Hayes reluctantly agreed to record another LP for Stax, with the caveat of having complete creative control — a rare opportunity for a soul musician at the time, but after Hot Buttered Soul's wild success, a necessity. It became soul music's first album-length auteur statement: four tracks spread over 45 minutes that blended pristine production, Memphis soul courtesy of the Bar-Kays, orchestral flourishes and one of the richest, bluesiest voices ever.
Rock's late-Sixties psychedelic sojourn was brought to a screeching halt with the August release of the first country-rock masterpiece, an album whose reverberations can still be heard in the hard-rocking sounds of virtually every current country hit. The commercial success of the Eagles, America, the Doobie Brothers are all attributable to fledgling Byrd Gram Parsons's resolute belief in the cosmic power of real country music. Parsons fan Elvis Costello brought the word back to the punks on Almost Blue ; the Blasters, Long Ryders and even X added a twang to their sound; and "cowpunk" became a thing.
Likewise, Uncle Tupelo's No Depression album; band spinoffs Wilco, Son Volt and Bottle Rockets; and countless subsequent alt-country advocates can all be traced back to Sweetheart. Loretta Lynn's seventh album was named for her first Number One country hit, a feminist volley that established her persona as a country gal earthy enough to acknowledge the indignities she and her down-home sisters faced and fearless enough to stand up for herself.
There had been no-nonsense women country stars before, of course, but Kitty Wells and Patsy Cline to choose just two obvious antecedents never had a gold album.
And Lynn's new commercial clout was a direct result of her songwriting talent: Her name is on the hit that anchors this album, which not only established her as a creative force but opened up new possibilities in a male-dominated market for generation of female country tunesmiths to follow, from Dolly Parton to Taylor Swift.
The engineers took the heart and soul of the concept and translated it into metal designed to go like nothing else. Pepper's came out, the entire Yale and Harvard student body bought copies. Pepper's wasn't the first album to blend rock music with high art, but it was probably the first time that musicians of the Beatles' stature and popularity if there even were musicians of their stature and popularity before them decided to turn their back so completely on what had made them famous.
Put positively, it was the first time the Beatles were free of the responsibility of being the Beatles. The irony is that no other album cemented them so firmly in the public's mind. Listened to with five decades of perspective, the most shocking aspect of the Velvet Underground's debut aren't its taboo-busting songs about hard drugs and hard sex, but the songs themselves.
And sometimes the noise. Traces of the album that launched a thousand bands can be found in Reed's contemporaries like David Bowie and Iggy Pop, as well as successive generations of snotty aesthetes from proto-punks, punks, post-punks and art-rockers from Jonathan Richman and Patti Smith, to R.
For the album widely considered the first commercial LP to be composed of electronic music, musician Jean-Jacques Perrey's synthesizer prowess was harnessed by arranger Gershon Kingsley's pop sensibilities. They positioned themselves as nothing less than messengers from the future: "Here is the electronic 'Au Go Go' that might be heard soon from the juke boxes at the interplanetary way stations where spaceships make their rest stops," read the liner notes. As it turned out, they were right.
Well, not about the spaceship rest stops, but about what giddy, playful compositions like "Electronic Can-Can" and "Computer In Love" presaged — namely, a future where Daft Punk and Dr.
Luke defined the parameters as much as any axe-wielding rocker, thanks to the Moog, the Ondioline and their digital descendants being just as likely to create chart-topping hits as guitars. Released in June , Frank Zappa's major-label debut was only rock's second double album Bob Dylan released Blonde on Blonde a month earlier but it set a higher bar for conceptual audacity.
A sardonic, satirical, weirdly entertaining predecessor to kitchen-sink productions such as Sgt. Pop parodies like "Wowie Zowie" may not necessarily stand the test of time, but Zappa's tribal frenzies and consumerist parodies hey there, "Weird Al" resonate still.
P et Sounds' emotional ambiguities and rich arrangements brought a through-line of maturity to the adolescent fun, fun, fun of early rock. The influence of Pet Sounds' huge palette of strings, horns, accordions, mandolins, vibraphones and harmonies could be heard almost instantly, not least via Beach Boys super-fan Paul McCartney, who said that "God Only Knows" spurred the Beatles' Sgt.
A primo reference point for Radiohead, Nick Drake, My Bloody Valentine and anyone else looking to evoke the eternal teenage bedroom of the mind. The Beatles didn't stop touring till the summer of , but a year earlier, on Rubber Soul , you can hear them deciding to make the recording studio their home. The harmonies were trickier, the recording techniques more considered, and the instrumentation more varied as the band expanded upon the standard rock band format they'd established.
Maybe the sitar stood out the most at the time, but dig all those pianos, often electronically tweaked, most notably to impersonate a harpsichord on "In My Life. You can say this represents "maturity," call it "art" or credit it for moving rock away from singles to album-length statements — but regardless Rubber Soul accelerated popular music's creative arms race, driving competitors like the Stones, the Beach Boys and Dylan to dismantle expectations and create new ones.
Here is where white American kids got the notion they could play the blues. This Chicago quintet featured two stunning guitarists in Elvin Bishop and Mike Bloomfield — the latter, an early version of the skills-centric "guitar hero" model. Their debut album only reached Number on the Billboard charts but it has reverberated through the decades. Backed by Howlin' Wolf's rhythm section bassist Jerome Arnold and drummer Sam Lay , with Mark Naftalin on organ, Bloomfield played piercing runs against Bishop's driving rhythm, while Butterfield laid down storming harmonica and sang with authentic passion.
Bloomfield played on Bob Dylan's Highway 61 Revisited the same year the album was released, but his boundless talent was marred by years of drug addiction. He died of a cocaine overdose in Sure, Dylan could have invented "folk rock" if he wanted to, but he left the construction of lush, profitable acoustic-electric pop to inspired followers like the Byrds.
This also meant the few snobs still slotting all that electric pop racket as kiddie music had to get hip. The lyrics on his fifth album seemed to garble every bit of language Dylan had ever read or heard or otherwise ingested — from French symbolism to beatnik jive to advertising slogans to bad jokes to Old Testament verses to blues usages — into a frenzy of effusion, its dynamic ingenuity more important than any literal meaning you could discern.
The idea was to hit a look somewhere between the Malcolm McDowell thing with the on mascaraed eyelash and insects. That was a really heavy book that had come out in about , and it was a cross between that and Clockwork Orange that really started to put together the shape and the look of what Ziggy and the Spiders were going to become.
I got straight on to that. I read everything into everything. Everything had to be infinitely symbolic. At the time he lived near Clapham Common, and regularly drove past the Battersea Power Station, which was by then approaching the end of its useful life. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes. Features Interviews Lists.
Streams Videos All Posts. Track Listing - Disc 1. I Feel Love. Donna Summer. Steven Greenberg. Lipps, Inc. Shake Your Body Down to the Ground. The Jacksons. Boogie Wonderland.
Sexy Trippy All Moods. Drinking Hanging Out In Love. Introspection Late Night Partying. Rainy Day Relaxation Road Trip. Romantic Evening Sex All Themes.Band: Jacob Karlzon (piano, keyboards), Morten Ramsbøl (bass), Rasmus Kihlberg (drums) Recording: Lars Nilsson, Nilento Studio Jacob Karlzon is a Steinway Artist Show less.