon Nicol, to create a rich tapestry of songs; the krummhorn on opener 'When I Get to The Border‘, the silver band on the title track, and Trevor Lucas’s deep bass vocal on ‘Down Where the Drunkards Roll’ were used to great effect. Linda's world-weary vocal on ‘Withered and Died’ is a particular highlight: a delightful song of love lost and hopes dashed. As expected Thompson’s guitar work was intricate and inventive throughout, without any hint of predictability or ostentation. Richard and Linda would continue an impressive musical journey until they parted company, musically and personally, in the early 1980s, by which time Thompson had achieved a position as one of the major figures in British folk music.
Track Listing: When I Get To The Border / The Calvary Cross / Withered And Died / I Want To See The Bright Lights Tonight / Down Where The Drunkards Roll / We Sing Hallelujah / Has He Got A Friend For Me / The Little Beggar Girl / The End Of The Rainbow / The Great Valerio.
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Led Zeppelin |
065 |
| III |
1970
Atlantic
UK: 1
US: 1
Producer: Jimmy Page |
| A more low key effort than their blistering debut and it’s dynamic follow-up Led Zeppelin II, this set primarily consisted of acoustic folk numbers, such as the likes of ‘Tangerine’ and ‘Gallows Pole’, although it was no less engaging than previous releases. There were more upbeat numbers on offer, such as the jaunty ‘Celebration Day’ and the thunderous opener ‘Immigrant Song’ with Jimmy Page locking in tightly with the formidable rhythm section and Plant indulging himself with lyrics of Viking adventure. It was on the extended blues crawl of ‘Since I’ve Been Loving You’ however, that the group really showed their strengths, with Jones’s thoughtful organ embellishments, Bonham’s titanic drum fills and Page’s tasteful guitar. Like its predecessor the album topped the charts on both sides of the Atlantic and further enhanced their reputation as one of the world’s premium rock acts, as would the landmark Led Zeppelin IV album when it was released to commercial and critical acclaim the following year.
Track Listing: Immigrant Song / Friends / Celebration Day / Since I’ve Been Loving You / Out On The Tiles / Gallows Pole / Tangerine / That’s The Way / Bron-Y-Aur Stomp / Hats Off To (Roy) Harper.
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Fairport Convention |
066 |
| What We Did On Our Holidays |
1969
Island / A&M
UK: -
US: -
Producer: Joe Boyd |
| Relying more on their own compositions than they had on their debut Fairport Convention the previous year, this collection was when the British folk-rock movement really began. Singer Judy Dyble had recently left to be replaced by Sandy Denny, whose unique vocal talent became pivotal to the groups sound for this and the following two groundbreaking records, Unhalfbricking and Liege & Lief. Opening with Denny’s graceful ‘Fotheringay’ and closing with guitarist Simon Nicol’s gentle instrumental ‘End Of A Holiday’, What We Did On Our Holidays was a confident and assured effort. With a couple of traditional songs and fine readings of Joni Mitchell’s ‘Eastern Rain’ and Dylan’s ‘I’ll Keep It With Mine’, it was Richard Thompson’s flowering talent as a songwriter which really set the band apart from the rest of the folk movement. The haunting ‘Book Song’ co-written with singer Ian Matthews, the energetic ‘Tale In Hard Time’ and the song that became their signature tune, the dramatic ‘Meet On The Ledge’, all demonstrated Thompson’s gifts.
Track Listing: Fotheringay / Mr Lacey / Book Song / The Lord Is In This Place / No Man’s Land / I’ll Keep It With Mine / Eastern Rain / Nottamun Town / Tale In Hard Time / She Moves Through The Fair / Meet On The Ledge / End Of A Holiday.
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Flying Burrito Brothers |
067 |
| The Gilded Palace Of Sin |
1969
A&M
UK: -
US: -
Producers: Henry Lewy & Larry Marks |
| The closest Gram Parsons ever got to his vision of Cosmic American Music and a true country-rock hybrid, as the fuzz guitars of ‘Christine’s Tune’ fired on all cylinders next to ‘Sneeky’ Pete Kleinow’s mesmerising steel guitar. Other highlights included a cover of Dan Penn’s ‘Dark End Of The Street’ and ‘Hot Burrito #1’, penned by Parsons and bassist Chris Etheridge. Despite the relatively short life span of this line-up, this debut album only served to confirm that Chris Hillman’s decision to jump ship from the Byrds was the right one. In a few more years, he’d be pushing the boundaries of country-rock again with Stephen Stills in Manassas. Despite the band being dogged by drug use and sloppy live performances, this record stands testament to the visionary nature of its two leaders, as Hillman and Parsons soared through originals and covers with equal grace.
Track Listing: Christine’s Tune / Sin City / Do Right Woman / Dark End Of The Street / My Uncle / Wheels / Juanita / Hot Burrito #1 / Hot Burrito #2 / Do You Know How It Feels / Hippie Boy.
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Joan Baez |
068 |
| Diamonds And Rust |
1975
A&M
UK: -
US: 11
Producer: David Kershenbaum |
| The sublime grace of the title track, written in response to a call out of the blue from an old lover, reputedly to be Bob Dylan, looms large over this collection as well as Baez’s canon of work in general. A long way from the sparse voice and guitar politics of her early output, Diamonds And Rust was a more gentle, country-rock approach with a sympathetic production from David Kershenbaum and arrangements from Larry Carlton that served to compliment her soaring voice perfectly. As well as the self-penned title track, Baez offered interpretations of, amongst others, the works of Jackson Browne (‘Fountain Of Sorrow‘), John Prine (‘Hello In There‘), Stevie Wonder (‘Never Dreamed You’d Leave In Summer’) and of course Dylan; recording a very convincing impersonation of the man himself on ‘Simple Twist of Fate‘. In commercial terms Diamonds And Rust was Baez’s last album of significance; in critical terms it was certainly a career highlight.
Track Listing: Diamonds And Rust / Fountain Of Sorrow / Never Dreamed You’d Leave In Summer / Children And All That Jazz / Simple Twist Of Fate / Blue Sky / Hello In There / Jesse / Winds Of The Old Days / Dida / Medley: I Dream Of Jeannie; Danny Boy.
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Joan Armatrading |
069 |
| Show Some Emotion |
1977
A&M
UK: 6
US: 52
Producer: Glyn Johns |
| The follow-up to her eponymous third album which had finally projected Armatrading into the mainstream. Once again with producer Glyn Johns at the helm, Armatrading continued much in the same vein as her previous release, mixing elements of folk, soul and jazz into an original and appealing whole. The title track offered a confident and melodic swagger; tracks such as ‘Warm Love’ and ‘Willow’ continued to show her heartfelt sensitive side. Armatrading always managed to offer genuine warmth in her songs without slipping into sentimentality. Rabbit Bundrick, Kenny Jones and Georgie Fame all guested on various tracks, and as on her previous release, Jerry Donahue offered sympathetic guitar support throughout. However, it was Armatrading‘s impressive vocals and earnest songwriting that always came to the fore. In terms of chart success it was an improvement on the Joan Armatrading album even without a hit single, breaking into the top ten in the UK and reaching 52 in the US.
Track Listing: Woncha Come On Home / Show Some Emotion / Warm Love / Never Is Too Late / Peace In Mind / Opportunity / Mama Mercy / Get In The Sun / Willow / Kissin’ And A Huggin’.
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The Rolling Stones |
070 |
| Beggars Banquet |
1968
Decca / London
UK: 3
US: 5
Producer: Jimmy Miller |
| Beggars Banquet, marking the beginning of the Stones’ working relationship with producer Jimmy Miller, was a definite improvement on the disappointing Their Satanic Majesties Request released the previous year. Preceded by the assured swagger of the ‘Jumping Jack Flash’ single, Beggars Banquet would finally establish the Stones’ as an premier album act and would bring them further critical acclaim and commercial success. Opening track ‘Sympathy For The Devil’ with i’s unforgettable backing vocals, its driving percussion and Richards’s stinging lead guitar set the tone for the rest of the album, with the Stones largely relying on raucous blues-influenced rockers; ‘Salt Of The Earth‘, ‘No Expectations’ and ‘Street Fighting Man’ being particular highpoints. This would be the last album were Brian Jones’s musical influence was prevalent; contributing slide guitar, harmonica, sitar and mellotron throughout the album. The Rolling Stones would follow Beggars Banquet with the darker Let It Bleed the following year, continuing a period of great creativity for the band.
Track Listing: Sympathy For The Devil / No Expectations / Dear Doctor / Parachute Woman / Jig-saw Puzzle / Street Fighting Man / Prodigal Son / Stray Cat Blues / Factory Girl / Salt Of The Earth.
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| THE GREATEST ALBUMS
EVER 61-70 |
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