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.
The 1960s. Flower-power. The counterculture. The Mamas and he Papas 1966 debut “If You Can Believe Your Eyes and Ears” captured it all better than any pop album at the time. Bohemian folk rock, Beatlesque R&B, and a touch of soul that could replace the worst case of the Monday Monday doldrums with harmonious California Dreamin’.
This is the second album cover for “If You Can Believe Your Eyes and Ears”. Like this one, the original cover showed the band members all sitting in a bathtub, but instead of a box listing the singles from the album in the lower right corner, it showed the bathroom’s toilet. That cover was banned shortly after the album was released because some people felt showing a toilet on the cover was obscene. Some record stores even refused to carry it. The original cover is such a rarity that today it can often sell for well over $100. I hope to one day run across it at a more reasonable price. Until then, at least I have the music.
When The Byrds first started out in 1965, they took the sounds of the British invasion and combined it with American folk music made popular by Bob Dylan and others. Their sound was tailored strongly by the jangly tone of Roger McGuinn’s 12-string Rickenbacker which became a strong influence a decade later for Tom Petty and the Heartbreakers. They were also known for their distinct vocal harmonies.
The Byrds would later add Eastern world, psychedelic, and country music influences to their sound. These changes caused creative differences within the band leading to David Crosby eventually leaving the group and forming Crosby, Stills, Nash (and Young). Numerous other lineup changes would happen down the line, with Roger McGuinn remaining the only consistent member. They eventually disbanded in 1973.
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’m not one to try to rank in detail, my all-time favorite rock albums. The list I would give today would probably be very different from one I would give you next week, so why bother. I will say this however, no matter what day I ranked them, Joe Walsh’s “The Smoker You Drink, The Player You Get” would consistently place in the top 20.
The album contains such a myriad of styles it would be hard for anyone to not find something they like on this, Joe Walsh’s second album. The songwriting and playing are the strongest of any of his solo work; possibly even better than his albums with The James Gang and The Eagles. At least one of the albums by each of those bands, while Joe Walsh was a member, would always be in my top 20 list. That speaks volumes to his talent, versatility, and creativity. He is definitely one of my all time favorite rock artists. By the way, don’t ask me to rank them in detail either. I’d run into the same problem I’d have with albums.
Growing up in the golden age of vinyl my main music of choice was the same as most of my friends: rock and roll. But that wasn’t the only genre I grew with up with in abundance. My dad listened almost exclusively to country music. Consequently, Johnny Cash, Merle Haggard, Willie Nelson, and Ray Price were as much a part of the soundtrack of my youth as were Pink Floyd, Led Zeppelin, the Beatles and The Who.
Even though my dad didn’t get my definition of rock and roll back then (his never went beyond Bill Hailey and the Comets, Elvis, and early Beatles) I liked a lot of the country music he listened to. Of all the country artists I grew up with, Hank Williams was by far, my favorite.
I had no Hank Williams records in my collection when I ran across this 1976 four album box set at a used record store four or five years ago. When I saw it and looked at the songs on it, I had to wonder why not.
Although considered to be one of the most influential country music artist ever, Hank’s heavy use of southern blues influences in the songs he wrote and performed made just as much of an impact on the formative days of rock and roll. Maybe that’s why I was so drawn to his music all those years ago.
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.
In 1971, Marc Bolan decided to abandon the folk rock beginnings of his band, T. Rex, and try something different. “Electric Warrior” ended up becoming one of the most influential albums of that decade, ushering in the era of glam rock.
Glam rock was about unabashed shamelessness. Whimsical lyrics, pop hooks with a rock edge, and flamboyance were its key ingredients. On “Electric Warrior”, Bolan mixed those ingredients together with seemingly reckless abandon and came up with a recipe that would influence the likes of David Bowie, Mott the Hoople, Sweet, Roxy Music and countless others. It was the foundation of what became called “new wave”, and later “alternative” music. Although “Electric Warrior” only had one big hit, “Bang a Gong (Get It On)”, it’s influence on modern music is indisputable and still resonates through popular music today.
Back in the day, when a friend told you how good an album was, it didn’t mean you would necessarily like it. It just meant they did. Unless they could play it or the local radio stations would promote it, you still took your chances when you bought it. One man’s trash is a nother’s treasure. But today, there’s the Internet, where you can easily check out almost any new band. So when I bought “A Deeper Understanding”, the major label debut by The War on Drugs last year, I knew I was going to love it.
The songs on “A Deeper Understanding” are mostly mid-tempo with a low-key feel to them. They have an edginess to them, but never go over-the-top. Easy to listen and relax to but exciting at the same time. Thoughtful and introspective lyrics are perfectly matched to the music by The Adam Granduciel’s slightly breathy, somewhat raspy vocal style. This is an album that can be motivating or relaxing; it depends on how you want to listen to it at the time.
After listening to “A Deeper Understanding” the first couple times I couldn’t help but wonder why music like this isn’t more popular. It seems to rarely achieve main-stream recognition or success. Then, a couple of weeks after buying it, I leaned it was nominated for Best Rock Album at the 2017 Grammys. It won. A well deserved award and a great achievement for te first major label album by a band.
I’m look looking forward to The War On Drugs’ second one.