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The album's centerpiece is "Living for the City," a cinematic depiction of exploitation and injustice. He brought his most innovative music to life in the nick of time: Three days after Innervisions was released, Wonder was put into a four-day coma after the car he was traveling in collided with a logging truck.

He deals with childhood loss in "Mother" and skirts blasphemy in "Working Class Hero": "You're still fucking peasants as far as I can see. Plastic Ono Band is the sound of Year Zero. In his only two recording sessions, Johnson cut just 29 songs, but their evanescent passion has resonated through the decades, crucial inspiration for everyone from Chicago blues originator Elmore James to British blues inheritors like the Stones and Eric Clapton.

Tapestry () - IMDb

Every one of his songs along with 12 alternate takes is included here — a holy grail of the blues. Goode," "Back in the USA. In the maestro's own words, "The nature and backbone of my beat is boogie, and the muscle of my music is melodies that are simple. Michael Jackson towered over the s the way Elvis Presley dominated the s, and here's why.

He and producer Quincy Jones established the something-for-everyone template with 's Off the Wall , a crisp fusion of pop hooks and dance beats. But the most thrilling thing was the autobiography busting through the gloss: the hiss of denial on "Billie Jean"; the to-hell-with-haters strut of "Wanna Be Startin' Somethin'. Van Morrison never sounded more warm and ecstatic, more sensual and vulnerable, than on his enigmatically beautiful solo debut. The crowning touch was the superior jazz quintet convened by producer Lewis Merenstein to color the mists and shadows.


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Bassist Richard Davis later said that Morrison never told the musicians what he wanted from them or what the lyrics meant. Maybe he didn't know how to. He was going deep inside himself, without a net or fear. Bruce Springsteen spent everything he had — patience, energy, studio time, the physical endurance of his E Street Band — to make his masterpiece. There are a dozen guitar overdubs on the title track alone.

EASY. ECLECTIC. CONNECTED.

He found it so hard to re-create the sound in his head — the Jersey-bar dynamite of his live gigs, Phil Spector 's grandeur, Roy Orbison 's melodrama — that he nearly gave up and put out a live album. But his attention to detail produced a timeless record about the labors and glories of aspiring to greatness. The overnight-success story of the s, Nirvana 's second album and its totemic first single, "Smells Like Teen Spirit," shot up from the nascent grunge scene in Seattle to kick Michael Jackson off the top of the Billboard album chart and blow hair metal off the map.

No album in recent history had such an overpowering impact on a generation — a nation of teens suddenly turned punk — and such a catastrophic effect on its main creator. The weight of fame led already troubled singer-guitarist Kurt Cobain to take his own life in Lyrically, Cobain raged in code — shorthand grenades of inner tumult and self-loathing. His genius, though, in songs like "Lithium," "Breed" and "Teen Spirit" was the soft-loud tension he created between verse and chorus, restraint and assault.

Cobain also fought to maintain his underground honor. Ultimately, it was a losing battle, but it is part of this album's enduring power. He wanted to play [the song] live all the way through. Bob Dylan once introduced this album's opening song, "Tangled Up in Blue," onstage as taking him 10 years to live and two years to write. In fact, he wrote all of these lyrically piercing, gingerly majestic songs in two months, in mid He was so proud of them that he privately auditioned almost all of the album, from start to finish, for pals and peers including Mike Bloomfield, David Crosby and Graham Nash before cutting them in September — in just a week, with members of the bluegrass band Deliverance.

But in December, Dylan played the record for his brother David in Minneapolis, who suggested recutting some songs with local musicians. The final Blood was a mix of the slow, pensive New York sessions and the faster, wilder Minneapolis dates. Together, they frame the gritty anguish in some of Dylan's most passionate, confessional songs — from adult breakup ballads like "If You See Her, Say Hello" to the sharp-tongued opprobrium of "Idiot Wind," his greatest put-down song since "Like a Rolling Stone.

Yet he had never turned so much pain into so much musical splendor.

Rescued from dead-end gigs in New York by ex-Animal Chas Chandler, Hendrix arrived in London in September , quickly formed the Experience with bassist Noel Redding and drummer Mitch Mitchell and in a matter of weeks was recording the songs that comprised his epochal debut — which stands four and a half decades later as rock's most innovative and expressive guitar record. Hendrix's incendiary playing was historic in itself, the luminescent sum of his chitlin-circuit labors in the early Sixties with Little Richard and the Isley Brothers and his melodic exploitation of amp howl.

Hendrix made soul music for inner space. That January, the Beatles were on the verge of a breakup, exhausted and angry with one another after the disastrous sessions for the aborted Get Back LP, later salvaged as Let It Be [see No. Determined to go out with a sense of recaptured glory, the group reconvened at EMI's Abbey Road Studios to make its most polished album: a collection of superb songs cut with an attention to refined detail, then segued together especially on Side Two with conceptual force. There was no thematic link, other than the Beatles' unique genius.

And Lennon, McCartney and Harrison reputedly sang more three-part harmony here than on any other Beatles album.

Tapestry - (Quackalope Gameplay)

Let It Be was the group's final release, but this album was its real goodbye. It was no idle boast. Much of what we take for granted in rock would not exist without this New York band or its seminal debut: the androgynous sexuality of glitter; punk's raw noir; the blackened-riff howl of grunge and noise rock; goth's imperious gloom.

Recorded dirt-cheap at a studio that was literally falling apart, it is a record of fearless breadth and lyric depth. Singer-songwriter Lou Reed documented carnal desire and drug addiction, decadence and redemption, with a pop wisdom he learned as a song-factory composer for Pickwick Records. Cale introduced the power of pulse and drone from his work with minimalist composer La Monte Young ; guitarist Sterling Morrison and drummer Maureen Tucker played with tribal force; Nico, a German vocalist added to the band by manager Andy Warhol, brought an icy femininity to the heated ennui in Reed's songs.

This painterly masterpiece would become one of the most important, influential and popular albums in jazz. But at the time it was made, Kind of Blue was a revolution all its own, a radical break from everything going on.

OUR ESSENTIAL ELEMENTS

Turning his back on standard chord progressions, trumpeter Miles Davis used modal scales as a starting point for composition and improvisation — breaking new ground with warmth, subtlety and understatement in the thick of hard bop. Davis and his peerless band — bassist Paul Chambers, drummer Jimmy Cobb, pianist Bill Evans, and the titanic sax team of John Coltrane and Cannonball Adderley — soloed in uncluttered settings, typified by "melodic rather than harmonic variation," as Davis put it. Two numbers, "All Blues" and "Freddie Freeloader" the latter featured Wynton Kelly at the ivories in place of Evans , were in bar form, but Davis' approach allowed his players a cool, new, collected freedom.

Therefore, you will hear something close to pure spontaneity in these performances. Phillips told them to "back up and do it again. But the man who would be King was officially on wax. Bridging black and white, country and blues, his sound was playful and revolutionary, charged by a spontaneity and freedom that changed the world. Incredibly, it took more than 20 years for Presley's Sun output to be properly collected on a LP — which has since been superseded by this double-CD chronicle of the King's beginnings at Sun.

It collects everything he cut at the studio, including alternate takes and the acetate he recorded as a gift for his mother as a shy and awkward recent high school graduate. They wrote the songs while on retreat with the Maharishi Mahesh Yogi in India, taking a break from the celebrity whirl. As John Lennon later said, "We sat in the mountains eating lousy vegetarian food and writing all these songs. Yet the creative tension resulted in one of the most intense and adventurous rock albums ever made. Lennon pursued his hard-edged vision into the cynical wit of "Sexy Sadie" and "Happiness Is a Warm Gun," but also infused "Julia" and "Dear Prudence" with childlike yearning.

Released on May 16th, , rock's first studio double LP by a major artist was, as Dylan declared in , "the closest I ever got to the sound I hear in my mind… that thin, that wild-mercury sound. After several false-start sessions in New York in the fall of and January 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 14 tracks in one four-day run and one three-day run at Columbia's Nashville studios in February and March The pace of recording echoed the amphetamine velocity of Dylan's songwriting and touring schedule at the time.

Amid the frenzy, Dylan delivered some of his finest, clearest songs of comfort and desire: the sidelong beauty of the minute "Sad Eyed Lady of the Lowlands," recorded in just one take at four in the morning after an eight-hour session, and "I Want You," the title of which Dylan almost used for the album. Produced with no-surrender energy by legendary Seventies studio madman Guy Stevens, the Clash 's third album skids 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 and openly at war with its record company. He threw chairs around the room "if he thought a track needed zapping up," according to Strummer. The album ends with "Train in Vain," a rousing song of fidelity unlisted on the back cover because it was added at the last minute that became the sound of triumph: the Clash's first Top 30 single in the U. A dirty whirl of blues and boogie, the Rolling Stones ' double LP "was the first grunge record," guitarist Keith Richards crowed proudly in a interview.

In the existential shuffle "Tumbling Dice," the exhausted country beauty "Torn and Frayed" and the whiskey-soaked uplift of "Shine a Light," you literally hear the Stones in exile: working at Richards' villa in the South of France, and 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.

Exile is rife with allusions to their outsider status: The album's cover is a collage of freakish American characters, and on "Sweet Black Angel" they toast imprisoned activist Angela Davis — one set of renegades to another. The music rattles like battle but also swings with clear purpose on songs like "Rocks Off" and "All Down the Line.

Whatever people throw at us, we can still duck, improvise, overcome. Exile on Main Street is the Stones at their fighting best, armed with the blues, playing to win. 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.