Folk rock is a style of music that had fallen out of favor in the past decades, but the genre has been making quite a comeback in recent years. Leading the pack in the stripped down, rootsy Americana laden style of Bob Dylan, Bruce Springsteen’s “The River”, and Tom Petty’s “Wildflowers” is the Lumineers. “Cleopatra” is their second album.
I discovered The Lumineers a bit late compared to some. A friend of mine who is also into music told me about them after “Cleopatra” and its first single, “Ophelia” had already topped the Billboard charts. I was on a kick rediscovering some older records and not paying as much attention to some of the music coming out at the time. I checked The Lumineers out online and was really impressed. I also discovered that I was familiar with their first single “Hey Ho” from their eponymous debut. I guess I was paying a little attention.
Rather than their debut, I decided to pick up “Cleopatra” as my first album by The Lumineers since I had started to hear “Ophelia” and the title track from the album on the radio. I also ran across a good deal on a deluxe edition of it, which from a collector’s view, is always a bonus. The deluxe album comes in a die cut gate fold cover and is pressed on two slate gray records which go along with the cover art, a picture of silent film star Theda Bara, who played Cleopatra in the 1917 film. The second record contains four bonus tracks not included with the regular version of the album.
Like Petty’s “Wildflowers”, Springsteen’s “The River”, and early Dylan, this is an album I will enjoy at those times I want to chill out and listen to something simple yet melodically engaging. A truly wonderful album.
I wonder if when Bob Dylan released his first greatest hits compilation in 1967 he ever imagined that four years later he would release a second collection, or that it would be a double LP.
Actually, if you consider actual hits, “Bob Dylan’s Greatest Hits Vol. II” could have easily been a single album, but I don’t think anyone complained. Interspersed with his well-known, often played on the radio songs, are an additional album’s worth of songs that were either deep cuts hand-picked by Dylan or previously unreleased songs. It made for a wonderful collection that combines both Dylan’s early, strictly acoustic folk music and his later more electrified rock songs, and all points between…and of course, his greatest hits.
Jim Croce was one of the most prolific singer songwriters ever. “Photographs and Memories” is a greatest hits package that proves that point. Throughout his career his songs have evoked emotions and painted musical scenes like no other.
He sang mostly his own songs, but was known on occasion to interpret one by other songwriters. When he did, he alway made it his own. Along with the ones he did pen – songs like “Bad, Bad Leroy Brown”, “Operator”, “I’ll Have to Say I Love You in a Song”, and “Time in a Bottle” – I personally can’t imagine “I Got a Name” being performed by anyone except Croce.
Unfortunately, Jim Croce’s life and songs were cut short when he died in a plane crash while on tour in 1973. He was only 30 years old.
If you think of Peter, Paul and Mary as a children’s group because of the song “Puff the Magic Dragon”, think again. Along with Bob Dylan they brought folk music to the forefront of popular culture. In the tradition of Woody Guthrie and Pete Seeger from the two decades before, their songs were also often subtle sociopolitical commentaries of the changing times of their generation.
They could also arrange three-part vocal harmonies better than any other group before or since. On record, those vocals were mixed to take full advantage of the soundstage that can be created by a properly set up stereo system.
I picked this album at a garage sale not too long ago expecting to listen to a couple of corny songs I remembered from my early youth (mainly the afore-mentioned “Puff the Magic Dragon”) then get rid of it at a used record store, in trade for something else. Just a little childhood nostalgia, nothing more. What I got was a collection of songs written by Dylan, Seeger, and John Denver, as well as PP&M penned gems that are beautifully arranged, performed, and recorded. What I got was a greatest hits album that is a joy to listen to.
Nope. This one’s a keeper.
I always liked Bob Dylan’s music and his poetic lyrics, but – and I know some will be aghast when I say this – I didn’t care for his voice. In “Song for Bob Dylan”, David Bowie best described the voice of Robert Zimmerman (Bob Dylan’s real name which Bowie refers to in the same song) as “sand and glue”. I can’t think of a more accurate metaphor. In recent years, I have come to appreciate that sand and glue.
As I sit here listening to the mono version of Bob Dylan’s greatest hits, I can’t imagine another voice accompanying the melodies of these songs and the poetry of their lyrics.
Except for “All along the Watchtower”; that will always belong to Hendrix.
If you want to discover a great album by an artist you really like…I’m talking about an album that you hardly ever hear any of the songs from it on the radio, except maybe one, but it will forever be one of your favorites by that artist….then I have a formula for you: Find their breakthrough album, and buy the album that came out just before it. I’ve used this formula many times, and have almost never been disappointed. “Hunky Dory” by David Bowie is one of the best examples of this that I can think of.
Yes, David Bowie had some hits before this album. Space Oddity, off his debut, was probably his biggest to this point. But none of is albums ever attained the success and musical respect of Ziggy Stardust and his albums that immediately followed it. That was the first album by Bowie where I really went “WOW!” His preceding fourth album, “Hunky Dory”, was the second one.
The thing that made “Hunky Dory” so great was it found David Bowie in the first of many of his musically transitional phases. Bowie’s early albums were straightforward rock with a little folk rock thrown in at times. Ziggy Stardust, Aladdin Sane, and Diamond Dogs almost defined glam rock. Sandwiched right in between is “Hunky Dory”. It was the best of both worlds.
I often wonder if David Bowie was hinting at the fact that this was a transitional album for him – a sort of bridge between two defining styles. He did after all, open up the album with the song “Changes”. And there were many changes to come in David Bowie’s illustrious career. His timing with the changes he would make with his music to follow, made him seem like a musical chameleon. Though not one that adapted to things as they were, but to things that were to come, right around the corner. Hunky dory was the album that defined David Bowie as an artist who was always just one step ahead of the times.
“Greatest Hits” is kind of an odd title for this album. Although it’s true that all 14 songs on it were hits for the duo, the album doesn’t contain the original versions of all their hits. Four of the songs that appear on it are live, previously unreleased versions. Additionally, one of the studio songs, “America” wasn’t even a hit for them…yet. Although it appeared “Bookends”, their final album together, it was never released as a single until two years later when this greatest hits album came out. Then it became a hit.
None of that stopped Simon and Garfunkel’s Greatest Hits from being hugely successful. The album was released in 1972, two years after Simon and Garfunkel broke up. There was still high demand for new material from them at the time, so certainly having the live tracks on the record didn’t hurt. The album still holds the record in the US as the best-selling album by a duo.
Moods was an album that defined Neil Diamond. It contained a wide variety of material that made it universally enjoyable to listeners both old and young. It’s one of those albums that’s perfect to listen to on a warm summer afternoon or a brisk autumn morning. A great album for setting the tone to start off your day with a hot cup of coffee or to mellow out after a rough one sipping on a bourbon or a glass of wine.
Diamond once said he had a love-hate relationship with songwriting. He said he found it “extremely satisfying when it worked,” but hated that it “forces you to dig inside yourself.”
But it’s that digging that makes his music so good.