It remains a beloved soft-rock chestnut. He was funny, sweet — and he was smart. McVie later described the ease with which she composed her songs on Rumours: Nor do I think I would want to. I am someone who values musical themes. Someone who feels there should be a consistency from night to night with something. Buckingham rocks out with the raw spirit of a freewheeling garage band, while Fleetwood cuts loose on the drums. That was just Mick and myself late at night in the studio, me at the piano. That has to rate as one of my top-five moments in the band. Not directed at anybody in particular but at the business, the need to conform to some vague set of commercial standards.
An obscure gem from the years between the original Mac with Peter Green and the modern Buckingham-Nicks incarnation. Guitarist Danny Kirwan was a great songwriter in his own right, fond of dreamy Beatle-struck ballads like this single, which chimes in the mode of Badfinger or Big Star.
But, tragically, Kirwan slipped into a void much like his fellow Mac guitarists Green and Jeremy Spencer — he suffered a mysterious mental breakdown, vanished from the music world and drifted into homelessness. This smoky blues ballad sums up the lost legend of Peter Green — especially the version on Live in Boston, recorded in February They lost: My mind would be racing. I love it.
Christine McVie was fed up with all of them. After Fleetwood Mac finished work on their self-titled LP, they found themselves at a loss as to which song to release as a first single. It became their first song to reach the American charts since and their first Top 20 hit in the U.
To achieve the desired percussive effect, he pounded the seat of a Naugahyde chair found in the studio. Green had a sudden LSD-related mental collapse, dropped out of the band and ended up digging ditches and sleeping on the streets.
It sounds uncannily like the playful indie-rock sound of Nineties bands like Pavement. It took Christine McVie only 30 minutes to write this lovely piano ballad. During the early Seventies, Fleetwood Mac gradually transformed from a blues unit into a much poppier band — and this beguiling contribution from singer-guitarist Bob Welch was a key link in that progression. Restringing the guitar three times every hour was a bitch. But Lindsey had lots of parts on the song, and each one sounded magnificent. He deals with childhood loss in "Mother" and skirts blasphemy in "Working Class Hero": Plastic Ono Band is the sound of Year Zero.
In his only two recording sessions, Johnson cut just 29 songs, but their evanescent passion has resonated through the decades, crucial inspiration for everyone from Chicago blues originator Elmore James to British blues inheritors like the Stones and Eric Clapton. Every one of his songs along with 12 alternate takes is included here — a holy grail of the blues.
Goode," "Back in the USA. In the maestro's own words, "The nature and backbone of my beat is boogie, and the muscle of my music is melodies that are simple. Michael Jackson towered over the s the way Elvis Presley dominated the s, and here's why. He and producer Quincy Jones established the something-for-everyone template with 's Off the Wall , a crisp fusion of pop hooks and dance beats.
But the most thrilling thing was the autobiography busting through the gloss: Van Morrison never sounded more warm and ecstatic, more sensual and vulnerable, than on his enigmatically beautiful solo debut. The crowning touch was the superior jazz quintet convened by producer Lewis Merenstein to color the mists and shadows.
Bassist Richard Davis later said that Morrison never told the musicians what he wanted from them or what the lyrics meant. Maybe he didn't know how to. He was going deep inside himself, without a net or fear. Bruce Springsteen spent everything he had — patience, energy, studio time, the physical endurance of his E Street Band — to make his masterpiece. There are a dozen guitar overdubs on the title track alone.
He found it so hard to re-create the sound in his head — the Jersey-bar dynamite of his live gigs, Phil Spector 's grandeur, Roy Orbison 's melodrama — that he nearly gave up and put out a live album. But his attention to detail produced a timeless record about the labors and glories of aspiring to greatness. The overnight-success story of the s, Nirvana 's second album and its totemic first single, "Smells Like Teen Spirit," shot up from the nascent grunge scene in Seattle to kick Michael Jackson off the top of the Billboard album chart and blow hair metal off the map.
No album in recent history had such an overpowering impact on a generation — a nation of teens suddenly turned punk — and such a catastrophic effect on its main creator. The weight of fame led already troubled singer-guitarist Kurt Cobain to take his own life in Lyrically, Cobain raged in code — shorthand grenades of inner tumult and self-loathing. His genius, though, in songs like "Lithium," "Breed" and "Teen Spirit" was the soft-loud tension he created between verse and chorus, restraint and assault.
Cobain was a pop lover at heart — and a Beatlemaniac: Cobain also fought to maintain his underground honor. Ultimately, it was a losing battle, but it is part of this album's enduring power. Vig recalls when Cobain was forced to overdub the guitar intro to "Teen Spirit" because he couldn't nail it live with the band: He wanted to play [the song] live all the way through. Bob Dylan once introduced this album's opening song, "Tangled Up in Blue," onstage as taking him 10 years to live and two years to write. In fact, he wrote all of these lyrically piercing, gingerly majestic songs in two months, in mid He was so proud of them that he privately auditioned almost all of the album, from start to finish, for pals and peers including Mike Bloomfield, David Crosby and Graham Nash before cutting them in September — in just a week, with members of the bluegrass band Deliverance.
co.organiccrap.com/184100.php But in December, Dylan played the record for his brother David in Minneapolis, who suggested recutting some songs with local musicians. The final Blood was a mix of the slow, pensive New York sessions and the faster, wilder Minneapolis dates. Together, they frame the gritty anguish in some of Dylan's most passionate, confessional songs — from adult breakup ballads like "If You See Her, Say Hello" to the sharp-tongued opprobrium of "Idiot Wind," his greatest put-down song since "Like a Rolling Stone.
Yet he had never turned so much pain into so much musical splendor.
This is what Britain sounded like in late and early Rescued from dead-end gigs in New York by ex-Animal Chas Chandler, Hendrix arrived in London in September , quickly formed the Experience with bassist Noel Redding and drummer Mitch Mitchell and in a matter of weeks was recording the songs that comprised his epochal debut — which stands four and a half decades later as rock's most innovative and expressive guitar record.
Hendrix's incendiary playing was historic in itself, the luminescent sum of his chitlin-circuit labors in the early Sixties with Little Richard and the Isley Brothers and his melodic exploitation of amp howl. Hendrix made soul music for inner space. That January, the Beatles were on the verge of a breakup, exhausted and angry with one another after the disastrous sessions for the aborted Get Back LP, later salvaged as Let It Be [see No.
Determined to go out with a sense of recaptured glory, the group reconvened at EMI's Abbey Road Studios to make its most polished album: There was no thematic link, other than the Beatles' unique genius.
And Lennon, McCartney and Harrison reputedly sang more three-part harmony here than on any other Beatles album. Let It Be was the group's final release, but this album was its real goodbye. It was no idle boast. Much of what we take for granted in rock would not exist without this New York band or its seminal debut: Recorded dirt-cheap at a studio that was literally falling apart, it is a record of fearless breadth and lyric depth.
Singer-songwriter Lou Reed documented carnal desire and drug addiction, decadence and redemption, with a pop wisdom he learned as a song-factory composer for Pickwick Records. Cale introduced the power of pulse and drone from his work with minimalist composer La Monte Young ; guitarist Sterling Morrison and drummer Maureen Tucker played with tribal force; Nico, a German vocalist added to the band by manager Andy Warhol, brought an icy femininity to the heated ennui in Reed's songs.
This painterly masterpiece would become one of the most important, influential and popular albums in jazz. But at the time it was made, Kind of Blue was a revolution all its own, a radical break from everything going on.
Turning his back on standard chord progressions, trumpeter Miles Davis used modal scales as a starting point for composition and improvisation — breaking new ground with warmth, subtlety and understatement in the thick of hard bop. Davis and his peerless band — bassist Paul Chambers, drummer Jimmy Cobb, pianist Bill Evans, and the titanic sax team of John Coltrane and Cannonball Adderley — soloed in uncluttered settings, typified by "melodic rather than harmonic variation," as Davis put it.
Two numbers, "All Blues" and "Freddie Freeloader" the latter featured Wynton Kelly at the ivories in place of Evans , were in bar form, but Davis' approach allowed his players a cool, new, collected freedom. Therefore, you will hear something close to pure spontaneity in these performances.
Phillips told them to "back up and do it again. But the man who would be King was officially on wax. Bridging black and white, country and blues, his sound was playful and revolutionary, charged by a spontaneity and freedom that changed the world. Incredibly, it took more than 20 years for Presley's Sun output to be properly collected on a LP — which has since been superseded by this double-CD chronicle of the King's beginnings at Sun. It collects everything he cut at the studio, including alternate takes and the acetate he recorded as a gift for his mother as a shy and awkward recent high school graduate.
They wrote the songs while on retreat with the Maharishi Mahesh Yogi in India, taking a break from the celebrity whirl. As John Lennon later said, "We sat in the mountains eating lousy vegetarian food and writing all these songs. Yet the creative tension resulted in one of the most intense and adventurous rock albums ever made. Lennon pursued his hard-edged vision into the cynical wit of "Sexy Sadie" and "Happiness Is a Warm Gun," but also infused "Julia" and "Dear Prudence" with childlike yearning.
Released on May 16th, , rock's first studio double LP by a major artist was, as Dylan declared in , "the closest I ever got to the sound I hear in my mind… that thin, that wild-mercury sound. After several false-start sessions in New York in the fall of and January with his killer road band the Hawks — "One of Us Must Know Sooner or Later " was the only keeper — Dylan blazed through the rest of Blonde on Blonde's 14 tracks in one four-day run and one three-day run at Columbia's Nashville studios in February and March The pace of recording echoed the amphetamine velocity of Dylan's songwriting and touring schedule at the time.
Amid the frenzy, Dylan delivered some of his finest, clearest songs of comfort and desire: Produced with no-surrender energy by legendary Seventies studio madman Guy Stevens, the Clash 's third album skids from bleak punk "London Calling" to rampaging ska "Wrong 'Em Boyo" and disco resignation "Lost in the Supermarket". The album was made in dire straits too. The band was heavily in debt and openly at war with its record company.
He threw chairs around the room "if he thought a track needed zapping up," according to Strummer. The album ends with "Train in Vain," a rousing song of fidelity unlisted on the back cover because it was added at the last minute that became the sound of triumph: A dirty whirl of blues and boogie, the Rolling Stones ' double LP "was the first grunge record," guitarist Keith Richards crowed proudly in a interview. In the existential shuffle "Tumbling Dice," the exhausted country beauty "Torn and Frayed" and the whiskey-soaked uplift of "Shine a Light," you literally hear the Stones in exile: Exile is rife with allusions to their outsider status: The album's cover is a collage of freakish American characters, and on "Sweet Black Angel" they toast imprisoned activist Angela Davis — one set of renegades to another.
The music rattles like battle but also swings with clear purpose on songs like "Rocks Off" and "All Down the Line. Whatever people throw at us, we can still duck, improvise, overcome.
Richards recorded his jubilant romp "Happy" with just producer Jimmy Miller on drums and saxman Bobby Keys — while waiting for the other Stones to turn up for work. Exile on Main Street is the Stones at their fighting best, armed with the blues, playing to win.
I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people.