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

As a singer-songwriter, Jackson Browne had an impressive run in the early 70’s. Though his career extended long after that and included albums later in the decade that sold even better than these, the first three albums—Jackson Browne (a/k/a “Saturate Before Using”), For Everyman, and Late for the Sky captured something very essential. I’m going to focus on these early records, for now.   The first album is a goldmine of great songs that can be listened to, from front to back, as an “album” should. It has the hit “Doctor My Eyes,” as well as the Browne-penned... Read More

Man, these guys really did it for me back in day. Hard driving boogie, with a Zappa-esque twist. Lowell George, Roy Estrada (on the first two albums) Richie Hayward and the incredibly funky keyboard chops of Bill Payne. There were few bands that could pull this off- a sort of unpolished, but “right in the groove” sound, any looser and it would fall apart but these guys were tight. The first album, with the Lowell George-penned “Willin’” may be the rawest of the bunch- not a fabulous recording, but lot’s of good songs: “Truck Stop Girl” takes the standard big rig lament to... Read More

Van Morrison is a quixotic character, even by the standards usually applied to artists- a mercurial personality who has had some huge radio hit songs, but performs publicly with great reluctance; a man who created new paths for “soul” music and R & B who hails from Belfast and revels in his Celtic roots; an artist whose most critically acclaimed work was, for decades, far less commercially successful than the “pop” tunes for which he is most often recognized. My introduction to Van Morrison’s work began with four albums released between 1970-72: Moondance, His Band and the... Read More

I was first introduced to Bonnie Raitt’s music through her second album, Give It Up at the time of its release in 1972. I still consider this to be one of her great ones: It has a diverse range of songs, from soul searching laments over lost love (“Nothing Seems to Matter”; If You Gotta Make a Fool of Somebody”; “Love Has No Pride”) to 1920’s style blues (“You Gotta Know How”), to bouncing rockers, (“Give It Up or Let Me Go”; “You Told Me Baby”) as well as a cover of Jackson Browne’s “Under the Falling Sky.” Bonnie’s voice was clear and sweet, and this... Read More

This first album, by a band that represented the height of keyboard-heavy “prog”, has not aged well, but it is still an incredible piece of work that is great fun to listen to today. The track “Lucky Man” was a hit in the U.S. at the time of its release here and the album’s success led to a series of follow up albums, including Pictures at an Exhibition, a modern interpretation of Mussorgsky’s classical work which was a risky commercial proposition for young audiences at the time (it did well, though, as did the other albums following the band’s debut album). It also lent the... Read More

  I hadn’t planned to review this album, despite its considerable musical and sonic prowess. Why? Because I burned out on it long ago as an audiophile “demo” record. Despite, that, I’m reviewing it. Why? Because it is a really good record: great songs, powerful performances and a great recording.   Before we talk about the music, let’s talk about copies I’ve owned: I don’t remember the first copy I bought, but I suspect it was the standard issue A&M pressing available in the States at the time of release. For years, the MoFi UHQR took up space on my shelves too- an... Read More

I know, AC is hardly obscure. But this album, and these early pressings in particular, are worth searching out. Alice was signed to Zappa’s Straight label, distributed by Warner Bros. Records. The first two albums made no commercial impact but when Love it To Death, the band’s third album, charted they sold a lot of records. The earliest pressings of Love it to Death were still on the Straight label, not the later Warner label.  There were some quick changes made to the cover art shortly after the album’s release, necessitated by concerns whether that thing on the cover... Read More