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| Tom Waits Live At The Main Point 1975 |
M U S I C
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A neo-beatnik songwriter who grew weirder and wilder in the '80s, earning a cult following that only grew larger as the years passed.
Tom Waits
Warm Beer & Cold Women (Tom Waits) 5:47
Eggs & Sausage (Tom Waits) 3:04
Semi Suite (Tom Waits) 6:27
from 'Round Midnight: The Minneapolis Broadcast 1975
...In December, Tom entered the studios of KQRS Minneapolis for his first ever FM broadcast, floated across the airwaves by that very station and syndicated by many others nationwide. Now considered the holy grail of Waits broadcasts amongst serious collectors of the great mans work, this performance featuring Tom Waits alone at his piano with just his magnificent voice as accompaniment, the way he should be heard, is nothing short of staggering. This CD contains the full KQRS broadcast in perfect FM stereo quality, during which Tom performs a range of songs taken from his first three records Closing Time , The Heart Of Saturday Night and the aforementioned Nighthawks...
Songwriter/singer/guitarist Bill Withers is best remembered for the classic "Lean on Me" and his other million-selling singles "Ain't No Sunshine" and "Use Me," but he has a sizable cache of great songs to his credit.
Bill Withers
You (Bill Withers) 5:23
Heartbreak Road (Bill Withers) 3:09
from +'Justments 1974
Back in March 2004 music magazine Mojo included Withers' fourth album on a list of "67 Lost Albums You Must Own." Whether 'Justments is indeed the stuff of legend remains debatable. Surely no holy grail like the similarly mentioned Cold Fact by Sussex labelmate Sixto Rodriguez, it seems at least unfairly ignored. Nothing here might be as compelling as "Grandma's Hands" or "I Can't Write Left-Handed," but there are plenty of melancholy reflections from a genuine soulman who came across more as a West coast singer/songwriter. Replacing the hired hands of his debut with former employees of Charles Wright & the Watts 103rd Street Rhythm Band proved equally important in shaping Withers' identity...
One of the most predominant and celebrated rock bands of all time, prog- and space-rock legends, known for superlative musicianship.
Pink Floyd
Breathe (In the Air) (David Gilmour / Roger Waters / Richard Wright) 2:49
On the Run (David Gilmour / Roger Waters) 3:45
Time (David Gilmour / Nick Mason / Roger Waters / Richard Wright) 6:53
The Great Gig in the Sky (Clare Torry / Richard Wright) 4:43
from Dark Side of the Moon 1973
By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance...
Arguably the wildest and most flamboyant funk singer of the 1970s, once married to Miles Davis. A wildly flamboyant funk diva with few equals even three decades after her debut, Betty Davis combined the gritty emotional realism of Tina Turner, the futurist fashion sense of David Bowie, and the trendsetting flair of Miles Davis, her husband for a year.
Betty Davis
If I'm in Luck I Might Get Picked Up (Betty Davis) 5:00
Anti Love Song (Betty Davis) 4:32
Your Man My Man (Betty Davis) 3:35
from Betty Davis 1973
Betty Davis' debut was an outstanding funk record, driven by her aggressive, no-nonsense songs and a set of howling performances from a crack band. Listeners wouldn't know it from the song's title, but for the opener, "If I'm in Luck I Might Get Picked Up," Davis certainly doesn't play the wallflower; she's a woman on the prowl, positively luring the men in and, best of all, explaining exactly how she does it: "I said I'm wigglin' my fanny, I'm raunchy dancing, I'm-a-doing it doing it/This is my night out."...
One of the 1970s' most successful hard rock bands in spite of critical pans and somewhat reluctant radio airplay (at first), Grand Funk Railroad built a devoted fan base with constant touring, a loud, simple take on the blues-rock power trio sound, and strong working-class appeal.
Grand Funk Railroad
Flight of the Phoenix (Mark Farner) 3:38
Rain Keeps Fallin' (Mark Farner) 3:27
Rock & Roll Soul (Mark Farner) 3:40
from Phoenix 1972
Having scored four consecutive Top Ten albums in the previous two years, Grand Funk Railroad may not have seemed to casual observers like a band who needed to rise phoenix-like from the ashes, but the title of the band's seventh album referred to its re-emergence after a litigious split from manager/producer Terry Knight. Now, they were producing themselves, and they added organist Craig Frost, credited here as a sideman, though he went on to join the band formally. The biggest change, however, was a musical maturity. After releasing five studio albums in a little over two years, Grand Funk waited more than a year before releasing Phoenix, and in that time they managed to come up with more variety than they had displayed before...
Long-lasting, highly influential Krautrock unit formed by some of the more musically inclined members of German artist commune Amon Düül.
Amon Düül II
Jail- House - Frog 4:56
Wolf City 3:20
Sleepwalker's Timeless Bridge 4:53
from Wolf City 1972
Amon Düül II's fifth studio album is a more conventional recording than most, though there's still a lot of the involved experimenting and dark undercurrent which sets the band apart from the mainstream, along with the off-kilter hooks and odd humor which saved them from being lumped alongside more serious (and less easy to take seriously) prog rock outfits. After the lengthy explorations of Tanz der Lemminge, Wolf City seems targeted to an extent at a commercial English-speaking audience, perhaps reflective of their increased status in the United Kingdom, if not in America...
Cerebral yet sensual Canadian poet, novelist, and singer/songwriter who is acknowledged as one of the greatest lyricists of all time. One of the most fascinating and enigmatic -- if not the most successful -- singer/songwriters of the late '60s, Leonard Cohen retained an audience across six decades of music-making, interrupted by various digressions into personal and creative exploration, all of which have only added to the mystique surrounding him. Second only to Bob Dylan (and perhaps Paul Simon), he commanded the attention of critics and younger musicians more firmly than any other musical figure from the '60s who continued to work in the 21st century, which is all the more remarkable an achievement for someone who didn't even aspire to a musical career until he was in his thirties.
Leonard Cohen
Avalanche (Leonard Cohen)5:02
Last Year's Man (Leonard Cohen) 6:00
Dress Rehearsal Rag (Leonard Cohen) 6:06
Diamonds in the Mine (Leonard Cohen) 3:50
from Songs of Love and Hate 1971
Songs of Love and Hate is one of Leonard Cohen's most emotionally intense albums -- which, given the nature of Cohen's body of work, is no small statement... If Songs of Love and Hate isn't Cohen's best album, it comes close enough to be essential to anyone interested in his work.
A storming blues and boogie band from the U.K., Ten Years After rocketed from modest success to worldwide fame in the wake of their performance at the Woodstock Rock Festival in 1969, where their nine-minute rendition of "I'm Going Home" showed off the lightning-fast guitar work and howling vocals of Alvin Lee, the unrelenting stomp of bassist Leo Lyons and drummer Ric Lee, and the soulful support of keyboard man Chick Churchill. While the group was also capable of moody pop and acoustic-based material, it was the group's raw blues-based music that remained their trademark, powered by Lee's high-speed guitar figures.
Ten Years After
One of These Days (Alvin Lee) 5:58
Here They Come (Alvin Lee) 4:35
Baby Won't You Let Me Rock 'N' Roll You (Alvin Lee) 2:14
Let the Sky Fall (Alvin Lee) 4:20
from A Space in Time 1971
A Space in Time was Ten Years After's best-selling album... TYA's first album for Columbia, A Space in Time has more of a pop-oriented feel than any of their previous releases had. The individual cuts are shorter, and Alvin Lee displays a broader instrumental palette than before... However, there are still a couple of barn-burning jams. The leadoff track, "One of These Days," is a particularly scorching workout, featuring extended harmonica and guitar solos. After the opener, however, the album settles back into a more relaxed mood than one would have expected from Ten Years After. Many of the cuts make effective use of dynamic shifts, and the guitar solos are generally more understated than on previous outings. The production on A Space in Time is crisp and clean, a sound quite different from the denseness of its predecessors. Though not as consistent as Cricklewood Green, A Space in Time has its share of sparkling moments.
The most popular and influential rock act of all time, a band that blazed several new trails for popular music. So much has been said and written about the Beatles -- and their story is so mythic in its sweep -- that it's difficult to summarize their career without restating clichés that have already been digested by tens of millions of rock fans. To start with the obvious, they were the greatest and most influential act of the rock era, and introduced more innovations into popular music than any other rock band of the 20th century.
The Beatles
Two of Us (John Lennon / Paul McCartney) 3:36
Dig a Pony (John Lennon / Paul McCartney) 3:55
Across the Universe (John Lennon / Paul McCartney) 3:48
I Me Mine (George Harrison) 2:25
from Let It Be 1970
The only Beatles album to occasion negative, even hostile reviews, there are few other rock records as controversial as Let It Be. First off, several facts need to be explained: although released in May 1970, this was not their final album, but largely recorded in early 1969, way before Abbey Road. Phil Spector was enlisted in early 1970 to do some post-production work, but did not work with the band as a unit, as George Martin and Glyn Johns had on the sessions themselves; Spector's work was limited to mixing and some overdubs... As flawed and bumpy as it is, it's an album well worth having, as when the Beatles were in top form here, they were as good as ever.
Rare Bird came together in October 1969 when organist Graham Field, keyboardist Dave Kaffinetti, drummer Mark Ashton, and vocalist Steve Gould envisioned a two-keyboard rock sound without guitars.
Rare Bird
What You Want to Know (Mark Ashton / Rare Bird / Graham Field / Steve Gould / Dave Kaffinett) 5:59
Hammerhead (Mark Ashton / Rare Bird / Graham Field / Steve Gould / Dave Kaffinetti) 3:31
Flight: I. As Your Mind Flies By/II. Vacuum/III. New Yorker/IV. Central (Rare Bird) 19:38
from As Your Mind Flies By 1970
The legendary Charisma label's first signing was a Rare Bird indeed, a prog rock band without a guitarist in sight. The quartet's 1970 debut eponymous album launched the label, while "Sympathy" gave it its first hit. As Your Mind Flies By soared into the shops later that year, sadly the original lineup's swan song. Boasting the rhythm section of lead singer/bassist Steve Gould and drummer Mark Ashton, and keyboardists Dave Kaffinetti and Graham Field on electric piano and organ, the group was far removed from the showboating likes of Yes and ELP... it was the epic, side-length "Flight" that really sent Rare Bird soaring. Here the band showcased its distinctiveness, as the almost-20-minute song courses along Gould and Ashton's driving rhythm. Divided into four sections, the piece takes to the sky on a series of stunning arpeggios, quickens, then darkens. Organs burst out of the shadows, a church choir sails in, a phenomenal dual takes place between the surf guitar-ing electric piano and the psych-mad organ, before the Bird flitters into experimental avant-garde territory, then brings it all home with a flourish of vocals and organ...
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1975-1970
Tom Waits
Warm Beer & Cold Women (Tom Waits) 5:47
Eggs & Sausage (Tom Waits) 3:04
Semi Suite (Tom Waits) 6:27
from 'Round Midnight: The Minneapolis Broadcast 1975
...In December, Tom entered the studios of KQRS Minneapolis for his first ever FM broadcast, floated across the airwaves by that very station and syndicated by many others nationwide. Now considered the holy grail of Waits broadcasts amongst serious collectors of the great mans work, this performance featuring Tom Waits alone at his piano with just his magnificent voice as accompaniment, the way he should be heard, is nothing short of staggering. This CD contains the full KQRS broadcast in perfect FM stereo quality, during which Tom performs a range of songs taken from his first three records Closing Time , The Heart Of Saturday Night and the aforementioned Nighthawks...
Bill Withers
You (Bill Withers) 5:23
Heartbreak Road (Bill Withers) 3:09
from +'Justments 1974
Back in March 2004 music magazine Mojo included Withers' fourth album on a list of "67 Lost Albums You Must Own." Whether 'Justments is indeed the stuff of legend remains debatable. Surely no holy grail like the similarly mentioned Cold Fact by Sussex labelmate Sixto Rodriguez, it seems at least unfairly ignored. Nothing here might be as compelling as "Grandma's Hands" or "I Can't Write Left-Handed," but there are plenty of melancholy reflections from a genuine soulman who came across more as a West coast singer/songwriter. Replacing the hired hands of his debut with former employees of Charles Wright & the Watts 103rd Street Rhythm Band proved equally important in shaping Withers' identity...
Pink Floyd
Breathe (In the Air) (David Gilmour / Roger Waters / Richard Wright) 2:49
On the Run (David Gilmour / Roger Waters) 3:45
Time (David Gilmour / Nick Mason / Roger Waters / Richard Wright) 6:53
The Great Gig in the Sky (Clare Torry / Richard Wright) 4:43
from Dark Side of the Moon 1973
By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance...
Betty Davis
If I'm in Luck I Might Get Picked Up (Betty Davis) 5:00
Anti Love Song (Betty Davis) 4:32
Your Man My Man (Betty Davis) 3:35
from Betty Davis 1973
Betty Davis' debut was an outstanding funk record, driven by her aggressive, no-nonsense songs and a set of howling performances from a crack band. Listeners wouldn't know it from the song's title, but for the opener, "If I'm in Luck I Might Get Picked Up," Davis certainly doesn't play the wallflower; she's a woman on the prowl, positively luring the men in and, best of all, explaining exactly how she does it: "I said I'm wigglin' my fanny, I'm raunchy dancing, I'm-a-doing it doing it/This is my night out."...
Grand Funk Railroad
Flight of the Phoenix (Mark Farner) 3:38
Rain Keeps Fallin' (Mark Farner) 3:27
Rock & Roll Soul (Mark Farner) 3:40
from Phoenix 1972
Having scored four consecutive Top Ten albums in the previous two years, Grand Funk Railroad may not have seemed to casual observers like a band who needed to rise phoenix-like from the ashes, but the title of the band's seventh album referred to its re-emergence after a litigious split from manager/producer Terry Knight. Now, they were producing themselves, and they added organist Craig Frost, credited here as a sideman, though he went on to join the band formally. The biggest change, however, was a musical maturity. After releasing five studio albums in a little over two years, Grand Funk waited more than a year before releasing Phoenix, and in that time they managed to come up with more variety than they had displayed before...
Amon Düül II
Jail- House - Frog 4:56
Wolf City 3:20
Sleepwalker's Timeless Bridge 4:53
from Wolf City 1972
Amon Düül II's fifth studio album is a more conventional recording than most, though there's still a lot of the involved experimenting and dark undercurrent which sets the band apart from the mainstream, along with the off-kilter hooks and odd humor which saved them from being lumped alongside more serious (and less easy to take seriously) prog rock outfits. After the lengthy explorations of Tanz der Lemminge, Wolf City seems targeted to an extent at a commercial English-speaking audience, perhaps reflective of their increased status in the United Kingdom, if not in America...
Leonard Cohen
Avalanche (Leonard Cohen)5:02
Last Year's Man (Leonard Cohen) 6:00
Dress Rehearsal Rag (Leonard Cohen) 6:06
Diamonds in the Mine (Leonard Cohen) 3:50
from Songs of Love and Hate 1971
Songs of Love and Hate is one of Leonard Cohen's most emotionally intense albums -- which, given the nature of Cohen's body of work, is no small statement... If Songs of Love and Hate isn't Cohen's best album, it comes close enough to be essential to anyone interested in his work.
Ten Years After
One of These Days (Alvin Lee) 5:58
Here They Come (Alvin Lee) 4:35
Baby Won't You Let Me Rock 'N' Roll You (Alvin Lee) 2:14
Let the Sky Fall (Alvin Lee) 4:20
from A Space in Time 1971
A Space in Time was Ten Years After's best-selling album... TYA's first album for Columbia, A Space in Time has more of a pop-oriented feel than any of their previous releases had. The individual cuts are shorter, and Alvin Lee displays a broader instrumental palette than before... However, there are still a couple of barn-burning jams. The leadoff track, "One of These Days," is a particularly scorching workout, featuring extended harmonica and guitar solos. After the opener, however, the album settles back into a more relaxed mood than one would have expected from Ten Years After. Many of the cuts make effective use of dynamic shifts, and the guitar solos are generally more understated than on previous outings. The production on A Space in Time is crisp and clean, a sound quite different from the denseness of its predecessors. Though not as consistent as Cricklewood Green, A Space in Time has its share of sparkling moments.
The Beatles
Two of Us (John Lennon / Paul McCartney) 3:36
Dig a Pony (John Lennon / Paul McCartney) 3:55
Across the Universe (John Lennon / Paul McCartney) 3:48
I Me Mine (George Harrison) 2:25
from Let It Be 1970
The only Beatles album to occasion negative, even hostile reviews, there are few other rock records as controversial as Let It Be. First off, several facts need to be explained: although released in May 1970, this was not their final album, but largely recorded in early 1969, way before Abbey Road. Phil Spector was enlisted in early 1970 to do some post-production work, but did not work with the band as a unit, as George Martin and Glyn Johns had on the sessions themselves; Spector's work was limited to mixing and some overdubs... As flawed and bumpy as it is, it's an album well worth having, as when the Beatles were in top form here, they were as good as ever.
Rare Bird
What You Want to Know (Mark Ashton / Rare Bird / Graham Field / Steve Gould / Dave Kaffinett) 5:59
Hammerhead (Mark Ashton / Rare Bird / Graham Field / Steve Gould / Dave Kaffinetti) 3:31
Flight: I. As Your Mind Flies By/II. Vacuum/III. New Yorker/IV. Central (Rare Bird) 19:38
from As Your Mind Flies By 1970
The legendary Charisma label's first signing was a Rare Bird indeed, a prog rock band without a guitarist in sight. The quartet's 1970 debut eponymous album launched the label, while "Sympathy" gave it its first hit. As Your Mind Flies By soared into the shops later that year, sadly the original lineup's swan song. Boasting the rhythm section of lead singer/bassist Steve Gould and drummer Mark Ashton, and keyboardists Dave Kaffinetti and Graham Field on electric piano and organ, the group was far removed from the showboating likes of Yes and ELP... it was the epic, side-length "Flight" that really sent Rare Bird soaring. Here the band showcased its distinctiveness, as the almost-20-minute song courses along Gould and Ashton's driving rhythm. Divided into four sections, the piece takes to the sky on a series of stunning arpeggios, quickens, then darkens. Organs burst out of the shadows, a church choir sails in, a phenomenal dual takes place between the surf guitar-ing electric piano and the psych-mad organ, before the Bird flitters into experimental avant-garde territory, then brings it all home with a flourish of vocals and organ...
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