Richard Norris is a man of many psych talents. His current project, Circle Sky, will release their debut tracks later this year. Here he runs down his all-time greatest psychedelic albums. When Patti Smith guitarist Lenny Kaye complied this primo selection of US psych and garage, he set the benchmark for all future compilations in the genre. The double album influenced punk — one of the first mentions of the term was in the sleevenotes — and reaffirmed the rock and roll agenda in an era that had been hijacked by concept albums and overindulgent head music.
Bristol , city and unitary authority, southwestern England. The historic centre of Bristol and the sections of the city north of the River Avon Lower, or Bristol, Avon were part of the historic county of Gloucestershire, while the areas south of the Avon lay within the historic county of Somerset until…. Portishead, British trip-hop group who popularized the genre in North America by fusing dance music conventions such as drum loops and samples with atmospheric cabaret-style vocals.
Principal members included lead singer Beth Gibbons b. History at your fingertips. Sign up here to see what happened On This Day , every day in your inbox! Email address. While compilation albums were nothing new, the U. The 30 songs on Now's first volume filled two LPs, and the albums' compilers took enough of a wide-lens view on the idea of "pop" to offer unexpected left-turns: Culture Club, Rod Stewart, Mike Oldfield and the Rock Steady Crew all shared a side.
The American version launched in with an album starring the Backstreet Boys and Radiohead. Accordingly, the series has remained possibly the only safe bet, weathering 30 years of changes in the music industry: The 50th American edition released this year was the 18th in the series to debut at Number One — only the Beatles have more.
It's hard to imagine the present-day musical landscape without Thriller , which changed the game both sonically and marketwise. The album's nervy, outsized blend of pop, rock and soul would send seismic waves throughout radio, inviting both marquee crossovers like Eddie Van Halen's guitar solo on "Beat It" and sneakier attempts at genre-meshing.
The album's splashy, cinematic videos — from the John Landis-directed short film that promoted "Thriller" to the West Side Story homage accompanying "Beat It" — legitimized the still-nascent form and forced MTV to incorporate black artists into its playlists.
Its promotional strategy, which led to seven of its nine tracks being released as singles, raised the bar for what, exactly, constituted a "hit-laden" LP. Beyond breaking ground, it broke records, showing just how far pop could reach: the biggest selling album of all time, the first album to win eight Grammys in a single night and the first album to stay in the Top 10 charts for a year.
Part heady avant-garde improv, part well-considered Molotov cocktail, all ways disorienting, Throbbing Gristle's debut steamrolled a new path for underground noiseniks by eschewing most of the formal rules of rock music — drums, guitars, melody and, on Side B, pulse entirely —going directly for the primal appeal of distortion.
Built on disturbing samples, disturbing electronic textures, and disturbing live recordings, Second Annual Report employed the LP as a medium of portable transgression. Not only was The Ramones one of the first, finest and clearest documents of a still-forming genre — punk rock — it was one of the first albums to combine market-tested pop music with stuff that most people would call "noise" a gesture that, in the long run, had more to do with Weezer than Black Flag.
Add to that the radical notion that their constraints short songs, no guitar solos, leather jackets and jeans, "I don't wanna"-style lyrics were also the source of their freedom, and you get an album that rejected tradition in part by embracing it.
Kraftwerk's savvy use of pop elements smuggled in a Trojan horse of electronic experimentalism to the broadest audience possible. Most pop genres that followed would incorporate this innovation — new wave, hip-hop, techno and contemporary EDM among them.
The German group pulled away from rock music's formal identity while channeling its to-the-jugular pop spirit on Autobahn. They focused on the pulse first and foremost, slowing the tempo down to match the title track's concept, reflecting the feel and sounds of driving down the German autobahn. The concept's irreverence was balanced by the neutral German imitation of Beach Boys harmonies.
Before the soundtrack for The Harder They Come , reggae's success in America was limited to the occasional fluke 45 e. In turn, the soundtrack served not so much as a venue for a hot new sound, but a diplomatic introduction to something that had been percolating for years. When Henzell asked Cliff to get on it, Cliff said "no," at which point Henzell got into bed with a notepad and started running the film back and forth in his head, writing down song titles.
The party line on Gaye's album is that it was the first time soul music approached the condition of art — as though Motown's pocket symphonies didn't require as much wit and invention as any of the more exploratory music contained herein. What the album did do, however, was take music mostly associated with showmanship and personal pain and recast it as music of social and reportorial insight — a shift that not only prefigured the casual, ear-to-the-ground persona of singers like Erykah Badu, but Nas, Common and an entire universe of black musicians whose concerns don't stop at the studio doors.
This blockbuster's 15 weeks at Number One — a record for a female solo artist that held for more than 20 years — helped establish the idea of the Laurel Canyon singer-songwriter as a commercial force, and that's probably its least interesting accomplishment.
A decade earlier, King's songwriting collaborations with then-husband Gerry Goffin expanded the emotional palette of pop romance.
In , not yet 30, she showed how those pop sentiments could remain relevant for adults, revisiting the lingering uncertainty of "Will You Still Love Me Tomorrow" and expressing even-tempered resignation on "It's Too Late. On their second album, the Allman Brothers transmogrified from mere blues-rockers to an assemblage creating an entirely new kind of Southern music. It helped to have the preternaturally sweet slide guitar of brother Duane, but Idlewild South offered open-source blueprints for the Allmans' longhaired brethren across the region and beyond, including Eric Clapton, who promptly drafted Duane for Derek and the Dominos' Layla and Assorted Love Songs.
No one ever quite replicated Allman and Dickey Betts' soaring guitar harmonies, but Idlewild South enabled in part Lynyrd Skynyrd, the Black Crowes, almost every jam band, Kid Rock and whoever is playing for beer and glory tonight at the nearest biker bar. Miles Davis had recorded electric jazz before, but Bitches Brew was something else: jazz-rock. Accepting the rhythmic and improvisatory challenges of Jimi Hendrix, James Brown and Sly Stone, the trumpeter, over the course of several sessions, goaded multiple large combos to use a shifting funk pulse to guide them toward explorations more open-ended than even the freest of jazz players had attempted.
When Black Sabbath released their self-titled debut in , they didn't think they were starting a movement. But worse" in Rolling Stone. But their sludgy take on psych-blues became the core of what's now known as metal — whether modified by "thrash," "prog" or even "glam.
That contributed to a doom-filled atmosphere that was only enhanced by frontman Ozzy Osbourne, who was still refining his "prince of darkness" persona, and song titles grasping toward signifiers of evil. Not merely an afterthought to a studio recording, the double-LP was a testament to the power of live music and, more specifically, an advertisement for the Dead's ever-changing show. As the first in a flood of live Dead releases, it began to map out strategies for entrepreneurial juggernauts from Pearl Jam to the Dave Matthews Band, an advertisement for deeper pleasures that might only be achieved with the additional purchase of one or many concert tickets.
A path-finding moment in the pre-history of hip-hop, the debut album from this Los Angeles poetry collective — full of minimalist beats and brilliant wordplay nearly a decade before the first recorded rap song — still feels relevant 45 years later.
The finest track on The Black Voices is its funniest, the eminently sample-ready, five-second salvo "The Meek Ain't Gonna" in which Hamilton explodes with the single line "The meek ain't gonna inherit shit… because I'll take it! Never had rock music been so fussy or so technical, forgoing the pleasure of the moment for the rarefied pursuits of multi-song suites and breakdowns in time signatures no teenager would dare try to do the mashed potato alongside.
For the first prog-rock LP, an Atlantic Records ad run in Rolling Stone in late claimed it featured the heaviest riffs on record since Mahler's 8th Symphony. In reality and in my opinion, to 'Real To Reel' lacks some live performance flame, to be considered a masterpiece. Nevertheless, 'Real To Reel' is still a great live album with a magnificent live performance of some of their most representative songs comprising their earlier musical material in their first musical period in Fish's era.
Besides, the songs are played with conviction and energy. It's a compilation with two studio tracks and three live tracks. The two studio tracks are 'Lady Nina', which is an extended version of the original track released on the single 'Kayleigh' as the B side, in and 'Freaks' which is a single version of the original track which was released on the single 'Lavender' as the B side, in too.
A and Canada, on that year. So, we can see 'Brief Encounter' into two separated parts, the two studio tracks and the three live tracks. In relation to the two studio tracks, and although 'Freaks' and 'Lady Nina' be two nice songs, they aren't properly essential in Marillion's catalogue in Fish's era, and personally, I don't like particularly of this version of 'Lady Nina' too.
In relation to the three live tracks, I think they're all excellent live versions of the original songs, but they don't add anything new, compared to other live versions on other live albums from the band. So, 'Brief Encounter' doesn't add anything important and new to Marillion's catalogue, and because of that, we may say that it isn't very important to buy it, really.
Conclusion: If you have already 'Real To Reel' you don't need to buy this compilation because it hasn't anything really important to offer. However, if you don't have yet 'Real To Reel' and you are interested in have 'Brief Encounter' too, this compilation is a good option for you because it's cheaper than to buy both individual works.
So, it will be a very worth purchase and is a better option because you save on price and space. However and as I said before, 'Brief Encounter' isn't an indispensable document of Marillion in Fish's era.
But with 'Real To Reel' is quite the contrary. Besides, if you buy this compilation you can have both works as a complement. So, because of that and due to 'Real To Reel', I think this compilation deserves to be rated with 4 stars. Prog is my Ferrari. Not pretending to be a concept album, the one that Fish, singer and frontman, is responsible for all the compositions, Script For A Jester's Tears achieves a cohesion and structure that keeps it solid throughout its 6 songs, covering much more earthly themes than the usual cosmetic and spiritual trips in the genre.
Thus, the song that bears the same name on the album is about the painful end of an intense love relationship it is said to be an autobiography of Fish , the devastating effects of drug use in He Knows You Know; how it is better to leave behind toxic relationships to develop in freedom without being trapped in The Web, the criticisms of bourgeois and elitist society and its frivolities in Garden Party; the dreams of young women for being famous on Chelsea Monday, and finally Forgotten Sons, a tribute to those who returned from the clashes between the English and the Irish in the early 80s with disabilities, and especially those who did not return.
Absolutely recommendable also Grendel, which appeared as side B of the 12 'single, Market Square Heroes, 19 spectacular minutes of a song that in my opinion should have been part of the original album, and to which justice was done 14 years later including it in a bonus disc in the remastering of the original There were many criticisms of Fish for the evident similarities of his vocal register with that of Peter Gabriel, and even more so with the music of Genesis, but that does not detract a bit from the value of compositions that did not deny their influences, but on the contrary they took them as an impulse to develop their own path, and that they would reach their peak with the acclaimed Misplaced Childhood 2 years later.
Excellent album and essential for fans of the genre. The above is a general rule. There are one or two exceptions. Marbles is that exception. The single CD edition of the Marbles studio album is the best work of the Hogarth Marillion era and should be celebrated as their finest work. Any highlights package of the H era music would have to include Fantastic Place and Neverland. I would personally add You're Gone, which is a perfect bridge between the intro, The Invisible Man and the slow Angelino.
I've never been sold on the Marbles double album studio edition which includes Ocean Cloud. Impressive as it is I don't feel it belongs on the Marbles studio album. However here on the live album, Marbles In The Park, the song is fine and works well with the other songs which have been rearranged in appearance order for the audience.
With Drilling Holes, you get an interesting back story of it's writing which stems from the early days when Hogarth joined the band and they were recording the Seasons End album. Fish issued the band members with writs. Steve Hogarth was the only one not being sued. Marbles is Hogarth's best work with Marillion.It is ranked 30th on Rolling Stone’s list of the Greatest Albums of All Time (which also happens to be the highest ranking by a female artist) and has garnered numerous accolades. Released in , Blue is the fourth album by folk rock heroine Joni Mitchell which examines the complex facets of relationships that touch on themes of love, infatuation, and insecurity.