Cream. Disraeli Gears. Cover art by Martin Sharp.
Jack Bruce: Vocals, harmonica, bass, piano
Eric Clapton: Guitars, vocals
Ginger Baker: Drums, vocals
Produced by Felix Pappalardi. Recorded 1967 at Atlantic Studios, New York. Engineered by Tom Dowd.
(62 votes, average: 4.58 out of 5)
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Jackie Gleason presents…Music for Lovers Only on Capitol.
(24 votes, average: 4.38 out of 5) Loading ...
Frank Zappa and The Mothers of Invention. Recorded 1967-1969. Bizarre Record Label. Released 1970.
Frank Zappa recruited artist Neon Park to create a subversive image based on a cover story from the September 1956 issue of Man’s Life, a men’s adventure magazine. After showing Neon a copy of the magazine, Zappa inquired, “This is it. What can you do that’s worse than this?” Neon’s answer was to craft a parody of an advertisement for Schick brand electric razor based on the “Weasels Ripped My Flesh” theme.
Conceptually, the album could be considered phase two of Burnt Weeny Sandwich. Both albums consist of previously unreleased Mothers tracks released after the demise of the original band. Whereas the pieces on Burnt Weeny Sandwich generally have a more rigid and planned feel captured by quality studio equipment, Weasels Ripped My Flesh mostly captures the Mothers on stage, where they employ frenetic and chaotic improvisation characteristic of avant-garde free jazz. – Wikepedia
(29 votes, average: 4.34 out of 5) Loading ...
Laura Nyro‘s second lp “Eli and the Thirteenth Confession” (1968) Columbia Records.
The album was written entirely by Nyro, arranged by Charlie Calello and produced by both. The record only reached #189 on the Billboard 200 “Pop Album” chart, but was a critical success and there are six songs from “Eli” on her 1997 retrospective collection Stoned Soul Picnic: The Best of Laura Nyro.
Eli and the Thirteenth Confession is also recognized as the first part in a “holy trinity” of Laura Nyro albums, the others being New York Tendaberry (1969) and Christmas and the Beads of Sweat (1970).
Known for many years for having written songs that were hits for other performers, Three Dog Night took “Eli’s Comin'” to US #10, while the Fifth Dimension went to US #3 with “Stoned Soul Picnic” and US #13 with “Sweet Blindness.”
Luckie; Lu; Sweet Blindness; Poverty Train; Lonely Women; Eli’s Comin’; Timer; Stoned Soul Picnic; Emmie; Woman’s Blues; Once It Was Alright Now (Farmer Joe); December’s Boudoir; The Confession
One of my favorite records still.
(19 votes, average: 4.63 out of 5) Loading ...
Aside from being a cool 60’s soundtrack with great art, this recording was picked up by audiophiles about 20 years ago as having exemplary stereo sound. It was highly collectible – only the Stereo version — during the lp era’s last gasp.
(35 votes, average: 4.09 out of 5) Loading ...
Paul Weston. “The Sweet and the Swingin'” “A fresh contrast of melodic strings and swinging vocal patterns”
(27 votes, average: 3.63 out of 5) Loading ...
HORSES Patti Smith Arista, 1975 Designer: Bob Heimall Photographer: Robert Mapplethorpe
I’ve always taken great pictures of Patti Smith,” said Robert Mapplethorpe in 1987. He described the collaboration as “like taking drugs; you’re in an abstract place and it’s perfect.” The cover of Smith’s cataclysmic debut LP, Horses, is the most celebrated document in the relationship between the photographer and the poet-songwriter, which spanned two decades. Mapplethorpe shot the cover to Smith’s album Dream of Life not long before his death in 1989.
The two met when Mapplethorpe was an art student and Smith wandered into his Brooklyn apartment looking for someone else. In 1970 they moved to Manhattan’s legendary Chelsea Hotel, where they shared the smallest room because it was all they could afford. “We used to stay up all night,” Mapplethorpe said, “and she would do her thing and I would do my thing, and then we’d take a break and smoke a cigarette and look at each other’s work.” That intimacy informs the Horses portrait: The directness of Smith’s gaze plays against the tense shyness of her stance; the androgyny of her dress counters the elegance of her fingers. The cover mirrors the intensity and sparse clarity of Smith’s music.
>In 1988 the catalog to a controversial Mapplethorpe retrospective included a poem by Smith that captures perfectly the exploratory essence of both Horses and Mapplethorpe’s photo. “The Artist machetes a clearance,” she writes. “Here one can be spared/the pain and extravagance of the entire body and/be transported by snaking thru a glittering fraction.”
Near legendary New York poetess and songstress comes up with an almost free-form rock set that is much much better than one might have expected. Produced by John Cale, the set comes closest to catching the urgency and sheer energy of the early Velvet Underground since the emergence of that group. Smith’s interesting and totally unique talk/sing song makes this set the most accessible LP of its type yet for those who do not feel at home with this type of material, and there are guest stints from Tom Verlaine and Allen Lanier. Frantic and frenetic instrumentation behind Smith’s vocals also work well. A truly powerful effort that offers the listener something new for a change. Best cuts: “Gloria (the old Them hit),” “Free Money,” “Kimberly,” “Land,” “Elegie. – Billboard,1975.
(20 votes, average: 4.20 out of 5) Loading ...
