Uncle Vito
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Email: vito106@gmail.com
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Wednesday, December 22, 2010
10 Greatest Albums Of All Time
10 The Beatles (The White Album) - The Beatles
Beyond its stylish minimalism, the essentially blank cover of The Beatles, better known as the White Album, served a symbolic purpose. The band could find no honest way to visually represent itself as a coherent unit. Each of the three main songwriters was pursuing his own vision, with the other members, however reluctantly, serving as backup musicians. Once a whole far greater than the sum of its parts, the Beatles were now a tense alliance of daunting individual talents. The Beatles became a double album in part because John Lennon, Paul McCartney and George Harrison all insisted that their favorite songs be included. "I remember having three studios operating at the same time," Harrison said of the sessions. "Paul was doing some overdubs in one, John was in another and I was recording some horns or something in a third." Ringo Starr grew so frustrated that he quit the band for a time. The others festooned his drum set in flowers to celebrate his return. What didn't suffer in this atmosphere was the music. From the plangent yearning of Lennon's "Julia" to the exuberance of McCartney's "Back in the U.S.S.R." and the prayerfulness of Harrison's "While My Guitar Gently Weeps" (featuring a solo by Eric Clapton), the White Album is an exhilarating sprawl — some of the Beatles' most daring and delicate work. "I think it was a very good album," said McCartney. "It stood up, but it wasn't a pleasant one to make."
9 Blonde on Blonde - Bob Dylan
Released on May 16th, 1966, rock's first studio double LP by a major artist was, as Dylan declared in 1978, "the closest I ever got to the sound I hear in my head . . . that thin, that wild-mercury sound." There is no better description of the album's manic brilliance. After several false-start sessions in New York in the fall of 1965 and January 1966 with his killer road band the Hawks — "One of Us Must Know (Sooner or Later)" was the only keeper — Dylan blazed through the rest of Blonde on Blonde's fourteen tracks in two three-day runs at Columbia's Nashville studios in February and March 1966.
The pace of recording echoed the amphetamine velocity of Dylan's songwriting and touring schedule at the time. But the combined presence of trusted hands such as organist Al Kooper and Hawks guitarist Robbie Robertson with expert local sessionmen including drummer Kenneth Buttrey and pianist Hargus "Pig" Robbins created an almost contradictory magnificence: a tightly wound tension around Dylan's quicksilver language and incisive singing in barrelhouse surrealism such as "Rainy Day Women #12 and 35" and "Stuck Inside of Mobile With the Memphis Blues Again." Amid the frenzy, Dylan delivered some of his finest, clearest songs of comfort and desire: the sidelong beauty "Sad Eyed Lady of the Lowlands," recorded in just one take, and "I Want You," the title of which Dylan almost used for the album.
8 London Calling - The Clash
Recorded in 1979 in London, which was then wrenched by surging unemployment and drug addiction, and released in America in January 1980, the dawn of an uncertain decade, London Calling is nineteen songs of apocalypse fueled by an unbending faith in rock & roll to beat back the darkness. Produced with no-surrender energy by legendary Sixties studio madman Guy Stevens, the Clash's third album sounds like a free-form radio broadcast from the end of the world, skidding from bleak punk ("London Calling") to rampaging ska ("Wrong 'Em Boyo") and disco resignation ("Lost in the Supermarket"). The album was made in dire straits, too. The band was heavily in debt; singer-guitarists Joe Strummer and Mick Jones, the Clash's Lennon and McCartney, wrote together in Jones' grandmother's flat, where he was living for lack of dough. But the Clash also cranked up the hope. The album ends with "Train in Vain," a rousing song of fidelity (originally unlisted on the back cover) that became the sound of triumph: the Clash's first Top Thirty single in the U.S.
7 Exile on Main Street - The Rolling Stones
A dirty whirl of blues and boogie, the Rolling Stones' 1972 double LP "was the first grunge record," guitarist Keith Richards crowed proudly last year. But inside the deliberately dense squall — Richards' and Mick Taylor's dogfight riffing, the lusty jump of the Bill Wyman/Charlie Watts rhythm engine, Mick Jagger's caged-animal bark and burned-soul croon — is the Stones' greatest album and Jagger and Richards' definitive songwriting statement of outlaw pride and dedication to grit. In the existential shuffle "Tumbling Dice," the exhausted country beauty "Torn and Frayed" and the whiskey-soaked church of "Shine a Light," you literally hear the Stones in exile: working at Richards' villa in the south of France, on the run from media censure, British drug police (Jagger and Richards already knew the view from behind bars) and the country's onerous tax code. The music rattles like battle but also swings with clear purpose — unconditional survival — in "Rocks Off" and "All Down the Line." As Richards explained, "The Stones don't have a home anymore — hence the Exile — but they can still keep it together. Whatever people throw at us, we can still duck, improvise, overcome." Great example: Richards recorded his jubilant romp "Happy" with just producer Jimmy Miller on drums and saxman Bobby Keys — while waiting for the other Stones to turn up for work. Exile on Main Street is the Stones at their fighting best, armed with the blues, playing to win.
6 What's Going On - Marvin Gaye
"In 1969 or 1970, I began to re-evaluate my whole concept of what I wanted my music to say," Gaye once said about the creation of What's Going On. "I was very much affected by letters my brother was sending me from Vietnam, as well as the social situation here at home. I realized that I had to put my own fantasies behind me if I wanted to write songs that would reach the souls of people. I wanted them to take a look at what was happening in the world." The last thing Motown wanted its fans to think about, however, was "what was happening in the world." So with Gaye determined to shatter the label's hugely successful pop formula and address issues such as the Vietnam War, civil rights and the environment, Motown founder Berry Gordy was not pleased, to say the least. He claimed that "What's Going On" was the worst song he had ever heard.
As for "Mercy Mercy Me (The Ecology)," Gordy asserted that he didn't even know what the word ecology meant. For his part, Gaye said he would never record for Motown again unless "What's Going On" was put out as a single. After initially being rejected by Motown's quality-control committee, it was; when it became a Top Five hit, the album — and a burst of socially conscious music from Motown — followed soon after.
Producing the album amid a haze of marijuana smoke, Gaye made one intuitively brilliant decision after another — from letting the tapes roll as his friends mingled and chatted to recording the rehearsal exercises of saxophonist Eli Fountain. When Fountain complained that he had just been goofing around, Gaye replied, "Well, you goof exquisitely. Thank you." And that's how the plaintive saxophone line that announces What's Going On came to be.
5 Rubber Soul - The Beatles
Released in December 1965 — and capping a year that had been defined by groundbreaking singles such as Bob Dylan's "Like a Rolling Stone" and the Rolling Stones' "(I Can't Get No) Satisfaction" — Rubber Soul finds the Beatles rising to meet the challenge their peers had set. Characteristically, they achieved a new musical sophistication and a greater thematic depth without sacrificing a whit of pop appeal. Producer George Martin described Rubber Soul as "the first album to present a new, growing Beatles to the world," and so it was.
The band's development expressed itself in a variety of overlapping ways. On the U.K. version (the only one available on CD), "Drive My Car" presents a comic character study of a sort that had not previously been in the Beatles' repertoire. More profoundly, however, Dylan's influence suffuses the album, accounting for the tart emotional tone of "Norwegian Wood," "I'm Looking Through You," "You Won't See Me" and "If I Needed Someone." (Dylan would return the compliment the following year, when he offered his own version of "Norwegian Wood" — titled "4th Time Around" — on Blonde on Blonde, and consequently made Lennon "Paranoid.") Lennon's "Nowhere Man," which he later acknowledged as a depressed self-portrait, and the beautifully reminiscent "In My Life" both reflect the more serious and personal style of songwriting that Dylan had suddenly made possible.
Musically speaking, George Harrison's sitar on "Norwegian Wood" — the first time the instrument was used in a pop song — and Paul McCartney's fuzz bass on "Think for Yourself" document the band's increasing awareness that the studio could be more than a pit stop between tours. From this point on, a fascination with the sonic possibilities of recording would inspire the Beatles' greatest work.
Harrison called Rubber Soul "the best one we made," because "we were suddenly hearing sounds that we weren't able to hear before." And as for why the band's hearing had grown so acute, well, that was another aspect of the times. "There was a lot of experimentation on Rubber Soul," said Ringo Starr, "influenced, I think, by the substances."
4 Highway 61 Revisited - Bob Dylan
Bruce Springsteen has described the beginning of "Like a Rolling Stone," the opening song on Bob Dylan's Highway 61 Revisited, as the "snare shot that sounded like somebody'd kicked open the door to your mind." The response of folk singer Phil Ochs to the entire album was even more rhapsodic. "It's impossibly good. . . ." he said. "How can a human mind do this?"
Recorded in a mind-boggling six days and released in August 1965, Highway 61 Revisited — named after the road that runs from Dylan's home state of Minnesota down through the Mississippi Delta — is one of those albums that, quite simply, changed everything. In and of itself, "Like a Rolling Stone," which was rumored to be about Andy Warhol acolyte Edie Sedgwick, forever altered the landscape of popular music — its "vomitific" lyrics (in Dylan's memorable term), literary ambition and sheer length (6:13) shattered limitations of every kind. But that was literally only the beginning. "Ballad of a Thin Man" delivered the definitive Sixties comment on the splintering hip/ straight fault line: "Something is happening here, but you don't know what it is/Do you, Mr. Jones?" If anyone questioned whether or not Dylan had truly "gone electric," the roaring rock & roll of "From a Buick 6" and "Tombstone Blues" — both powered by legendary guitarist Mike Bloomfield — left absolutely no doubt.
The album ends with "Desolation Row," a swirling eleven-minute surrealist night journey of indescribable power. Confronted with the dilemma of providing an ending to an album so bursting with ideas, Dylan evokes a Hieronymus Bosch-like season in hell that, in retrospect, seems to foretell all the Sixties cataclysms to come. "The Titanic sails at dawn," he sings wearily near the song's end. "Everybody is shouting, 'Which side are you on?' " That "Desolation Row" is an all-acoustic track — a last-minute decision on Dylan's part — is one final stroke of genius: a spellbinding new vision of folk music to close the album that, for the time being at least, destroyed folk music. The gesture was simultaneously touching and a devastating "Fuck you!"
Not that Dylan wasn't having fun all the while as well. The toy
siren that opens the album's title track was keyboardist's Al Kooper's
playful way of policing the sessions for Highway 61 Revisited.
"If anybody started using drugs anywhere," he explained, "I'd walk into
the opposite corner of the room and just go whooooooooo."
3 Revolver - The Beatles
"I don't see too much difference between Revolver and Rubber Soul," George Harrison once said. "To me, they could be Volume One and Volume Two." Revolver extends the more adventurous aspects of its predecessor — its introspection, its nascent psychedelia, its fascination with the possibilities of the studio — into a dramatic statement of generational purpose. The album, which was released in August 1966, made it thrillingly clear that what we now think of as "the Sixties" was fully — and irreversibly — under way.
Part of that revolutionary impulse was visual. Klaus Voormann, one of the Beatles' artist buddies from their days in Hamburg, Germany, designed a striking photo-collage cover for Revolver; it was a crucial step on the road to the even trippier, more colorful imagery of Sgt. Pepper's Lonely Hearts Club Band, which would come less than a year later.
And then there's the music. The most innovative track on the album is John Lennon's "Tomorrow Never Knows." Attempting to distill an LSD trip into a three-minute song, Lennon borrowed lyrics from Timothy Leary's version of The Tibetan Book of the Dead and recorded his vocal to sound like "the Dalai Lama singing from the highest mountaintop." Tape loops, a backward guitar part (Paul McCartney's blistering solo on "Taxman," in fact) and a droning tamboura completed the experimental effect, and the song proved hugely influential. For his part, on "Eleanor Rigby" and "For No One," McCartney mastered a strikingly mature form of art song, and Harrison, with "Taxman," "I Want to Tell You" and "Love You To," challenged Lennon-McCartney's songwriting dominance. Revolver, finally, signaled that in popular music, anything — any theme, any musical idea — could now be realized. And, in the case of the Beatles, would be.
2 Pet Sounds - The Beach Boys
"Who's gonna hear this shit?" Beach Boys singer Mike Love asked the band's resident genius, Brian Wilson, in 1966, as Wilson played him the new songs he was working on. "The ears of a dog?" Confronted with his bandmate's contempt, Wilson made lemonade of lemons. "Ironically," he observed, "Mike's barb inspired the album's title."
Barking dogs — Wilson's dog Banana among them, in fact — are prominent among the found sounds on the album. The Beatles made a point of echoing them on Sgt. Pepper's Lonely Hearts Club Band — an acknowledgment that Pet Sounds was the inspiration for the Beatles' masterpiece. That gesture actually completed a circle of influence: Wilson initially conceived of Pet Sounds as an effort to top the Beatles' Rubber Soul.
Wilson essentially made Sounds without the rest of the band, using them only to flesh out the vocal arrangements. He even considered putting the album out as a solo project, and the first single, "Caroline, No," was released under his own name. The deeply personal nature of the songs, which Wilson co-wrote primarily with lyricist Tony Asher, further distinguished the album from the Beach Boys' typical fare. Its luxurious sound convey a heartbreaking wistfulness, as songs such as "I Just Wasn't Made for These Times" and "I'm Waiting for the Day" bid farewell to the innocent world of the early Sixties and to the Beach Boys' fun-in-the-sun hits.
Unfortunately, Capitol Records proved no more enamored of Pet Sounds than had Love; the label actually considered not releasing the album at all. Not yet vindicated by history, Wilson withdrew further into his inner world. "At the last meeting I attended concerning Pet Sounds," Wilson wrote in his autobiography (which took the name of the album's opening track, "Wouldn't It Be Nice") about his dealings with Capitol's executive brain trust, "I showed up holding a tape player and eight prerecorded, looped responses, including 'No comment,' 'Can you repeat that?' 'No' and 'Yes.' Refusing to utter a word, I played the various tapes when appropriate."
1 Sgt. Pepper's Lonely Hearts Club Band - The Beatles
Sgt. Pepper's Lonely Hearts Club Band is the most important rock & roll album ever made, an unsurpassed adventure in concept, sound, songwriting, cover art and studio technology by the greatest rock & roll group of all time. From the title song's regal blasts of brass and fuzz guitar to the orchestral seizure and long, dying piano chord at the end of "A Day in the Life," the thirteen tracks on Sgt. Pepper's Lonely Hearts Club Band are the pinnacle of the Beatles' eight years as recording artists. John Lennon, Paul McCartney, George Harrison and Ringo Starr were never more fearless and unified in their pursuit of magic and transcendence.
Issued in Britain on June 1st, 1967, and a day later in America,Sgt. Pepper's Lonely Hearts Club Band is also rock's ultimate declaration of change. For the Beatles, it was a decisive goodbye to matching suits, world tours and assembly-line record-making. "We were fed up with being Beatles," McCartney said decades later, in Many Years From Now, Barry Miles' McCartney biography. "We were not boys, we were men . . . artists rather than performers."
At the same time, Sgt. Pepper formally ushered in an unforgettable season of hope, upheaval and achievement: the late 1960s and, in particular, 1967's Summer of Love. In its iridescent instrumentation, lyric fantasias and eye-popping packaging, Sgt. Pepper defined the opulent revolutionary optimism of psychedelia and instantly spread the gospel of love, acid, Eastern spirituality and electric guitars around the globe. No other pop record of that era, or since, has had such an immediate, titanic impact. This music documents the world's biggest rock band at the very height of its influence and ambition. "It was a peak," Lennon confirmed in his 1970 Rolling Stone interview, describing both the album and his collaborative relationship with McCartney. "Paul and I definitely were working together," Lennon said, and Sgt. Pepper is rich with proof: McCartney's burst of hot piano and school-days memoir ("Woke up, fell out of bed . . . ") in Lennon's "A Day in the Life," a reverie on mortality and infinity; Lennon's impish rejoinder to McCartney's chorus in "Getting Better" ("It can't get no worse").
"Sgt. Pepper was our grandest endeavor," Starr said, looking back, in the 2000 autobiography The Beatles Anthology. "The greatest thing about the band was that whoever had the best idea — it didn't matter who — that was the one we'd use. No one was standing on their ego, saying, 'Well, it's mine,' and getting possessive." It was Neil Aspinall, the Beatles' longtime assistant, who suggested they reprise the title track, just before the grand finale of "A Day in the Life," to complete Sgt. Pepper's theatrical conceit: an imaginary concert by a fictional band, played by the Beatles.
The first notes went to tape on December 6th, 1966: two takes of McCartney's music-hall confection "When I'm Sixty-Four." (Lennon's lysergic reflection on his Liverpool childhood, "Strawberry Fields Forever," was started two weeks earlier but issued in February 1967 as a stand-alone single.) But Sgt. Pepper's real birthday is August 29th, 1966, when the Beatles played their last live concert, in San Francisco. Until then, they had made history in the studio — Please Please Me (1963), Rubber Soul (1965), Revolver (1966) — between punishing tours. Off the road for good, the Beatles were free to be a band away from the hysteria of Beatlemania. McCartney went a step further. On a plane to London in November '66, as he returned from a vacation in Kenya, he came up with the idea of an album by the Beatles in disguise, an alter-ego group that he subsequently dubbed Sgt. Pepper's Lonely Hearts Club Band. "We'd pretend to be someone else," McCartney explained in Anthology. "It liberated you — you could do anything when you got to the mike or on your guitar, because it wasn't you."
Only two songs on the final LP, both McCartney's, had anything to do with the PepperSgt. Pepper's star crooner, Billy Shears. "Every other song could have been on any other album," Lennon insisted later. Yet it is hard to imagine a more perfect setting for the Victorian jollity of Lennon's "Being for the Benefit of Mr. Kite!" (inspired by an 1843 circus poster) or the sumptuous melancholy of McCartney's "Fixing a Hole," with its blend of antique shadows (a harpsichord played by the Beatles' producer George Martin) and modern sunshine (double-tracked lead guitar executed with ringing precision by Harrison). The Pepper premise was a license to thrill. character: the title track and Starr's jaunty vocal showcase "With a Little Help From My Friends," introduced as a number by
It also underscored the real-life cohesion of the music and the group that made it. Of the 700 hours the Beatles spent making Sgt. Pepper (engineer Geoff Emerick actually tallied them) from the end of 1966 until April 1967, the group needed only three days' worth to complete Lennon's lavish daydream "Lucy in the Sky With Diamonds." "A Day in the Life," the most complex song on the album, was done in just five days. (The oceanic piano chord was three pianos hit simultaneously by ten hands belonging to Lennon, McCartney, Starr, Martin and Beatles roadie Mal Evans.) No other Beatles appear with Harrison on his sitar-perfumed sermon on materialism and fidelity, "Within You Without You," but the band wisely placed the track at the halfway point of the original vinyl LP, at the beginning of Side Two: a vital meditation break in the middle of the jubilant indulgence.
The Beatles' exploitation of multitracking on Sgt. Pepper transformed the very act of studio recording (the orchestral overdubs on "A Day in the Life" marked the debut of eight-track recording in Britain: two four-track machines used in sync). And Sgt. Pepper's visual extravagance officially elevated the rock album cover to a Work of Art. Michael Cooper's photo of the Beatles in satin marching-band outfits, in front of a cardboard-cutout audience of historical figures, created by artist Peter Blake, is the most enduring image of the psychedelic era. Sgt. Pepper was also the first rock album to incorporate complete lyrics to the songs in its design.
Yet Sgt. Pepper's Lonely Hearts Club Band is the Number One album of the RS 500 not just because of its firsts — it is simply the best of everything the Beatles ever did as musicians, pioneers and pop stars, all in one place. A 1967 British print ad for the album declared, "Remember Sgt. Pepper's Lonely Hearts Club Band Is the Beatles." As McCartney put it, the album was "just us doing a good show."
The show goes on forever.
Wednesday, March 21, 2012
IAN ANDERSON INTERVIEW
GOOD MORNING AND HAPPY HUMP DAY! DID A INTERVIEW WITH IAN ANDERSON THE OTHER DAY ABOUT THE UPCOMING TULL TOUR AND NEW ALBUM, "THICK AS A BRICK 2". GOT A REAL SURPRISE FROM IAN IN THE INTERVIEW AND YOU CAN HEAR IT IN MY PODCAST SECTION.
HAVE A GREAT DAY!
VITO
