Greetings folks,
In this blog, we shall all be collectively embarking on a journey down the roads of popular music of the last 50 years or so, a journey that started approximately a month-and-a-half ago with the inception of this little thing I call "The Music Deep Dive".
Starting with the self-titled debut album of Elvis Presley from 1956, I have been chronologically working through a slew of records with the goal of accruing a much broader array of knowledge about the landscape of popular music. As of the date of this post (April 28, 2018), this journey has constituted precisely 386 albums, with more being added to the list as time goes on. While I was not able to write down all of my thoughts regarding those albums (and thus they will not be mentioned here), henceforth I will attempt to chronicle my listening endeavors in this little blog thing, in a way not too dissimilar to the little blurbs a certain Robert Christgau was putting out back in the 1970s. Hopefully my grading will be a bit more lenient than his, but I digress.
If you enjoy the content, please let me know! I really appreciate feedback of all kinds, and if you see something about my writing that you think should be worked on, I am all ears and then some. For now, though, please sit back and enjoy if you wish.
--TLS
Monday, April 27, 2218
Saturday, May 5, 2018
May 4, 2018
(8/69 contd.)
Grand Funk Railroad -- On Time: The grooviest rock instrumentals this side of the Atlantic, with bass playing that would make the masters of the day take ample notice and potentially shit their pants. B+
Santana -- Santana: Make no mistake, Carlos is a slick-ass guitar player; one of the best of the day, in fact. The Latin percussion feels occasionally tacky but only on that slightest of occasions. Mostly it lifts the groove of the track and propels it even further than Santana’s guitar-playing was carrying it. A-
Grand Funk Railroad -- On Time: The grooviest rock instrumentals this side of the Atlantic, with bass playing that would make the masters of the day take ample notice and potentially shit their pants. B+
Santana -- Santana: Make no mistake, Carlos is a slick-ass guitar player; one of the best of the day, in fact. The Latin percussion feels occasionally tacky but only on that slightest of occasions. Mostly it lifts the groove of the track and propels it even further than Santana’s guitar-playing was carrying it. A-
Thursday, May 3, 2018
May 3, 2018
(8/69 contd.)
Love -- Four Sail: Ah dear. We can all hope that this is a fluke, but if this is the best songwriting that Arthur Lee can produce post-Forever Changes, even considering the brand new backing band he's been supplied with, a one-hit wonder this contingent shall forever be. C+
Harry Nilsson -- Harry: Three albums in and we still haven't upgraded past the "cheesy kitsch" stage of this dude's artistic evolution. One hopes he'll be able to move past that soon, because his career won't be lasting much longer if he doesn't. C+
CAN -- Monster Movie: One of the most intoxicating atmospheres of any rock record released this year, indebted to blues to some extent but also advancing this harder-edged sound into a more modern-sounding area. Negative brownie points for some terrible vocals, though. B
Love -- Four Sail: Ah dear. We can all hope that this is a fluke, but if this is the best songwriting that Arthur Lee can produce post-Forever Changes, even considering the brand new backing band he's been supplied with, a one-hit wonder this contingent shall forever be. C+
Harry Nilsson -- Harry: Three albums in and we still haven't upgraded past the "cheesy kitsch" stage of this dude's artistic evolution. One hopes he'll be able to move past that soon, because his career won't be lasting much longer if he doesn't. C+
CAN -- Monster Movie: One of the most intoxicating atmospheres of any rock record released this year, indebted to blues to some extent but also advancing this harder-edged sound into a more modern-sounding area. Negative brownie points for some terrible vocals, though. B
Wednesday, May 2, 2018
May 1, 2018
(7/69 contd.)
Yes -- Yes: Songwriting chops require serious polishing, but instrumental ability shines on brightly, to borrow a phrase from a noticeably superior progressive rock contemporary. B-
(8/69)
Jethro Tull -- Stand Up: The blues-rock and folk influences meld in a way that is surprisingly enjoyable, though the flute sometimes feels a bit gimmicky and the tunes themselves have a ways to go. B
Creedence Clearwater Revival -- Green River: Lengthy jams were the weak points of this band's first two releases, and thankfully those have been curbed in favor of much breezier songs that roll on through the ears like a crocodile on the bayou. B+
The Stooges -- The Stooges: Impressive...one album in and these guys have already made the Rolling Stones' sound far more interesting than the Stones ever have. B+
Blind Faith -- Blind Faith: Winwood + Clapton < Bloomfield + Stills, as it turns out. The playing on this record works but having the two guitarists duel on each other's tracks was a slight mistake. Bloomfield and Stills did well by not doing that on [i]Super Session[/i]. Still about as good blues-rock as you'll find out there today. B
Yes -- Yes: Songwriting chops require serious polishing, but instrumental ability shines on brightly, to borrow a phrase from a noticeably superior progressive rock contemporary. B-
(8/69)
Jethro Tull -- Stand Up: The blues-rock and folk influences meld in a way that is surprisingly enjoyable, though the flute sometimes feels a bit gimmicky and the tunes themselves have a ways to go. B
Creedence Clearwater Revival -- Green River: Lengthy jams were the weak points of this band's first two releases, and thankfully those have been curbed in favor of much breezier songs that roll on through the ears like a crocodile on the bayou. B+
The Stooges -- The Stooges: Impressive...one album in and these guys have already made the Rolling Stones' sound far more interesting than the Stones ever have. B+
Blind Faith -- Blind Faith: Winwood + Clapton < Bloomfield + Stills, as it turns out. The playing on this record works but having the two guitarists duel on each other's tracks was a slight mistake. Bloomfield and Stills did well by not doing that on [i]Super Session[/i]. Still about as good blues-rock as you'll find out there today. B
Monday, April 30, 2018
April 30, 2018
(7/69 contd.)
Tim Buckley - Happy Sad: The precocious young talent has transitioned from the troubadour aesthetic to that of a stoned soul artist with an affinity for dense instrumentals. Pretentious in theory and arguably more so in execution, and anyone with lesser talent would fall flat on their face in the process. This is not a lesser talent we are talking about, however. A
The Doors -- The Soft Parade: Morrison's steadily increasing alcohol addiction is an explanation, not an excuse. C
Tim Buckley - Happy Sad: The precocious young talent has transitioned from the troubadour aesthetic to that of a stoned soul artist with an affinity for dense instrumentals. Pretentious in theory and arguably more so in execution, and anyone with lesser talent would fall flat on their face in the process. This is not a lesser talent we are talking about, however. A
The Doors -- The Soft Parade: Morrison's steadily increasing alcohol addiction is an explanation, not an excuse. C
Sunday, April 29, 2018
April 29, 2018
(6/69 contd.)
Deep Purple -- Deep Purple: The compositions are growing tighter, the musicianship more pronounced. Rod Evans' attempts at crooning are a bit bizarre but generally work, and damn, those guitars are on point. B+
The Jeff Beck Group -- Beck-Ola: Did Beck take a page out of Jimmy Page's book for this one? Never the most innovative lad in the world, he was. This is nothing but capable blues rock at its core, yet it receives brownie points for Beck and Ronnie Wood's elite interplay. B
Elvis Presley -- From Elvis in Memphis: The best album by the so-called "King" to date, but then again, he was never really considered "The King of Quality Full-Length Albums", eh? His voice is better than ever, admittedly, which makes the uninspired song choices (as per usual) much more palatable. B
Alice Cooper -- Pretties for You: Some of the stupidest psychedelia you'll hear this side of Kaleidoscope. This backing band deserves better. C
Procol Harum -- A Salty Dog: Impressively, the tracks with more ambition work far better than those that attempt to play it safe. Give me more "Wrecks of the Hesperus" and less "Juicy John Pinks" any day, and while you're at it, toss me a few of them juicy-ass "Salty Dog" chord changes. A-
White Noise -- An Electric Storm: Production-wise it's incredibly ahead of its time, the atmosphere encapsulates you and entrances you in its entrapment. Minus a half-mark for a horrible track featuring "chipmunk"-ed vocals, or, as I refer to them, AIDS in musical form. B
(7/69)
Fairport Convention -- Unhalfbricking: Ah yes, they've really figured their sound out now. The English folk-rock instrumentation coupled with Sandy Denny's ethereal vocals and some brilliant production makes this easily the best album of theirs to date and one of the best albums of the genre this year. A-
Deep Purple -- Deep Purple: The compositions are growing tighter, the musicianship more pronounced. Rod Evans' attempts at crooning are a bit bizarre but generally work, and damn, those guitars are on point. B+
The Jeff Beck Group -- Beck-Ola: Did Beck take a page out of Jimmy Page's book for this one? Never the most innovative lad in the world, he was. This is nothing but capable blues rock at its core, yet it receives brownie points for Beck and Ronnie Wood's elite interplay. B
Elvis Presley -- From Elvis in Memphis: The best album by the so-called "King" to date, but then again, he was never really considered "The King of Quality Full-Length Albums", eh? His voice is better than ever, admittedly, which makes the uninspired song choices (as per usual) much more palatable. B
Alice Cooper -- Pretties for You: Some of the stupidest psychedelia you'll hear this side of Kaleidoscope. This backing band deserves better. C
Procol Harum -- A Salty Dog: Impressively, the tracks with more ambition work far better than those that attempt to play it safe. Give me more "Wrecks of the Hesperus" and less "Juicy John Pinks" any day, and while you're at it, toss me a few of them juicy-ass "Salty Dog" chord changes. A-
White Noise -- An Electric Storm: Production-wise it's incredibly ahead of its time, the atmosphere encapsulates you and entrances you in its entrapment. Minus a half-mark for a horrible track featuring "chipmunk"-ed vocals, or, as I refer to them, AIDS in musical form. B
(7/69)
Fairport Convention -- Unhalfbricking: Ah yes, they've really figured their sound out now. The English folk-rock instrumentation coupled with Sandy Denny's ethereal vocals and some brilliant production makes this easily the best album of theirs to date and one of the best albums of the genre this year. A-
April 28, 2018
(5/69 contd.)
The Meters -- The Meters: Booker T. & the M.G.'s REVAMPED -- BIGGER & BETTER THAN EVER. Get your groovin' proto-funk instrumentals right here, right now at no extra charge to you. B+
(6/69)
Johnny Cash -- At San Quentin: Capitalizing off the success of At Folsom Prison? Perhaps. But the increased energy of this performance compared to its predecessor makes it distinct in its own way, and Cash's personality on the stage alone makes it a worthwhile listen. A-
Elton John -- Empty Sky: Aww, drat those young new-fangled kids. Once Elton learns to stop using those tacky vocal affectations and Bernie Taupin learns to stop believing lyrics about Vikings have any value at all, they might very well make something of themselves. C
Pink Floyd -- More: There’s a great ambient EP hidden in this mess of tracks. The decision to couple that ambience with some of the Floyd’s heaviest material to date is confusing to say the least, however. C+
The Steve Miller Band -- Brave New World: Sailor hit us with "Gangster of Love", now with Brave New World we have "Space Cowboy". Wouldn't it be a novel idea if Miller were to couple those two song titles into another song a few years later, turning it into a hit in the process? That Paul Ramon kid seems pretty talented as well. B-
Captain Beefheart and his Magic Band -- Trout Mask Replica: Cut this record in half and it’s his best album hands down. Keep it as is and the cacophony of polyrhythms grows very fatiguing after a while. Not the musical Anti-Christ that many will have you believe it is, however. B
The Grateful Dead -- Aoxomoxoa: I have faith that the Dead are capable of making a truly great record, and they inch closer to that status here. It's unfortunate that they had to demolish any chance they had of entirely doing so with the inclusion of "What's Become of the Baby", easily the worst track of their career to date. B
The Meters -- The Meters: Booker T. & the M.G.'s REVAMPED -- BIGGER & BETTER THAN EVER. Get your groovin' proto-funk instrumentals right here, right now at no extra charge to you. B+
(6/69)
Johnny Cash -- At San Quentin: Capitalizing off the success of At Folsom Prison? Perhaps. But the increased energy of this performance compared to its predecessor makes it distinct in its own way, and Cash's personality on the stage alone makes it a worthwhile listen. A-
Elton John -- Empty Sky: Aww, drat those young new-fangled kids. Once Elton learns to stop using those tacky vocal affectations and Bernie Taupin learns to stop believing lyrics about Vikings have any value at all, they might very well make something of themselves. C
Pink Floyd -- More: There’s a great ambient EP hidden in this mess of tracks. The decision to couple that ambience with some of the Floyd’s heaviest material to date is confusing to say the least, however. C+
The Steve Miller Band -- Brave New World: Sailor hit us with "Gangster of Love", now with Brave New World we have "Space Cowboy". Wouldn't it be a novel idea if Miller were to couple those two song titles into another song a few years later, turning it into a hit in the process? That Paul Ramon kid seems pretty talented as well. B-
Captain Beefheart and his Magic Band -- Trout Mask Replica: Cut this record in half and it’s his best album hands down. Keep it as is and the cacophony of polyrhythms grows very fatiguing after a while. Not the musical Anti-Christ that many will have you believe it is, however. B
The Grateful Dead -- Aoxomoxoa: I have faith that the Dead are capable of making a truly great record, and they inch closer to that status here. It's unfortunate that they had to demolish any chance they had of entirely doing so with the inclusion of "What's Become of the Baby", easily the worst track of their career to date. B
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