Warren Zevon wasn’t exactly a household name before Excitable Boy was released, but his recognition factor went through the roof thanks to this, his third album. Yes, it had the hit, “Werewolves of London”, but it also included a host of other noteworthy tracks including “Lawyers, Guns and Money, and “Roland the Headless Thompson Gunner.” His first album, on Asylum, was produced by Jackson Browne, who was on his way to becoming a multi-platinum selling singer-songwriter. Excitable Boy was also produced by Jackson Browne (and Waddy Wachtel) and is darkly humorous in what I think... Read More

  I’ve been meaning to write about this album for a while. It’s a seminal album, but doesn’t fit neatly into one genre; the artist deserves far greater public recognition, both as a writer and performer; the record, which led to one huge radio hit at the time (as covered by The Brothers Johnson), is not on most people’s radar today, though it is a classic. Part of this may be due to the fact that Otis chose to effectively withdraw from the music business for decades (though he did limited session work). Otis came from R&B “royalty”- his father, Johnny Otis, credited with... Read More

  I’m not breaking any new ground here by saying that this album stands the test of time- it was a hugely successful record when it was released and still sounds fresh more than 40 years later. It was, for most people, their first introduction to the band, which went through personnel and stylistic changes over the years (and is, as of this writing, out on tour); but Toulouse Street captures the band at their best: thick, textured guitar riffs, two drummers, a mix of great songs, including two radio hits, “Listen to the Music” and “Jesus is Just Alright with Me.” It is also a... Read More

Rickie Lee Jone’s self-titled album was an auspicious debut in many respects: “Chuck E.’s in Love” generated almost constant airplay here in the States and elsewhere. (I spent the summer of 1980 in London and remember it as a radio constant there too). But it contained far more: moody, jazzy pop with a “hipster” (read: beatnik, not millennial) streak; studied reflections on emptiness (“Last Chance Texaco”), beat-driven jive (“Danny’s All-Star Joint”); stylized retro-pop from the 1940s (“Easy Money”) and street-smart cool (“Coolsville” and “Weasel and The... Read More

Roy Harper’s Stormcock is another one of those significant, but sorely underrated, albums that deserves renewed attention. Roy Harper was never a commercial success on this side of the Atlantic, and even in the UK, was considered an acquired taste. But he was hugely influential to bands like Led Zeppelin (whose “Hats Off to Roy Harper” is really a take on Bukka White’s old “Shake ‘Em on Down”) and is known to Pink Floyd fans as the lead vocalist of the song, “Have a Cigar” on the great Wish You Were Here. He also influenced Ian Anderson, whose baroque-like folk... Read More

I have mixed emotions about this album for several reasons- it has moments of greatness, but is not my all-time favorite Tull album (if I had to pick one, it would probably be Stand Up, released in the UK on the Island pink label, reviewed here). It is also not a great recording. Which is why I wound up with so many pressings of Aqualung over the years, including UK and U.S. (on Reprise here in the States), a fairly rare set of Classic Records copies cut at 45 rpm on both “Clarity” and Quiex “black vinyl” (I believe these were originally sent out to reviewers as partial sets with a... Read More

Neil Young is another polarizing figure, musically. It took me time to cozy up to him, and the albums I come back to now are his early solo records on Reprise: Everybody Knows This is Nowhere, After the Gold Rush and Harvest. These are, in my estimation, essential early Neil on Reprise. Everybody Knows This is Nowhere has some hits that remained in Young’s repertoire for decades, including “Down by the River,” “Cowgirl in the Sand” and “Cinnamon Girl.” My copy is an early 1A pressing.    After the Gold Rush has more, including “Southern Man.” There is a fair amount... Read More

Yes, she is legendary. And somewhat polarizing- some find nothing that draws them in, and even among fans, there is no consensus on her best work- Blue is recognized as her major folk work, Court and Spark for breaking barriers into pop and Hejira as a high point in her art. (Like I said, you’ll find little consensus among listeners- and part of this may be due to the range and diversity of her work as well as the large body of studio albums). Ms. Mitchell recorded for Reprise, Asylum and, for a period, on Geffen’s eponymous label. Her peak years, commercially (if not artistically)... Read More

Somewhere between “Dylan” and “Elvis” on my shelves rest quite a few albums by a band called “Eagles.” Though the song “Hotel California” from the album of the same name, an anthem of the excesses of modern West Coast life, is probably what comes to mind when you mention the band, the first two albums– Eagles, and Desperado, are something quite different. (I play Hotel California about as often as I play Stairway to Heaven. Neither represents the breadth of these bands or their roots, but those are the songs to which their legacy attaches).       The... Read More