Monday, 15 December 2014

48.  Trout Mask Replica. Captain Beefheart & His Magic Band. 1969.
An album that splits even the fans that bought it. Those that bought it and at first thought "what is this sh*t", and those that bought it and were instantly blown away. I'm of the first category, bought the album on it's reputation, played it the once and left it for near 5 years before going back to it and listening with new ears, then I got it. Matt Goering, creator of the Simpsons stated that he bought the album simply because it had Frank Zappa's name on it as producer and at first he too couldn't get into it, but now considers it an avant garde masterpiece.
Beefheart claimed that the 28 songs on the double album were composed at an eight hour session at piano. He then assembled his Magic Band and instructed them how to play the music. Allegedly Beefheart made them switch instruments, accounting for the strange sounding music. He then recorded his vocal over the backing track without the aid of earphones,
which created that 'out of sync' vocal arrangement. Zappa had Beefheart record the album at his home studio but then took it to a nearby recording studio for overdubbing. One track 'Blimp' credited to Beefhart is actually an old Mothers of Invention track which Antennae Jimmy Semens was encouraged to add a vocal to sang down a telephone. It all makes for one of the most divisive records in pop and rock history.
47.  Cloud 9. (LP). The Temptations. 1969
The album that marks song writer Norman Whitfield's first foray into psychedelia, heavily influenced by Sly & The Family Stone and The Rotary Connection, Whitfield changed the course of the 'Motown' sound and black music in general.
The song 'Cloud 9' dealt with the ever present problem of drug taking within the black community. While some regarded the song as a celebration of 'getting high to escape everyday life, others correctly understood the irony of the lyrics. The usual call and response vocals of the Temptations was stripped bare, to a hard kicking rhythm section led by Earl Van Dyke's jazzy piano. Cloud 9 also contained another first for Motown in the 10 minute 'Runaway Child, Running Wild'. The rest of the album contained 8 tracks of typical Temptations fare, but remains a pivotal and important milestone in the black progressive movement's history.
46.  The Piper At The Gates of Dawn. (LP) Pink Floyd. Aug 1967.
In the summer of 1967 The Beatles were in Abbey Road's main studio recording Sgt Pepper, while in an adjoining studio Pink Floyd were recording their debut album 'The Piper At The Gates of Dawn'.
The album took its title from a chapter heading in Kenneth Grahame's children's novel 'Wind In The Willows'. The music was a continuation of what Pink Floyd had been playing at their UFO Club residency. The album proved to be the years most psychedelic experience with its distillation of pop, rock, jazz and free-form hallucinogenic nursery rhymes meandering through the grooves of the album. The spirit of band leader Syd Barrett is omnipresent, as if voices in his head hastening his descent into full blown madness. For me, Pink Floyd's best album.
45.  Cold Sweat. Pts 1 & 2. James Brown. July 1967.
Brown had been heading towards 'Cold Sweat' for some time. 1965's 'I Got You (I Feel Good)' and 'Papa's Got A Brand New Bag' had suggested the direction but 'Cold Sweat' was the culmination of the evolution of funk music as we know it. The horns are sparsely used and the drums are high in the mix. This was the genesis for all dance music as we know it..
44.  The Velvet Underground & Nico. (LP). The Velvet Underground. Mar 1967.
The Velvet Underground's debut album was not so much a pop statement, but more an act of revolution, one that was hammered out in a derelict four track studio over two days at a cost of $1,500.
With this album, rock flung itself under the wheels of the avant garde. It was a glorious meshing together of guitar feedback, electric pop balladry and artistic composition, that was further enhanced by the seductive siren voice of chanteuse Nico.
While Reed, Cale, Morrison and Tucker supplied perfect eerie musical backdrop, Nico's icy, detached, Marlene Dietrich-on-smack vocals sent a thrill down her audiences spine. Songs like 'I'll Be Your Mirror' and 'All Tomorrow's Parties' are haunting, exquisite and lush, while 'Venus In Furs' and 'Femme Fatale' reveal the band's interest in the darker side of 60's New York society. (Vox Magazine. 1991)
43.  Purple Haze. Jimi Hendrix Experience. Feb 1967.
'Purple Haze' was not only Jimi's first totally psychedelic single, it was a record that would change people's attitude to appreciating and playing rock n roll music in years to come. It was a record that sounded like nothing on earth.
'Purple Haze' was the blues of Robert Johnson played through the wah-wah and fuzz pedal technology of the 60's. It was a hellhound of a sound that snapped at Hendrix's heels as fiercely as it had dogging the King of The Delta Blues. The famous opening two chord riff for example, the interval of a tri-tone or flattened fifth was a musical device that had originally been condemned as 'diablo in musica' by the sinister Spanish Inquisition. Hendrix was obviously aware that he was playing 'the devil's music' on 'Purple Haze', a song that summoned up images of mythology, sex and science fiction. Nobody who heard it (especially those that played guitar) would ever be the same again. (Vox Magazine. 1991).
42.  Surrealistic Pillow (LP). Jefferson Airplane. Feb 1967.
The Grateful Dead and Quicksilver Messenger Service had pointed the way for the 'Peace & Love' generation but it was Jefferson Airplane that provided the soundtrack. 'Surrealistic Pillow' was the rallying call for the flower children of San Francisco and further afield. The band was led by singer Marty Balin and guitarist Paul Kantner, and powered by the bass/electric guitar team of Jack Casady and Jorma Kaukonen. It was however singer Grace Slick who provided the main focal point, pushing herself and her sexuality forward to become everyone's dream for the summer of love.
It was the two songs that Grace brought from her old band (The Great Society) that provided the highlights on 'Surrealistic Pillow'. 'Somebody To Love' had been written by Grace's then brother-in-law Darby Slick while 'White Rabbit' was Grace's own composition. Based on Lewis Carrol's 'Alice In Wonderland' 'White Rabbit' was an unashamed advert for LSD, perfectly detailing the kind of 'trip' that could be had by taking the drug. "Remember what the dormouse said" booms Grace, "Feed your head." Almost 50 years later the song and the album it came from still provide food for thought.