Though I haven’t heard the couple previous albums to this one, this still feels like a pretty big stylistic left turn for Costello. The production and arrangements are both noticeably different from the first Attractions record (or his first few solo albums). It’s a brave move (if it is indeed a move) as he could easily have just put out a new set of songs without deliberate messing with his style. Read More
By the time Kooper released this double album in 1970 he had put out 6 albums (including this one) in something like 2 years. Yes, two of those were partially improvised, but Kooper was the prime creative force of all of them. So it should come as no surprise that this record feels like it doesn’t have enough content for its length. Some of the covers are good (and sometimes they are quite idiosyncratic) but Kooper’s songs themselves are not great. He’s pulled back on his artsiness on this record but he doesn’t have enough good songs and just seems Read More
I have come to the early Kinks records backwards, listening to their late 60s classics before these earlier records and so my experience of them is coloured by being far more familiar with Davies’ mature songs than his early songs, leading to me listening to his early songs and thinking they are not as good (shock of all shocks). Read More
1966, Baroque Pop, Folk, Music, Psych Folk, Psychedelia, Psychedelic Pop, Psychedelic Rock, and Singer Songwriter.
I grew up listening to oldies radio so I have long been familiar with Donovan’s hit singles. I guess they made no impression on me because I really never thought much about it. But this record is a real standout. At the dawn of psychedelia (there had been very little psychedelic music), Donovan releases a record with a sitar player on a bunch of tracks, with a very distinct Indian influence on a few songs, with a chamber music influence on other songs, and even a little bit of a jazz influence at times (sometimes present all in the same Read More
Al Kooper fascinates me. He had a bizarre career: writing a hit pop song, becoming Dylan’s keyboardist, turning into a jazz rock pioneer and then having a career as a record producer. But despite my fascination, this is the first proper solo album of his I’ve heard. Maybe I’m disappointed because I was expecting something very different. Maybe I’m disappointed because, much like Kooper does here, I have mythologized his life a little too much. I don’t know. Reviews I have read compare this to Elton John around the same period. I have no idea if that’s apt or not Read More
I certainly like the idea of bands having extensive instrumental palettes; it adds to the range of sounds available which should be a good thing. And I’m (mostly) glad that post rock encouraged a lot of more mainstream-inclined bands to expand their instrumental palettes. But at some point it gets kind of ridiculous. And it gets ridiculous when bands who would normally be writing pretty straightforward pop rock, power pop, folk rock or arena rock dress up their songs with orchestras. And that’s what we have here. This band could easily exist with its anthemic songs and just a few Read More