Tim Buckley: I'd rate as low as classical music.

Sly and the Family Stone's Stand: two notches higher. Suppose I'd enjoy this if in certain a certain mood, the singles again are ok. That big long track, Sylvester makes noises through a vocoder on it, that makes it a wee bit interesting for me. But not that much.

DAY 162.
Chicago...........................Chicago Transit Authority    (1969)









Have listened to the first two sides of this double album, and to be honest I've think I've listened to enough for one night,need to do this in stages, I'm not really enjoying all the horns and to me the big band kinda thing going on.

Will resume in the morning, hopefully with an open mind and will give up my feeble thoughts then.
 

DAY 162.
Chicago...........................Chicago Transit Authority    (1969)











To say I really didn't like this album would only be telling you half the story, the truth is if this album was a single rather than a double, the tracks would obviously have to be shorter which as you well know would be right up my street.


I quite enjoyed some of the tracks although the length, and the keyboards were not particularly to my tastes, I was very impressed with the boy Kath he can certainly play guitar (seemingly Hendrix used to go around asking "do you think he's as good as me"  I'll leave that to the guitary people to answer, but personally enjoyed his style more), and ably joined by Cetera  on bass, the drummer was fine, the horns sounded adequate if that's your thing but not really mine, thought the keyboard was overused as were the horns at times, there seemed to be this "throw the lot in" on many of tracks, where In my opinion less would've been more.



Top track for me was "I'm A Man"  unfortunately not one of their own but written by Stevie Winwood, but again could have done with being half the length, also the solo bits, everybody had to have their turn which is a thing I'm finding pretty hard to deal with, it really isn't necessary, in my humble!


Got to be honest, I can't say I've enjoyed '69, there has been a few good finds but on the whole found a pretty pish year and here's hoping this isn't an indicator of what we''ll find in the early '70s.



This album wont be going in my collection.


Bits & Bobs;


The group was originally called The Big Thing; they spent much of the Summer of Love (1967) playing cover songs in the upper Midwest, but started playing their own songs a year later after connecting with producer James Guercio, who became their manager. Since they were from the Chicago area, they changed their name to Chicago Transit Authority (CTA), which they later truncated to Chicago for the sake of simplicity, not because of any legal action.


 
Four of their original members - James Pankow, Walter Parazaider, Lee Loughnane and Robert Lamm - have been with the band since their formation, each logging over 50 years with the group.


 
Early on, the band had a political bent, which is apparent on their 1971 4-record release Chicago At Carnegie Hall, where they make several references to the evils of the "military industrial complex," air pollution and America's most famous crook, Richard Nixon.


 
Like The Band they had three talented lead singers for much of their run: Robert Lamm, Terry Kath and Peter Cetera. This gave them a lot of options when it came to vocals. Later members Bill Champlin and Jason Scheff contributed vocals after they lost Lamm and Cetera.


 
Like The Doors, they got a regular gig at the Los Angeles club Whisky a Go Go, where in 1968 they played on Sunday and Monday nights. This is where Jimi Hendrix found them; he brought them on tour as his opening act for some shows in 1969.




Despite their tremendous influence and success, they didn't get into the Rock and Roll Hall of Fame until 2016. In a 2014 Songfacts interview with James Pankow, he said: "It doesn't really add up. And I think that I probably have to think twice or more before I said yes to an invitation to an institution that was off base to that large an extent. I have heard from inside sources that we are not well liked by people in that circle. For whatever reasons, we have no idea. Perhaps something occurred long ago that caused a breach in our relationship with Rolling Stone."



Their first release, Chicago Transit Authority, was a double album. It was ignored by AM radio (which played the hits) but beloved on FM, where many stations would play lesser-known album cuts, or even entire albums. Their AM breakthrough came with "Make Me Smile" from their third album.




Most of their albums are numbered with Roman numerals, Super Bowl style. However, their second album is simply titled Chicago, since their first was released when they were using the name Chicago Transit Authority. So their third album is Chicago II, their fourth Chicago III, and so forth. They broke convention with their 1978 album, which followed Chicago XI but was named Hot Streets. They went back to the numbers for their next one, Chicago 13, but without the Roman numerals.




Soft rock impresario David Foster became their producer for their 1982 album Chicago 16, which contained the #1 balled "Hard to Say I'm Sorry" As Foster describes it, he and Peter Cetera became the "power couple" in the band, responsible for their more mellow sound with less participation from the horn section. This alienated the brass, but was wildly successful. Foster also produced their next two albums.



"Does Anyone Really Know What Time It Is?"



A track from Chicago's first album, this is an example of an early song featuring their horn section of Walter Parazaider, James Pankow and Lee Loughnane. It's also an example of a very cerebral lyric which asks the kind of existential question commonly posited in the '60s. The song stresses the importance of taking time to appreciate the small pleasures in life instead of rushing from one place to another against the clock.



Chicago singer and keyboard player Robert Lamm wrote this song and sang lead. He explained on The Chris Isaak Hour: "I was a teenager walking down the street in Brooklyn, New York where I grew up. I walked by a movie theater and there was an usher standing outside taking a cigarette break. I said to him, 'Hey man, what time is it?' and he said, 'Does anybody really know what time it is?' I remembered that when I was trying to write this sort of Beatle-esque shuffle and just explore the idea of 'Does anybody really know what time it is?'"




The album version runs 4:33 and contains a piano intro by Robert Lamm that was removed for the single release, which was cut down to 3:17. Lamm would often play the intro when they performed this song live, which can be heard on their Chicago At Carnegie Hall album.





This song first appeared on the album in 1969, but it wasn't released as a single until late 1970, long after their second album had been issued. This is because of "Make Me Smile" part of a suite of songs on that second album that the record company edited down for single release. When it became a hit, they learned that by chopping down Chicago's songs a bit, they could find a home among the popular tunes on AM radio. "Does Anybody Really Know What Time It Is?," in shortened form, reached its peak of #7 the first week of 1971.



The jazz guitarist Grant Green released a 5:10 instrumental cover of this song on his 1971 album Visions.



This was the first song the band recorded together. They had been playing live for over a year, but the studio was a new experience for them.



"Questions 67 and 68"




This song was written by Robert Lamm, who was the band's primary songwriter. "That was a love song that dealt in terms of questions I was asking myself about this particular relationship that was going down," he said. "I wasn't sure whether it was good or bad."



The title refers to the years 1967 and 1968, which is when the relationship Robert Lamm wrote about took place. The title doesn't appear until the last line in the song.



In later years, Chicago emphasized vocals and keyboards (often in ballads), but the horns were the star of the show when they recorded this song. Their trombone player James Pankow explained in a 2000 interview with Goldmine, "I used to write horns very harmonically. 'Questions 67 & 68' is probably a very good example of how I used to approach horns. I had no rests. We played from the first bar of the song, which is not very musical anymore. We got away with that then."



Chicago used a variety of vocalists on their songs; on this one Robert Lamm and Peter Cetera shared lead.



This was Chicago's first single. Released in July 1969 ahead of their debut album Chicago Transit Authority (that was their original name), it made #71 in the US. This version ran 4:45, which was very long compared to most singles of 1969.



In 1971, a more compact edit of the song, running just 3:25, was released, this time making #24. (See telt ya, far too long trim it back)


"Someday"



Written by Chicago trombone player James Pankow and keyboard player Robert Lamm, this song is about the 1968 Democratic National Convention in the group's hometown of Chicago, where police beat antiwar demonstrators outside the venue in what was later deemed a "police riot." The violence at the convention was big news, energizing the protest movement. CBS reporter Mike Wallace was famously caught in the fray, getting punched in the face inside the convention hall.



The song starts with a 57-section called "Prologue, August 29, 1968," which is audio of the crowd at the convention chanting, "The whole world is watching." This chant returns in the middle of the song.




Robert Lamm and Peter Cetera shared lead vocals on this track.





August 29, 1968 was the last night of the Democratic National Convention and saw Hubert Humphrey secure the nomination. The famous chant took place a day earlier.





This is a track from the first Chicago album, which is titled after the name they were using at the time, Chicago Transit Authority. The group was much more politically inclined at this time, as were many musical acts.

DAY 163.
Fairport Convention.........................Unhalf bricking   (1969)







"Unhalfbricking was Fairprt Conventions third LP and featured the legendary Richard Thompson on guitar and the now sadly deceased Sandy Denny as vocalist.


The enigmatic picture on the sleeve shows Sandy Denny's parents outside their garden ( 9b Arthur Road, Wimbledon,)  it is at once very English and slightly unsettling (the group are visible through the fence.)  And the odd title? A word Denny coined in the course of a word game the band were playing on the road.




 

Surprised but delighted to see Fairport Convention in there. Assuming, perhaps wrongly, that this is a US leaning 1001 albums, it's a bit strange to see this on the list.

Right enough, they did some American style stuff, but this album is more UK styled.

And the Dylan songs on it are better than Bob's versions (imo, he was a songwriter, not a performer). I think this was Dave Swarbrick's first recordings as an unofficial Fairport Convention member, too.

Warning: there's an excessively long song on the album  

DAY 163.
Fairport Convention.........................Unhalf bricking   (1969)








"Unhalfbricking" came as quite a surprise to me, It wasn't as folksy as I had imagined it would be, shame on me for prejudging, but they do look a right raggedy arsed bunch, don't you think?


I have to say I found the Dylan written tracks, "Percy's Song," "Million Dollar Bash" and "Si Tu Dois Partir" by far my favourite tracks, the latter being the stand out in my humble opinion.


"Who Knows Where The Time Goes" is a beautiful number, that has been voted the best folk rock song ever, but with my limited knowledge of folk rock that's for others to opine.


This album caused no offence to my ears, but I have to say "A Sailor's Life" could have done with an eight minute trim,.


Unhalfbricking will be placed on the subbies bench for future reference, words I thought I'd never say when I first clapped eyes on Mr and Mrs Denny




Have a listen to this, I love it  (never thought I would,)  hope you like!






Bits & Bobs;



When it comes to burning out or fading away, England's Fairport Convention chose the road less traveled by. They stuck it out for the long haul, still selling out venues and recording proper studio albums to this day. And yet, with the exception of a period in the late '80s, their line-up has always been in a state of flux, especially so in the early years. 1969's Unhalfbricking, their third release, is the lone work from one of the most popular incarnations of the Convention.


 Singer-songwriter Ian Matthews had walked away shortly after recording for the album began, so the vocal duties mostly fell to the forever-beautiful Sandy Denny. Her tremendously expressive voice anchors the stellar guitar work of Richard Thompson (at the time, fast becoming a force in his own right). The passionate drumming of young Martin Lamble and the guest fiddle of Birmingham notable Dave Swarbrick, who would go on to take an active role in the collective until 1984, also stood at the forefront of the work. Furthermore to the departure of Matthews came a shift from American folk-rock to traditional British folk.


 The most powerful song and centerpiece of Unhalfbricking is an 11-minute adaptation of "A Sailor's Life", a tune recovered from the turn of the 20th century and reworked thoroughly. Beginning with Denny's forceful reading and twittering, teasing instrumentation, the track develops into a soloing, epic raga on the scale of The Doors' "The End" with Thompson's righteous guitar vigorously trading virtuosity with Swarbrick's fiddle over a tight rhythm section dirge and less oedipal weight. In due order, this timeless aimed aesthetic would not take full effect until the following album, Leif And Liege, which is widely regarded by critics and fans as their seminal work. As such, three whole Bob Dylan covers fill out the Unhalfbricking tracklisting. A jaunty Cajun French rendition of "If You Gotta Go" ranks as their only hit single, out of all that history. Though the cut barely missed the UK top 20, it got them on the legacy Tops Of The Pops TV show anyway. Their version of "Percy's Song" hits the appropriate stride as well, but the closing "Million Dollar Bash" ramshackle sing-along seems a little tacky and amateurish. Perhaps three Dylan covers was a bit much for one album. (well, that's bollocks)



"Genesis Hall" 



This song was one of Richard Thompson's contributions to this Fairport Convention album. The lyrics need a bit of context to understand: "Genesis Hall" was an abandoned hotel in London's Drury Lane, originally the Bell Hotel. It had been occupied by hippie squatters. The London police had evicted the squatters, and eventually caused the building to be razed. Thompson's father was a member of the London police force at the time, and the lyrics refer to the incident.




"Who Knows Where The Time Goes"



 
The song's title has no question mark, probably because the question is purely rhetorical. Written by Sandy Denny, who recorded it as a demo in 1967, it was covered the following year by Judy Collins, who released it as the B-side of "Both Sides Now." Denny joined Fairport Convention, and it was recorded for their third album Unhalfbricking, on which it runs to 5 minutes 13 seconds. In 2007, it was voted by BBC Radio 2 listeners as their favourite folk rock track of all time.


 
This may be Sandy Denny's greatest song but it is also her epitaph, because time ran out for her on April 21, 1978 when she died in the Atkinson Morley Hospital, London, aged just 31. She fell down a flight of stairs, was knocked unconscious, and never woke up.


 
The Judy Collins version appears on her album Who Knows Where the Time Goes. Sessions for the album are where she met Stephen Stills, who played guitar and bass on LP. They soon began dating, and Stills wrote the song "Suite: Judy Blue Eyes" in her honour.


 

"Si Tu Dois Partir"

The original version of this song, If You Gotta Go, Go Now, was written in 1965 about the time of Another Side of Bob Dylan but was never on any of Dylan's official albums (apart from The Bootleg Series, Volumes 1-3). It was recorded by Manfred Mann in 1965, which was one of the last ones to feature Paul Jones, and was a top ten hit in that year.



 The story goes that Fairport Convention was playing a gig at the Middle Earth and thought it would be amusing to do Dylan's song in French cajun style, so the band called for volunteers from the audience to help with the translation. Richard Thompson: “About three people turned up, so it was really written by committee, and consequently ended up not very cajun, French or Dylan.” This version was first released as a single  with Dave Swarbrick playing fiddle, Trevor Lucas triangle and Richard accordion. The “percussion” break towards the end of the song is the sound of a pile of chairs falling over.


 This recording enjoyed minor success: the band appeared on “Top of the Pops” on August 14, 1969, see the cover picture of the semi-bootleg From Past Archives on the right. Sadly, this recording is not available.Another version with Ric Grech of Family fame on violin was recorded on March 18, 1969 in the Playhouse Theatre, Northumberland Avenue, for the Top Gear / John Peel radio show and broadcast on April 6, 1969 with a repeat on May 4, 1969. 


 

Last edited by arabchanter (20/1/2018 9:47 pm)

arabchanter wrote:

DAY 163.
Fairport Convention.........................Unhalf bricking   (1969)








"Unhalfbricking" came as quite a surprise to me, It wasn't as folksy as I had imagined it would be, shame on me for prejudging, but they do look a right raggedy arsed bunch, don't you think?


I have to say I found the Dylan written tracks, "Percy's Song," "Million Dollar Bash" and "Si Tu Dois Partir" by far my favourite tracks, the latter being the stand out in my humble opinion.


"Who Knows Where The Time Goes" is a beautiful number, that has been voted the best folk rock song ever, but with my limited knowledge of folk rock that's for others to opine.


This album caused no offence to my ears, but I have to say "A Sailor's Life" could have done with an eight minute trim,.


Unhalfbricking will be placed on the subbies bench for future reference, words I thought I'd never say when I first clapped eyes on Mr and Mrs Denny




Have a listen to this, I love it  (never thought I would,)  hope you like!






Bits & Bobs;



When it comes to burning out or fading away, England's Fairport Convention chose the road less traveled by. They stuck it out for the long haul, still selling out venues and recording proper studio albums to this day. And yet, with the exception of a period in the late '80s, their line-up has always been in a state of flux, especially so in the early years. 1969's Unhalfbricking, their third release, is the lone work from one of the most popular incarnations of the Convention.


 Singer-songwriter Ian Matthews had walked away shortly after recording for the album began, so the vocal duties mostly fell to the forever-beautiful Sandy Denny. Her tremendously expressive voice anchors the stellar guitar work of Richard Thompson (at the time, fast becoming a force in his own right). The passionate drumming of young Martin Lamble and the guest fiddle of Birmingham notable Dave Swarbrick, who would go on to take an active role in the collective until 1984, also stood at the forefront of the work. Furthermore to the departure of Matthews came a shift from American folk-rock to traditional British folk.


 The most powerful song and centerpiece of Unhalfbricking is an 11-minute adaptation of "A Sailor's Life", a tune recovered from the turn of the 20th century and reworked thoroughly. Beginning with Denny's forceful reading and twittering, teasing instrumentation, the track develops into a soloing, epic raga on the scale of The Doors' "The End" with Thompson's righteous guitar vigorously trading virtuosity with Swarbrick's fiddle over a tight rhythm section dirge and less oedipal weight. In due order, this timeless aimed aesthetic would not take full effect until the following album, Leif And Liege, which is widely regarded by critics and fans as their seminal work. As such, three whole Bob Dylan covers fill out the Unhalfbricking tracklisting. A jaunty Cajun French rendition of "If You Gotta Go" ranks as their only hit single, out of all that history. Though the cut barely missed the UK top 20, it got them on the legacy Tops Of The Pops TV show anyway. Their version of "Percy's Song" hits the appropriate stride as well, but the closing "Million Dollar Bash" ramshackle sing-along seems a little tacky and amateurish. Perhaps three Dylan covers was a bit much for one album. (well, that's bollocks)



"Genesis Hall" 



This song was one of Richard Thompson's contributions to this Fairport Convention album. The lyrics need a bit of context to understand: "Genesis Hall" was an abandoned hotel in London's Drury Lane, originally the Bell Hotel. It had been occupied by hippie squatters. The London police had evicted the squatters, and eventually caused the building to be razed. Thompson's father was a member of the London police force at the time, and the lyrics refer to the incident.




"Who Knows Where The Time Goes"



 
The song's title has no question mark, probably because the question is purely rhetorical. Written by Sandy Denny, who recorded it as a demo in 1967, it was covered the following year by Judy Collins, who released it as the B-side of "Both Sides Now." Denny joined Fairport Convention, and it was recorded for their third album Unhalfbricking, on which it runs to 5 minutes 13 seconds. In 2007, it was voted by BBC Radio 2 listeners as their favourite folk rock track of all time.


 
This may be Sandy Denny's greatest song but it is also her epitaph, because time ran out for her on April 21, 1978 when she died in the Atkinson Morley Hospital, London, aged just 31. She fell down a flight of stairs, was knocked unconscious, and never woke up.


 
The Judy Collins version appears on her album Who Knows Where the Time Goes. Sessions for the album are where she met Stephen Stills, who played guitar and bass on LP. They soon began dating, and Stills wrote the song "Suite: Judy Blue Eyes" in her honour.


 

"Si Tu Dois Partir"

The original version of this song, If You Gotta Go, Go Now, was written in 1965 about the time of Another Side of Bob Dylan but was never on any of Dylan's official albums (apart from The Bootleg Series, Volumes 1-3). It was recorded by Manfred Mann in 1965, which was one of the last ones to feature Paul Jones, and was a top ten hit in that year.



 The story goes that Fairport Convention was playing a gig at the Middle Earth and thought it would be amusing to do Dylan's song in French cajun style, so the band called for volunteers from the audience to help with the translation. Richard Thompson: “About three people turned up, so it was really written by committee, and consequently ended up not very cajun, French or Dylan.” This version was first released as a single  with Dave Swarbrick playing fiddle, Trevor Lucas triangle and Richard accordion. The “percussion” break towards the end of the song is the sound of a pile of chairs falling over.


 This recording enjoyed minor success: the band appeared on “Top of the Pops” on August 14, 1969, see the cover picture of the semi-bootleg From Past Archives on the right. Sadly, this recording is not available.Another version with Ric Grech of Family fame on violin was recorded on March 18, 1969 in the Playhouse Theatre, Northumberland Avenue, for the Top Gear / John Peel radio show and broadcast on April 6, 1969 with a repeat on May 4, 1969. 


 

LOVE that album.

Cheers arabchanter, didn't realise Darkness Darkness, one of my favourite Mott the Hoople tracks, was a Youngbloods original.

I've been wondering, of the 165 albums to date, how many have you bought?

DAY 165.
Isaac Hayes.........................Hot Buttered Soul     (1969)







This wont take long, 4 tracks on a 45 minute album, "Walk On By". 12:03 minutes, "By The Time I Get To Phoenix"   18:42 minutes, I never liked them when they were decent length singles, never mind this drawn out pish. Oh!  in case you think that's bad, on thon Phoenix number it  starts wi' him preaching some sort of sermon for almost 10 minutes , I kid you not.


This album won't be coming anywhere near my postcode.



Bits & Bobs;


He was the voice of Chef on the animated TV show South Park. On many episodes, he sang deep soul ballads to seduce ladies like Kathie Lee Gifford. A few months after suffering a stroke, Hayes issued a statement quitting the show because of a Scientology episode that was done at the end of Season 9. His son later said that Hayes didn't issue the statement, as his father would not be so hypocritical as to work on a show that makes fun of just about every culture and religion and then take offense when his religion is a target.


 
He has his own cookbook called Cooking With Heart And Soul. One of the items is "Deep-Fried Jive Turkey."


 
Before he started recording, he was a successful songwriter. He wrote many of Sam & Dave's hits in the '60s, including "Soul Man" and "Hold On I'm Coming."


 
He played keyboards as a session musician for Stax Records, a legendary record label in Memphis.


 
His full name is Isaac Lee Hayes. He was born in Covington, Tennessee.


 
Isaac Hayes' main claim to immortality stems from his US #1 and UK #4 hit single "Theme From Shaft" in 1971. However, this was not his only hit. For example, "Disco Connection," as credited to the Isaac Hayes Movement, got as high as UK #10 in 1976.


 
Hayes was much better as a musician than as a business man. He declared bankruptcy in 1977 after the failure of his own label, Hot Buttered Soul Records.


 
He earned the nickname the "Black Moses Of Soul," and was the first famous black performer to wear chains as a symbol of success.



His parents died in a car accident when he was still an infant. He was raised by his grandparents in Covington, Tennessee.



As told to Terry Gross on National Public Radio, before he hit puberty, Hayes had a high, squeaky voice. He went through a dramatic voice change and ended up "Down in the basement."



Hayes owned a 1972 Cadillac Ed Dorado that was fur-lined and plated in gold. One of the funkiest cars ever created, it is on display at the Stax Museum Of American Soul Music



Hayes’ legacy is rich in top hits such as  “Never Can Say Goodbye” and “Do Your Thing” and WuTang Clan’s “I Can’t Go to Sleep“.



He worked with some of Rhythm and Blues biggest names at the time, including Otis Redding, Booker T & the MGs, The Bary-Kays and Rufus Thomas, playing a key role in creating what became known as the Memphis Sound. Hayes also wrote some 200 songs with David Porter, including "Soul Man" for Sam and Dave. The song was inspired television coverage of the 12 Street Detroit Riot, which indicated that African-American owned and operated institutions were marked with the word "soul" so that rioters would not destroy them.In 2002, Hayes was inducted into the Rock and Roll Hall of Fame for his influence on disco, urban-contemporary music and rap. He also moved back home to Memphis where he pursed business interests, including two restaurants, a best-selling cookbook and barbecue sauces. He also wrote a self-help book, The Way to Happiness, and summarized his life experience in an interview: "At the end of the day, we are responsible for our own lives."


 Hayes was married four times and fathered 12 children. He died of a stroke August 10, 2008, after his wife, son and his wife's cousin found him unconscious at his home in Memphis, Tennessee. He is survived by his fourth wife, Adjowa, whom he married in 2005 and with whom he had a son.


This track off the album couldn't have abetter title.


"Hyperbolicsyllabicsesquedalymistic"   or hyperbolics  to you and me.


 
This ten minute Funk number was on Issac Hayes' groundbreaking Hot Buttered Soul album. He was best known at the time as a songwriter and arranger for Stax Records, and he recorded Hot Buttered Soul at the request of a Stax executive.


 
Hot Buttered Soul contained just four tracks and was a complete breakaway from the standard three-minute song format. Hayes explained to Rolling Stone in February 1972: "I felt like what I wanted to say, I couldn't say it in no two minutes and 30 seconds, because I wanted to speak through the arrangement, I wanted to speak through singing, I wanted to speak through actual monologue. I cut that record with all the freedom in the world and it was a beautiful release for me."


 
The song title is unsurprisingly frequently misspelled, even on the album cover the backup singers are clearly singing "-nistic."


 
The song's lyrics, by Hayes and Stax Records Executive Al Bell, poke fun at those who use big words unnecessarily, in this instance when re-wooing a lost love through high-minded compliments.


 
The musicians include the Bar-Kays' bassist James Alexander and drummer Willie Hall (later of The Blues Brothers Band).


 
This song has been sampled extensively. The same high-pitched piano sample was borrowed by Public Enemy for their 1989 single "Black Steel in the Hour of Chaos" and The Game for his 2006 track "Remedy."

 

arabchanter wrote:

PatReilly wrote:

Cheers arabchanter, didn't realise Darkness Darkness, one of my favourite Mott the Hoople tracks, was a Youngbloods original.

I've been wondering, of the 165 albums to date, how many have you bought?

Need two to complete the ones I liked in the  '50s, finding Sabu a bit elusive, and Tito Puente a tad expensive. 


[img]http://i64.tinypic.com/n6qcsw.jpg[[/img]



  Have got a load I'd like in the '60s, but have bought these and have James Brown Live At The Apollo, Jefferson Airships Surrealistic Pillow and Fairport Conventions Unhalfbricking  hopefully arriving on Thursday.







  Finance will more than likely determine how long it will take to complete.

Jings, it's an impressive collection.
 

PatReilly wrote:

arabchanter wrote:

PatReilly wrote:

Cheers arabchanter, didn't realise Darkness Darkness, one of my favourite Mott the Hoople tracks, was a Youngbloods original.

I've been wondering, of the 165 albums to date, how many have you bought?

Need two to complete the ones I liked in the  '50s, finding Sabu a bit elusive, and Tito Puente a tad expensive. 


[img]http://i64.tinypic.com/n6qcsw.jpg[[/img]



  Have got a load I'd like in the '60s, but have bought these and have James Brown Live At The Apollo, Jefferson Airships Surrealistic Pillow and Fairport Conventions Unhalfbricking  hopefully arriving on Thursday.







  Finance will more than likely determine how long it will take to complete.

Jings, it's an impressive collection.
 

No' many just yet, as starting from scratch with the vinyls, but a couple in their I wouldn't of dreamt of buying, but only because I wouldn't have wanted to listen to them, my musical intolerance is diminishing I hope (apart from Zappa and Beefheart, Pat, and of course thon "Starship" shedboy  )

 

shedboy wrote:

a wee update from.  I have listened to every song so far.  funny enough the song i keep playing is Si Tu Dois Partir as id heard it before but never knew who sung it so much to take from this. I have started a playlist of best songs and maybe should share ay half way then full time? a lot on apple, siri and sonos etc.

one thing listening to difficult albums then googling them can change the way you hear music and even listening to a broad range is extradonary experience - there is a top 100 uk list mix and an alternative one too but this is just dandy.

Shedrule ya bas

Gotta agree with you about listening to different sort of styles and genres, and great idea about sharing your playlist, I was thinking, just for a bit of fun, doing a top 20 songs of the decade ( from different albums in the book, but only one from each artist) and in no particular order, and asking anybody else who looks in to do the same.

As I think/hope we are about to leave the '60s we could do it when it concludes, also look forward to hearing your playlist, maybe you could do one for the '60s and put it up on this thread at the end of the decade?