In the past I've criticised The Kinks for releasing albums that haven't aged well. This album is still brillaint though, even after having listened to it for ten years. When I was at university in the mid 2000s I saw Ray Davies live in concert and it was a very enjoyable night-out. I can't recall if I bought this album before or after that night, but it would've been around the same time. This is the Kinks at their best, and I think the lack of singles form the album help.
When you think of '60s psychedelia, your first thoughts are not towards Scotland are they? Admit it. This probably goes a long way as to explaining why the Scottish branch of this particular kind of hip music is nothing like what we've heard from our Californian and Carnabitian friends.
There was a song early on which is basically the inspiration for ‘The
Lumberjack Song’. That was alright. I enjoyed the appearance of Sweep on
backing vocals during ‘A Cellular Song’, the one with Bob Dylan style
harmonica was pretty good and it wouldn’t surprise me if the Water Song
genuinely features a sound-recording of somebody having a bath. I am not
sure how to react to ‘Swift as the Wind’ as it seems they recorded it
during a medical examination – ‘Open your mouth and say ‘Aaah’.
On a side note, I originally typed 'The Hangman's Beautiful South' on this. That would be an intersting project.
I would like to begin this post by confirming that it is not easy to search for Traffic on Google, unless I want to see what roadworks are on the A14.
From start to finish I was pleasantly suprised by this album. The first song was pretty cool with some nice country-guitar licks, and the final track reminded me of Paul Weller, so it's nice to see where he got his influences from. I'd listen to this again.
Favourite Track: Who Knows What Tomorrow May Bring
In 1960s UK, there was an established hierarchy in pop-music. The Beatles were the kings of all they surveyed, untouchable and worshiped by most. On the rung below them were The Rolling Stones, led by the twin-talents of Mick Jagger and Keith Richards with support from Brian Jones, Charlie Watts and Bill Wyman.
Just as The Beatles were beginning their downward trajectory, the Rolling Stones were preparing to usurp their northern rivals. Beggars Banquet is the beginning of their golden age and features at least two of their best songs in 'Street Fighting Man' and 'Sympathy For The Devil'
In the infancy of pop music - as we know it now - there was an almost conveyor-belt release system. An artist could be expected to release at least one album per year, and possibly even two.
So we come to this, The Jimi Hendrix Experience's second album in 1967. The first was released in May 1967, the second in December. Of the two albums, this was the weaker of the two. There are relatively few stand-out songs on the album, and it doesn't seem to have aged as well as the previous release.
Velvet Underground's second album, and their last with founding member John Cale. After poor sales of their first album, their relationship with Andy Warhol deteriorated so they fired him and found themselves working with former Dylan producer, Tom Wilson.
The album is a cacophony of feedback and discordant guitar, spoken-word stories and seventeen minute odes to heroin and fellatio. It's not as good as the first album, but nothing they did ever would be.
There's a book you may or may not have heard of called '1001 Albums You Must Hear Before You Die'. Here is my attempt to do just that. Follow my progress from Frank Sinatra to Arcade Fire as I write my thoughts and feelings about each album.
All errors in this blog are mine, and mine only (unless they're not).